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This is Gianni and Erika third album, after two works released by Voodoo Rhythm Records and produced by Jim Diamond, musician and producer for two iconic bands from Detroit, The Dirtbombs and The White Stripes.

The record features former Screaming Trees vocalist - and acclaimed solo artist - Mark Lanegan and Chilean multi-instrumentalist Alain Johannes (Queens Of The Stone Age, Spinnerette, Ten Commandos, The Desert Sessions).

“The title track of the new album was born during our last day of re-cordings” - says Gianni Blacula and Switchblade Erika.. “Alain is an enthusiast of strings instruments, and on the last day he arrived at the studio with a Neapolitan mandola he bought in the historical centre of Naples. We were astonished about how a traditional instrument as the mandola can get a rock sound, so we followed up went to the recording room. Alain at the mandola and vocals and us on guitar and drums. There was suddenly the right atmosphere that to Alain reminded “ the Desert Sessions” , so much that the song came out at the first take. Then Alain wrote the lyrics and the last line “Beast Must Regret Nothing” affected us , we have chosen it as the title of the album because it totally reflects his mood, and it does taste of Devils!”

Gianni and Erika got in touch with Alain for the first time in September 2019, during a Spanish tour, while they were looking for inspirations for their new record.

In the same moment Alain was on a European tour which ended in Italy. The collaboration was born in a spontaneous way, for a mutual esteem between the Devils and the famous producer and musician. The album have been recorded in Naples, Italy, with a two weeks session in a historic studio equipped with a large tracking room with truly unique acoustics. Alain actively collaborated in the production of the album taking part to creative process and helping them with the arrangements.


The Devils formed in Naples in 2015 and their first two albums “Sin,You Sinners!” in 2016 and “Iron Butt” in 2017 were produced by Jim Diamond (The White Stripes, The Sonics and the Dirtbombs), pub-lished by Voodoo Rhythm Records. From 2016 the duo constantly tour, and has played everywhere doing over 400 shows between Europe and Canada. The Devils are the sound of desolation and chaos; their style is primitive, filled with sex, sin and rock’n’roll. They are wild, loud and sexy.

The name of the band was chosen has tribute to the movie “The Devils” by Ken Russell and they have been on tour with Jon Spencer, The Sonics, Boss Hog and The Monsters, and has open act around Europe for Mudhoney, Nashville Pussy, Guitar Wolf, Kid Congo and many more.

Dalida's career never ceases to deliver its share of surprises, and in 2021, her song "Dans La Ville Endormie »" was chosen to appear in the soundtrack of the next James Bond “No Time To Die" . Dalida said "Beautiful melodies never die" and she was right. This original selection of songs now deserve to go from shadow to light on the back of the huge exposure from the film. Reviews and Ads – L’Echo and London Macadam

Die Irish Folk Punks von Dropkick Murphys sind mit einem neuen Album zurück, wütend, mitreißend und trotz aller Umstände lebensfroh wie eh und je. "Turn Up That Dial" ist das bereits 10. Album der Band aus Boston und wird am 30. April über das bandeigene Label Born & Bred Records erscheinen. Mit den elf Songs des Albums zelebrieren Dropkick Murphys die Liebe zur Musik und das erleichternde Gefühl, alle Sorgen wegblasen zu können, wenn man die Musik voll aufdreht. Vor 25 Jahren hätte es kein Bandmitglied für möglich gehalten, 10 Alben zu veröffentlichen und damit auf der gesamten Erde ausverkaufte Konzerte spielen zu können. Die Dankbarkeit, dass ihre Musik ihnen das ermöglicht hat, möchten sie auf "Turn Up That Dial" mit ihren vielen treuen Fans teilen.

Veteran NYC based Scottish electronic musician Drew McDowall's latest work is his loftiest, most liturgical, and least industrial outing to date —and potentially the apex of his recent discography.Named after an ancient Greek word for votive offering, Agalmaexudes a hooded, devotional aura, creaking and keeling under vast rafters of stone, stained glass, and shredded wires. It's a music of majesty and mystery but also modernity, McDowall's refined modular system shape-shifting strings, piano, pipe organ, and choral masses into disorienting synthetic mirages of the sacred. He cites the intersection of “joy, terror, and the elegiac” as a centering inspiration –or, phrased more bluntly, “that 'what the fuck is going on' feeling.”



As a career collaborator himself, with stints in Coil, Psychic TV, and countless other shorter-lived partnerships, it's telling that McDowall chose this project to gather such an impressive spectrum of peers. Italian synthesist Caterina Barbieri, American drone organist Kali Malone, prolific multi-instrumentalistRobert Aiki Aubrey Lowe, operatic Humanbeast vocalist Maralie Armstrong-Rial, Saudi producer MSYLMA, and warped futurist beat-makers Bashar Suleiman and Elvin Brandhi cameo across the album's 42 minutes, contouring McDowall's nuanced negative spaces with shudders, shadows, and shivering flickers of serenity. Each of them shines in their spotlight, elevating these elusive alchemical states into surreal revelations of texture and transcendence.



McDowall's original working title for the record is revealing: Ritual Music.He speaks of his creative practice in ceremonial terms, negating binaries by seeking the middle path to anuminousequilibrium that erases the distinction between the inner and outer worlds.These compositions feel similarly processional and intuitive, at the crossroads of holiness and hallucination, the sacred vertigo of yawning naves rising into untouchable night skies. It's a vision of industrial music as enigma and invocation, cryptic hymnals of shroudedbeautysummoned in catacombs and crumbling cathedrals.



Despite its depths, Agalmais also an album of immediacy and emotion. Celestial laments of and for times of unrest and suffering. McDowall characterizes his initial intention for this music as an to attempt to convey experiences he felt incapable of putting into words: “To try and approach sublimity, or at least acknowledge it in some way.”Agalmamore than acknowledges the ineffable –it embodies it.

In 2019, Parisian cinema composer Jean-Gabriel Becker and Japanese composer and multi- instrumentalist Susumu Mukai embarked on the making of an album that was ultimately going to become ‘Time Very Near’.
The album was finally released to great acclaim in April 2020 through the strangest time in history for its singularity and originality. Prompted by a few unsolicited offers for remixes, Becker & Mukai saw an occasion to invite their community of musician and producer friends to re-invent, deconstruct and rebuild the songs on ‘Time Very Near’.
Joe Goddard (Hot Chip), who, from his studio next door, had witnessed the birth of the project from day one, was kind enough to unleash his killer beats on Spice War. Old friend Jas Shaw (Simian Mobile Disco) transformed the tropical sounds of Dark Fields Of The Republic into a dance-floor ready techno workout.
Long-time collaborator and friend Sasa Crnobrnja (In Flagranti, Mytron & Ofofo, Auf Togo) took Time Very Near on a trip to Jamaica. Label mate AMA//MIZU stripped Tout Azimuth down to its core to rebuild it with his unique production skills. Dreems delivered a sweltering 19 minute version of Dark Fields Of The Republic and a shorter version more suited for a vinyl listen. And finally Becker & Mukai chose to don their alternative monikers (Zongamin and Lux Prima) to re-interpret the duo’s own compositions.
Like the original album, this remix project gathers sounds and inspiration from an ever-expanding palette of influences, assembled into something amorphously intangible that’s simultaneously refreshing and sharp, meandering and cosmic, futuristic but timelessly vintage and manages to expand where the original album left off.

