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

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

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

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

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

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

Back in stock !

First Word Records is very proud to present a brand new full-length album from Kaidi Tatham. 'It's A World Before You'.

Following on from two EPs released on First Word last year ('Changing Times' and 'Hard Times'), Kaidi has delivered us thirteen tracks that deftly illustrate his various talents as a multi-instrumentalist.

Kaidi is probably best known for his work with Bugz In The Attic, though his musical contributions over the years have also included Amy Winehouse, Slum Village, Mulatu Astatke, Soul II Soul, Moonchild, Leroy Burgess, Amp Fiddler, Chris Dave, Macy Gray, King Britt, DJ Spinna, Mr Scruff and IG Culture to name but a few! In recent times, he's worked with DJ Jazzy Jeff on a variety of projects, including his most recent album 'M3', touring Europe for Jeff and Will Smith's reunion shows, and on the PLAYlist album 'Chasing Goosebumps', with Glenn Lewis, Stro Elliot (The Roots), Masego, Maimouna Youssef, Rich Medina, Daniel Crawford and more.

All this in addition to heating up dances around Europe with his inimitable DJ sets, and working heavily with First Word label-mate, Eric Lau (who also mixed this album) on a variety of projects, and adding releases to his already impressive catalogue on 2000 Black, Eglo and Theo Parrish's Sound Signature, with regular compadre, Dego (who features on the album's title track).

This album personifies Kaidi's diverse palette of sounds - bar Eric & Dego's features, every piece of music is played by himself. Largely flowing on a broken beat rhythm section, Kaidi effortlessly incorporates washes of afro, latin and funk throughout. From the harmonics of 'Your Dream Don't Mean A Thing', to the breakneck funk of 'Outta Audah', each and every riddim exudes energy. But this isn't simply a bruk record. The album is laced together with downtempo beats and future jazz interludes throughout, and some sweet synth boogie is never very far away, especially on the weighty vibes of 'It's About Who You Know'. To top it all off, there's two delightful nuggets of hip hop soul - Mancunian label-mates, Children of Zeus, feature on the neo-soul vibes of 'Out Here On My Own', and there's a feature from Amir Townes, better known as Uhmeer - an upcoming MC from Philadelphia, and son of one Jazzy Jeff Townes - who rides a sub-heavy, piano-led slice of boom bap, voicing an assortment of characters to tell the tale of 'Cupid'.

'It's A World Before You' is set to cause serious damage to sound-systems over the Summer, and show and prove once again the skills of one of the UK's best unsung musical talents, Kaidi Tatham.

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

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

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

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

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

Sonido Verde De Moyobamba feature on the second volume of Analog Africa's Sonic Expedition into the Peruvian Amazon, as well as being behind this brilliant new collection which drops on the same day from the same label. It is a coming together of eight super-rare cuts of guitar and organ inventiveness taken from the five albums the band recorded between 1981 and 1987 for Discos Universal. You would beard pushed to find any Cumbia from the Peruvian jungle that hits as hard as this with its incessant rhythms, mad acoustic guitars and bustling percussion.

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

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

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

Released on the heels of her breakthrough album Tapestry, Carole King's Music is every bit the equal of its more famous predecessor: a No. 1 smash that features impeccable songwriting, beautiful melodies, and extraordinary piano playing. In short, everything that's made King an institution. After of years of being overshadowed, this 1971 singer-songwriter classic has been given the audiophile treatment it's long deserved.

Sourced from the original master tapes and pressed on dead-quiet vinyl at RTI, Mobile Fidelity's numbered-edition 180g LP of King's second solo masterpiece is rife with intimacy, transparency, soulfulness, and you-are-there sound. Never before remastered, Music seems like a brand-new album as King's familiar voice, intelligent arrangements, and ace support band presented on a deep, three-dimensional soundstage. Your appreciation for and understanding of the depth of King's inspirational lyrics and performances will doubtlessly increase — this reissue brings you that much closer.

Accompanied by percussionist Bobbye Hall, drummer Russ Kinkel, guitarist/vocalist James Taylor, and a multitude of other professional wind musicians, King delves further into R&B and jazz-derived pop. Warm and cohesive, songs echo with simplicity and honesty. And as is typical of much of King's work, several of tunes here were later covered by other artists, including "It's Going To Take Some Time" (the Carpenters). Yet the originals trump the later renditions, and King's rendition of the standard "Some Kind of Wonderful" stands among the best ever recorded.

