Search:k super

If Meatraffle is the Marxist/Leninist Big Brother house band then SCUDFM is a band of naughty Baby Socialist Anarchists who never pay to get in. SCUD play songs about Electronic Components, House Cleaning, the 2nd 'Ndrangheta War, Boats, Meatraffles, Allergies, Tactical Ballistic Nuclear Missiles plus serious subjects like Trade Unionism and Women's Rights. The band are also great to hang out with, in fact they are even more entertaining as offstage citizens and can recite all the times tables with ease.

The long awaited debut LP by South London supergroup SCUDFM is primed and ready for launch.

If Meatraffle is the Marxist/Leninist Big Brother house band then SCUDFM is a band of naughty Baby Socialist Anarchists who never pay to get in. SCUD play songs about Electronic Components, House Cleaning, the 2nd 'Ndrangheta War, Boats, Meatraffles, Allergies, Tactical Ballistic Nuclear Missiles plus serious subjects like Trade Unionism and Women's Rights. The band are also great to hang out with, in fact they are even more entertaining as offstage citizens and can recite all the times tables with ease.

The long awaited debut LP by South London supergroup SCUDFM is primed and ready for launch.

From the dawn of doo-wop to the death of disco, the Notations saw_and sang_it all. Persisting through changing trends and technologies, on major labels and minor ones, produced by both Syl Johnson and Curtis Mayfield, nothing could stop the Notations from representing Chicago's Southside for decades. The first overview of their indie label golden age, Still Here 1967-1973 finds the Notations at a musical crossroads, turning from simmering R&B ballads to socially-conscious soul. Offering up a platter of golden-dipped harmonies, inventive arrangements, and super-powered soul, the Notations survived as unheralded legends in their own time.

A showcase of Monty Alexander’s iconic Montreux Jazz Festival live performances between 1993 to 2016.

The audio has Expertly restored and remastered in superlative HD audio; The Montreux Years is released on superior audiophile heavy weight vinyl, MQA quality CD and in HD digital. Brand new liner notes based on an interview with Monty has been created for this release, which also includes rare photos from his Montreux shows.

GRAMMY-winning global superstar Kelly Clarkson has released When Christmas Comes Around…, her ninth studio album via Atlantic Records. The 15-track collection sees Clarkson reunite with long time collaborators Jason Halbert, Jesse Shatkin and more for a mix of new original songs and Christmas classics.

The album features a mix of new original songs and Christmas classics, alongside show-stopping collaborations with Ariana Grande (“Santa, Can’t You Hear Me”), Chris Stapleton (“Glow”) & Brett Eldredge (2020’s hit single “Under The Mistletoe”). When Christmas Comes Around… marks the latest album from Clarkson since 2017’s Meaning of Life and her second holiday offering following 2013’s Wrapped In Red.

Kelly Clarkson is among the most popular artists of this era with total worldwide sales of more than 25 million albums and 40 million singles. The Texas-born singer-songwriter first came to fame in 2002 as the winner of the inaugural season of American Idol. Clarkson’s debut single, “A Moment Like This,” followed and quickly went to #1 on Billboard’s Hot 100, ultimately ranking as the year’s best-selling single in the U.S. Further, Clarkson is one of pop’s top singles artists, with 19 singles boasting multi-platinum, platinum and gold certifications around the world, including such global favourites as “Miss Independent” and “Because of You.” Clarkson has released eight studio albums (Thankful, Breakaway, My December, All I Ever Wanted, Stronger, Wrapped In Red, Piece By Piece, Meaning of Life), one greatest hits album, and two children’s books (New York Times Top 10 best seller River Rose and the Magical Lullaby and the follow up River Rose and the Magical Christmas). She is the recipient of an array of awards including three GRAMMY Awards, four American Music Awards, three MTV Video Music Awards, two Academy of Country Music Awards, two American Country Awards, one Country Music Association Award, and two Daytime Emmy Awards. She is also the first artist to top each of Billboard’s pop, adult contemporary, country and dance charts.

This is the first time ever Har Mar's breakout 2nd album is available on vinyl. Just in time for the 20th anniversary of its original release. This is the album that contain electro pop classics such as Power Lunch (feat. Beth Ditto) and EZ Pass. The album features collaborations with members of The Faint and Busy Signals. This LP also contains two vinyl-only bonus tracks, "Brothers and Sisters" and "EZ Pass (Mint Royale Remix.)." The artwork was re-imagined by Project Dimmel, who designed the original cover and layout back in the day, and the jacket cover is embossed for an extra-cool tactile feel! It was remastered for vinyl by Jesse Mangum at The Glow.
The inner sleeve contains new liner notes by Sean Tillmann and a bunch of fun pictures. TRACKLIST: 1. Intro 2. Power Lunch (feat. Beth Ditto) 3. Elephant Walk (feat. Clark Baechle and Tiny E) 4. We Could Be Heavy 5. You Can Feel Me 6. H.A.R.M.A.R. (feat. Beth Ditto) 7. One Dirty Minute (feat. Dirty Preston) 8. No Chorus 9. Let’s Get This Party Kickin’ 10. Freedom Summer 11. Love Jam No. 1 12. EZ Pass 13. Brothers and Sisters 14. EZ Pass (Mint Royale Remix)

Jan Anderzén and his partners celebrate the transcendental power of ecstatic music. Alas Rattoisaa Virtaa is the first Kemialliset Ystävät album in four years. It is the result of chance enhancing online collaboration methods, desire to get lost in the sound archives and the high art of meticulous editing. The album title is from visions of rivers running down from Heart of Darkness to the City of Joyful Noise. If contemporary music is a high speed train passing by then KY's music would be an orgy of light under a railway bridge.

A band member Lars Mattila experiences the music of Alas Rattoisaa Virtaa in spatial terms:

"There are worlds accessed only through our auditory system. I hear a Wunderkammer of freestanding sound objects. Rhythms like sequences of seemingly random stuff laid out on the forest floor: a pair of thrones, a Henry Moore sculpture, a watermelon, two thrones, a Moore sculpture, a melon... I trust the path to go on even if I can't see behind the hill. There's motion, wether it be drunk driving or super human rapid eye movement. The sheer amount of detail makes it impossible to take everything in at once. One's perception and shifting focus reshape the experience on each listen. I remember my visit to Cappella Palatina in Palermo where Normann architecture, Arabic arches and Byzantine dome form a harmonious whole. Various cultural and spiritual influences are recognized as equals. The sense of space also brings to mind the end scene of The Lawnmower Man when the dude is trying to escape the virtual world."

Limited Recut/repress.

Electro and minimal techno tribal spaceship : a superb revelation of a kind.

Remastered 2022.

Basslines !!

Superb Keflat23 EP ! Acid chanting and mental... Regular 160 BPM.
This is a HOT Case !

IND in his special skillz... With melodious and nostalgic beautyful intros, opening on a light speed kick... and a crazy ambient drop sensitive and touchy.
The kick then turns more threatening... to turn Hardcore, without becoming that crazy either...

Both tunes in a pure Joe IND style.

Superb !

“Micro tonal poetry” - Mats Gustafsson

'Its an honor for the AFJ-Series to introduce the self-titled debut album by Danish Oslo resident Signe Emmeluth. Recorded at Flerbruket, in the forest an hour outside of Oslo - Emmeluth alone in a room with her alto and tenor saxophones.

A fantastic session of sax solo ecstasies recorded by Magnus Hemnes Nergård. Much like Joe McPhee’s Tenor and Peter Brötzmann’s 14 Love Songs, this album share the same beautiful intimacy. It is close, sparse, poetic and raw at the same time. Minimalist and soulful free music.

Signe Emmeluth is a Danish saxophonist and composer educated by the Jazz Department in Trondheim and is currently based in Oslo. Emmeluth has recently become a rising star on the international scene for improvised music. She has her own quartet Emmeluth’s Amoeba and has worked with Trondheim Jazzorkester, John Edwards, Tony Buck, Paal Nilssen-Love, Mats Gustafsson and Mette Rasmussen to name a few.'

All music by Signe Emmeluth, except 'I’ll Be Seeing You' by Sammy Fain
Signe Emmeluth: alto saxophone, tenor saxophone, recorder and electronics
Recorded at Flerbruket, Hemnes (December 2020/January 2021)
Sound Engineer: Magnus Skavhaug Nergaard
Mix/Master: Lasse Marhaug
Artwork: Kim Hiorthøy

Tak til Karl, Magnus, Lasse og Joakim for hjælp og gode vibber

Mental acid digger... with a superb "Let's All Shout" C.Ysme novating tune : a future must have.
The Malhen and the See You Soon are 2 tribe classics grooves in a Swimming pool of old school kicks : drowning hypnotism. Tribal african feelings...Postman bring a more Hardfloor sensation, with a night-forest ambiance...

Creatures of the night material.

Superb EP ! The best from them with a banging full Electro Techno/Freetekno side and 2 Electro Techno groovers on the flip.. Some vocal samples you could recognise from big cheezy classics...
Sound is quite minimal and spacy, the bass is light and groovy, in that Pumpin 2.0 style proper to Ixindamix.

The full EP provides a wicked printed sleeve.

BIG !

Giorgia Angiuli’s 13 track album ‘Quantum Love’ on her UNITED label combines and contrasts fast, insistent dance beats with her signature melodic synths and dreamy lyrics; ‘an eclectic work including piano downtempo tracks and techno melodic tracks with ethereal vocals’ (Angiuli).

The multi-talented live artist/DJ/producer/vocalist/lyricist and studio-building tech wizard used lockdown as a creative nexus. Einstein’s ‘Imagination is more important than knowledge’ led her to explore quantum physics, while her first India tour inspired ongoing interest in sound meditation and philosophy, culminating in the LP.

‘Quantum Love’ has many moods and speeds; physics and philosophy, contemplative and full-on fast, sweet vocals, meaningful lyrics or purely instrumental, it’s all there. ‘’Quantum Love’ is my inner soundtrack to my recent transformation, summarized in the following sentences: we are made of energy, everything is vibration. We are each our own placebo, happiness can be a choice, we have all the elements inside us for the right path. Nature can teach us everything.’ (Giorgia Angiuli)


Press:

DJ Mag Feature

Flow Music Interview

DJ Mag Post

Four Four Magazine News Piece


DJ Feedback:

Sasha (Last Night On Earth) - solid!

Guy Mantzur (Kompakt, Bedrock, Lost & Found, Sudbeat) - love them all

Anthony Pappa (Selador) - The Timo Maas Remix is excellent.

AFFKT (Sincopat) - Superb remixes!

Fur Coat (Oddity / Delete) - Nice Armonica and Glowal remixes

Israel Sunshine (Fur Coat / Oddity) - Great job! digging all tracks specially Timo and Glowal

Animal Trainer (Mobilee / Stil Vor Talent) - fab remix by Armonica!

Dee Montero (Knee Deep in Sound, Selador Recordings, Anjunadeep) - Timo Maas mix for me

Siavash (You Plus One) - Glowal mix takes the cake in this ep

Chris Fortier (Thoughtless / Sullivan Room / Balance) - super super

Pisetzky (JUST THIS / Last Night On Earth / Oddity) - amazing giu

Sinca (Anjunadeep) - Great remix ep

James Trystan (Suara / Bedrock) - Feeling this!!! Timo Maas for me

Henri Bergmann (Automatik) - armonica always!

Cesar Romero (Simply City) nice!

juSt b (Bedrock / Configurations of Self) nice release, love the key work and vox.

Nhii (No Human Is Illegal) (Sounds of Khemit / Stil Vor / Kindisch) - Timo Maas remix right up my alley!

BACK IN STOCK

Precious, timely, moody reflections on migrating from Côte d’Ivoire to Moss, in Norway, over ruff breakbeat funk supplied by the nimble bass-playing of Maimouna’s old man (from Kambo Super Sound), and the expert conga and kit-drumming of Stliletti-Ana (from Jesse, in Helsinki). Even in their delirium, b-boys and girls will savour traces of the Incredible Bongo Band, in the chorus. Over the eight minutes, and going deeper on the flip, the mix lifts off into a cosmic steppers dub, featuring Gilb-r alongside Sotofett on keyboards, with no let up for the dancefloor in energy and vibes.

'Razen is the collective consciousness of core members Brecht Ameel and Kim Delcour, who since 2010 have realized themselves through virtuoistic and highly expressive improvisations with lesser-heard instruments. Experimenting with repetition of tones through controlled breathing and phrasing, Razen arrive at a synesthetic playground of auditory textures and colorful imagery.

The ensemble is carefully orchestrated for every occasion with the intent and desire to escape to environments unbeknownst to them, taking shelter in the fleeting ego-dissolving moments that arise, whether divine or disturbing. While the formula of instrumentation and like-minded peers may appear mundane on paper, it’s Brecht and Kim’s outlook and imagination beyond musical references that’s the immeasurable catalyst to their peculiar pursuits. Conversations about paintings, books, or films ultimately manifest themselves into live performances or album recordings - with the philosophy of embracing playfulness and exploration through the lens of a child’s eye.

Only six collaborators have been invited to their inner circle to date. This is mainly attributed to the rarity of finding spiritual counterparts that are seeking freedom outside the confines of written musical scores. Trading notes and rhythms for strokes and color, the band embodies emotive and meditative drones that demand a deep listening state. Joined by Will Guthrie and Paul Garriau, Razen venture into their vision of Arcadia through Regression, proudly presented by Marionette. On this album, Brecht Ameel turns to his trusty prepared harmonium and celesta, while Kim Delcour controls air and breath on various wind and reed instruments. Featuring Will Guthrie on tuned and melodic percussion (timpani, glockenspiel, marimba, vibraphone), the recordings have a distinct flow and fluid movement when compared to some of Razen’s previous works where rhythm is taking a backseat. Hurdy-gurdy specialist, Paul Garriau, plays accompanying melodies and drones on Moon, Aether and Nebula.

The album's earthly elements deal with survival, timelessness, and simplicity; such as the life affirming rewards of finding refuge and the wonders of observing the interstellar. The unearthly elements pitch this narrative into the realm of mythology and superstition, in the hopes of trying to understand our primeval universe and thrive in the unknown. Regression also addresses Razen’s fascination with inhospitable places and how to adapt to the sorrows that come with this sort of brutalism. The resulting destination is a mind and time bending zone - one that can be reached by riding sound waves that transcend the past, future, and present.'