Built on a foundation of authenticity, passion and innovation, Archie Lee Hooker & The Coast to Coast Blues Band is a spearheading group that has established itself in the world of music. Formedby Archie Lee Hooker, the nephew of John Lee Hooker, Archie and his leading handpicked team arehighly recognised for creating compelling, soul-enriching productions that leave their audienceswanting more.
Archie was born on Christmas Day of 1949 in Lambert, Mississippi, just 20 miles from thecrossroads where Robert Johnson supposedly sold his soul to the devil. He was the son of a sharecropper, and up until age thirteen, that was the life he was accustomed to. That all changed when he headed up north and found himself standing in the big city of Memphis,Tennessee.
The paved roads and city lights felt like a new world to Archie, one that was filled with opportunities. Inspired by the Memphis music scene, it didn’t take long for Archie to begin singing with his first gospel group called The Marvellous Five. However, December of 1989 was when hispassion for Blues started to surface. During this time, Archie lived with his uncle, John Lee (the Boogieman himself) until his death in 2001. Being surrounded by him and other committed, talented, and influencing musicians is what became the catalyst for Archie to crave sharing his own life experiences through music and leave his lasting impression.
Though Archie left for France in 2011 to join Carl Wyatt & The Delta Voodoo Kings to tour Europe, he eventually chose to seek the right musicians to have on his side. He wanted a team that resembled family, chemistry, and a bond unlike any other. Once he found them, Archie founded the Archie Lee Hooker & The Coast to Coast Blues Band, which was specially named after the late John Lee’s Coast to Coast Blues Band. Since then, the crew has done nothing but thrive and impress.
They released their first album called ‘Chilling’ under the French label Dixiefrog in 2018, which received a 5-star review in Rolling Stone Magazine. Fast forward to today, they have recorded a new 12 song CD called ‘Living in a Memory’, and this all-original playlist of storytelling art is set to be released through Dixiefrog worldwide on April 16th, 2021. In the end, every song and performance that Archie Lee Hooker & The Coast to Coast Blues Band creates paints an incredible picture that inevitably provokes uplifting emotional influences and invested attraction.
They are entirely passionate about delivering remarkable music, and continuously provide fully authentic productions that have shaped them to become what they are today. With their immense drive and determination, it is exciting to see what they will launch next.

Planetself return with ‘The Chosen’, an exciting new collaboration with LA-based producer extraordinaire Daniel Crawford (known for his creative mixtapes and live work with artists such as Raphael Saadiq and Mary J Blige). The track also features the vocal talents of legendary US underground wordsmith Blurum13.

Planetself producer Inkswel became aware of Daniel Crawford’s work through his latest album ‘Revolution’ on Wicked Wax and his well-renowned ‘Flip Wilson’ mixtape series. He then asked Crawford to remix a track from the Planetself back catalogue, but this turned into a complete flip and rework manifested as a new song we are now proud to unleash on the world.

‘The Chosen’ is all about the newest generation of kids coming up who have been chosen by the universe to be a part of this crazy time on our planet. Our people’s evolution to bring about change and revolution in a time that we need it like we’ve never needed it before! They hold within them the love and light and strength needed to turn this world around. It’s up to all of us. If you are here now this includes you. We are all The Chosen.”

Sit back and absorb the soul-drenched, feel good vibes of ‘The Chosen’. Let the sound move you to make a positive change in the world today.

EDSEVEN
Sydney DJ/Producer Edseven has built a rock solid reputation over the last 15 years, sharing the stage DJing with the likes of Gilles Peterson, Peanut Butter Wolf, Norman Jay, IG Culture and many more across Australia, Berlin, Detroit and Amsterdam.

Always eclectic, his selections joining the dots between styles and eras with skill and respect – never losing focus on the dancers.

His latest release ‘Freaky (Meet me halfway)’ is no different. A djembe led future soul burner blessed by the legendary London vocalist Colonel Red’s scorching voice with Canadian duo Potatohead People flipping it into a dripping 80’s Boogie track.

Bill MacKay and Nathan Bowles’ debut is well titled: keys are what they play
and keys unlock things too. Their trad bonafides are balanced with
inquisitive playing that adds surprise as a formal songwriting and arranging
tool. Spirited 21st Century folk music made of equal parts bluegrass,
classical, country, gospel and improv.
‘Keys’ is, on first blush, a collection of guitar and banjo duets - but from the
opening moment, it is clear that Bill and Nathan’s agreed-upon duo is a
living organism, growing as it goes. Behind the stately figures of ‘Idumea’, a
19th Century southern hymnal played out on their stringed instruments, a
low organ drone hums persistently, signalling that this music, while coming
from traditional places, is asking more of itself, seeking sparks of inspiration
to light the path forward.
Bill and Nathan met a few years back, if time has any meaning. It didn’t
seem to at the time - after the first night they hung out, it seemed as if
they’d known each other for a while already. A year later, in 2018, they
were booked as a duo at Cropped Out. Preparing for the show involved a
correspondence exchanging lots of provisional ideas, thoughts and music
back and forth from Chicago to Durham NC, then dashing through the ideas
again on the festival grounds an hour before the show. From this seemingly
hectic preparation, their playing that night was remarkably serene, a
spiritual treatise clothed in the casual and natural manner of the proverbial
porch, or in this case, riverside-jam, as the stage literally straddled the edge
of the Ohio River. It was a stellar, simpatico first moment that asked for
more moments like it.
After several more sets the following year, they felt ready to roll tape (as the
saying goes) and chose to do so in Chicago, with Nick Broste at The Shape
Shoppe. Again, an easy rapport prevailed, allowing them to work through
their collected ideas quickly and freely, with the moments of spontaneous
decision that can come only with comfort and trust in each other’s presence.
Throughout ‘Keys’, Bill and Nathan propel their power-folk engine with intent
and feeling, joy and solemnity, as images of wariness, wonder, anger,
deliberation, forgiveness, trust and devotion rise up from the music and roll
it forward into the unknown, a place we can sense both players are happy
to go.
Eight of the ten songs featured are originals, with the other two coming
from different centuries to this one. The diversity of song is matched by the
instrumentation: in addition to Bill’s guitar and Nathan’s banjo, they add
voice, piano, percussion, pump organ, requinto and electric organ to the
richness and rusticity, the traditionalism and open space of the
compositions.

Café Society opened the 69th annual Cannes Film Festival to rave reviews. Woody Allen became the first and only director to have three opening night films selected for the Cannes Film Festival.

It’s New York in the 1930s. As he has more and more trouble putting up with his bickering parents, his gangster brother and the family jewelry store, Bobby Dorfman feels like he needs a change of scenery. He decides to go and try his luck in Hollywood where his high-powered agent uncle Phil hires him as an errand boy.

In Hollywood he soon falls in love, but unfortunately the girl has a boyfriend. Bobby settles for friendship – up until the day the girl knocks at his door, telling him her boyfriend just broke up with her. All of a sudden Bobby’s life takes a new turn, and a very romantic one at that.

The soundtrack features a great collection of the music from the 1930’s. The music is featured prominently in the movie and has been chosen by Woody Allen himself and features newly recorded jazz standards by Grammy Award winners Vince Giordano & The Nighthawks and classic recordings from Ben Selvin, Benny Goodman and Count Basie.





RELEASE: 9-4-2021

Woody Allen says about the soundtrack: “The soundtrack consists of music from the
1930s since that’s when the picture takes place. Most of the material is Richard Rodgers and [Lorenz] Heart, who was very dominant in those years and Lorenz Heart has that bitter sweet romantic quality that defines the spirit of the movie itself.”

This limited edition contains of 500 individually numbered copies on solid gold coloured vinyl. It includes a 4-page booklet with pictures from the film and credits.

This album is a celebration of benga and rumba music recorded in Nairobi, Kenya in the early 1980s. The five Kenyan groups chosen all feature "Boys" in their band names in one form or another; a common theme in Kenyan music at that time.

The tracks selected were all released as 7" vinyl singles on the Boxer, Lulus and Hit Parade labels, which were all part of Babu Shah's Audio Productions stable. This is the first time they have been released outside of Kenya.

No Wahala Sounds are proud to bring you these lost musical gems and would like to thank Doug Paterson for digital clean up from the original vinyl.

Due for release on 09 April 2021. Interest for airplay from Tom Ravenscroft and Gideon Coe from BBC 6 Music, DJ Ritu from Resonance FM/SOAS Radio, Roger Hill from BBC Merseyside, Steve Barker from BBC Lancashire, and DJ Debbie Golt from Resonance FM.