With Taylor lending more of a hand on Music than he does on Tapestry, King expands her reach on the piano and peppers the songs with graceful touches of saxophone, flute, pedal-steel guitar, and woodwinds. Ballads sway ("Surely"), gospel raises spirits ("Brighter"), and backup vocals float amid pop arrangements like clouds ("Song of Long Ago"). The most irresistible aspect? King's voice, infused with fondness, concern, joy, and a quiet power that parallels the delicacy and deliberate nature that define Music.

Mobile Fidelity's 180g LP is free of the limiting artifacts that have helped keep this record in the dark for the better part of the 80s, 90s, and early 2000s. Acoustic guitars, subtle brass elements, and soft percussion contribute to the enjoyment of the songs, and King's voice —pleasant, assuring, emotional — comes through with incredible clarity and inflection. The brilliance of Lou Adler's original production is restored to its full glory.

Aptly named, this companion to Tapestry is an aural and sonic delight.

Limited Gold Vinyl

Son Lux reemerge with their forthcoming fifth full-length LP, Brighter Wounds, finding the trio in command of a daring, multidirectional sound, expressing naturally the proclivity for surprise and contrast that characterize the project's output. The new release explores the violence of love, the beauty of sacrifice, and the specter of impermanence.Anchored by its cinematic heart, All Directions,' the album ranges from the thunderous charge of Dream State' to the sputtering, soulful lilt of Slowly.' Ryan Lott's devastating vocal on "Aquatic," guitarist Rafiq Bhatia's blooming flower melismas on "Labor," and drummer Ian Chang's nearly inhuman rhythmic calculus on "The Fool You Need" illuminate a curious and delicate balance of precision and pain.Since 2015's Bones, the band's profile has grown in the worlds of music, dance, and film. Each member now charts their respective solo paths, and their individual adventures find a home within the purview of Son Lux. On Brighter Wounds, collaborators range from longtime cohorts Rob Moose (Y Music, Bon Iver, The National) and DM Stith (Sufjan Stevens), to new friends trumpeter Dave Douglas and reedist/instrument builder Arrington de Dionyso.Son Lux has made invention its hallmark through continued exploration and experimentation. With Brighter Wounds, the triad NPR proclaimed the world's most lethal band" now grips exhilaration and heartache in full embrace. In the words of the album's closing refrain, "is this what the resurrection feels like"

Die mysteriöse Atmospheric Death-Doom-Band JADE entfesselt mit 'The Pacification Of Death' unergründliche Tiefen in klangvoller Verderbtheit sowie atmosphärischer Dunkelheit. Mit unheimlicher Finsternis und überwältigendem Riffing haben Jade ein erstklassiges Genre-Debüt aufgenommen.
Aufgenommen, gemischt und gemastert von Javi Félez in den Moontower Studios, Barcelona (Graveyard, Teitanblood, Foscor, etc.) sowie erstaunliches handgemaltes Artwork des Zeichners Adam Burke (Loss, Occultation, Vektor, Evoken, etc.).

Powermetal:
"...Das Cover weist schonmal in eine gute Richtung, da es auch recht viel Ambiente mit sich bringt. Als ich dann in "Pacification Of Death" eintauchen konnte, wurde trotzdem die Frage nach dem Genre nicht endgültig geklärt. Einerseits fühlt man sich in einigen Momenten an Death Metal erinnert (jedoch nicht der alten Schule aus den USA), viel öfter klingt das jedoch noch Black Metal, aber lässt sich auch hier nicht komplett einordnen. Doch wozu das ganze Geschwafel um das Genre, wenn wir es hier mit einem wirklich hochklassigen Album zu tun haben. Das Trio hat ein Brett eingespielt, das sich nicht so ganz einordnen lässt und das ist auch gut so, denn dadurch wird es spannend. Sechs Kompositionen finden sich auf dem Album und diese sind auch in sich recht abwechslungsreich..."

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

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

Ys is a generous debut. Raw, courageous.