Available on limited edition translucent gold vinyl and very limited vinyl-style cd. "The Young Ones' Flaming Lips meet Jacques Brel in a pean to lost youth, 'Comme dans un Reve' Dream bossa chanson a la Gainsbourg/ Birkin. ‘Dreams’ is the second of the final trilogy of albums by critical darlings The Real Tuesday Weld following last year's acclaimed noir-themed ‘Blood'. This collection references late sixties songwriting a la Lee Hazlewood, Jimmy Webb and Burt Bacharach with nods to Flaming Lips and Tin Pan Alley, all mixed up with hazy lo-fi electronica, ghostly atmospherics and cinematic instrumentals. Guest vocalists A Girl Called Eddy, Sephine Llo and Oriana Curls provide a counterpoint to main man Stephen Coates' Gainsbourg-like crooning. Continuing the band's long preoccupation with dreams, the songs were written in the early morning or late evening on 'either side' of sleep: ‘I’d rise super early and go straight to it with the emotion of the night’s imaginings still heavy on me or work in that strange space-time just before sleep claims us”. The album is sequenced in an approximation of a life, from youth to age, with the band’s perennial focus on London, love, the English landscape and time passing. ‘Bone Dreams Blood’ in particular is a sonic memorial to friends loved and lost in the life of London. "beautiful...giddily recalls Gainsbourg, Pulp, Cole Porter, early Disney soundtracks and seedy postwar revue bars" SUNDAY TIMES // "Utterly unique, utterly delightful" THE TELEGRAPH // "These heart-pricking songs speak to us all" WORD // 'Utterly decadent and darkly humorous' TIME OUT LONDON // 'Superbly atmospheric' UNCUT // Track listing: 1 The Young Ones 2 Kinky Love 3 Bone Dreams Blood 4 I Awoke to Find I was Dreaming 5 Ever After 6 Lost Endeavour 7 Curtain Call 8 Comme Dans un Reve 9 Bodhisattva of the Gulag 10 Everything 11 Last Light

It’s taken a long time for me to feel good about myself,” says Andreya Triana of the journey to her third album. “As a musician, as a woman, it’s difficult getting to that space. It’s really wonderful where you reach that time of having more good days than bad.” That sense of celebration is what drives ‘Life In Colour’, Andreya’s most confident, instinctive and heartfelt work to date; a record that celebrates love, freedom, independence and womanhood. “‘Life In Colour’ is about stepping into my womanhood and being like ‘OK, I know this space. Let me try some s**t. I know it’s going to be hard but I know it’s going to be OK’. I just wanted to put some good energy out there.” The first taster of that sweet release was teased with lead single ‘Woman’ - a soulful pop anthem of self-love, tracking Andreya’s life from awkward teen to mighty queen, from memories of heartache and trauma to triumph. “You know when you’re feeling so uncomfortable in yourself and you just want to be swallowed up into a hole in the ground?,” Andreya recalls of her youth. “This is about moving on from being a victim to a place of strength, to feeling like a superhero. “Anyone who has gone through difficult times like I have, should know that it’s absolutely possible to get to a good place. It doesn’t define who you are or your future. You have to fight like hell every day to move forward but anything is possible. We’re all full of so much goodness. Don’t lose sight of that.” The lyric video is a tribute to Andreya’s mother, grandmother, the strong females of her life and the many sacrifices that women make day-to-day, generation after generation.

The third album 'Life In Colour' by the MOBO nominated British soul/jazz singer Andreya Triana who's collaborated with Bonobo, Flying Lotus been endorsed by the likes of Gilles Peterson & Jamie Cullum.

Back from a hot summer we are presenting you this great new release by Steve Mill who truly captures the sun and warmth in these new jams for us. The Greek born artist who lives between Berlin and Thessaloniki just released his “The Mistake EP” on Tensnake’s own True Romance label where we could already hear his soulful and groovey disco infused sound.

The opener “Love Attack” is a real “good times” tune with catchy vocal snips and a bad ass funky arpeggio bass line topped with spaced out strings and pads, this one reminds us a lot of Krystal Klear material and our own Lorenz Rhode. Saying that, we of course could not think of anyone better than him to take on this tune and drawing the inspiration to create his own super funked up version! As always all parts are played and recorded live in his Cologne studio with the same hot summer vibes on this one as well! You can find the vox version on vinyl and an instrumental as bonus digital track to get your party really started. On repeat!

“Make Me Feel” featuring the Berlin based vocalist Tee Amara has disco flavors all over it and is just an irresistible house tune, majestic and soulful. Followed by the slow and developing “Next to You” that’s steadily building towards a crescendo “heaven” gem, much in the tradition of disco edits from back in the 80’s. It reminded us a lot of our old Ben La Desh records we put out some good 10 years ago. Maybe this one is our personal fave, for sure a tune you could drop on any floor: disco, electro or house.

Get in the groove with Steve and Lorenz and let us surprise you with a truly funky, groovey and above all positive vibes only release to reminiscent the summer time. Enjoy!


All tracks have been mastered by Salz Mastering in Cologne. Photography & Art by Break 3000.

repress !

Fresh sounds from an authentic source. The Evolution EP is a focused and crisp techno thriller. Each track, all of them raw and direct, are certain to be effective. The growing mood builds with a contagious energy throughout the release, with each song as superb as the one before it. Uplifting, driving, floor friendly, and fun.

A deluxe, remastered, 20 year anniversary edition of the Heads’ third album proper, the under-rated gem in their canon that is “Under Sided”.

Originally released in 2002 on the Sweet Nothing label (SNLP/CD 11), Under Sided was recorded in 2001 at WhiteHouse Studios in Weston Super Mare, with Martin Nichols engineering. The band had previously recorded tracks for Mans Ruin 10” at these studios (also famous for Ripcord, Heresy, Slowdive, Hardskin, Decadence Within, Icehouse.. amongst many others!).

For the reissue, the original recordings were remastered for vinyl and CD by long time Heads Masterer (!) Shawn Joseph. The resultant 8 tracks, spread over 4 sides of vinyl are some of the best music the Heads have recorded, after a bit of a hiatus following their 2000 US tour / Peel session (included in the boxset / on the 2CD version here), the band regrouped and worked out the tracks for the album, relentless rehearsing for the recording. Very few shows happened in that 2001-2002 timeframe.. band members were busy, earning a living, getting on with life, but they still had some riffs/songs there.

Upon release in 2002 the album got great reviews in the press, from Kerrang and MOJO to the Sunday Times, all helping the Bristol fourpiece confirm their cult status, which has continued to current times..

The remastered album is being reissued as a 4LP + 2CD boxset. The extra 2LP features their Peel session from 2000, as well as a couple of compilation tracks (For Mad Men Only / Born To Go), and some unreleased demo versions, as well as 2 exclusive to this set CDS that feature nearly 150 minutes of Live recordings (mastered, but RAW!) from their gigs on the Thekla in Bristol and rehearsal room tapes in 2001 and 2002.
The boxset will also have a special slip-mat, stickers, and a 24 page booklet of photos /writings, including recollections by each band member, and others including Stewart Lee.

Under Sided is a pounding sike-nightmare that shows the Heads at the peak of their powers, there’s a flow throughout the album of melding psychedelic noise rock to unrelentin rhythms and creating a bad trip for all listening.. open battering-ram “Dissonaut” is a staple in their live shows to this day… even the gentle sooth of “Energy” is enveloped by a white noise fury.. the intensity of some of the tracks: the terror inducing “Bedminster” or “False Heavy” (a tour worn riffmonger from 2000) or the Magnet-esque “Heavy Sea”, showed the band as ferocious as any of the insurgent “stoner” genre of that time.

They were never going to make their living out of touring, record sales… as Hugo mentions in his notes for the booklet, “.. we had less boundaries and felt we could experiment more and not worry about commerciality…” but they were able to make this album.

A deluxe, remastered, 20 year anniversary edition of the Heads’ third album proper, the under-rated gem in their canon that is “Under Sided”.

Originally released in 2002 on the Sweet Nothing label (SNLP/CD 11), Under Sided was recorded in 2001 at WhiteHouse Studios in Weston Super Mare, with Martin Nichols engineering. The band had previously recorded tracks for Mans Ruin 10” at these studios (also famous for Ripcord, Heresy, Slowdive, Hardskin, Decadence Within, Icehouse.. amongst many others!).

For the reissue, the original recordings were remastered for vinyl and CD by long time Heads Masterer (!) Shawn Joseph. The resultant 8 tracks, spread over 4 sides of vinyl are some of the best music the Heads have recorded, after a bit of a hiatus following their 2000 US tour / Peel session (included in the boxset / on the 2CD version here), the band regrouped and worked out the tracks for the album, relentless rehearsing for the recording. Very few shows happened in that 2001-2002 timeframe.. band members were busy, earning a living, getting on with life, but they still had some riffs/songs there.

Upon release in 2002 the album got great reviews in the press, from Kerrang and MOJO to the Sunday Times, all helping the Bristol fourpiece confirm their cult status, which has continued to current times..

The remastered album is being reissued as a 4LP + 2CD boxset. The extra 2LP features their Peel session from 2000, as well as a couple of compilation tracks (For Mad Men Only / Born To Go), and some unreleased demo versions, as well as 2 exclusive to this set CDS that feature nearly 150 minutes of Live recordings (mastered, but RAW!) from their gigs on the Thekla in Bristol and rehearsal room tapes in 2001 and 2002.
The boxset will also have a special slip-mat, stickers, and a 24 page booklet of photos /writings, including recollections by each band member, and others including Stewart Lee.

Under Sided is a pounding sike-nightmare that shows the Heads at the peak of their powers, there’s a flow throughout the album of melding psychedelic noise rock to unrelentin rhythms and creating a bad trip for all listening.. open battering-ram “Dissonaut” is a staple in their live shows to this day… even the gentle sooth of “Energy” is enveloped by a white noise fury.. the intensity of some of the tracks: the terror inducing “Bedminster” or “False Heavy” (a tour worn riffmonger from 2000) or the Magnet-esque “Heavy Sea”, showed the band as ferocious as any of the insurgent “stoner” genre of that time.

They were never going to make their living out of touring, record sales… as Hugo mentions in his notes for the booklet, “.. we had less boundaries and felt we could experiment more and not worry about commerciality…” but they were able to make this album.

A deluxe, remastered, 20 year anniversary edition of the Heads’ third album proper, the under-rated gem in their canon that is “Under Sided”.

Originally released in 2002 on the Sweet Nothing label (SNLP/CD 11), Under Sided was recorded in 2001 at WhiteHouse Studios in Weston Super Mare, with Martin Nichols engineering. The band had previously recorded tracks for Mans Ruin 10” at these studios (also famous for Ripcord, Heresy, Slowdive, Hardskin, Decadence Within, Icehouse.. amongst many others!).

For the reissue, the original recordings were remastered for vinyl and CD by long time Heads Masterer (!) Shawn Joseph. The resultant 8 tracks, spread over 4 sides of vinyl are some of the best music the Heads have recorded, after a bit of a hiatus following their 2000 US tour / Peel session (included in the boxset / on the 2CD version here), the band regrouped and worked out the tracks for the album, relentless rehearsing for the recording. Very few shows happened in that 2001-2002 timeframe.. band members were busy, earning a living, getting on with life, but they still had some riffs/songs there.

Upon release in 2002 the album got great reviews in the press, from Kerrang and MOJO to the Sunday Times, all helping the Bristol fourpiece confirm their cult status, which has continued to current times..

The remastered album is being reissued as a 4LP + 2CD boxset. The extra 2LP features their Peel session from 2000, as well as a couple of compilation tracks (For Mad Men Only / Born To Go), and some unreleased demo versions, as well as 2 exclusive to this set CDS that feature nearly 150 minutes of Live recordings (mastered, but RAW!) from their gigs on the Thekla in Bristol and rehearsal room tapes in 2001 and 2002.
The boxset will also have a special slip-mat, stickers, and a 24 page booklet of photos /writings, including recollections by each band member, and others including Stewart Lee.

Under Sided is a pounding sike-nightmare that shows the Heads at the peak of their powers, there’s a flow throughout the album of melding psychedelic noise rock to unrelentin rhythms and creating a bad trip for all listening.. open battering-ram “Dissonaut” is a staple in their live shows to this day… even the gentle sooth of “Energy” is enveloped by a white noise fury.. the intensity of some of the tracks: the terror inducing “Bedminster” or “False Heavy” (a tour worn riffmonger from 2000) or the Magnet-esque “Heavy Sea”, showed the band as ferocious as any of the insurgent “stoner” genre of that time.

They were never going to make their living out of touring, record sales… as Hugo mentions in his notes for the booklet, “.. we had less boundaries and felt we could experiment more and not worry about commerciality…” but they were able to make this album.

Limited Edition of 1500 copies. Includes a show flyer for the performance. Pressed on green colored vinyl. In the spring and summer of 1999, Satan's Pilgrims were awaiting the release of their self-titled fifth album. During that time, an in-store performance was recorded live at Jackpot Records on June 13, 1999 onto a mono cassette recorder. Since they were promoting a new album which was yet to be released, none of those songs had been performed in front of a live audience before. Both Jackpot Records and Satan's Pilgrims agreed that this lo-fi boombox recording should be released as is and sonically unaltered, since it really captures what it was like to be standing a few feet in front of the band vibrating the entire block. What could be more "Record Store Day" than an album recorded IN a record store? Mastered by Black Belt Mastering (The Germs, Green Day, Pearl Jam). Tracks: 1. Badge of Honor (cut) 2. Theme from the Arturan 3. Fra Diavolo 4. Tears and Gears 5. Casbah 6. All Day Party (All Night Party) 7. Mutha Fuzz 8. Frankenstomp 9. Super Stock 10. Black Marquis 11. Chi Chi 12. Jungle Room

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After smooth detours into Soul covers, French Neo-Disco, modern Sunset Disco and Brazilian AOR, in 2022 DJ Supermarkt's Too Slow to Disco series makes a joyous return to its original Westcoast AOR/Yacht roots. Celebrating the 10th TSTD compilation. Who would have thought….
The Berlin curator releases a killer 4th edition of the original compilation art form, "Too Slow to Disco", featuring forgotten and overseen gems from the mid 70s to the early 80s from a global world of smooth, brilliant lost and overproduced tracks from Finland via London and L.A. to Trinidad and beyond.
The great 'un-vanisher' of lost lazy classics, DJ Supermarkt once again unearthed some incredible music that labels, publishers (in many cases also those, who actually own the rights to those tracks…) and streaming services have often long overlooked. You're welcome, world!