Les Disques du Crepuscule presents Subway, a collection of singles by cult NYC duo Thick Pigeon, originally released on Crepuscule, Factory and Factory Benelux between 1981 and 1991.
Comprised of vocalist Stanton Miranda and instrumentalist Carter Burwell, Thick Pigeon emerged from the downtown New York artrock scene which also spawned Glenn Branca, Bush Tetras, DNA, Arthur Russell and Sonic Youth. Like their chosen name, the duo were typically atypical: Miranda was previously a dancer with the Marthe Graham ballet company, and Carter a film animator and Harvard fine arts/architecture graduate. Very much a studio project, the ‘group’ hardly ever performed live.
Poised and subtle debut single Subway appeared on Crepuscule in January 1981, a connection forged by Miranda’s partner Michael Shamberg. Dog followed a year later, along with wry Christmas single Jingle Bell Rock, before the duo switched to Factory Records, recording debut album Too Crazy Cowboys in Manchester with Stephen Morris and Gillian Gilbert of New Order producing. Released simultaneously on Factory and Factory US in 1984, the album was billed as “a walk through the civilisation of you soul”.
Having now embarked on a career scoring movies (becoming the Coen brothers’ composer of choice), Carter was absent from the next TP project, 1986 dance single Wheels Over Indian Trails, although Morris and Gilbert remained on board as guest musicians. However Miranda and Carter would reunite for a second (and final) leftfield pop album, Miranda Dali, issued by Crepuscule in 1991.
As well as singles Subway, Dog, Jingle Bell Rock, Jess + Bart and Wheels Over Indian Trails, TWI 351 also includes b-sides (Sudan, Tracy + Pansy), album highlights (Crime, Riding) and a second festive track, Blue Christmas, previously issued only on cassette as part of a Factory Christmas card in 1986.
Alongside Stephen Morris and Gillian Gilbert, the stellar cast of guests include Fred Szymanski (of Ike Yard), Ikue Mori (DNA), remixer John Robie, and even artist and event designer Jean-Paul Goude on backing vocals.
Limited to just 500 copies, Subway (Singles) is newly remastered and pressed on transparent violet vinyl, reflecting the original 1981 sleeve artwork by legendary Crepuscule designer Benoit Hennebert. The album includes a free digital copy (MP3).

Fortunately for us, Dmytro Nikolaienko agreed to open up the jewellery boxes of his tape-loop archive for his debut album on Faitiche. What came to light was a collection of dreamy glittering gems, masterfully presented using the compositional possibilities of analogue tape machines. Some may consider a tape machine to be limited as a musical instrument, but Rings makes a convincing case with its sure-handed use of the available parameters – moving tape over the tape head mechanically and manually, cutting loops, manipulating timbre and creating noise by means of saturation. The results are eleven blurred, repetitive, rhythmic patterns that can be understood as an intervention against digital precision, as mechanical irregularities and background noise become musical events.

For those familiar with Nikolaienko’s work, his nostalgic approach here will come as no surprise: born in Ukraine and now based in Estonia, he has chosen a historical medium (that has been enjoying a renaissance for some years now) to record historical-sounding sequences. The way he manages his own back catalogue is similarly archival, documenting the chronology of his tape loops in such a way as to leave no doubt as to their advanced age. And then there are his two wonderful labels Muscut and Shukai, the latter being an archival project releasing electroacoustic obscurities from the Soviet past. Which brings us back full circle …

HIGHLIGHTS New pieces by Spanish pioneers from the 80's and before in Experimental rock, Electronica, Industrial, Avant-Garde, etc. Inspired by the mysterious and disturbing anti-Franco illustrator OPS, nowadays well known as El Roto. Second part of the Erizonte trilogy on drawing as a transmitter of progressive ideas, first part being Suite Los Caprichos by Francisco de Goya. Available only in vinyl gatefold edition. TRACKLIST: SIDE A A1. ERIZONTE - Obertura A2. MECANICA POPULAR and Erizonte - Dos veces en la vida A3. LA FURA DELS BAUS and Erizonte - ¡Mierda de guerra! A4. MACROMASSA with Erizonte - Tonsura A5. PELAYO ARRIZABALAGA, ELI GRAS & ERIZONTE-Miedo a la verdad A6. ERIZONTE - Tres piezas para teclados SIDE B B1. ERIZONTE - (Des) educación B2. ESPLENDOR GEOMÉTRICO & Erizonte - Clerecía B3. MAR OTRA VEZ - Calma B4. ERIZONTE - Difracción B5. ERIZONTE with JESUS ALONSO - En el país del silencio B6. SCUD HERO with Erizonte - Hipnosis colectiva B7. CORCOBADO and Erizonte - Sol sotnemurtsni es nacot B8. ERIZONTE - Coda More Details: In this collective creation directed by Erizonte well-known artists sharing ethics and aesthetics come together over the mysterious and disturbing drawings that appeared in some newspapers, books and magazines in the mid 1960's to mid 1980's, such as Hermano Lobo, Triunfo or Cuadernos para el Diálogo, signed OPS - later better known by the heteronym of El Roto. Musicians or sound artists, representatives of avant-garde music that emerged in the Spain of OPS, have composed a piece for this album on a given, recurring theme: repression, censorship, informative manipulation, induced or obligatory oblivion, the vices of clericalism, the horrors of war, imperialism, bad education or the lack thereof and gender violence. These are themes that coincide with those already undertaken by Goya in etchings, and of whom we can consider Andrés Rábago, the painter behind these two pseudonyms, as the legitimate heir, at least in this field. He himself has chosen the drawings that illustrate each of the covers corresponding to the individual editions of each piece as they appeared. The covers are all gathered here, along with a new cover. This album is part II of Erizonte's trilogy inspired by drawings in the media c. After the first part, the "Suite Los Caprichos de Goya", where 19th century ideals of the Enlightenment can be seen through the etchings of Francisco de Goya, while this second album corresponds to the OPS cartoons, anti-Francoism and its environment, as it was when they appeared in newspapers and magazines, the media of the 20th century. The artist and the graphic medium for the third and last part, corresponding to this 21st century, is yet to be discovered ...

Florence Adooni shares a long history with Philophon. Being part of Guy One's group she is the voice on his radio hit "Estre". Furthermore, she is a member of Alogte Oho's Sounds of Joy and can be heard on his smasher "Mam Yinne Wa". Last but not least, Jimi Tenor chose her to sing on his instant club classic "Vocalize My Luv". In addition to all these cooperations, Florence has locally released a series of albums under her own name and with no doubt she can called the queen of Frafra-Gospel.

"Mam Pe'ela Su'ure" is a typical Frafra-Gospel Hymn, sung during Sunday services accompanied only with shakers and hand clapping. Our version here is backed up by Kumasi's finest High Life players, who transform the song into a massive wave of groove. "Naba Aferda" is a homage to the Chief of Zuarungu, Florence's home village, which was also the home village of the legendary Christy Azuma, who became the first international Frafra-Star in the 70s. Christy was always a big inspiration for Florence and makes her proud to be from a small village called Zuarungu.

One of the most highly regarded modern Brazilian jazz trios, Caixa Cubo announce ‘Angela’, their latest album and first to be licensed for European release by Heavenly Recordings.

 ‘Angela’, their Seventh since forming in 2007, was named as one of 6 Music’s Recommends Albums Of 2020 (Presenter Picks), chosen by DJ Huey Morgan. The single ‘Palavras’ is currently on the 6 Music playlist. Heavenly Recordings picked up on the record when DJ Giles Peterson played ‘Palavras’ on his show.

 Recorded in December 2018, the album features the singer Zé Leônidas on ‘Palavras’ and includes arrangements of songs like ‘Baião Malandro’ by Egberto Gismonti and ‘Dark Prince’ by Geri Allen, in addition to the group’s original compositions.

 Made up of Henrique Gomide (keys), João Fideles (drums) and Noa Stroeter (bass), the trio have split their time between Brazil and Europe in recent years, having been awarded scholarships to study at the Royal Conservatory of The Hague, Netherlands.

 They have performed at many respected European venues and festivals including Jazz à Vienne Festival (France), Anton Philip Hall (The Hague), A-Trane (Berlin), Riverboat Festival (Denmark) and others in Paris, Brussels, London, Birmingham, Lisbon and Rotterdam. They also performed in Maputo, Mozambique, as well as renowned venues in Brazil, mainly in Sao Paulo (Auditório Ibirapuera and SESC Consolação, Museu da Casa Brasileira).

Back in 2015, to celebrate the 50th anniversary of the BBC broadcast of Delia Derbyshire & Barry Bermange’s “Inventions For Radio: The Dreams”, The Eccentronic Research Council released their own super-limited edition cassette soundtracking the recalled dreams (and nightmares) of friends, artists, actors, musicians, scientists, poets and filmmakers. The release was called “The Dreamcatcher Tapes Volume 1”. Five years on, and with a large part of the planet under lockdown and with nowhere to go but within their imagination, the ERC put a call out once again to music collaborators, nurses, teachers, truck drivers, writers, journalists and shop workers to upon waking, record their dreams straight into their phones and to then send them to the ERC to soundtrack. And thus, Volume 2 of The Dreamcatcher Tapes was born!