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

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

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

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

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

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

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

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

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

Experimental - Ambient - Tribal Ambient Mathias Delplanque was born in 1973 in Ouagadougou, Burkina Faso. He lives and works in Nantes and cultivates close links with the spheres of ambient, electronic, electro-acoustic and concrete music as well as dub and field recording. A rather elusive character, discreet but prolific, who can be found in the credits of dDamage or Ghislain Poirier's records as well as behind the mixing board for Charlélie Couture, when he doesn't have fun under the name of Lena releasing fabulous minimal dub albums on excellent labels such as Belgian Quatermass.Mathias Delplanque is also known for his ex- cursions as well as for his collaborations with various musicians using traditional instruments: the Korean E'Joung-Ju (geomungo player in the Keda duo), or the Nazairian François Robin (veuze, duduk and mizmar player).

Die schwedischen Progressive-Rock-Legenden The Flower Kings und ihr langjähriger Labelpartner InsideOutMusic starten 2022 eine umfangreiche Reissue-Kampagne, in deren Rahmen der gesamte Katalog der Band auf CD und Vinyl in remasterten Ausgaben neu aufgelegt wird, wobei viele der Alben zum ersten Mal auf Wachs erhältlich sein werden. Das nächste Album in dieser Reihe ist das siebte Album der Band, 'Unfold The Future', das ursprünglich 2002 veröffentlicht wurde. Es ist das erste Album, auf dem Schlagzeuger Zoltan Csörsz zu hören ist, und auf dem auch Daniel Gildenlöw von Pain of Salvation als Gastsänger zu hören ist. Das Album wird als Ltd. 2CD Digipak & Gatefold 180g black 3LP+2CD & LP-Booklet (zum ersten Mal!) erhältlich sein, beide mit remastertem Audio und neuem Artwork & Fotos.

The liner notes for "The Inner Mounting Flame" were written by the guru Sri Chinmoy – now that’s a real sales point! The music too burns right from the very first note to the last as though it were licked by the flames of hell fire. The wealth of ideas, sheer vitality and supreme soloistic virtuosity of the five top-notch musicians from four different countries is absolutely first class.

In addition there is their truly dreamlike interplay; one could say they were born and grew up with the same 'spirit'. "Meeting Of The Spirit", "The Dance Of Maya" and "You Know You Know" are the highlights of this first Mahavishnu Orchestra. Aspiration – struggle, hope and desire – is seen as an inner mounting flame which takes man towards 'divine perfection'. Well, opinions differ of course. But what is certain is that this music from 1971 is still amazingly fresh and creative even 36 years later – and luckily it is available once again in the form of a vinyl disc.

Die Martens Army, wie man sie kannte, wird nach dem Ableben ihres Drummers Fabi wohl nie wieder dieselbe sein. Aber dennoch muss es irgendwie weitergehen, denn das Leben schreibt weiterhin Geschichten, die erzählt und verarbeitet werden müssen.Aus diesem Grunde rückte auch das englischsprachige Musikprojekt zwischen Fabi und Stöbi namens "Skinhead Pride" schon aus Nachlassgründen in den Vordergrund.Seit mehr als 8 Jahren wurde an den Songs und den Texten gefeilt, die nun endlich ihren Abschluss fanden. Stöbi hat seine besten Mannen um sich geschart um ein spielerisch, sowie gesanglich hochwertiges Ergebnis zu erzielen. Mit talentierten Musikern wie Tim Steinfort (Gesang), Karsten Fiebig (Gitarre) und Rick Groenewegen (Bass) greifen die creme de le creme der deutschen und internationalen Oi! Szene an und präsentieren einen Sound, der in der heutigen Szene seinesgleichen sucht. Jeder einzelne Song ist durchdacht aufgebaut, grandios vertont und mit Gänsehautchören unterlegt, ohne irgendeinen Ausfall.Die Lieder reichen von schnellen melodischen Hymnen wie "Skinhead Rock´n´Roll" über eher szeneuntypischen aber dennoch grandiosem Rock a la ACDC ("My throat is calling for beer") bis hin zu eher ruhigen Nummers wie "Phoenix rising", welche auch dem härtesten Kerl die Tränen in die Augen treiben können. Dennoch bleibt man uneingeschränkt seinen Skinheadwurzeln treu.Diese eher besondere Plattenreihe der Martens Army wird zukünftig insgesamt 2 Alben umfassen, welche ausschließlich in englischer Sprache veröffentlicht werden. Dies bedeutet für Allrounder Stöbi allerdings nicht, dass er nicht bereits wieder an neuem deutschsprachigem Material arbeitet. Es bleibt also spannend bei den Jungs…..aber jetzt ist erstmal Zeit für "A Skinhead's Pride Part 1"!!!