Beautifully drunken it hums, the piano in “PianoPiano”, the last tune of “How to Spread Lies”, the first EP by Roman Flügel for the Hamburg based label Dial in the year 2010. Or take “Strich”, a peculiar electrical slow-motion grinder, out on his “Mutter” EP for Klang Electronic in 2006. Since long, the renowned Berlin based DJ and producer is investigating in spheres beyond the dance, the groove, the ecstasy. Zones, where the molecules harmonize, senses relieve, and the soul quietens. All his last albums, “All The Right Noises” (Dial), “Themes I-XIII” (ESP Institue), “Eating Darkness” (Running Back) have moments of tension and relaxation in a deep harmonious connection.

Now “Balmy Evening”, a sundown record for sunup’s. Eleven notions in adventurous journey music, embracing the freedom of structure, blurring the musical pulse into harmonic meditation and mysteriously grooving zones, leaving all unnecessary accessories behind. A quality, that many of his collaborative and solo productions from past 30 years comprise. Still, most of them squint on the dance floor, where jack is king. Not so “Balmy Evening”, where real party bangers are absent. There are moving tunes like the slow Kraftwerk-melody-leaning funkateer “Duftschulter”, or the artificially jacking “Greenhouse”, where nervous Synth patterns ball along soft breaks and decreet kicks. Also, “Super Sonne”, an odd, seemingly improvised synth conversation might ask some souls out for a dance.

But all others, like “Atmosphere”, “Frei”, Dolphins, “Goth”, or “Ambienteuse”, rather seek for the tranquil in each one’s spirit. Listeners need be ready for surprises. Ready for impulsive ideas, linked to a harmonious flow, always ready to grow. An album full of silence, utterly loud, beautifully diverse humming, displaying a playful, exploratory side of a celebrated club music producer, to whom atoms dance in manifold ways.

The second release on Boogie on the Mainline Records is a strictly limited disco 12" with two songs by German band, Upstairs, from 1980.

Side A features an exceptional track from their highly sough after “It’s Hard To Get In The Showbiz” album called “Get On A Plane”. The song is still totally under the radar in the collector’s scene and serves us with a smooth uptempo Disco Funk groove, a super mellow AOR vibe and a catchy chorus! The exclusive 12" mix has an extended ending to give you more of the final “Copa Cabana” chorus.

The flip side contains the instant classic “You’re Just Yourself”, a track which could already be found on the “Boogie on the Mainline” double vinyl compilation. Giving it more space, power and loudliness on 45 rpm with a new master we hope this perfect soulful tune will get even more spins in this “audiophile” edition.

"They push everything right to the brink and then pull back at precisely the right moment" - Pitchfork

"'Growing Up Pains (Unni's Song) gives a tantalising glimpse of where their future could lie. Matching lucid pop elements to daring innovation, ALASKALASKA allow the song to become a portal to their own potential." - Clash

"It’s impossible to walk away without the repeated promise 'I won’t let you down' in 'Growing Up Pains' stuck in your head – and it’s a mantra we should all be following as we as a species continue to fight for our future." - Beats Per Minute

ALASKALASKA announce their superb new album, Still Life, arriving October 14th on Marathon Artists (Lava La Rue, Courtney Barnett, Pond).

'Still Life' finds writers and producers Lucinda Duarte-Holman and Fraser Rieley embrace a more free-form electronica, giving a taste of what's to come with this fantastic new record produced by Jas Shaw (of Simian Mobile Disco)–full of digital sounds, drum machine and synth melodies cunningly sat beside rich, organic, acoustic instrumentation, it's a looping tug of war between existential dread and everyday simple pleasures.

Listen to / watch the video for 'Still Life' (shot by Jacek Zmarz) here: https://youtu.be/TL7s6QJ3ANc

Four seasons of dawn chorus, panoramically framed by fruit trees and more analog synths than can comfortably fit in a cow shed-come-recording studio...the scene is set for the recording of ALASKALASKA’s second album Still Life. Ordinarily located in South East London, writers and producers Fraser Rieley and Lucinda Duarte-Holman were eager to get out of the city. Taking advantage of this rustic countryside scene, they were able to capture something uniquely their own.

Following their debut album in 2019, they resurface into a new era embracing all the things that first put the band on the map, attracting the likes of Tame Impala, Hot Chip, Porches and Nilüfer Yanya for tour support slots. For Rieley and Duarte-Holman, writing began in 2019, pre-lockdown-era, although the subsequent alone together/together alone time added a new spin on ALASKALASKA's process of experimentation and fine-tuning. The band now push their foundational ideas further and explore the freedom of playing with new sounds. Duarte-Holman explains, “...with everything going on at the time, the restrictions led us to try working in a new way. The limitations were different, but meant we were able to adventure into a more electronic soundscape that we're really looking forward to expressing live."

The ‘Still Life’ LP has been pressed on recycled black vinyl to reduce the carbon intensity of the finished product.

Upstairs, a band from Frankfurt, Germany was active from 1977 to 1983. Though considering themselves mainly a rock group, the band incorporated elements of funk, jazz rock and disco into their music. On their rare and privately released debut album "It's Hard To Get In The Showbiz" from 1980 they created something that could be called Germany's definite answer to AOR, yet still with an edgy and unique krautrock flavor.

The album starts with "Wontcha Try," a track where core songwriter, guitarist and lead singer Helmer Sauer is telling the story about being dismissed from his job: "They tried to tell me in a fucking gentle way, that the time had come to kick me…". Sauer serves more personal, hard-edged lyrics on the album as well. On "Happy Hooker," for example, he tells the story of a working girl in the red light milieu: "The job is as hard that you really can never imagine, she serves for the money, degradin' herself in a way - if you'd know how she's feelin' you wouldn't laugh at all". An empathetic view on the subject of prostitution rarely heard at that time.

But aside from the profound lyrics and songwriting, the album has a lot to offer on the groovy side of things. With catchy bass lines, rhythm guitar, Fender Rhodes, Moog synthesizer, Clavinet and swift crisp drumming "It's Hard To Get In The Showbiz" is one of the best examples of late 70s flavored funky rock from Germany. Additional to the aforementioned "Wontcha Try" another DJ delight should be "Make Your Steps On Better Lines" which showcases a superb synth line and disco funk flavors. We also get the slick mellow latinesque AOR grooves of "Get On A Plane" as well as the now-classic "You're Just Yourself", which marks the most soulful track of the LP. As followers of our label are already well aware, "You're Just Yourself" was featured on the compilation, "Boogie On The Mainline - A Collection Of Rare Disco, Funk And Boogie From Germany 1980-1987" from 2018.

The band mainly performed locally and never really had ambitions to release their music on a bigger label. Too bad that Upstairs only released this one album. Of course, the highly sought-after original pressing is almost impossible to find nowadays. Therefore, we are proud to finally make this record available again after 40 years for a reasonable, regular LP price. Only 300 copies of the carefully re-mastered repress have been produced, and included is a printed lyrics insert identical to the original.

The second album for punk rock super group, Ways Away. Featuring members of Stick To Your Guns, Samiam, Knapsack, The Hope Conspiracy. "Torch Songs" was produced by Beau Burchell and will come out October 14th via Other people records.

Surprise Chef’s music is based on evoking mood; their vivid arrangements utilize time and space to build soundscapes that invite the listener into their world. The quintet’s distinct sound pulls from 70s film scores, the funkier side of jazz, and the samples that form the foundation of hip hop. They push the boundaries of instrumental soul and funk with their own approach honed by countless hours in the studio, studying the masters, and perhaps most importantly, the “tyranny of distance” that dictates a unique perspective to their music. Hailing from just outside of Melbourne, Australia their first two albums, All News Is Good News and Daylight Savings amassed a die-hard fanbase and brought their sound from their home studio to every corner of the globe. The band is now signed to Big Crown Records, joining a lineage of contemporary and classic sounds that have influenced Surprise Chef’s music since their formation in 2017. Surprise Chef is Lachlan Stuckey on guitar, Jethro Curtin on keys, Carl Lindeberg on bass, Andrew Congues on drums, and Hudson Whitlock—the latest member who does it all from percussion to composing to producing. Their self proclaimed "moody shades of instrumental jazz-funk" have a bit of everything: punchy drums, infectious keys, rhythm guitar you might hear on a Studio One record, and flute lines that could be from a Blue Note session. But when you step back and take in the entirety of their sound and approach, you'll hear and see a group greater than the sum of its parts. In many ways Surprise Chef embodies the idiom "the benefits of limits." They were limited in that there weren't many people making or talking about instrumental jazz/soul/funk in Southeast Australia, let alone putting out records. This left them to develop their sound and approach in a kind of creative isolation where a small circle of friends and like-minded musicians fed off each other. "Being in Australia, being so far away, we only get glimpses and glances of this music’s origins," Stuckey says. "But hearing a label like Big Crown was one of the first times we realized you could make fresh, new soul music that wasn't super retro or just nostalgic." This approach is on full display throughout their new album Education & Recreation. Tracks like “Velodrome” pair chunky drums with an earworm synth line that has all the making of something you would find on an Ultimate Breaks & Beats compilation while numbers like “Iconoclasts” show their knack for tasteful use of space. From the crushing intro of “Suburban Breeze” to the floaty mellow bop of “Spring’s Theme” Surprise Chef has weaved together an album that takes you through peaks and valleys of emotion and provides a vivid soundtrack that will pull you deeper into your imagination. There is a beauty in the vast space for interpretation of instrumental music and they are adding a modern classic to the canon with this new album. Turn on the record and enjoy the ride, wherever it may take you.

Betty Boo is a Brit and Ivor Novello Award winning singer/songwriter/producer from West London. After a chance meeting in McDonalds on Shepherds Bush Green, she ended up supporting Public Enemy on tour in the US with her Hip Hop trio The She Rockers. In 1989, she featured as guest vocalist on The Beatmasters Top 10 single - Hey DJ/I Can't Dance (To That Music You're Playing). Betty Boo released two albums - Boomania and GRRR! Its Betty Boo - and then mostly retired from the public eye. Earlier this year, she released the Human League sampling banger Get Me To The Weekend - her first solo music in three decades.
2022 sees the return of Betty Boo as a brand new album is set for release entitled Boomerang.

Betty Boo is a Brit and Ivor Novello Award winning singer/songwriter/producer from West London. After a chance meeting in McDonalds on Shepherds Bush Green, she ended up supporting Public Enemy on tour in the US with her Hip Hop trio The She Rockers. In 1989, she featured as guest vocalist on The Beatmasters Top 10 single - Hey DJ/I Can't Dance (To That Music You're Playing). Betty Boo released two albums - Boomania and GRRR! Its Betty Boo - and then mostly retired from the public eye. Earlier this year, she released the Human League sampling banger Get Me To The Weekend - her first solo music in three decades.
2022 sees the return of Betty Boo as a brand new album is set for release entitled Boomerang.

Unlearn is the long awaited fourth album of DJ and producer 2econd Class Citizen. It marks the artist's return back to the newly relaunched label Equinox Records. Their previous collaborations achieved high acclaim for their genre bending fusion of hip hop, electronica and folk music.

The new album is an exploration of an artist journeying beyond their conventional confines. It is a musical adventure peppered with vintage samples concerning the perception of reality and our struggles with conforming to a broken society.

Unlearn is the most musically accomplished work of 2econd Class Citizen to date. As one would expect the drum programming, scratching and production is on point. Several tracks feature soothingly melodic and energetic passages of jazz saxophone from Leroy Horns and electric guitar riffs provided by long term collaborator Paul Drury.

2econd Class Citizen, real name Aaron Thomason, resides in Brighton, UK. He is also a painter and visual artist fascinated with abstraction and the chaos of mixing colours. His musical approach on the new LP draws many parallels to this creative process. An original painting from the artist forms the albums striking cover.

Equinox Records is run by DJ Scientist in Germany. The Unlearn project marks the 51st release and provides the perfect launch vehicle for the dormant label to rise again. The vinyl release of Unlearn as well as the single Be Together signify the first stops in a release plan which will please fans of the label.

FEEDBACK:

"Woah! It's sounds rad! Really heavy and cinematic!"
Kid Koala

"A dark and deep dive into a world of dense and diced samples and moody muted melodies. Would sit well next to Shadow's freakier forays into fractured funk. Or Format's last psychy LP, for sure."
DJ Moneyshot of The Allergies

"I love it. The new treatments with the additional instruments sound great, especially the horns. Glad to see that Equinox is back in action. Dope cover art."
Dday One

"It sounds like 2econd Class Citizen has been at a mountaintop retreat studying and meditating and came back with some superpowers."
Buddy Peace

OVERVIEW: When an ancient monster that laid waste to planets when the dinosaurs roamed Earth is accidentally released from its underground prison, there's only one kaiju you can count on to defend us all: Mothra! Directed by Okihiro Yoneda with a story by the great GODZILLA creator Tomoyuki Tanaka, REBIRTH OF MOTHRA sees the legendary lepidopteran protect the human race from Belvera, the evil sister of Mothra's twin priestesses. She wants to destroy the world with the superspace demon beast Desghidorah, a three-headed extraterrestrial dragon. But Belvera and her monster aren't counting on the larva of Mothra joining the fight. Enter Mothra Leo! Brought into score REBIRTH OF MOTHRA was Toshiyuki Watanabe, son of the great tokusatsu and anime composer Michiaki Watanabe (YOKAI MONSTERS: 100 MONSTERS, MAZINGER Z), who lived up to his legacy by supplying a bold and thrilling orchestral score. Watanabe's music is full of ethereal beauty, with a fantastic opening title cue replete with a glorious female choir to celebrate Earth's greatest defender and full-blooded brass magnificence as Mothra and son fight against the evil Belvera and Desghidora. And of course, it wouldn't be complete without Yuji Koseki's classic Mothra's Song: Over time, oversea, like a wave - our guardian angel! (Charlie Brigden)

The visionaries at Bethesda, Arkane and Laced are bringing the twisted ’60s soundtrack for award-winning looper-shooter DEATHLOOP to wax.