How did you make the album during lockdown?
“We got around 26 dreams sent to us via email over the space of a couple of weeks then Dean Honer my partner in The ERC and I revved up the old analogue equipment and would record music and collage sounds to the dreams (remotely) from our home recording studios and bounce them back and forth to each other till they were done. It was a really good way to work actually, sometimes I didn’t even have to put on any trousers!” says ERC/ Moonlandingz founder Adrian Flanagan. Why a second volume of The Dreamcatcher Tapes? “I was really interested to see how the enforced lockdown and the removal of people’s basic needs such as human contact and hanging out in close proximity to friends was affecting the dreams of my friends, peers and those at the very front line of this horrible pandemic”, Adrian continues. “The Important shared experiences for people’s mental health such as going out to gigs, the pub, the cinema etc. ”It was an interesting experiment. Nurses dreaming of inadequate PPE and having to use blow up Elvis costumes to protect themselves. Teachers dreaming of zombies and lots of people dreaming about sex - where the hair of Greek sorceress’s Circe meets bouncy castle breasts and where other dreamers dream of serial killers or seeing dead family members, or taking baby elephants for a walk, or having discos for one in the middle of the ocean and so much more. I’m really proud of this record. It’s psychedelic in its truest most cerebral form”

Who’s on “The Dreamcatcher Tapes Volumes 1 & 2”? Who are the dreamers?
“Although our long time collaborator Maxine Peake wasn’t on the very first tape (her dream ended up on LTD edition split 7” ERC single we did with Pye Corner Audio) - she was the first dream that we soundtracked when I came up with the idea of doing the concept record. However, on the new vinyl and tape box set - she opens volume 1. Across the 2 volumes there’s film maker Carol Morley, Andy Votel from Finders Keepers records, John Doran from The Quietus (who also wrote the albums brilliant sleeve notes), acclaimed writers Benjamin Myers & Adelle Stripe, musicians such as Evangeline Ling from the group Audiobooks, Lias Saoudi from my ‘semi fictional band’, The Moonlandingz and fat white family, Sidonie from The Orielles, journalists /writers Wyndham Wallace (he wrote lee Hazelwood’s brilliant biography) and Daniel Dylan Wray amongst a whole array of musician friends, eccentrics and people with actual proper jobs!”

Why did you chose Castles in Space for this release?
“Jim Jupp at Ghost Box records suggested them to me so I looked into them and saw they were doing loads of really great strange little bespoke electronic record releases. I think that because this is a very niche limited run release, it required a label that was willing to treat it like a piece of art and not a throwaway mass produced commodity. So making sure the packaging was special, the artwork was bang on point and the sleeve notes were written by a writer we like all were very important to us. “It was also important that we could turn it around from the finished recording to being in people’s hands really quickly as Dean and I have another ten projects between us on the boil - and so far, Castles in Space have been true to their word. It’s an artists label done with love and there’s not many of them about anymore - believe it or not.“

“The Dreamcatcher Tapes Volumes 1 & 2” is an immense collaborative achievement which makes for a thoroughly compelling, and gloriously disorientating listening experience.

It is released as a double coloured vinyl LP in deluxe gatefold sleeve w/insert and a highly limited deluxe double cassette box set. The album is released on March 19th, 2021.

One of the most highly regarded modern Brazilian jazz trios, Caixa Cubo announce ‘Angela’, their latest album and first to be licensed for European release by Heavenly Recordings.

 ‘Angela’, their Seventh since forming in 2007, was named as one of 6 Music’s Recommends Albums Of 2020 (Presenter Picks), chosen by DJ Huey Morgan. The single ‘Palavras’ is currently on the 6 Music playlist. Heavenly Recordings picked up on the record when DJ Giles Peterson played ‘Palavras’ on his show.

 Recorded in December 2018, the album features the singer Zé Leônidas on ‘Palavras’ and includes arrangements of songs like ‘Baião Malandro’ by Egberto Gismonti and ‘Dark Prince’ by Geri Allen, in addition to the group’s original compositions.

 Made up of Henrique Gomide (keys), João Fideles (drums) and Noa Stroeter (bass), the trio have split their time between Brazil and Europe in recent years, having been awarded scholarships to study at the Royal Conservatory of The Hague, Netherlands.

 They have performed at many respected European venues and festivals including Jazz à Vienne Festival (France), Anton Philip Hall (The Hague), A-Trane (Berlin), Riverboat Festival (Denmark) and others in Paris, Brussels, London, Birmingham, Lisbon and Rotterdam. They also performed in Maputo, Mozambique, as well as renowned venues in Brazil, mainly in Sao Paulo (Auditório Ibirapuera and SESC Consolação, Museu da Casa Brasileira).

Dies Occidendum is a mythical voyage across fog-laden, scorched earth terrain from the original friar of dark hip hop, Dj Muggs the Black Goat. Known and revered as the sonic mastermind behind both Cypress Hill and his own Soul Assassins imprint, here Muggs sheds the MCs and presents his latest dark-soaked productions as an illuminated manuscript of sorts; a fully immersive, instrumental soundtrack to the mysterious Dies Occidendum. No one wields the Excalibur of sonic darkness quite like Muggs. Combining ingredients of psych rock, gypsy folk with modern elements of trap, forged together under layers of his signature sonic grime, Muggs has created yet another blueprint for the utmost sonic menace and macabre. The Renaissance is upon us. Long live King Muggs. ABOUT DJ MUGGS: One of the original architects of dark hip hop in the early '90s, DJ Muggs helped craft a singular sound that blended darker sensibilities of psychedelic rock and hip hop in a unique way that influenced many in its wake. As the primary producer of legendary rap group Cypress Hill, Muggs' productions and sonic sensibilities are unmistakable and deeply revered by the truest of hejkvgads. Muggs' own MC round-robin imprint, Soul Assassins has been home to countless productions, laying sonic drop cloths for everyone from Dr. Dre, Ice Cube, Chuck D, GZA, Mobb Deep to MF Doom, Freddie Gibbs, Roc Marciano and Mach-Hommy.

LTD. RED VINYL

Dies Occidendum is a mythical voyage across fog-laden, scorched earth terrain from the original friar of dark hip hop, Dj Muggs the Black Goat. Known and revered as the sonic mastermind behind both Cypress Hill and his own Soul Assassins imprint, here Muggs sheds the MCs and presents his latest dark-soaked productions as an illuminated manuscript of sorts; a fully immersive, instrumental soundtrack to the mysterious Dies Occidendum. No one wields the Excalibur of sonic darkness quite like Muggs. Combining ingredients of psych rock, gypsy folk with modern elements of trap, forged together under layers of his signature sonic grime, Muggs has created yet another blueprint for the utmost sonic menace and macabre. The Renaissance is upon us. Long live King Muggs. ABOUT DJ MUGGS: One of the original architects of dark hip hop in the early '90s, DJ Muggs helped craft a singular sound that blended darker sensibilities of psychedelic rock and hip hop in a unique way that influenced many in its wake. As the primary producer of legendary rap group Cypress Hill, Muggs' productions and sonic sensibilities are unmistakable and deeply revered by the truest of hejkvgads. Muggs' own MC round-robin imprint, Soul Assassins has been home to countless productions, laying sonic drop cloths for everyone from Dr. Dre, Ice Cube, Chuck D, GZA, Mobb Deep to MF Doom, Freddie Gibbs, Roc Marciano and Mach-Hommy.

Early support by Alienata, Cyan85, Laurent Garnier, Marcel Dettmann, Swarm Intelligence, SLAM, OM Unit and many more!

As VOITAX enters its eighth year as a label, co-founder Christoph Siegert aka Masha Motive steps up to the plate with his first solo material - "The Imponderable Bloom". Having played a highly in uential role in whittling the label's established signature sound, the German producer chose to take his time to hone in on his craft, before dropping any production of his own. The result - a studiously crafted expedition filled with dominant breaks, dense bass and swelling ambience, flirting between the realms of jungle, dubstep and down tempo.

* The original sister label to Ram Records from the old Ram HQ studio in Essex, Liftin Spirit Records now celebrates it’s 25th year with a special ‘RELOADED’ limited vinyl series of remastered classics, alongside rare and previously unreleased tracks since the beginning in1992.

* DATs from artists such as Andy C, Ant Miles, Shimon, Joint Venture, Interrogator and Red One have been located in the archives. Also from the Ram & Liftin HQ came tracks for the Deep Seven label in 1993 and all these rare DAT masters have been located and now re-cut by Simon, the original Ram & Liftin vinyl masterer at ‘The Exchange’. Initially, Deep Seven remasters will present on a printed white label and unreleased tracks will have a black label.