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

Neuauflage des Albumklassikers von 1980, aufgenommen im Channel One Studio und abgemischt in King Tubbys Studio von Scientist. Der Produzent Henry 'Junjo' Lawes engagierte folgende Musiker: Bass: Errol 'Flabba' Holt, Drums: Santa Davis, Sly Dunbar, Style Scott, Guitar: Sowell, Bingy Bunny, Melodica: Jimmy Becker, Organ/Piano: Ansel Collins, Steely, Gladstone Anderson, Percussion: Bongo Herman, Sky Juice, Sticky Thompson, Saxophone: Headley Bennett, Trombone: Val Bennett, Trumpet: Bobby Ellis

2022 Repress

Jet-setting Irish duo Bicep return to Will Saul's Aus label with two steady analog techno grooves ready for deployment in either their own wildly celebrated sets or those of any DJ looking for modern dance tracks that are still faithful to the classics - this is techno that hasn't forgotten where it came from, essentially. Using gritty, vintage-sounding rhythm sections as solid foundations, each track gradually builds up its own lush, melodic embellishments overtop - 'Circles' stays true to its name with a cyclical main melody, shadowy bass and fuzzy house pads, whereas 'NRG106 sets spacey, dramatic chords and breathy vocals against the insistent, chittering machine percussion. As usual these two esteemed bloggers / DJs / artists / all around polymaths prove themselves to be paragons of taste, but here it's clear that they are also steadily growing as producers, taking on different styles with aplomb and making it all look much easier than it really is.

Christian Scott aTunde Adjuah, Nachkomme einer großen Künstlerfamilie aus New Orleans. Neffe von Donald Harrison, Jr. und Enkel des legendären Big Chief Donald Harrison Sr. (d. 1998) und New Orleans Legend Award Preisträger, Herreast J. Harrison. Er ist außerdem der eineiige Zwillingsbruder des ausgezeichneten Regisseurs Kiel Adrian Scott, einem Schützling Spike Lees. Als Vater der "Stretch Music" und Designer innovativer Trompeten, bringt Christian den Jazz auch mit seiner Stretch Music App technologisch auf ein neues Level. 2007 wurde er für den Grammy nominiert und 2010 und 2012 erhielt er den renommierten Edison Award. 2008 bat ihn der Regisseur Steven Soderbergh eine kleine Rolle neben George Clooney in dem Film ,Ein verlockendes Spiel" zu übernehmen.

Ahem is a new project from Housecraft Recordings head Jeffry Astin (aka Xiphiidae, Digital Natives) along with co-conspirators J.P. Wright and Brian Kinkade. Recommended for fans of smoked out dub-bient and deep Appalachian drones.


-Cover art by Joe Roberts (LSD Worldpeace)

-Housecraft Recordings has been active as a cult favorite ambient/tape label for ~20 years now.


Quotes and reactions:

-“Jeffry Astin was the Dominique Wilkins of the early 2000s tape scene” -Tabs Out Podcast (episode #92)

-“Honestly too fire” -Ian Kim Judd (Fifth World/NTS)

-“Great record!” -Hank Jackson (Anno Records)

-“Super nice” -Jacob Gorchov (Palto Flats)

-“Massive” -Eli Libman (Quiet Time Tapes)

I Prevail haben sich als die Vorreiter ihres Genres etabliert. Das neue Album, das erneut von Tyler Smyth produziert wurde, bietet die Art von stadiontauglichen Riffs, die einem die Zähne aus dem Zahnfleisch
klappern lassen, und unvergessliche, äußerst eingängige Melodien, die sich wochenlang im Kopf festsetzen.

Außerdem mischt die Band abwechselnd geschriene Vocals, die klingen, als wären sie aus den Tiefen der Hölle gekrochen, mit hochfliegenden, gefühlvollen Vocals und zu Herzen gehenden, intimen Texten, die so tief gehen, dass sie das Mark treffen. Das Endergebnis ist ein Album, das den Hörer auf sehr persönliche Weise berührt.

I Prevail haben sich als die Vorreiter ihres Genres etabliert. Das neue Album, das erneut von Tyler Smyth produziert wurde, bietet die Art von stadiontauglichen Riffs, die einem die Zähne aus dem Zahnfleisch
klappern lassen, und unvergessliche, äußerst eingängige Melodien, die sich wochenlang im Kopf festsetzen.