The complete 59-track soundtrack has been specially mastered for vinyl and will be pressed onto heavyweight discs. These will come in spined inner sleeves housed in a rigid board slipcase. Tracklist curation and stunning original sleeve artwork is by the team at Arkane Lyon.

This Standard Edition quadruple LP box set features traditional black discs.

Lead composer Tom Salta has built an enviable credits list, with entries in the Prince of Persia, Tom Clancy and Halo universes to his name. For DEATHLOOP’s original score, he immersed himself in the music of Jimi Hendrix, Pink Floyd, Nelson Riddle and a host of other late-’60s influences. Layers of period-appropriate organs, synths and other instruments (including Rhodes, Wurlitzer and Hammond B3) help maintain the tension as Colt picks off Eternalists from the shadows. As things get dicey, or Julianna intervenes with extreme prejudice, tracks explode into furious guitar and drum grooves that propel the zany, supernaturally enhanced gunplay.

Ross Tregenza’s multi-genre diegetic cues perfectly complement the psycho-sophisticate stylings of Blackreef’s artistically aspirational inhabitants, while songwriter Erich Talaba and singer Jeff Cummings brought to life the vicious visionary Frank Spicer with catchy in-universe songs. Music agency Sencit teamed up with powerful yet soulful vocalists for trailer and credits songs, including Bond-ish banger “Déjà Vu” (featuring FJØRA), “Pitch Black” (featuring Lady Blackbird) and “Down the Rabbit Hole” (featuring Samantha Howard & Haqq.)

Ally is psyched to be releasing The Cakekitchen's dark and powerfully
catchy fourth LP, Stompin Thru The Boneyard, on vinyl for the first time in
the US!
Originally released on CD domestically by Merge Records in 1994, Graeme
Jefferies has remixed and remastered the original album creating a more even
and equally stirring effect. Mac McCaughan (Merge / Superchunk) cites this as
one of his favorite iterations of the band, and for good reason. "Tell Me Why You
Lie" ranks among the best of Jefferies' edgy pop songs, while the multi-part "Hole
in My Shoe" finishes with a sterling instrumental segment. "The Mad Clarinet" is a
highly textured acoustic piece featuring another NZ legend, Alastair Galbraith, on
violin. The album ends with the perfect closer, "Another Sad Story," which is not
just another song, but one of the finest melancholy earworms you'll ever
experience. NZ pop at its finest!

2003 DEBUT STUDIO ALBUM FROM ACCLAIMED NORWEGIAN POSTPROGRESSIVE ART ROCKERS MASTERED HALF-SPEED AT AIR STUDIOS
Formed in Oslo in 1996 by childhood friends Jon-Arne Vilbo & Thomas Andersen
along with Jan- Henrik Ohme (later joined by Mikael Krømer, Robert Risberget
Johansen & Roy Funner), Gazpacho have honed their unique sound over a string
of critically acclaimed albums & numerous tours, including several with long-time
supporters Marillion.
In 2002, Gazpacho entered a song contest on 'Make-A-Star' with the song "Sea Of
Tranquillity" & won. Their second entry, "Ghost" made it to second position, giving
the band the opportunity to release an album through MP3. This led the
band to release their first official album 'Bravo' in 2003 - which contained five of
the six tracks off the MP3 album plus six new compositions. Utilising the
possibilities of the Internet the band had teamed up with the American singer/
songwriter & fellow 'Make- A- Star' contestee Esther Valentine & New Zealand
producer Peter Kearns. Valentine sang a duet with Ohme on the song
'Novgorod' (which she also co-wrote) & Kearns produced two of the album tracks.
'Bravo' gained the band more international acclaim, with Dutch leading music
magazine 'Oor' stating "their debut album is a rare beauty".
The first in the 'Gazpacho Half-Speed Masters Series', this new Kscope release of
'Bravo' was mastered half-speed at Air Studios in London for a superior, sharper,
more direct & engaging sound. Other releases from the band's catalogue are to
follow throughout 2022 & 2023.

The 'Privacy Angels' dwell in a liminal zone, a folk magical world sprawling within some remote nodes of the digital universe. An a-chronic plane of contradictions in which the spiritual and the machinic exist in a contrast that, instead of leading to mutual annihilation or subjugation, produces weird forms of life and uncanny forms of beauty. Like flowers sprouting from glitching fluxes of data transmissions, in the corrupted memory of a heavenly landscape. It is the vision of Italian (though London-based) musician and multidisciplinary artist Nicola Tirabasso, channeled through his usual musical avatar VISIO, a dimension he came in contact with while retreating in his native Sibillini Mountains in Marche, central Italy. A type of forced hermitage dictated by the global pandemic and whose idyllic premises were constantly unbalanced and contaminated by the constant presence of the digital world. But again, it is by means of this contrast that art is born. While channeling the magic, the fables and even the superstitions the locals have imbued the region with, Tirabasso developed them into audial spirits of electronic abstraction. A juxtaposition of mystic retreat and information-age alienation that, for some brief, ineffable and baffling moments, seemed to make him able to hear the angels. The album itself is a collection of digitally broken folk songs and logarithmic chants of praise. Acoustic instruments are broken down, replicated and re-materialization, while computer-generated ghosts and synthetic tones are allowed to exist and resonate in ancient spaces. Most of the actual recordings have been in fact made at desecrated XVI church in a town near Montappone, not far from the birth place of XX century painter Osvaldo Licini, whose influence echoes all throughout the region. Licini’s idiosyncratic mix of primitivism, futurism and orphic realism similarly echoes all throughout the record, with VISIO even paying tribute to his painting ‘Angelo Ribelle’ in titling one of the tracks. Collaborations made in person and through file-swaps have traversed the album’s conception and enrich its palette by presenting different versions of reality. Haunter co-founder Daniele Guerrini (Heith) co-produced every track with Tirabasso and gave a fundamental contribution to the album’s final form. Elsewhere, City and Kenichi Iwasa evoke their own privacy angels and let them dance with VISIO’s. Be it, in the depths of the earth or in the dissolution of a digital cloud, it is just as possible to (un)know the divine. Genre: Electronic / Experimental Listen: Track list: 1. Moonchild 2. Extasi Exile 3. Youth Grows Forever 4. Untitled X 5. Blessed Mystery 6. Years Of Silence 7. angelo ribelle

GREAT LOST ALBUM BY NC LEGEND SAM MOSS IS DISCOVERED, MIXED
FOR DELUXE RELEASE produced by Chris Stamey In Winston-Salem, NC,
guitarist Sam Moss is a legend - A superior, highly versatile musician
whose advocacy for the blues and mastery of the nuances of electric
blues-based soloing somewhat paralleled Mike Bloomfield's in Chicago,
Moss was an inspiring, charismatic mentor to generations of North
Carolina rockers, including Let's Active and The dB's
He was a larger- than- life character whose club appearances astounded local
audiences, yet he never released a record in his lifetime. So, producer Chris
Stamey was thrilled to discover, in 2020, on the end of an old tape, forgotten
masters of Blues Approved, a spectacular Stax- and Muscle Shoalsinfluenced
solo record, made with Mitch Easter in 1977.This "great lost" record reveals that
Moss was also a soulful songwriter and singer. It has now been carefully remixed
and produced for release, with a deluxe booklet featuring detailed liner notes and
bio, session notes by Easter, and lots of vivid color photos. Peter Holsapple (The
dB's) says, "Sam Moss was an inspiration to so many of us; with the release of
Blues Approved, people everywhere will understand why.
Mitch Easter of Let's Active recalls: "Sam wrote interesting songs that almost
always had a blues angle, but he brought in a lot of elements from elsewhere." But
the material then sat on the shelf, unreleased, as Moss opened a vintage guitar
store, selling internationally to rock stars and other celebrities for several
decades.
On July 30, 2021, the City of Winston-Salem honored Moss with a sidewalk star in
the city's Walk of Fame downtown.

In 1978 five of America's finest jazz musicians, Michael Brecker, Mike Manieri, Don Grolnick, Eddie Gomez and Steve Gadd, decided
to take a break from their lucrative session careers and do the thing they loved best. The result was Steps, an acoustic jazz
supergroup in the time of fusion supergroups. Now legendary the ensemble offered melodic jazz with cutting edge solos and a
rhythm section like no other. For this performance they were joined by the astonishing Japanese guitarist Kazumi Watanabe.
Already a well-known figure at home and soon to be touring under his own name and guesting with The Brecker Brothers band and
Jaco Pastorius’ Word of Mouth ensemble.
Performed at Yubin Chokin Hall in Tokyo on December 6th 1980, broadcast by NHK-FM. Pressed on 180g Black Vinyl and presented
in a gatefold sleeve sealed with Japanese obi strip. With extensive liner notes and archival photos.
Michael Brecker - tenor sax; Don Grolnick - piano; Mike Mainieri - vibes; Eddie Gomez - bass; Steve Gadd - drums; Special guest
Kazumi Watanabe - guitar.

The ‘A Day At’ concept, from Parallelle, started in 2017 when they were helping their uncle in his leather factory, manufacturing belts. The variety of melodic sounds during the manufacturing process, from small tools to big machinery, quickly became the soundtrack to their day and the inspiration behind their very first song – The Factory.

Little did they know it would lead them on a sonic expedition to explore places where unexpected sounds became the centre of their musical pieces. A carpentry, a ski station, a supermarket, an airport, or a kitchen were their creative playground. The sawing of wood, the chopping of carrots, the rustling of plants, the click of a ski-shoe and the shaking of quinoa are just some examples of sounds that inspired their creativity.

After years of gathering sounds and composing the basis of their album. They teamed up with conservatorium musicians Nicolo Ricci on Sax tenor, Alessandro Mazzieri on Base and Simone Cesarini on Guitar who helped them sculpt the final touches to the album.

A fusion of jazzy vibe with concrete sound recording and electronic elements is the foundation of their first album “A Day At”

"Party people hold onto your hats!" Ugly Duckling presents their fifth full-length album Moving at Breakneck Speed. After more than a decade in the music business, Young Einstein, Andy Cooper and Dizzy Dustin are well accustomed to the recording process. For their latest LP, the boys dug deep into their bag of tricks to create what they feel is their most dynamic and complete release to date. Moving at Breakneck Speed is an exciting and musically exotic adventure story that has our desperate heroes circling the globe to outrun an evil gang of super-criminals determined to put an end to UD once and for all. The record is made up of 14 power packed tracks that showcase Ugly Duckling's classic production sound as well as the flavorful and humorously soulful vocal styles of Dizzy and Andy. "By the time you work on your fifth record, you ought to know how to do it, right?" asks Andy, "I think we put all of the pieces together to make a really, really good album".

Cosmic Disco Machine Volume 6 is reconfirmed with a refined selection of electronic “disco” songs from the 70s / 80s, rigorously in original and remastered versions. Inside we will find songs from the German school "The 4:08 to Paris" by Berlin Express (Conrad Schnitzler) and Rolf Trostel "Digital Track", the English "Regime" by Two, Iam Siam from America with "Talk To Me Even to Italo with Riccardo Cioni's “Nebbia”.

African Music that will move your mind to this special combination of highlife, funk and jazz

South Street delve into the The Sound Of Detroit from one of its unsung heroes, reissuing Amp Fiddler's 'Motor City Booty' LP on Yellow & Blue vinyl respectively. Coming straight off the D Funk assembly line, it's a full on dance floor affair from Motown to P-Funk, Techno and Neo Soul.

This 12 track album produced by Amp Fiddler & Yam Who? includes the massive 'Soul Fly' sounding like a Mark Ronson production had he been hanging out with George Clinton's Parlet followed by the bonafide P-Funk anthem 'Steppin' both featuring the stunning vocals by the Dames Brown girls.

Amp Fiddler is credited for taking both a young J Dilla and also Q-Tip under his wing teaching them his Akai MPC techniques, setting the path for some of Hip Hop's finest recordings which have defined the shape of things to come.

His musical collaborations & current duties include: Moodymann's musical maestro, keyboard wizard for Theo Parrish's live band, a longstanding Funkadelic member, co-writer for Sly & Robbie, Prince, Maxwell, Jamiroquai & Seal to name a few.

The super group Deltron 3030 is composed of producer Dan the Automator, rapper Del tha Funkee Homosapien and DJ Kid Koala and sometimes features guest artists who also take on varying futuristic pseudonyms. Originally released in 2000 on the now-defunct 75ARK record label, this hip hop concept album was released the same year as the Gorillaz' first 12" and is on a similar plane. Following the release of Deltron 3030, all three members participated in the Gorillaz' self-titled debut album. With Del aka Deltron Zero on vocals, Dan the Automator aka The Cantankerous Captain Aptos on production, and Kid Koala aka Skiznoid the Boy Wonder on turntables, this album takes the listener on a paranoid journey set in a dystopian year 3030 dealing with viruses, the apocalypse, an oppressive government, and a war waged against a huge company called the Corporate Bank of Time that rules the universe, all to the well-crafted and consistent musical backing of the Automator. Appearances by Damon Albarn (The Gorillaz, Blur), Prince Paul, Peanut Butter Wolf, DJ Money Mark, Paul Barman, Mark Bell (Bjork, production), Sean Lennon, and Mr. Lif compliment Del's vocal style and add the right amount of flavor to this classic period piece.