* Deep Seven No.10, the infamous final 12” from Deep Seven that never reached a full release. Only a short promo run hit the shops in 1993 before the label closed for good. ‘Release’ brought to the series a continuation of the huge tracks that graced local label ‘Contagious’ in the early 90’s. As time passed, ‘The Jungle’ / ‘Musical Movements’ reached cult status, exchanging hands for hundreds of pounds when a copy surfaced on the market. The rarest of all the Deep Seven releases, with an additional version of ‘The Jungle’ that was not included on the original press. Remastered from the original DAT and presented on our 180g vinyl, this final 12” completes the entire Deep Seven back catalogue.

Promotion across chosen internet websites and Hardcore 12” vinyl communities.

To celebrate their first decade of existence, Sunderland’s ironic punk trio, Toy Dolls, issued
retrospective Ten Years Of Toys, but rather than using the standard-issue “Greatest Hits”
formula, the group chose to re-cut nuggets from their career so far, using the then-current
line-up of frontman Olga, bassist Dean Robson and drummer Martin Yule. Thus, tracks like
“Dougy Giro,” “Fiery Jack” and “Glenda And The Test Tube Baby” are given new leases of
life with a brighter, fuller sound and the inclusion of hard-to-find tracks such as “I’ve Got
Asthma” and “Tommy Kowey’s Car” add to the appeal.

The ultimate pressings of the Beach Boys discography from Analogue Productions!
Original mono mix produced by Brian Wilson
One of 10 titles featuring 33 1/3 mono and stereo remastered editions: Surfin' USA, Surfer Girl, Little Deuce Coupe, Shut Down Vol. 2, All Summer Long, Today!, Summer Days (And Summer Nights!!), Beach Boys Party!, Pet Sounds and Smiley Smile
Mastered by Kevin Gray at Cohearent Audio, most from the original master tapes or best sources available
Lacquer plating by Gary Salstrom and 180-gram vinyl pressing by Quality Record Pressings!

"It was Pet Sounds that blew me out of the water…I love the album so much. I've just bought my kids each a copy of it for their education in life. I figure no one is educated musically 'til they've heard that album." – Paul McCartney

"All of us, Ginger (Baker), Jack (Bruce), and I consider Pet Sounds to be one of the greatest pop LPs to ever be released. It encompasses everything that's ever knocked me out and rolled it all into one." – Eric Clapton

"For those in search of an original mono in pursuit of sonic quality, search no more. This Analogue Productions pressing is now the definitive pressing and the one we chose to feature at our Classic Album Sundays events to honour the 50th anniversary of Pet Sounds, an album that helped change the course of pop music." — Colleen ‘Cosmo' Murphy, Classic Album Sundays

"Overall though, this new reissue is the best sounding of all. The bottom end has more weight and solidity and the instrumental separation and front to back layering is nothing short of astonishing compared to the pleasing mush offered up by other editions. ... Pet Sounds belongs in every serious rock record collection and if you're going to have but one version this one from Analogue Productions is the one to have." — Music = 11/11; Sound = 11/11 - Michael Fremer, AnalogPlanet Read the whole review here.

"What I can say is that Kevin Gray has been able to extract every last bit of information from whatever tape is in the box, and present it in a way that is pleasing and natural to the ear. ... in my opinion, the Analogue Productions pressings are now THE definitive issue of each Beach Boys album, and will be my reference copies until if and when something better comes along — which may be never." — Lee Dempsey, Endless Summer Quarterly, Summer 2015 Edition

To meet the standards of Analogue Productions, our Beach Boys album reissues had a mission to achieve: Present the band's music the way that Brian Wilson — famed co-founder, songwriter and arranger — intended. Mono mixes created under Wilson’s supervision were how the surf rockin’ California crew rose to fame! And we’ve got ‘em!

For the early part of the Beach Boys' career, all of their singles were mixed and mastered and released only in the mono format — they didn't release a single in stereo until 1968. In those days, hits were made on AM radio in mono. And the mono of those times worked well for Wilson, who suffers from partial deafness. In fact, for their first 13 albums, Wilson originally turned in all the final mixed Beach Boy albums to Capitol Records only in mono. The mono mixes were where Wilson paid intense attention, and the dedication paid off!

We’ve taken 10 of the most classic, best-sounding Beach Boy titles ever and restored them to their mono glory!

But there’s no disputing that the close harmonies and one-of-a-kind rhythms of hits like “Surfer Girl,” “In My Room,” “Little Deuce Coupe” and more lend themselves naturally to stereo. So we’ve got your 2-channel needs covered with prime stereo mix versions as well.

Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in "old school" Stoughton tip-on jackets, these time honoured favourites shine brighter than the originals!

Pet Sounds is famous for its use of multiple layers of unorthodox instrumentation as well as other cutting edge audio techniques for its time. It's considered the best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound.

Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. "Wouldn't It Be Nice," "God Only Knows," "Caroline No," and "Sloop John B" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as "You Still Believe in Me," "Don't Talk," "I Know There's an Answer," and "I Just Wasn't Made for These Times." It's often said that this is more of a Brian Wilson album than a Beach Boys recording (session musicians played most of the parts), but it should be noted that the harmonies are pure Beach Boys (and some of their best).

VH-1 named Pet Sounds as the No. 3 album in the Top 100 Albums in Rock 'n' Roll History, as judged in a poll of musicians, executives and journalists. It's been ranked No. 1 in several music magazines' lists of the greatest albums of all time, including NME, The Times and Mojo Magazine. It was ranked No. 2 in Rolling Stone's 500 Greatest Albums of All Time list.

What can you say about Sisters that hasn’t been said already? Well what about “Now featuring 2 bonus songs produced by Elvis Costello”? That’s not been said before for sure.
The band were never perfectly happy with the version of “Everybody’s Somebodys Fool” which opens the album and have thus chosen to replace this with a different (more bluebells) version and we will be including - for the first time - the Elvis Costello produced “Aim In Life” and “Some Sweet Day”
The album will feature new liner notes and some updated art - whilst remaining your favourite sister of all.

What can you say about Sisters that hasn’t been said already? Well what about “Now featuring 2 bonus songs produced by Elvis Costello”? That’s not been said before for sure.
The band were never perfectly happy with the version of “Everybody’s Somebodys Fool” which opens the album and have thus chosen to replace this with a different (more bluebells) version and we will be including - for the first time - the Elvis Costello produced “Aim In Life” and “Some Sweet Day”
The album will feature new liner notes and some updated art - whilst remaining your favourite sister of all.

Laurel Halo, Donato Dozzy and Teheran sound artist Tegh give us their "Glassforms Versions"alongside a new edit by Max Cooper. The works of Philip Glass are reflected and refracted in a myriad of ways by some of the most renowned electronic artists alive, making for a blissful, multi-dimensional listening experience.


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With "Glassforms", Max Cooper and Bruce Brubaker set out on an intimate, nuanced exploration of the works of Philip Glass. The resulting recordings, developed in a fluctuating exchange between the American pianist and the Irish scientist-artist, are an astounding testament to the innovation that artistic collaboration can achieve and what depths are yet to discover in Philip Glass' compositions. The two artists did not just rework, but fundamentally rewired the original songs using algorithmic software to process and augment the musical data it received from Brubaker's piano live on stage.

When approaching his remix, Donato Dozzy also tapped into that inspiration to create something new rather than just reworking it, which is one of the core motives that emanates from "Glassforms". The Italian producer and label owner is known for his drive to explore: he develops installations for public spaces and museums, uses obscure musical instruments and collaborates with classical singers or visual artists. "I chose "Two Pages" for it's hypnotic feel in the notes repetition", he says, "but I did not want to merely sample the piano, but instead ask someone I trust and admire to carve it from scratch and even go further." So he followed the lead of Brubaker and Cooper and teamed up with the renowned Italian percussionist and jazz musician Daniele Di Gregorio to completely rewire "Two Pages" into a gorgeous piece of endlessly modulating ambient electronica.

Laurel Halo, the second remixer on "Glassforms Versions", does not need a long introduction either: the American musician is at the forefront of electronic music in 2020, a bright star today after releasing her debut "Quarantine" on Hyperdub in 2012. Her remix of "Opening" brings to mind the string section of an orchestra tuning their violins before the performance - forever. They glide in and out of tune, sometimes individually, then together, then are accompanied by keys that are most likely a ghostly representation of Brubaker's piano, sampled and pitched down, but sound almost jazzy in the context of Halo's remix. It's a blissful listening experience, calling to mind her recent collaboration with cellist Oliver Coates on "Raw Silk Uncut Wood" and showing a deep understanding of Philip Glass' work.