Außerdem mischt die Band abwechselnd geschriene Vocals, die klingen, als wären sie aus den Tiefen der Hölle gekrochen, mit hochfliegenden, gefühlvollen Vocals und zu Herzen gehenden, intimen Texten, die so tief gehen, dass sie das Mark treffen. Das Endergebnis ist ein Album, das den Hörer auf sehr persönliche Weise berührt.

Qntal veröffentlichen nach langem Warten mit „Time stands still“ ein neues Album, dass seine Hörer atemlos zurücklassen wird. Die sphärisch anmutenden 11 neuen Albumtracks zeigen mal wieder, dass Qntal Morderne und Mittelalter in Perfektion verschmelzen können.
Erhältlich als: Digipak CD, Vinyl, Lenticular Digipak & Digital

Auf dem neuen Album „Time stands still“ wenden sich Qntal mit ihren modernen Arrangements wieder verstärkt unserer Zeit zu. Die Virtuosität ihrer Musik, verbunden mit den organischen Klängen der elektronischen Musikanteile, zeigt einmal mehr, dass Qntal Meister ihres Faches sind. „Time stands still“ ist die perfekte Verschmelzung von Moderne und Mittelalter und schafft den Brückenschlag von Tanzbarkeit und Avantgarde.

Qntal veröffentlichen nach langem Warten mit „Time stands still“ ein neues Album, dass seine Hörer atemlos zurücklassen wird. Die sphärisch anmutenden 11 neuen Albumtracks zeigen mal wieder, dass Qntal Morderne und Mittelalter in Perfektion verschmelzen können.
Erhältlich als: Digipak CD, Vinyl, Lenticular Digipak & Digital

Auf dem neuen Album „Time stands still“ wenden sich Qntal mit ihren modernen Arrangements wieder verstärkt unserer Zeit zu. Die Virtuosität ihrer Musik, verbunden mit den organischen Klängen der elektronischen Musikanteile, zeigt einmal mehr, dass Qntal Meister ihres Faches sind. „Time stands still“ ist die perfekte Verschmelzung von Moderne und Mittelalter und schafft den Brückenschlag von Tanzbarkeit und Avantgarde.

red/clear splatter vinyl

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

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

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

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

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

Tombolo Rumble Vol I. is here! The first volume of a list of selected releases by different artists from around the globe. Proud to be presenting four tracks by four upcoming and established legends on the panorama of electronic music: Unknown Mobile, DJ Dog, Poly Chain and Abdul Raeva.

First artist on the list is Unknown Mobile, an amazing producer and dj based in Montréal, Canada. You may know him well from his well received releases across some of the dance sphere labels like Planet Euphorique or Pacific Rhythm among others. What you can find in his track is a 4×4 upbeat house atmosphere that goes along with crazy synths, and a beautiful armony creating a perfect melting for the dancefloor. Second track is by DJ Dog, the fun aka of DJ Fett Burger, a Norwegian legend based in Berlin founder of projects such as Sex Tags Mania or Trushmix. He comes with a downtempo, jumpy track, with very fun percussions and synths that will make you feel as if you are walking on Mars. Third track is by Estonian duo Abdul Raeva. Huge track for the club, upbeat techno with acid baselines on a fast bpm percussion. And last but not least, we have Poly Chain, a Ukranian artist that is getting a lot of attention due to her strong mixes as well as her productions, delivering some fat broken beats with acid baselines as well.

Correspondance ist ein gemeinsames Album des Berliner Produzenten Figub Brazlevic und des Pariser Produzenten Parental.
Auf insgesamt 14 Tracks schaffen die beiden Produzenten Parental und Figub Brazlecvic eine musikalische Brücke zwischen Deutschland und Frankreich. Mit dem Besten aus dem
Soundrepertoire beider Länder kochen die beiden Beat-Enthusiasten ein wunderschönes Album und würzen jeden der 14 Gänge mit den schmackhaften Klängen von jazzigen
Saxophon- und Klaviermelodien und garnieren es mit der Extraportion Liebe und gut gewürzten Drums. Et Voilá c'est très manifique – Bon Appétit!