Die Musik von Surprise Chef basiert auf dem Hervorrufen von Stimmungen; ihre lebendigen Arrangements nutzen Zeit und Raum, um Klanglandschaften zu schaffen, die den Zuhörer in ihre Welt einladen. Der unverwechselbare Sound des Quintetts speist sich aus der Filmmusik der 70er Jahre, der funkigeren Seite des Jazz und den Samples, die die Grundlage des Hip-Hop bilden. Sie verschieben die Grenzen des instrumentalen Soul und Funk mit ihrem eigenen Ansatz, der durch unzählige Stunden im Studio, das Studium der Meister und - vielleicht am wichtigsten - durch die "Tyrannei der Distanz", die ihrer Musik eine einzigartige Perspektive diktiert, verfeinert wurde. Mit ihren ersten beiden Alben All News Is Good News und Daylight Savings haben sich die aus der Nähe von Melbourne, Australien, stammenden Musiker eine eingefleischte Fangemeinde erspielt und ihren Sound von ihrem Heimstudio aus in alle Ecken der Welt gebracht. Die Band ist nun bei Big Crown Records unter Vertrag und reiht sich damit in eine Reihe zeitgenössischer und klassischer Sounds ein, die die Musik von Surprise Chef seit ihrer Gründung im Jahr 2017 beeinflusst haben. Surprise Chef besteht aus Lachlan Stuckey (Gitarre), Jethro Curtin (Keyboards), Carl Lindeberg (Bass), Andrew Congues (Schlagzeug) und Hudson Whitlock - das jüngste Mitglied, das von der Percussion über das Komponieren bis zum Produzieren alles macht. Die selbsternannten "moody shades of instrumental jazz-funk" haben von allem etwas: druckvolle Drums, mitreißende Keys, eine Rhythmusgitarre, die man auf einer Studio One-Platte hören könnte, und Flötenlinien, die von einer Blue Note-Session stammen könnten. Aber wenn man einen Schritt zurücktritt und sich die Gesamtheit ihres Sounds und ihrer Herangehensweise anschaut, dann hört und sieht man eine Gruppe, die mehr ist als die Summe ihrer Teile. In vielerlei Hinsicht verkörpert Surprise Chef die Redewendung "the benefits of limits". Ihre Möglichkeiten waren insofern begrenzt, als es in Südost-Australien nicht viele Leute gab, die instrumentalen Jazz/Soul/Funk machten oder darüber sprachen, geschweige denn Platten herausbrachten. So mussten sie ihren Sound und ihre Herangehensweise in einer Art kreativer Isolation entwickeln, in der sich ein kleiner Kreis von Freunden und gleichgesinnten Musikern gegenseitig befruchtete. "Da wir in Australien so weit weg sind, bekommen wir nur flüchtige Einblicke in die Ursprünge dieser Musik", sagt Stuckey. "Aber als wir ein Label wie Big Crown hörten, wurde uns zum ersten Mal bewusst, dass man frische, neue Soulmusik machen kann, die nicht super retro oder einfach nur nostalgisch ist." Dieser Ansatz ist auf ihrem neuen Album Education & Recreation deutlich zu hören. Tracks wie "Velodrome" verbinden klobige Drums mit einer ohrwurmverdächtigen Synthie-Linie, die so klingt, als würde sie auf einer Ultimate Breaks & Beats-Compilation zu finden sein, während Nummern wie "Iconoclasts" zeigen, dass sie ein Händchen für die geschmackvolle Nutzung von Raum haben. Vom erdrückenden Intro von "Suburban Breeze" bis zum schwebenden, sanften Bop von "Spring's Theme" haben Surprise Chef ein Album zusammengestellt, das dich durch Höhen und Tiefen der Emotionen führt. Ein lebendiger, die Fantasie beflügelnder Sound! Dem weiten Spektrum dieser Instrumentalmusiksparte wird mit diesem neuen Album ein modernen Klassiker hinzugefügt.

Drum Chums Vol. 5 marks the arrival of Captain Attractive, an international man of mystery, head-nod hero and edit expert whose many masterpieces inspired us to pick up the scalpel in the first place.
Last seen leaving Berlin on a world tour, this legend parked the Red Motorbike outside Talking Drums HQ and treated us to a lesson in San Fran sleaze, hippie disco and MPC bump.

The A side opens with the sticky funk of 'It's More Fun 2 Make Love', a pitched-down disco cruiser extended for the tantric dance floor and mastered on an old porno VHS. Sultry, slinky and rated X.
We're always hungry after the act and graciously Captain Attractive is on hand with a donut called 'Memories' to close out the A-side, looping some sweet soul into the kind of hypnotic hip hop as house romper which defined beatdown way back when.

The Captain takes the yacht to the Med on the B1 with the super Balearic groove of 'Dreamer', an astounding combination of dexterous bass, choral vocals and rolling piano, all set to the shimmy of hippie percussion. It could be a Laurel Canyon memory, an Xtian obscurity or something much deeper, but it's definitely twelve minutes of sunset bliss - just wait until my guy flips the script after seven minutes!
The dude drops the curtain with another bitesize portion of MPC mastery, cutting up some thick wax guitar and cool keys over a swung groove for 'Ghana Do It'.

Captain Attractive taking you where you want to go.

100% Drum Fun Guaranteed.

"Nothing's Going Wrong" is Martha's sophomore album on Blind Faith Records, backed by the mighty Italian Royal Family and produced and mixed by Luca Sapio at Blind Faith Recordings studio. The super solid back beat and the lush horn arrangements evokes the golden era of the Italian movie soundtracks (inspired by Piero Piccioni, Ennio Morricone and Luis Bacalov). Lyrically the album is very much inspired by the socially and politically conscious records made by the likes of Marvin Gaye, Gil Scott Heron and Curtis Mayfield in the mid 70s. A hidden gem proudly shines through in the song ‘ I’ve Still Have A Lot To Learn’; Italian maestro Antonello Vannucchi (leader of the Marc 4 band and keys player behind thousands of iconic Italian soundtracks), has laid down a stellar Hammond B3 take on the melancholic ballad, sadly it was his very last recording session before passing away. Every once in a while an album comes along, and this is one of them, that is beyond what is currently fashionable at any given time, which evokes the best sounds of the soul golden era, combined with Italian soundtracks of the 60s; infuse them together and you get a funk/soul masterpiece, showcasing one of soul music’s most precious gems- Miss Martha High.

Das zweite Album der Indie-Folk-Supergroup um Anaïs Mitchell ("eine der größten Songwriterinnen ihrer Generation" NPR), Eric D. Johnson (FRUIT BATS) und Josh Kaufman (THE WAR ON DRUGS, THE NATIONAL, TAYLOR SWIFT). Produziert von Bandmitglied Josh Kaufman, ist "Rolling Golden Holy" der Nachfolger ihres von der Kritik gefeierten, selbstbetitelten Debüts, das zwei GRAMMY-Nominierungen (Best Folk Album und Best American Roots Performance) erhielt und von u.a. Paste, MOJO, Uncut Magazine als eines der "Besten Alben des Jahres 2020" bezeichnet wurde. Falls sich das Debüt von Bonny Light Horseman jemals wie das Werk einer kurzlebigen Supergroup oder einer einmaligen Abwechslung angefühlt haben sollte (was sie nie war), widerlegt "Rolling Golden Holy" diese Vorstellung mit überirdischer Schönheit, Charme und Fantasie. Diese 11 Songs - allesamt Originale, geschrieben und realisiert vom Trio als Ganzes - folgen den Pfaden der traditionellen Melodien, die die Band schätzt, zu neuen musikalischen und lyrischen Grenzen, und geben den Klängen und Situationen der Geschichte die Schwere und Form der Gegenwart. "Rolling Golden Holy" bestätigt, dass es sich bei Bonny Light Horseman nicht um ein Projekt, sondern um eine Band handelt, die derzeit an der Speerspitze des modernen amerikanischen Folk arbeitet. Die ersten Schreibsitzungen von "Rolling Golden Holy" - und die beiden darauf folgenden Aufnahmesessions, zuerst in Aaron Dessners (THE NATIONAL) Long Pond Studio und dann in dem, was sie als ihr "spirituelles Zuhause" bezeichnen, der wunderschönen und buschigen alten Kirche namens Dreamland - waren eine Reihe von "Ja, und"-Treffen, bei denen jedes Mitglied die anderen ermutigte, eine Idee aufzugreifen und sie ein wenig weiterzuverfolgen, um die Komfortzonen zu überwinden. Auf "Rolling Golden Holy" stellt das Trio eine wesentliche Frage - und beantwortet sie mit jedem Stück: Wo hört die traditionelle Folkmusik auf und wo fängt die moderne Folkmusik an, falls es eine solche Abgrenzung überhaupt gibt? Diese Lieder suggerieren und verkörpern ständig ein unausgesprochenes Kontinuum. Hier zeigen sich BONNY LIGHT HORSEMAN in der vollen Pracht ihres Lebens als komplette Band.

The first album of Web Web is very uncut, raw, live and direct. Oracle is the first output of a German Supergroup. Check the musician credits below and you'll get the score. The initial idea was to record a spiritual-jazz type of album, with all its imperfection as far as intonation, sound, influences of tunes... just like from their big jazz-heroes in the 70ies (e.g. Strata East, Black Jazz).

Web Web's idea was to record a jazz jam session while to found and proclaim being a fictive band, a formation, which did not exist, while telling people, it would be a secret jam session recording of the Seventies. The prompt problem they were facing: Oh, we never would be able to play concerts, doing interviews, or placing photos on sleeves or post likeness images online. So they decided to reveal their real identities:

Web Web are: Roberto Di Gioia (Piano, Synth, Percussion), Tony Lakatos (Tenor- and Sopranosaxophone), Christian von Kaphengst (Upright Bass) and Peter Gall (Drums).

Roberto Di Gioia (Mastermind of Web Web): - The four of us set up very close in a big room, so we could hear and feel each other the best way. The music became more intensive, improvisations became more dynamic and it was impulsive .

The album Oracle' was recorded on one day, only first takes were used!

We want to keep the burning spirit and the loose vibe we had during the recording session. And we play concerts the wild and free way we recorded this album. Web Web will be on tour 2018, but playing a few concerts in 2017.
Furthermore, one main decision to blab their real identities was: The second Web Web album is recorded in June (with guests like the famous and unique Gembri-player and multiinstrumentalist and singer Majid Bekkas from Morocco).
Both albums were engineered, recorded and mixed by Jan Krause (Beanfield, Poets Of Rhythm).

Roberto Di Gioia: - Tony was tuning his Soprano too high, and his (overdubbed) tenor way too flat!
My synthesizers were somewhere in between...HA! We exactly had the sound we had in our minds, we had it exactly there were we wanted it: a bit of Sun Ra here, a bit of Horace Tapscott there. On some tunes Tony's soprano just sounds like a trumpet, since due to his weird tuning the soprano develops different frequencies in relation to other instruments.

Oracle' is the first live jazz release on Compost. Produced by Roberto Di Gioia and Michael Reinboth.

Roberto Di Gioia has been working with numerous jazz-legends, such as Woody Shaw, Art Farmer, James Moody, Johnny Griffin, Charlie Rouse, Clifford Jordan, Clark Terry, Roy Ayers, Gregory Porter and many more.

From 1990 to 2008: member Klaus Doldingers Passport. As a pianist he made recordings with Udo Lindenberg (MTV-Unplugged, 2011), Charlie Watts ( Music Of The Rolling Stones , 2005), Console ( Reset The Preset , 2003), The Notwist ( Shrink 1998, Neon Golden , 2002). Since 2007 he is working together with Samon Kawamura and Max Herre as KAHEDI: Max Herre ( Hallo Welt , 2012), Joy Denalane ( Gleisdreieck , 2017), u.v.m...His own group MARSMOBIL (produced by Peter Kruder) will release his fourth studioalbum in winter 2017.

Tony Lakatos originates from the world famous Lakatos-familiy from Budapest, Hungary. His father was a famous violinist, as well as his younger brother Roby. He started playing saxophone when he was 15 years old. Tony studied at the Bela-Bartok-Conservatory in Budapest, and made his degree in 1979. Since then he played on over 350 jazz albums (!!), to name a few: Al Foster, Kirk Lightsey, Randy Brecker, George Mraz, David Witham, Terri Lyne Carrington, Anthony Jackson. Tony was a member of Jasper Van´t Hofs PILI PILI. Since 1993 he is working with the HR Radio-Bigband as a soloist.

Christian von Kaphengst learned the piano at the Peter-Cornelius-Conservatory in Mainz when he was 6 years old. From 1988 to 1995 he studied upright-bass at the - Musikhochschule in Cologne. He was touring with his own Jazzquartett - Cafe du Sport to Pakistan, India, Turkey and West-Africa. Since 1999 he regularly plays with Patti Austin and The New York Voices in Europe. Von Kaphengst played with the greatest musicians, such as Randy Brecker, Nat Adderley, Roy Hargrove, Joe Sample, Charlie Mariano, Katja Ebstein, Xavier Naidoo, Roachford, Yvonne Catterfeld.

Peter Gall won some important German awards already when he was a youngster, like - Jugend Jazzt . He was touring with the famous - Bundesjazzorchester conducted by German jazz legend Peter Herbholzheimer. He studied at the Berlin University Of Fine Arts and at the Jazz Institute Berlin with John Hollenbeck. Gall made a masterclass at the Manhattan School Of Music with John Riley. He has been working with Seamus Blake, Ben Street, Gabriel Rios, Jasmin Tabatabai, Thomas Quasthoff, Peter Fessler.

Superb Speedcore oldschool EP.
Sound is brilliant and ideas fresh... Despite that it's very oldschool dirtyness !

BIG !

Up To You is crunchy, driving folk rock with an irresistible groove. Here on the 7" you'll find the special vinyl only D.J. cut. The B-Side has New Tie Bow on it, file under: deep, spiritual desert electronica. Super psyched to share these two songs with you as part of the journey we go w/ Aiden Ayers in 2022.

In the autumn of 2003, Flunk - then consisting of producer/vocalist Ulf Nygaard, singer Anja Øyen Vister, guitarist Jo Bakke and drummer Erik Ruud - booked in at the Hotel de Roubaix in Paris. The framework for their second album "Morning Star" was recorded during a busy week in the Paris hotel room, before being worked out and finished in their Oslo studio early 2004.

The album was licensed to Kriztal Recordings in the USA the following year, and their version of the album included five tracks not on the original Beatservice Records versions, and omitting the Kinks cover "All Day and All Of The Night".

On this expanded edition of the album, all of the US bonus tracks are included to the original Beatservice Records tracklisting, making it a 14 track album.