Sound artist Tegh is the third on the remix bill - the electronic musician from Teheran delivers his take on "ƒTwo Pages", once again showcasing how versatile, how inherently complex the works of Philip Glass are. They can be interpreted in a myriad of ways - Tegh's version is a bounding, brooding piece filled with raw energy that feels like it is performed live, just for you, every single time you listen. His version is, at first, much more focused on the underlying moods, electronic undercurrents of the original than Dozzy's version, and yet, when the piano finally does break through, it becomes clear that we are listening to Philip Glass, reflected manifold: through the piano of Bruce Brubaker, the synths of Max Cooper, and then again through the mind of the artist Tegh.

Concluding the new "Glassforms Versions" is a previously unheard edit of "Two Pages". It's difficult to edit a piece of minimalistic beauty without losing it's essence, but Max Cooper - after many efforts and close conversations with Bruce Brubaker - managed to bring these shorter edit into a satisfying, conclusive form.

Watching Abul Mogard’s Live performance in Atonal Festival 2017 and his releases on Not Waving’s Ecstatic record label were somewhat of a milestone in Malka Tuti’s sonic aesthetics. His ability to touch us with those pulsating sonic textures com-ing out of his modular machine inspired us in MTHQ for years to come. We were more then happy that Mogard chose to contact Tapan about their album and eventually deciding to remix not one but two track from the Belgrade duo… It was like a circle coming to a close.

On the A-side Mogard take the original 17 minute sax infused piece that is EUROPA and drenches it with drones and low freq pulses and atmosphere, creating a some sort of a post apoca-lyptic intense atmospheric soundtrack. The effect of drowning the horns from the original track in a sea of drones and pads, contributes to the over all impression of listening to a distant memory of music… fitting for days like these....

On the B-side Mogard takes it to the next level, capturing a line from Tapan's original collaboration with Jerusalem In My Heart's Radwan Ghazi Moumneh, and passing it through his modular system, amalgamating an epic piece of tension build ups and repetitive movements...

The original artwork was made by artist Marja de Sanctis and adapted, as always, to the sleeve by Morey Talmor.

Herself is the moniker of multi-instrumentalist Gioele Valenti, also known as JuJu in more recent years (Fuzz Club) or as part of the psych project LAY LLAMA'S. Herself's work was described by critics as the harmonious meeting between Sparklehorse, Gravenhurst and Will Oldham. Valenti's songwriting takes inspiration from low-fidelity apocalyptic folk, crooning and pop; boasting a rather extensive discography. Well rooted in tradition, his music often ventures in the realms of subtle experimentation. His new album "Rigel Playground" prepares the listener for a journey through cosmic folk, in which traditional Brit Pop flirts with an alt vein, as if the Beatles and Sparklehorse would meet the torments of Nick Drake and the intimacy of a Mike Scott. Continuing a long list of illustrious collaborations (Amaury Cambuzat of Ulan Bator, John Fallon of The Steppes,Capra Informis of GOAT, among others), the prestigious guest on this record is Jonathan Donahue from MERCURY REV, a group of absolute prominence in the international indie panorama, which in addition to having lent his voice to the single "The Beast of Love" - as Herself says - informs the essence of the entire record. Not surprisingly Mercury Rev chose Herself to support them during their Italian tour last year.

Harry Bertoia's Glowing Sounds LP contains three versions of the same composition, each transferred at different tape speeds in accordance with the artist's instructions. This is the third LP to be released from Bertoia's extensive tape archive and it's the first, of many, to be released using instructions left behind by the artist himself.

Bertoia wrote the concept for this Glowing Sounds LP on a note in 1975 and slipped it into the master tape case where it sat unread for 45 years. The idea was simple, transfer the original recording at its original speed and two slower speeds. Bertoia noticed that the results, however, were profound.

Recorded on January 20, 1975 using two large gongs, Glowing Sounds is one of the most powerfully minimal recordings yet discovered in Bertoia's collection. The artist's note left with the tape indicated that it was recorded at a speed of 15 IPS (inches per second) but slowing it down to speeds of 7.5 IPS and 3.25 IPS were quite effective for enhanced playback. Side A features the original 15 IPS recording and the 50% slower 7.5 IPS recording. Side B features a 20 minute, ultra-slow version at 3.25 IPS.

Long, deep drones and powerful overtones define the sound of this recording. Comparison of the three speeds provides a revealing magnification of Bertoia's gongs, overtones and the artist's inventive approach to performance, composition and recording.

Bio:
Harry Bertoia first gained some artistic visibility in the early 1940s, then came into prominence with his sculptural, ergonomic chairs, produced by Knoll Furniture beginning in 1952, which quickly became classics of modernist furniture. Inspired by the resonant sounds emanating from metals as he worked them and encouraged by his brother Oreste, whose passion was music, Harry restored a fieldstone "Pennsylvania Dutch" barn as the home for this experiment in sounding sculptures which he had begun in the late 1950s. Bertoia was an obsessive composer and relentless experimenter, often working late into the night and accumulating hundreds of tapes of his best performances; Oreste, too, would explore and record the sculptures' sounds during his annual visits to his brother's home in rural Pennsylvania.

Harry Bertoia's recently dismantled Sonambient barn collection was an attentive listener's paradise full of warm, expressive instruments that were gorgeous visually and audibly. Nothing could prepare you, even on return visits, for the overwhelming experience of entering the spacious wood and plaster interior where gongs, some of them giant, hung among the ranks of standing sculptures of various metals. Over nearly twenty years of adding, culling and rearranging, Bertoia carefully selected nearly 100 harmonious pieces ranging in height from under a foot to more than fifteen feet. He considered this barn a full experience, sights and sounds comprising not a collection of works, but one piece unto itself. It was here, deep in the woods, that his Sonambient recording work took place.

Learning by experimentation was common for Bertoia and he mastered the art of tape recording, turning the Sonambient barn into a sound studio with four overhead microphones hanging from the rafters in a square formation. He would experiment with overdubbing by performing along to previous recordings, sometimes backwards, constantly improving his methods while also honing his performance skills. Bertoia was a careful editor of his own work and only chosen recordings remained, each with a date and carefully considered observations written on a note included with each tape. Through these pieces of paper a the artist's logic can be uncovered, a careful approach to composition, ideas, feelings and forms. The story of Sonambient barn collection will slowly be told through the release of recordings from the archive as well as installations and performances built from Bertoia's own recordings, lectures and a book.

The Luka State are Cheshire Cats, Conrad Ellis (voice, guitar), Sam Bell (bass, voice), Jake Barnabas (drums) and Lewis Pusey (guitars). Their hometown is famous for salt mining, and not much else. Yet being halfway between Liverpool and Manchester – hence, every kid in the town wanting to be a footballer or pop star the minute they can kick a ball or play a guitar. The Luka State chose music.

The band racked up 68 shows around the UK in the twelve months leading up to the lockdown, and despite not having the chance to play their latest releases live, they have amassed over 6 million Spotify streams. This is no mean feat for an independent band, so it’s no wonder that Shelter/BMG jumped at the chance to sign them.










[i] 9. [Insert Girls Name Here]

Nahawa Doumbia's new album Kanawa concisely captures this current moment in Malian history. The singer, whose storied career spans more than four decades, reflects on the immigration crisis from the Malian perspective in the title of her new album Kanawa. Across eight songs recorded in Bamako with a band including traditional and modern instruments, Doumbia merges her early work that relied on a spare expression of her trademark didadi rhythm with the bombastic range of contemporary Malian pop. The beautifully complex musical accompaniment that results is courtesy of the large ensemble she pulled together with producer and arranger (and day one collaborator) N'gou Bagayoko. The band features two highly expressive Malian string instruments, the ngoni and the slightly smaller kamalé ngoni, as well as a variety of percussion, drum programming, karignan (a metal scraper) and acoustic and electric guitars. Doumbia's daughter, a celebrated singer with her own group and busy concert schedule, Doussou Bagayoko sings on "Adjorobena," a song about patience, tolerance and living in peace. Doumbia weaves together a roadmap of her psyche when it comes to the good and bad life has to offer. She talks about marriage and women leaving home to join another through the metaphor of a tree in the garden; she includes gunshot samples in the song "Foliwilen" to honor the bravery of hunters, soldiers and other courageous people; she uses a bird in "Djougoh" to talk about lazy people; and, in "Ndiagneko" she advises people to ignore critics, just do you. Mali has gone through an intense period of regional strife and terrorist incidents over the last ten years and Doumbia roots the album in tragic local concerns with deep global implications. "The meaning of Kanawa is so simple. We see our children trying to cross the ocean all the time. I said that many of our children die in the ocean and some of them die while crossing the Sahara. But I ask them why do they leave their country? They said that they leave because of the family situation or problems like poverty and unemployment. I ask them to stay and work in their country. I call on the UN and African leaders so that we can coordinate our efforts to find a solution, to create jobs for them so that young people stop leaving. That's why I chose it as the title of my album so that everybody can learn from it and also so that there is a reduction in the number of people emigrating. So that some will hear the message and stay home and grow the land. Leaving is not the only solution. My message is to help the youth find jobs."

Nahawa Doumbia's new album Kanawa concisely captures this current moment in Malian history. The singer, whose storied career spans more than four decades, reflects on the immigration crisis from the Malian perspective in the title of her new album Kanawa. Across eight songs recorded in Bamako with a band including traditional and modern instruments, Doumbia merges her early work that relied on a spare expression of her trademark didadi rhythm with the bombastic range of contemporary Malian pop. The beautifully complex musical accompaniment that results is courtesy of the large ensemble she pulled together with producer and arranger (and day one collaborator) N'gou Bagayoko. The band features two highly expressive Malian string instruments, the ngoni and the slightly smaller kamalé ngoni, as well as a variety of percussion, drum programming, karignan (a metal scraper) and acoustic and electric guitars. Doumbia's daughter, a celebrated singer with her own group and busy concert schedule, Doussou Bagayoko sings on "Adjorobena," a song about patience, tolerance and living in peace. Doumbia weaves together a roadmap of her psyche when it comes to the good and bad life has to offer. She talks about marriage and women leaving home to join another through the metaphor of a tree in the garden; she includes gunshot samples in the song "Foliwilen" to honor the bravery of hunters, soldiers and other courageous people; she uses a bird in "Djougoh" to talk about lazy people; and, in "Ndiagneko" she advises people to ignore critics, just do you. Mali has gone through an intense period of regional strife and terrorist incidents over the last ten years and Doumbia roots the album in tragic local concerns with deep global implications. "The meaning of Kanawa is so simple. We see our children trying to cross the ocean all the time. I said that many of our children die in the ocean and some of them die while crossing the Sahara. But I ask them why do they leave their country? They said that they leave because of the family situation or problems like poverty and unemployment. I ask them to stay and work in their country. I call on the UN and African leaders so that we can coordinate our efforts to find a solution, to create jobs for them so that young people stop leaving. That's why I chose it as the title of my album so that everybody can learn from it and also so that there is a reduction in the number of people emigrating. So that some will hear the message and stay home and grow the land. Leaving is not the only solution. My message is to help the youth find jobs."

This limited edition vinyl release is a double disc pressing on 180g
heavyweight, translucent ORANGE vinyl. The beautiful record sleeve is a gatefold design to fit both LPs.
This vinyl is a limited release to 1000 pressings; each vinyl is hand numbered.
Kate Rusby’s album, Hand Me Down, started life a few years ago whilst she was rehearsing for the Jo Whiley Show on BBC Radio 2. Jo asks her live music guests to perform songs of their own plus any cover version of their choice, Kate’s choice at that time was Oasis’ “Don’t Go Away”; on her second visit to the show she chose by ‘Friday I’m in Love’ by The Cure.
“As a folk singer, it’s what I do, re-interpret existing songs, but usually the songs are much, much older. After playing a version of Oasis’ ‘Don’t Go Away’ on the BBC Radio 2 Jo Whiley show, about 5 years ago, it dawned on me that not just the very old songs are handed down through the generations, but also favourite songs of any age, of any generation.
Songs are precious for many different reasons. With ‘Don’t Go Away’ proving so popular on the last album and hearing the reaction when we performed it on tour, I decided, “Right, that’s it! I am doing a whole album of covers.”
It was always the plan to make this album this year, lock-down just made it more intimate. We have laughed and we have cried, we have danced and we have sung. All of that is here, engrained in every track.”

While on lockdown, Senbeï exchanged a lot with his fans on social networks, offering them a collaborative project. From these discussions a dedicated Facebook group has been created on which his fans proposed ideas, arrangements and instrumental interpretations.

So many possible inspirations that allowed Senbeï to then play the conductor, composing new titles based on these exchanges.

The fans were also invited to propose titles for the album and graphic proposals ... TOITSU - unification in Japanese - as well as the work of Adrien Waterlot (a fan) were chosen by the members, to represent this work common.

SENBEÏ talks about it:

This project was launched during the 2020 lockdown. Like a lot of people, I found myself stuck at home, no more work, no more touring. I wanted to take the opportunity to launch a collaborative project by appealing to my fans via social networks. At first, I just imagined doing a song, picking from their ideas, a sample here, a guitar take there. I didn't think it would take on this magnitude. We quickly reached more than 500 people on a dedicated discussion group. And then it all got wrapped up. 4 months later, Toitsu was complete.

It wasn't just music, but also incredible general goodwill, good mood, lots of support, sharing, dedication and humor. All of that helped me orchestrate this happy mess in record time.

"Toitsu" means "Unification". Without those who participated, this album would not exist.

Dynamic Sounds Studio has its roots firmly set in Jamaica’s history. It was the first state of the art studio built in Kingston, Jamaica and a firm favourite with all the topflight homespun artists. Bob Marley chose to record the bulk of his seminal 'Catch A Fire' album there and many foreign musicians trying to catch some of that reggae magic and emulate that sound have beaten a path to its doors. As you will see the studio had a history already of its own, that was carved out before it became the aptly named Dynamic Sounds.

Originally named WIRL Studio's (West Indies Records Limited), it was set up initially to record Jamaica's versions of the American Rhythm and Blues tunes that were proving so popular  on the island. It was started back in 1958 by Political leader Edward Seaga an astute businessman, who had many interests around the island including clubs and bars. As the R & B music evolved into its own styles from Mento into Ska, one of its main protagonists Byron Lee and his band the Dragonaires would be at the forefront and be seen as ambassadors to the cause. Edward Seaga would choose the band to head the 1964 World’s Fair and take them to New York to showcase the Jamaican Ska Music. His political ambitions leading the American friendly JLP (Jamaican Labour Party) against the Cuban inspired PNP (People's National Party), would see him cutting back his other interests and lead to the selling of WIRL, lock stock and barrel to Byron Lee. On taking over the business he renamed it Dynamic Sounds and extended it to include not only a top of the range recording studio but a pressing plant to distribute the new hot sounds of the day directly to the streets of Jamaica. The address would also change to 15 Bell Road, it's old address No 13, seemingly too unlucky for such a fine establishment.

The studio has become part of the Jamaican culture and each twist and turn in its musical story has been caught and recorded here. We get on board when the music had slowed down to the reggae skank that we now know and love. We have picked some fine cuts that we feel best represent the times. The rhythms are pushed to the fore and the great Sylvan Morris a much-underrated studio master, always came up with some interesting effects to enhance the version cuts. A fine time in reggae's history caught at one of Jamaica's finest studios. Dynamic Sounds from a Dynamic Studio.....

One of the two great chapters in reggaes history was the DJ phenomenon that conquered the Sound Systems in and around Kingston town in those heady 1970's, the other was the dub plates specials that allowed the DJ's to explore a tune in the first place. Giving some fine question and answers to its original vocal, emphasising its meaning or taking it into another subject matter altogether. When you have these two styles and add to it that original vocal, dubbed in at various points you get a fantastic melting pot that lifts a tune and can take it almost anywhere it likes.

Although DJ's were operating in Jamaica in the 1950's and 1960's with the likes of Count Matchuki and Sir Lord Comic, their role was that of mainly selector with a few vocal embellishments to instrumental tracks to gee up the crowd. 1969 saw the art form broaden with the likes of DJ King Stitt (Winston Spark) who scored a couple of hits for producer Clancy Eccles with 'Fire Corner' and 'Herbsman Shuffle'. But it was Clancy Eccles next releases with a certain U Roy (Ewart Beckfort) in the same year that saw the style explode. When hearing the DJ holding the crowd’s attention on King Tubby's Home Town Hi - Fi Sound System, the producer rushed the DJ into the studio and cut 'Wake the Town' and 'Rule The Nation'. Which would top the Jamaican charts in the soon to follow 1970.