Two cover song are included: The Kinks' "All Day and All Of The Night", performed as a duet by Anja and Ulf. The cover is the most up-tempo track on the album, capturing the energy of the original Kinks' classic in Flunk's slightly odd way. There is also an acoustic live-in-studio version of New Order's "True Faith". But most of all "Morning Star" includes very strong original material. Both the title track "Morning Star", and the singles "On My Balcony" and "Blind My Mind" showcases the songwriting talents of Flunk.

The track "Play" didn't make it on the original release of the album. But the band did a total makeover of it for the US release, and the track ended up as the feature song in an episode of the show "The O.C.", and on the fourth "The O.C." compilation album.

Other tracks included from the US version of "Morning Star" are the beautiful "Probably" (originally recorded for the debut album "For Sleepyheads Only"), the New Order classic, "True Faith" (a different version than the b-side to "On My Balcony"), the poppy "Skysong" and the lush "All My Dreams On Hold".

"Folk electronica" has been used by a.o. american press to describe Flunk, and on the "Morning Star" album, they have evolved this further. The album is pure indie pop, less electronica - all tracks built around Jo's trademark guitar sound and the voice of Anja Øyen Vister.

"Morning Star" is an instantly tuneful pop injection, now further expanded and with a new superb sounding 2022 24-bit re-master.

DNO hits double figures as Denver’s Trisicloplox & Sectra return with more industrial-strength electro-sludge.

Sectra sets the tone with ‘Mail Theft’, a hulking mass of sand-blasting static, insectoid jitter and low-end boom. It’s an intimidating, uneasy listen, like tuning through the haunting emptiness of post-apocalyptic broadcast frequencies, only to be interrupted by sudden bursts of unseen filth and gore.

Trisicloplox follows with a brace of tracks. ‘Bruised’ does exactly what it says on the tin, gargantuan kicks pummelling layer upon layer of dense sound into an impenetrable wall of noise. Ritualistic rhythms and gluttonous amounts of overdrive swarm over distant wails, sending everything into a spiral into despair.On ‘Megastructure’, doom metal meets hip-hop, as rough-hewn drums crunch above a bassline that takes its cues from the Super Hans School of Electronic Music: “The longer the note, the more dread.”

And finishing up the vinyl offerings is ‘Dead On Arrival’. Coming courtesy of Sectra, the most traditionally ‘club-focused’ effort of the lot sees a serrated breakbeat and venomous acid lick sparring over dissonant pads.

As always, digital listeners are offered a little bonus, this time the only full collab: ‘The Dead InTheir Shrouds’. Shunted along by a systematic kick, the track’s jackhammer subs become all-consuming, seemingly sucking all the air from the room and hurling it back out of the bassbins in a violent frenzy.

A bold release that’s not for the faint of heart, the ‘Dead Structure’ EP further cements Trisicloplox & Sectra as truly original talents and DNO as an outlet that can never be pigeonholed.

Rhythms of postmodern realism at the very bottom of the DNO.

“Rare, super limited 002 from SATURATE! Records 7’’ single series, featuring the now legendary Coco Bryce with some wonky, honey dripping beats. Head bob neck snaps.”

Heavy horror punk icon WEDNESDAY 13 has climbed his way to the top of the horrendous heights of rock, punk and metal with his electrifying solo music and as frontman of renowned horror punk supergroup Murderdolls, amassing a colossal cult-following along the way. In 2022, the undisputed harbinger of metal horror returns, following up on 2019’s acclaimed Necrophaze (#2 US Heatseekers) with Horrifier – a brand new slathering of 10 terrifyingly grim and groovy anthems to get blood pumping and brains melting! Showcasing a blend of styles from the band’s 20-year career, Horrifier manages to weave an underlying sonic thread reminiscent of WEDNESDAY 13’s roots – a raucous blend of ballistic metal and macabre heavy rock that’ll have new and diehard fans alike ascending from the depths. As always, various tracks on the album are inspired by classic horror flicks, this time circling cult-favorite slasher John Carpenter’s Halloween and the iconic Christine supernatural thrillers.

Quality over quantity. That’s what characterises Shamek Farrah and Norman Person’s recorded output. They may have a small discography between them but it’s a stable of recordings that centrally locate them in the development of the black jazz of America. BBE Music is delighted to present a new edition of a rare, relatively unknown, and unheard gem. Recorded between 1988 and 1991 across a series of concerts, ‘Live’ was released in 1991 and was only available for sale at their gigs. Issued on audio cassette on Farrah’s private Heritage Industries label, ‘Live’ is a raw, uncompromising selection of deep, conscious jazz featuring three original compositions and two covers: ‘Aisha’, written by Person, was inspired by Person’s daughter and is a majestic joyous groove that extends out into a percussive jam; ‘Negative Forces’ is a fiercely paced hard bopper worthy of the Jazz Messengers. Written by Person, he tells how “it had to be like a torpedo, man. It had to come out strong and fight against those negative forces”. The one Farrah/Person co-write on the album is ‘Timeless Beings’, a short freeform improvisation that creates a distinct moment of space and light in an otherwise intensely focussed, yet highly accessible album. The two covers on the album reflect the instruments of the co-leaders: sax and trumpet. ‘Footprints’, the classic written by the Newark Flash himself, Wayne Shorter, and first heard on ‘Miles Smiles’ in 1967 is delivered deftly by Farrah and co. Here, the band pays a respectful yet adventurous rendition, with some superbly colourful piano from Sonelius Smith. The second cover is a tribute to the great trumpeter Clifford Brown, who died in a car accident in 1956, aged just 25. ‘I Remember Clifford’ written by Benny Golson, is handled with suitably delicate reverence. “I still listen to Clifford Brown today,” says Person. “He’s still my teacher.” On ‘Live’, saxophonist Farrah and trumpeter Person - friends for decades - capture an energy and vibration that is infused with the spirit of their youth – whether drawing on the hard bop of the late 50s and early 60s or the Afrocentric spiritual jazz of the early 70s, of which Farrah is intimately linked via his albums on Strata East, ‘Live’ is a document of two masters at work. ‘Live’ has flown under the radar to many a fan of prime black conscious and spiritual jazz but now BBE brings back this astonishing set by two giant talents accompanied by a group of musicians who shine with brilliance and verve. Available for the first time on CD, digital, and double vinyl set cut at 45rpm by the Grammy-nominated The Carvery mastering studio, ‘Live’ also comes with an extended interview with Shamek Farrah and Norman Person by Tony Higgins.

RENAISSANCE is the highly anticipated new album from global icon Beyoncé. Packed with rousing anthems that resonate with everybody, RENAISSANCE is a culmination of freedom and escape that encourages unimaginable jubilation, agency, and movement with abandon. The singular intent of RENAISSANCE, a reinvention of four on the floor, is to showcase music that stirs you from the soul and encourages your dancing feet. It is a celebration of a club era when anyone who felt like an outsider sought each other and formed a community of freedom-seekers to express themselves creatively through the rhythm, which we still celebrate today.

Includes:

2 black vinyl LPs, 180 Gram, in printed jackets w/ printed inner sleeves, 36 page booklet, and folded collectable 24”x 36” poster (1 of 3 randomized) in a hard slipcase.

Super limited edition pressed on heavyweight 180g vinyl housed in a picture sleeve and clear plastic outer sleeve – never to be repressed. Only 175 units.

Tokyo-based DJ, producer and sound artist Yuu Udagawa inaugurates the freshly launched Cyphon Recordings with her debut EP, ‘Forever’.

Growing up on a cocktail of everything from rock, hip-hop and Latin jazz to techno and house, Yuu’s immersive musical output draws inspiration from this diverse pool of influences to create ‘uplifting and healing’ music for the mind and body. There’s an elegance and sophistication to her productions, which stems from her desire to make music guided by the Golden Mean philosophy of finding a middle ground between two extremes: excess and deficiency.

Active as a DJ since the millennium, which saw her playing at clubs, festivals and fashion shows across the country, she soon turned her attention to music production and has since self-released a handful of singles and contributed audio commissions for Sony Playstation3, museums, theatres and apparel brands. Yuu’s meditative pallet of sounds instantly grabbed Cyphon’s third ear which led to the tracks that make up ‘Forever’: a collection of analog slo-mo electronica and leftfield minimal house that strike a perfect balance between warmth and depth.

The release opens with the titular track: a deep, emotive electro cut punctuated by a twinkling synthline and blissful vocals. ‘Mojito’ continues the EP’s voyage into the deep, matching softly spoken word with jazz-tinged chords and meandering melodies, before ’Hug Close’ strips things back, guided by a crunchy minimal groove, warm, resolute keys and reflective synths.

The B-Side steers things on a soulful course. The dark, enveloping atmosphere of ‘Illuminated Night' is lifted by bright synth stabs and harmonic R&B-flavoured vocals. These influences continue on closer ‘Stay With Us’. Slowing down the pace, the track is a wash of shimmering funk-inspired chords and shuffling rhythms, laced once again with effortless, soaring vocal tones.

DJ Feedback:

Joyce Muniz - Nice one!

Andrew Wowk - "Mojito" is awesome - such a nice groove (followed up)

Geordie Elliot-kerr - Some really interesting stuff in here. Digging the whole thing.

Simon Caldwell - Cool and different.

Paul Beller - super star release.

Fred Peterkin - Dope...

Alex Barck - Sounds fresh to me

Ruben Mandolini – Nice

Gabriel Izarraraz - great music will play for sure

Kristijan Molnar - Very nice!

Chris Loxton - superb

Danton Eeprom - Really love the production and original vibe of this record. bring it on!

Raymundo Rodriguez - cool release

Repress in soon. For the third installment of his PeteStrumentals series, producer Pete Rock takes a departure from the sample-heavy style that has earned him recognition as a living Hip-Hop legend. This twelve-track project is instead a collection of beats crafted by the producer, then reimagined by his stellar band, The Soul Brothers - drummer Daru Jones (Jack White), keyboardist BigYuki, bassist MonoNeon (Prince), guitarist Marcus Machado and vocalist Jermaine Holmes (D'Angelo); all critically acclaimed musicians in their own rights. After performing together across Manhattan, cementing their creative bond, Pete Rock & The Soul Brothers combined their individual musical influences and experiences to craft a smooth sonic experience that is truly the sum of all of its stylistic and instrumental parts. PeteStrumentals 3 is a masterful blend of Funk, Jazz, Hip-Hop and Soul, a mellow soundtrack for any occasion.

This is the very first reissue of the cult doubled single by The Versatiles currently going at USD 1200 for a clean copy. This super rare single featured two outstanding tracks, both equally wicked.

Both tracks are featured on this reissue.

Inspired by space travel, arts and mental health, the primary aspiration of Kolibri Space Shuttle (KSS) is to offer ravers a trip full of emotions. Beyond the raw and hypnotic beats, Kolibri Space Shuttle EP delivers extraordinary atmospheres, superb sound design and highly driven grooves through 5 unique journeys. 5 tracks to make you travel and sweat. Side A is dark, strong and hypnotic whilst side B is driven, melodic and sometimes emotional, “featuring a cover of the incredible track ‘Rej’ by Âme”. Welcome aboard the Kolibri Space Shuttle – you’re in for a special journey. PETRU The Corsican techno artist and producer PETRU is a creative, charismatic and energetic Live performer. From the Kolibri Space Shuttle he observes and cruises through constellations that he translates into sonic experiences. His passion for storytelling drives him to experiment with various sub-genres of techno developed through NSTNKT, Kolibri, Grounded and Tribute series. PETRU’s music is oscillating between hypnotic and dark beats, melodic and beautiful journeys, from impactful techno rollers to experimental soundscapes – occasionally paying homage to his major sources of inspiration.

‘Complex and dangerously catchy, lyrically sophisticated and provocative, noisy and somehow serene… Yankee Hotel Foxtrot… is simply a masterpiece.’ – Pitchfork, 10/10, April 2002

‘The looped chaos and plangent melodies... effectively heralded the birth of a new band, as Jeff Tweedy overhauled his compositional modus operandi. So tender was the emotional core of songs like ‘Jesus, Etc.’ that the record became wrapped up in America’s post-9/11 cultural discourse... Yankee Hotel Foxtrot embedded Wilco’s great American songwriter status.’
– Mojo

‘It's as if the Flying Burrito Brothers suddenly decided to cover Pavement songs. There is a gentle, rootsy beauty here that Wilco has buried in a box of vulnerability and covered with a handful of dirt.’ – New York Times

‘Born out of turmoil, Wilco’s fourth album was a stone-cold classic.’ – Uncut

Nonesuch releases seven special editions of Wilco’s landmark 2002 album Yankee Hotel Foxtrot. The now-classic record has been remastered and will be available as part of each set. The Super Deluxe version comprises eleven vinyl LPs and one CD – including demos, drafts, and instrumentals, charting the making of Yankee Hotel Foxtrot – plus a live 2002 concert recording and a September 2001 radio performance and interview. That box set includes eighty-two previously unreleased music tracks as well as a new book featuring an interview with singer/songwriter/guitarist Jeff Tweedy, drummer Glenn Kotche, and Jim O’Rourke, who mixed the acclaimed 2002 album; an in-depth essay by journalist/author Bob Mehr; and previously unseen photos of the band making the album in their Chicago studio, The Loft. For the Yankee Hotel Foxtrot recording, Wilco was Jeff Tweedy, John Stirratt, Leroy Bach, Glenn Kotche, and Jay Bennett with Craig Christiansen, Ken Coomer, Jessy Greene, Fred Lonberg-Holm, and Jim O’Rourke.

A live version of ‘Reservations’ from a legendary concert contained on Snoozin’ at The Pageant – Live 7/23/02 at The Pageant, St. Louis, MO – a recording that is part of the Super Deluxe LP and CD sets as well as the Deluxe LP and digital sets – is now available. A limited-edition vinyl 7” with versions of ‘I’m the Man Who Loves You’ and ‘War on War’, from the Super Deluxe box set, is available now from wilcostore.

Wilco marked the anniversary of Yankee Hotel Foxtrot – which was released commercially on April 23, 2002, after a circuitous and storied gestation, including a period of streaming for free on the band’s website – with a performance of the album’s ‘Poor Places’ on April 18’s Late Show with Stephen Colbert, which may be seen here. The band is currently performing Yankee Hotel Foxtrot in its entirety (plus a mix of concert favourites and rarities) in two limited runs at New York City’s United Palace and Chicago’s Auditorium Theatre. The Chicago show on April 23 will be available as a live stream here.