In true Jamaican musical style when a new sound hits on the radio waves, many would soon follow. With an abundance of already tried and tested hits, producers would get the new
toasters of which there were many and revamp and breathe new life into their back catalogues.

But what makes this set of cuts, chosen for this release that little bit more interesting, are the working of the dub plates and effects alongside these vocal talents. Adding another layer to this musical cake.

A fine selection of tunes worked over by the cream of the 1970's DJ circuit.U Roy, I Roy. Jah Stitch, U Brown, Dillinger, Prince Jazzbo, Dennis Alcapone and the vastly underrated Shorty the President alongside some classic King Tubby dubs surely a match made in heaven...

Hope you enjoy ride…….

Despite current circumstances, Speedy have had a busy year. The London-based label run by producer Dan Carey alongside Alexis Smith and Pierre Hall were recently coveted with the Best Small Label Award by AIM after being nominated for the second year in a row. Carey also picked up UK Producer Of The Year earlier in the year at the prestigious Music Producer Guild Awards. He also produced the critically acclaimed sophomore album ‘A Hero’s Death’ by Fontaines D.C. which landed a welldocumented No. 2 position in the official album charts.
Speedy Wunderground released their fastest ever selling 7” - The Lounge Society’s timely tour de force ‘Generation Game’, the second band to be signed to the label for a forthcoming EP release following Squid’s ‘Town Centre’ EP in 2019. They also announced the label’s first ever full album release - Tiña’s ‘Positive Mental Health Music’, with recent single ‘Golden Rope’ having just come off the A-list at 6 Music.
Bringing bands into the studio wasn’t an option so the label started an ongoing project called ‘The Quarantine Series’ in which Carey under his Savage Gary techno/electronic alter ego collaborated with artists and friends, old and new over the internet and then uploaded them to the label’s Soundcloud/socials with little or no fanfare - no PR-ing or radio pluggers, just let the bands do their own thing, organically.
The common thread throughout all is Carey, whether it be in his regular name or his Savage Gary guise. However, collaborators in the series so far have included a wide range of people: Kae Tempest, PVA, Willy Mason, Heartworms, Warmduscher, Charlotte Spiral, Boxed In, Stephen Fretwell, Goat Girl and more.
“We chose two tracks/artists that I think we really wanted to shed some more light on” says label co-runner Pierre Hall. “Two that we really didn’t want to go under the radar - and in our opinion reflect this parallel strand of the label that’s forming - with new artists we’re really excited about - and that will hopefully draw people in to explore the series as a whole.”
First on the release is ‘Wait & See’ from rising Bajan artist RoRo. A hypnotic masterful flow which meanders seamlessly around Carey’s pulsating electronics. It’s bursting with attitude and originality. “I saw Dan Carey play with Kate Tempest on one of my first few times ever being out in London” she says, “it was such an amazing show. I was extremely excited to then get the chance to work with him. I’d been trying to do so while in London, but it didn't quite work out that way. We did manage to make it happen remotely whilst I was back in Barbados though, and we knocked it out!”
Second is ‘Cigarettes Pt. 2’ from the enigmatic Londoner youngblackmale AKA Rutare Savage: “It’s a poem, transformed into a song by the ever amazing Dan Carey. It touches (lightly) upon the topics of fear of the police, drug and alcohol abuse, family, and pulling oneself out of a nihilistic worldview driven by a newfound lust for life. This is me trying to reason with the void.”

The album 'Balance' by Frank Bretschneider & Taylor Deupree was originally released in 2002 by Mille Plateaux on CD only. The 9 tracks on 'Balance' are a perfect example for the aesthetics to arise within the Click & Cuts scene and (ambient-)glitch music movement of the late 90s and early 2000s.

The two masters of microscopic sounds and sine wave/white noise-based music constructed these seamlessly mixed pieces around rhythms and melodies, which grants the album plenty of dynamics. The wide variety of carefully chosen ambient sounds throughout the whole work endows 'Balance' warmth and intimacy.

The recordings are now available for the first time on vinyl within the KeplarRev series, presented in a new updated artwork based on the original layout with photographs by Taylor Deupree.

From the original press release in 2002:

"Balance is the first and so far only collaborative release from Frank Bretschneider (Berlin) and Taylor Deupree (Brooklyn). Both of these artists are no strangers to the ears of many; Taylor Deupree is one of New York's most vibrant electronic producers. From his early techno days as a member of Prototype 909 to his current status as one of N. America's key "microscopic" electronic composers and to add runs the prestigious 12K and LINE labels. Frank Bretschneider is a key member and founder of the prestigious Raster Music label, he has critically acclaimed releases under the names Komet and Produkt. It's easy to say that Frank Bretschneider has created some of the most influential spatial electronics of the late 90's.

Utilizing both artists keen ears for carefully crafted sounds, Balance blends the clean sine wave / white noise of Bretschneider with the defined grit of Deupree's granular synthesis. Realized entirely on Nord Modular synthesizers, Bretschneider and Deupree exchanged patch files through email and began constructing foundation loops. Bretschneider then created initial mixes of 9 songs and then sent them to Deupree who remixed and re-processed them. This digital exchange allowed for them to work using their own methods and aesthetic while combining the similarities of each others interests. The result is a looping and churning rhythmic work that is both synthetic, warm, dubby and tonally challenging. Thus Balance creates an engaging balance between the 2 artists aesthetics."

3 x LP - Live in Sharjah Box Set + Booklet. designed by Lorenzo Mason Studio.

If you’ve ever travelled to Egypt and wandered through its crowded streets, you probably ended up buying a cassette or a CDR of popular synth based music heard in most cabs, cabarets, or alleys around town: the almighty Shaabi.Raed Yassin and Paed Conca based their project PRAED on research between Shaabi and Mouled (traditional trance music from Egypt) and the hypnotic structures of both these genres. Repetitive beats, loud Mizmar and loads of energy, with a strong influence from psychedelic rock, free jazz and electronica.

During the years in which the duo produced 4 albums and performed on an endless number of stages around the globe, PRAED started working on anambitious expansive project: an orchestra that could transpose this study of rural and popular culture into an immense, iconic work. In autumn 2018, supported by the Sharjah Art Foundation, PRAED Orchestra! premiered “Live in Sharjah”, interpreting new material merged with some of the band’s iconic pieces. The composition process started with the choice of musicians: the line-up consisted of some of the most innovative artists coming from a wide spectrum of musical practices. Each musician was chosen for a defined role, and the common denominator was their capacity to interpret written material, and their ability to improvise effortlessly. Each role was clearly set to work in unison with the rest of the group, while simultaneously sustaining a centrality in the choir. Solo parts masterfully drawn over the structure as a fil rouge connecting every piece of the entire concert; massive and powerful orchestral sections leading to a breathtaking trance-like state of mind; all of this material ultimately coalescing into an Egyptian Operette that narrates the sorrow, love, and deeply rooted culture of this urban music called Shaabi.

Paed Conca: Clarinet, Electric Bass, Electronics
Raed Yassin: Synthesizers, Vocals, Electronics
Alan Bishop: Alto Saxophone, Vocals
Nadah El Shazly: Vocals, keyboard, Electronics
Christine Kazarian: Electric Harp
Hans Koch: Bass Clarinet, Soprano Sax
Martin Kuchen: Tenor Saxophone, Baritone Sax
Maurice Louca: Keyboard, Organ
Radwan Ghazi Moumneh: Buzuk, Vocals, Modular Synthesizer
Sam Shalabi: Electric Guitar, Oud
Ute Wassermann: Vocals, Mouth Harp, Whistles
Khaled Yassine: Drums, Percussion, Darbuka
Michael Zerang: Drums, Percussion

Recorded live at Calligraphy Square on November 3rd, 2018 in Sharjah, UAE by: Sudish Suman & Shuaib Ahmad Poonthala
Edited by: Rabih Beaini at Morphine Studio, Berlin, Germany
Mixed by: Radwan Ghazi Moumneh at Hotel2Tango Studio, Montreal, Canada. Mastered by: Harris Newman at Grey Market Studio, Montreal, Canada.
Artwork by Lorenzo Mason Studio.
Project manager : Simsara Music