Yankee Hotel Foxtrot was widely acclaimed as one of 2002’s best albums, appearing in year-end lists of Mojo, NME, Q, Rolling Stone, and Uncut, among many others. Yankee Hotel Foxtrot also was featured in multiple decade-end lists, with Rolling Stone naming it #3 Album of the 2000s, as well as many Greatest Albums of All Time lists, including in the NME.

Among Yankee’s inspirations was a recording Tweedy bought at Tower Records in the late 1990s, The Conet Project: Recordings of Shortwave Numbers Stations. As Bob Mehr points out in his new album note, the record got “deep under Tweedy’s skin.” Tweedy said in his 2017 memoir, Let’s Go (So We Can Get Back), “It was as fascinating to me as anything being made by actual musicians using actual instruments… I wanted to know why it was so hypnotic to me. Why could I listen to hours of this stuff, even though I had no clue what any of them were saying. That question became the foundation for Yankee Hotel Foxtrot… the way people communicated or ultimately failed to communicate.” The album takes its title from a haunting recording of a woman repeating those words that is included in The Conet Project; that recording is sampled in the penultimate song on Yankee Hotel Foxtrot, ‘Poor Places’.

“Conceptually, Tweedy had decided to focus on a big idea for the next album: the state of America. His lyrics – often distilled from scribbled pages of free verse or poetry – became a form of inquiry,” Mehr continues. Tweedy said, in 2004, “I wanted to write about the stuff right in front of my eyes, microscopically looking at America and asking questions about each little thing… How can there be all these good things and things that I love about America, alongside all of these things that I’m ashamed of? And that was an internal question, too; I think I felt that way about myself.”

Mehr says, “Exploring those questions, while weaving in strands of Eastern philosophy and bits of autobiography – Yankee lyrics would be loaded with the pained imagery of someone suffering from migraines and mental health issues – Tweedy would conjure a deep examination of both country and self.”

Describing the uncanny, strangely prescient feeling of the album, which Wilco began offering as a free stream on its website in 2001, Mehr notes: “In the wake of 9/11, Yankee Hotel Foxtrot would be burdened with unintended meaning. The disc had originally been scheduled for a September 11 release. Its cover – a Sam Jones-shot image of Chicago’s twin Marina Towers angled in looming fashion – bore an eerie resemblance to the felled World Trade Center towers. And the songs – with titles like ‘Ashes of American Flags’ and ‘War on War,’ and lyrics about how ‘tall buildings shake, sad voices escape’ – took on a terrible new resonance.”

Yankee Hotel Foxtrot was the first Wilco release on Nonesuch Records following the band’s infamous split with Reprise (both labels are part of Warner Music Group). It was also the first release featuring the line-up of drummer Glenn Kotche and multi-instrumentalist Leroy Bach joining founding members Jeff Tweedy and John Stirratt. The 2002 Sam Jones film I Am Trying to Break Your Heart documented the fraught recording and mixing process, personnel changes, and label issues.

The relationship with Nonesuch would last nearly a decade and include three more studio albums – the Grammy Award-winning A ghost is born, Sky Blue Sky, and Wilco (the album) – along with a live album and a live DVD, plus reissues of earlier records, before Wilco began its own label, dBpm. The band’s current lineup of Jeff Tweedy, John Stirratt, Glenn Kotche, Mikael Jorgensen, Patrick Sansone, and Nels Cline has been together for nearly twenty years.

‘Complex and dangerously catchy, lyrically sophisticated and provocative, noisy and somehow serene… Yankee Hotel Foxtrot… is simply a masterpiece.’ – Pitchfork, 10/10, April 2002

‘The looped chaos and plangent melodies... effectively heralded the birth of a new band, as Jeff Tweedy overhauled his compositional modus operandi. So tender was the emotional core of songs like ‘Jesus, Etc.’ that the record became wrapped up in America’s post-9/11 cultural discourse... Yankee Hotel Foxtrot embedded Wilco’s great American songwriter status.’
– Mojo

‘It's as if the Flying Burrito Brothers suddenly decided to cover Pavement songs. There is a gentle, rootsy beauty here that Wilco has buried in a box of vulnerability and covered with a handful of dirt.’ – New York Times

‘Born out of turmoil, Wilco’s fourth album was a stone-cold classic.’ – Uncut

Nonesuch releases seven special editions of Wilco’s landmark 2002 album Yankee Hotel Foxtrot. The now-classic record has been remastered and will be available as part of each set. The Super Deluxe version comprises eleven vinyl LPs and one CD – including demos, drafts, and instrumentals, charting the making of Yankee Hotel Foxtrot – plus a live 2002 concert recording and a September 2001 radio performance and interview. That box set includes eighty-two previously unreleased music tracks as well as a new book featuring an interview with singer/songwriter/guitarist Jeff Tweedy, drummer Glenn Kotche, and Jim O’Rourke, who mixed the acclaimed 2002 album; an in-depth essay by journalist/author Bob Mehr; and previously unseen photos of the band making the album in their Chicago studio, The Loft. For the Yankee Hotel Foxtrot recording, Wilco was Jeff Tweedy, John Stirratt, Leroy Bach, Glenn Kotche, and Jay Bennett with Craig Christiansen, Ken Coomer, Jessy Greene, Fred Lonberg-Holm, and Jim O’Rourke.

A live version of ‘Reservations’ from a legendary concert contained on Snoozin’ at The Pageant – Live 7/23/02 at The Pageant, St. Louis, MO – a recording that is part of the Super Deluxe LP and CD sets as well as the Deluxe LP and digital sets – is now available. A limited-edition vinyl 7” with versions of ‘I’m the Man Who Loves You’ and ‘War on War’, from the Super Deluxe box set, is available now from wilcostore.

Wilco marked the anniversary of Yankee Hotel Foxtrot – which was released commercially on April 23, 2002, after a circuitous and storied gestation, including a period of streaming for free on the band’s website – with a performance of the album’s ‘Poor Places’ on April 18’s Late Show with Stephen Colbert, which may be seen here. The band is currently performing Yankee Hotel Foxtrot in its entirety (plus a mix of concert favourites and rarities) in two limited runs at New York City’s United Palace and Chicago’s Auditorium Theatre. The Chicago show on April 23 will be available as a live stream here.

Yankee Hotel Foxtrot was widely acclaimed as one of 2002’s best albums, appearing in year-end lists of Mojo, NME, Q, Rolling Stone, and Uncut, among many others. Yankee Hotel Foxtrot also was featured in multiple decade-end lists, with Rolling Stone naming it #3 Album of the 2000s, as well as many Greatest Albums of All Time lists, including in the NME.

Among Yankee’s inspirations was a recording Tweedy bought at Tower Records in the late 1990s, The Conet Project: Recordings of Shortwave Numbers Stations. As Bob Mehr points out in his new album note, the record got “deep under Tweedy’s skin.” Tweedy said in his 2017 memoir, Let’s Go (So We Can Get Back), “It was as fascinating to me as anything being made by actual musicians using actual instruments… I wanted to know why it was so hypnotic to me. Why could I listen to hours of this stuff, even though I had no clue what any of them were saying. That question became the foundation for Yankee Hotel Foxtrot… the way people communicated or ultimately failed to communicate.” The album takes its title from a haunting recording of a woman repeating those words that is included in The Conet Project; that recording is sampled in the penultimate song on Yankee Hotel Foxtrot, ‘Poor Places’.

“Conceptually, Tweedy had decided to focus on a big idea for the next album: the state of America. His lyrics – often distilled from scribbled pages of free verse or poetry – became a form of inquiry,” Mehr continues. Tweedy said, in 2004, “I wanted to write about the stuff right in front of my eyes, microscopically looking at America and asking questions about each little thing… How can there be all these good things and things that I love about America, alongside all of these things that I’m ashamed of? And that was an internal question, too; I think I felt that way about myself.”

Mehr says, “Exploring those questions, while weaving in strands of Eastern philosophy and bits of autobiography – Yankee lyrics would be loaded with the pained imagery of someone suffering from migraines and mental health issues – Tweedy would conjure a deep examination of both country and self.”

Describing the uncanny, strangely prescient feeling of the album, which Wilco began offering as a free stream on its website in 2001, Mehr notes: “In the wake of 9/11, Yankee Hotel Foxtrot would be burdened with unintended meaning. The disc had originally been scheduled for a September 11 release. Its cover – a Sam Jones-shot image of Chicago’s twin Marina Towers angled in looming fashion – bore an eerie resemblance to the felled World Trade Center towers. And the songs – with titles like ‘Ashes of American Flags’ and ‘War on War,’ and lyrics about how ‘tall buildings shake, sad voices escape’ – took on a terrible new resonance.”

Yankee Hotel Foxtrot was the first Wilco release on Nonesuch Records following the band’s infamous split with Reprise (both labels are part of Warner Music Group). It was also the first release featuring the line-up of drummer Glenn Kotche and multi-instrumentalist Leroy Bach joining founding members Jeff Tweedy and John Stirratt. The 2002 Sam Jones film I Am Trying to Break Your Heart documented the fraught recording and mixing process, personnel changes, and label issues.

The relationship with Nonesuch would last nearly a decade and include three more studio albums – the Grammy Award-winning A ghost is born, Sky Blue Sky, and Wilco (the album) – along with a live album and a live DVD, plus reissues of earlier records, before Wilco began its own label, dBpm. The band’s current lineup of Jeff Tweedy, John Stirratt, Glenn Kotche, Mikael Jorgensen, Patrick Sansone, and Nels Cline has been together for nearly twenty years.


DISC 5: HERE COMES EVERYBODY – BUILDING YANKEE HOTEL FOXTROT (PART 2)
Side I: (TRAIN)
1. Radio Cure (Here Comes Everybody Version) *
2. War on War (Here Comes Everybody Version) *
3. Venus Stopped the Train (Here Comes Everybody Version) * #
4. I'm the Man Who Loves You (Here Comes Everybody Version) *
5. The Good Part (Here Comes Everybody Version) * #
Side J: (KETTLE)
1. Pot Kettle Black (Here Comes Everybody Version) *
2. Ashes of American Flags (Here Comes Everybody Version) *
3. Poor Places (Here Comes Everybody Version) *
4. Shakin' Sugar (Here Comes Everybody Version) *
5. Reservations (Here Comes Everybody Version) *

DISC 6: HERE COMES EVERYBODY – BUILDING YANKEE HOTEL FOXTROT (PART 2) / THE UNIFIED THEORY OF EVERYTHING – BUILDING YANKEE HOTEL FOXTROT (PART 3)
Side K: (ESCAPE)
1. Cars Can't Escape (Here Comes Everybody Version) * #
2. A Magazine Called Sunset (The Unified Theory of Everything Version) ** #
3. Remember to Remember (Hummingbird) The Unified Theory of Everything Version ** #
4. I Am Trying to Break Your Heart (The Unified Theory of Everything Version) ** #
Side L: (WAR)
1. Kamera (The Unified Theory of Everything Version) ** #
2. Radio Cure (The Unified Theory of Everything Version) ** #
3. War on War (The Unified Theory of Everything Version) ** #
4. Jesus, Etc. (The Unified Theory of Everything Version) ** #

DISC 7: THE UNIFIED THEORY OF EVERYTHING – BUILDING YANKEE HOTEL FOXTROT (PART 3) / LONELY IN THE DEEP END – DEMOS, DRAFTS, ETC.
Side M: (DRUMMER)
1. Ashes of American Flags (Stravinsky Mix) ** #
2. Heavy Metal Drummer (The Unified Theory of Everything Version) ** #
3. I'm The Man Who Loves You (The Unified Theory of Everything Version) **
4. Pot Kettle Black (The Unified Theory of Everything Version) ** #
5. Poor Places (The Unified Theory of Everything Version) ** #
Side N: (RESERVATIONS)
1. Reservations (The Unified Theory of Everything Version) ** #
2. Love Will (Let You Down) Lonely in the Deep End Version *
3. Lost Poem Demo (Lonely in the Deep End Version) *
4. I’m The Only One Who Lets Her Down (Lonely in the Deep End Version) *
5. Has Anybody Seen My Pencil? (Lonely in the Deep End Version) *














[l] E1. Anniversary (Nothing Up My Sleeve) [American Aquarium Version] *









[v] G2. Not for the Season (Laminated Cat) [American Aquarium Version] *


[y] H2. Not for the Season (Laminated Cat) [Here Comes Everybody Version] * #





[xe] K3. Remember to Remember (Hummingbird) [The Unified Theory of Everything Version] ** #











[xq] N2. Love Will (Let You Down) [Lonely in the Deep End Version] *

Deluxe Edition

We’re proud to present an extravagant 51st anniversary edition of Wigwam’s game-changing prog rock classic Fairyport. What began as a projected 50th anniversary release turned into a 51st due to the current manufacturing queues for vinyl. To create the anniversary package we teamed up with Jukka Gustavson and went through a plethora of material. Gustavson hand-picked the best possible bonus materials. The legendary jam Rave-up For The Roadies, featuring Jukka Tolonen, was located in its original 36 minute form. The truncated 17-minute version is the closing number of Fairyport, but here the full version received an entire LP. Most original reels to Fairyport are lost, but we salvaged a few demo session tapes plus some eight track reels of the album’s work-in-progress stage. Four tracks were chosen by Gustavson to be added here. It should be noted that the two album session tracks feature the original violin parts, which were left off the final product. All material was mixed from the original reels by Risto Hemmi at Finnvox. The box set also features a live LP. For this Gustavson picked material from a show the band played in Stockholm while working on the album’s demo sessions. There’s an earliest existing version of Losing Hold plus a 15-minute medley of several tracks. Also included is a 20-minute live set from the first ever Ruisrock in 1970, a couple of months before the band entered the studio. Here Wigwam perform three classics by The Band. The vinyl box set is limited to 1000 copies. All material has been remastered at Finnvox by Pauli Saastamoinen in 2022.

Wilco setzen ihrem bedeutendsten Album "Yankee Hotel
Foxtrot" im 20. Jubiläumsjahr ein eigenes Denkmal mit
gleich mehreren Deluxe-Reissues, die einen tiefen
Einblick in die wechselvolle Entstehungsgeschichte des
Meisterwerks geben.
Insgesamt gleich sieben Editionen der Platte werden am
16. September veröffentlicht, darunter eine
Super-Deluxe-Version, die aus elf Vinyls und einer CD
besteht. Mit dabei sind Demos, Fragmente und
Instrumentalstücke, die die Entstehung von "Yankee Hotel
Foxtrot" dokumentieren, sowie ein Live-Mitschnitt eines
Konzerts aus dem Jahr 2002, ein Radioauftritt und ein
Interview aus dem September 2001.
82 bisher unveröffentlichte Songs sowie ein neues Buch
mit einem Interview mit Sänger Jeff Tweedy,
Schlagzeuger Glenn Kotche und Jim O'Rourke (der bei
der Abmischung auch entscheidend dafür sorgte, dass
sich die Platte anders entwickelte, als ursprünglich
beabsichtigt war), einem Essay des Autors Bob Mehr und
bisher unveröffentlichten Fotos der Band bei den
Aufnahmen zum Album in ihrem Chicagoer Studio The
Loft sind in der Super-Deluxe-Version enthalten.

Superdownhome's new record is called Blues Pyromaniacs - It was
recorded in New Orleans in January 2020 and produced by Anders
Osborne
"Then the virus stroke and we, consequently, had too much spare time… and idle
hands are the devil's tools, so we've constantly been working on the tracks for
almost two years. That's the reason why the record is going to be released in two
very different versions: the vinyl edition contains the original US recordings, the
cd/digital version contains four extra tracks. It has been mixed in Italy in a very
different way and the mastering has been made by Brian Lucey (The Black Keys/
Arctic Monkeys/Royal Blood). And, last but not least, there are two very special
guests: Mike Zito on two of the tracks and Bombino on another.

While so many follow the status quo, Mat Zo has always danced to the beat of his own drum. From his days topping both the drum & bass and trance charts simultaneously (releasing on Hospital Records as MRSA), to his current status as a big room innovator, collaborating with Public Enemy's Chuck D and dropping genre-blurring 70-track contributions to BBC Radio 1's Essential Mix, the precocious talent is destined to play by his own rules.

Supported by DJs as diverse as Skrillex, Madeon, Pete Tong, Above & Beyond, Steve Aoki and A-Trak, the LA-living producer's much anticipated debut LP 'Damage Control' is a bold, brilliantly diverse statement of intent from one of the scene's most unique talents. In a world of EDM sound a likes, this is electronic dance music with integrity and ambition. The release of the album will coincide with an extensive upcoming world headline tour, which sees Zo playing renowned dance music hubs such as Ministry of Sound in London, Light in Las Vegas, Create/Avalon in Los Angeles, Miami's LIV nightclub, Toronto's Guvernment and New York City's famed Pacha. (See full list of dates below).

The product of nearly three years dedicated work, 'Damage Control' represents a star of the future coming of age. Including his Beatport No.1 smash 'Easy' (feat. Porter Robinson) and recent hook-up with hip-hop legend Chuck D (Public Enemy) on 'Pyramid Scheme', Zo's 14-track LP also features the sun-soaked melodies of his innovative future single 'Lucid Dreams' - another track that perfectly embodies his uniquely quirky take on big room sounds.

What really sets the album apart from the pack are its diversions away from the dancefloor. 'Damage Control' takes in everything from electro-charged French house ('Only For You' feat. Rachel K. Collier), classy trance vibes ('The Sky' feat. Linnea Schossow) and big room progressive, through to wonky, trap-styled beats ('Caller ID' and 'Little Damage'), UK garage updates ('EZ') and hip-hop ('Moderate Stimulation').

Retaining a cohesive thread throughout thanks to Zo's unmistakable sense of fun and infectious grasp of melody, 'Damage Control' is tipped as one of the most forward-thinking debut artist albums of 2013.

"“The New Backwards” was conceived by Peter “Sleazy” Christopherson in 2007, revisiting stray tracks which hadn’t seemed to gel with the material he had chosen for the more somber “Ape of Naples” from 2005, COIL’s initial posthumous release, a sort of requiem and a kiss-goodbye to his then recently deceased partner John Balance.

Significantly different to its sister release, this album collects the brilliantly chaotic and outrageously rhythmic material from the original sessions for the album that was begun as early as 1993 and had originally been conceptualised as the follow-up to “Love’s Secret Domain”. These songs are as diverse and wild as the places they originated from, partly infamously spawned in Sharon Tate’s former home in the Hollywood Hills, the Nine Inch Nails home base in New Orleans and London’s Swanyard, remixed and restructured with the help of long-term friend Danny Hyde in Thailand, this collection has its own unique flow and an atmosphere not found on any other COIL release.

Both “AYOR” and “Backwards” had by the time the album was first released already become favourites in COIL’s manic live performances. Some of the other tracks had only leaked in demo versions and are here presented updated and polished as Christopherson and Hyde intended them to be heard. It is interesting to consider Balance’s vocal contributions, too. Whilst on the albums COIL did release at the time this material was first put aside (“Black Light District” and “ElpH”) his voice is all but absent, his vocal performances and his lyric writing here are arguably more closely indebted to the previous “Love’s Secret Domain” era, especially the epic “Copacaballa” is noteworthy in that respect.
The New Backwards” effectively became the final official COIL studio release of all new material whilst Peter was still alive and is here presented for the first time fully supervised by Danny Hyde, its co-creator.
The stunning cover uses a detail from artist Ian Johnstone’s “Cubic Raven” painting, licensed from the estate of IJ..

It is high time to rediscover this timeless album with the Infinite Fog release boasting eight further tracks of previously unheard material from the same sessions, rough working stages and surprising remixes which will surely delight the dedicated COIL archaeologists, as they shine yet another light on the creative process and on what could have been.

Recorded at Swanyard, London and at Nothing Studios, New Orleans, 1996.
Thanks to everyone there, especially Trent Reznor who made it all possible.
Written & Produced by Coil & Danny Hyde.
Remixed by Peter Christopherson & Danny Hyde, Bangkok 2007.
For that session Coil were: Peter Christopherson, Jhonn Balance & Drew McDowall.
Mastered by Jessica Thompson.
Front artwork by Ian Johnstone.
Artwork licensed from The Estate of Ian Johnstone.
Layout Cold Graves and Oleg Galay."

First release on this very promising label comes from Stereosystem aka Basti Pieper & Thomas Rauch.
On top there is a superb remix by Cadenza label boss, Luciano

New label based in the legendary logic house in Offenbach am Main. Envelope Mountain Records is founded by Stereosystem aka Bastian Pieper & Thomas Rauch. The style compass is really open minded from deep tech tunes up to melodic groovers.
Envelope Mountain Records ist ein neues Label, gegründet von Stereosystem aka Bastian Pieper & Thomas Rauch. Ihr Studio sowie Ihre Label Base befinden sich im legendären Logic Haus in Offenbach am Main. Der Style des Labels wird vielfältig sein, angefangen von deepen Tech Tunes bis hin zu melodischen Groovern.

With Panorama, Frank Maston pays homage to the classic era of library records and Italian soundtracks of the 70s. A blissed-out, grooving collection of filmic cues, it continues the unique brilliance of Tulips and Darkland. Elegant and easy, subtle and stylish, breezy and beautiful; this is his Maston-piece. Commissioned by legendary label KPM, Panorama cements Maston as a master of modern classics and the most mesmeric of contemporary composers.

In early 2020, Be With suggested to Frank that he should make a KPM record. He wasn't aware that they were still putting out new library records - but he was super keen: "It was completely surreal and it still hasn't fully sank in that I have a record in that catalog, sitting alongside those incredible albums that were so influential to me."

Frank was visiting family in his hometown of LA in March 2020 when the world ground to a halt so the KPM project arrived at a fortuitous moment. Having fantasised about committing to a record with no distractions, with a proper budget, access to his gear and space to work in - to really dig in and try to write and arrange the best work he could possibly make - it was a real "be careful what you wish for" moment. But, as Frank explained, "it completely saved my year and sanity to have something to focus on and get excited about. It was my lifeline." He spent seven months on it, working almost every day.

Maston had already been making library-influenced music so when KPM outlined the criteria for the tracks it was exactly what he had been doing all along. He thought the best approach would be to make a follow-up to Tulips that had a parallel life as a KPM record. Enjoying complete creative freedom, “gave me the drive to power through and dig in deep. I'm not sure if I could have kept myself on such a rigorous recording schedule under my own steam, and I think the momentum I had writing and recording it is part of the strength of this record."

Maston’s sleek retro-groove instrumentals emulate the classic KPM “Greensleeve” reel-to-reel recordings that provided mood-setting music for mid-century cinema, television, and radio programs. Apparently in close conversation with the John Cameron-Keith Mansfield KPM pastoral masterclass Voices In Harmony, Maston's Panorama could be heard as that record's funky follow-up. Yes, it's *that good*. Another reference point from the hallowed library would be Francis Coppieter's wonderful Piano Viberations.

Opener "First Class" is a blissed-out groove, featuring the soothing vocals of Molly Lewis and a glistening harp over drums, a two-note bass motif (from Eli Ghersinu of L'Eclair) and an assemblage of guitars, synths, French horn and glowing vibraphone. Acid Lounge, anyone? The irresistibly funky "Easy Money" is a gorgeous cut led by more of Molly's vocals, pastoral flute and Rhodes, underpinned by drums and percussion, grooving bass, chilled guitars and synth strings. Kicking the tempo up, the percussive "Storm" is a vibin' filmic-fusion jam where psychedelic guitars (courtesy of Pedrum of Allah Las/Paint) organ, jazzy flute, Rhodes and vibes all compete for a place in the sun, over drums and walking bassline.

The heavenly "You Shouldn't Have" is a delicate, melancholic wonder; a dreamy instrumental where the melody is shared by a whistle, harpsichord and celeste, over a cyclical piano chord sequence and bass, synths, guitars, organ and distant French horn. The tempo rises again with the passionate, sticky "Fling", a summery, nostalgic groove with skipping drums and percussion, warm bass and electric guitar, yearning flute and synth strings. The brilliantly titled "Fool Moon" has that Voices In Harmony sound down pat. A romantic slow-mo dreamscape of Rhodes and harpsichord, piano, light drums and softly strummed acoustic guitar.

Side B opens with "Medusa", a hopeful, mellowed-out track with shuffling drums, feel-good flute, muted horns, glowing Rhodes and synth strings. The soft and gentle "Morning Paper" is an elegant way to start the day; a beatless blend of flute, guitar, percussion, ambient synths and vibes. The upbeat head-nod jam "Scenic" has that widescreen car-chase feel, uptempo drums and percussion, grooving bass, piano, synths and ambient electric guitar. "Adieu" is a smooth summer vibe, relaxing with brushed drums, Rhodes, flutes and horns. Molly Lewis's gorgeous vocals steal the show, alongside vibes, jamming organ and synth strings.

"Hydra" is another laid-back 70s-sounding retro cinema cue with light drums and percussion, walking bass, spacey synths, clavinet, glowing vibraphone, vintage organ and electric guitar. Closer "Jet Lag" is a laconic bow out; bass-driven drum machine soul, featuring hand percussion, Rhodes, vibes, synths and organ.

Multi-instrumentalist Frank played a bit of everything across Panorama. Yet, humble as ever, he believes the time, energy, and enthusiasm of all of the musicians invited to the sessions helped him realise his vision: "There were two Italian flautists who really understood what I was going for. Two french horn players, cor anglais, a vibraphonist and a flügel horn player. I've never involved this many people in my projects before, and yet the result is the most "me" record I've ever made."

Musically, a strong Italian theme runs through the record. Frank is fascinated by ancient Rome and both his parents are Italian (Maston was originally Mastrantonio before anglicisation). So, it felt natural to fully embrace these strands and tie everything together with the striking artwork. The Romans were influenced by Greek culture, emulating their art and architecture, which, in turn, influenced Renaissance era artists. Frank acknowledged this tradition when reflecting on his place in the lineage of library and soundtrack composers. He then asked his friend Mattea Perrotta, a painter and sculptor, for some sketches. What he received was exactly what he had in mind: "Especially the theater mask, which really captures the range of moods on the album". Frank arranged them as per the cover and it soon felt right: "I wanted to make a cover that was reminiscent of the classic KPM albums without making it too pastiche - so it has its own identity and looks at home alongside other library records, while still fitting in nicely in the KPM catalogue." The last step was for us to introduce Frank to Be With-KPM’s Rich Robinson, who helped put together the back and centre labels and align it all within the KPM standard.

Panorama is a perfect title for the album. With no opportunity to travel for tours or recording projects, Frank arranged postcards from his collection on his desk with beautiful views of the mediterranean coast, the Roman Colosseum and Cinque Terre. These also served as visual prompts: "That was part of the sonic concept - imagining myself driving down the mediterranean coast with this music on, with the top down." Additionally, the range of moods and vibes - "I tried to make each song very different from the previous one in terms of tempo and arrangement and feeling" - speaks to the idea of a Panorama of music and sounds and emotions. The last track was originally called Panorama, but KPM already had that title in their catalogue so it was changed to "Jet Lag", which, as Frank notes, "is perhaps even more fitting, since the trip is over".

Over recent years, there have been countless reissue of reggae-disco rarities and slept-on classics. Soul Jazz has, surprisingly given that they first dipped into the style 20 years ago on the now legendary Reggae Disco Hustle compilation, been surprisingly silent, so it's nice to see them joining the party in fine style. Disco Reggae Rockers is a fitting sequel to its illustrious predecessor, featuring as it does a wealth of killer covers of - and more adventurous 're-versions' inspired by - vintage soul, disco and funk tunes. The plentiful highlights include Devon Russell's inspired take on Curtis Mayfield's 'Move On Up', Risco Connection's super-sweet version of Diana Ross classic 'It's My House', Valerie Harrison's interpretation of Me'lissa Morgan's 'Fools Paradise' and Hortense Ellis re-frame of Candi Staton hit 'Young Hearts Run Free'.