Die seit langen Jahren als Partner zusammenarbeitenden, mit dem GRAMMY® Award ausgezeichnete, Bassist David Ellefson und der gefeierte Metal-Sänger Jeff Scott Soto haben sich für ein neues Projekt zusammen getan: Ellefson/ Soto- Vacation In The Underworld. Ganz in der Tradition großartiger Duos wie: David Coverdale & Jimmy Page, Tony Iommi & Glenn Hughes, Tommy Shaw & Jack Blades, Michael Sweet & George Lynch, um nur einige Beispiele zu nennen. Das Album enthält elf Tracks und drei Bonusaufnahmen, die zeigen, warum Ellefson-Soto von vielen in der Metal-Welt als Legenden angesehen wird. Von der feurigen Gitarrenführung des Album-Openers "Vacation In The Underworld" bis zur Prog-Metal-Wut des Closers "Rise To Win" haben Ellefson/Soto ein Debüt geschaffen, das Metal-Fans aus der ganzen Welt fesseln wird. Songs wie "Sharpen The Sword", "The Revolution" und "Live To Die Another Day" kombinieren verschiedene Stile und zeigen die verschiedenen Einflüsse, die Ellefson/Soto in ihren vier Jahrzehnten in der Musik gesammelt haben. Jade Etro von der italienischen Power-Metal-Band Frozen Crown hat einen Gastauftritt bei "The Day Before Tomorrow". Steve Conley und Ken Mary von Flotsam & Jetsam performen auf dem Titeltrack "Vacation In The Underworld". Vacation In The Underworld entzündet eine mitreissende aus Thrash-Feuerkraft, Rock-Swagger und hymnischem Arena Donner.

Born in Los Angeles to fourth generation Angelenos, Garrett’s childhood was surrounded by music. The afternoons spent at his uncle’s boxing gym in Montebello introduced him to jazz, and the restaurants he worked in as a teenager exposed him to stars such as Cal Tjader and Eddie Cano. In 1973, Garrett re-emerged in the scene rejuvenated and recalibrated releasing “En Medio” - a singular vision, a multi-genre blend of Latin rhythm, headhunter-inflicted funk, and Arkestra jazz, one that could have only come from LA. Today, Garrett is ready to meet his fans, and make many more, as he wraps up his entry in the Jazz Is Dead series and records new music for the first time in decades.

Orange Vinyl


Born in Los Angeles to fourth generation Angelenos, Garrett’s childhood was surrounded by music. The afternoons spent at his uncle’s boxing gym in Montebello introduced him to jazz, and the restaurants he worked in as a teenager exposed him to stars such as Cal Tjader and Eddie Cano. In 1973, Garrett re-emerged in the scene rejuvenated and recalibrated releasing “En Medio” - a singular vision, a multi-genre blend of Latin rhythm, headhunter-inflicted funk, and Arkestra jazz, one that could have only come from LA. Today, Garrett is ready to meet his fans, and make many more, as he wraps up his entry in the Jazz Is Dead series and records new music for the first time in decades.

Padang Moonrise is the story of modern Indonesian music
that emerged underneath the volcanoes of Java and
Sumatra. Java, the most populous island in the archipelago
of over 17,000 islands and 1300 distinct ethnic groups, and
its capital city Jakarta, was where most of the post-colonial
national identity, politics, administration and music production
was centred.
Traditional songs from Java, Sumatra, Bali and beyond were
re-imagined by a small group of state-sponsored musicians
that also composed and arranged new music. These songs
aimed at consolidating a geographically disparate country
with a new language and new ideas of national character.
This compilation brings together a handful of these recordings
that combine elements of regional popular music, Islamic
Gambus, Javanese & Balinese Gamelan and Kroncong, with
jazz, Afro-Latin music & instrumentation, and vocal harmonies
influenced by banned American doo-wop and rock & roll.
The results are a unique blend of styles that have remained
mostly insulated from the world outside of Indonesia until a
recent worldwide resurgence in the interest of recorded music
of all forms has shone a new light on these nearly forgotten
recordings.
27 tracks compiled by Miles Cleret, on double vinyl with bonus
7”, housed in gatefold sleeve with extended liner notes.

LP including booklet with extended liner notes. Channeling wild seventies Impulse vibes, even resonating the guts of early Art Ensemble of Chicago and the tempering spirit of Max Roach's 'We Insist' era: BRAHJA is soul searching their spirit on 'Watermelancholia'.

Devin Brahja Waldman is a New York saxophonist, drummer, synthesizer player and composer who leads the group BRAHJA. Waldman has accompanied his aunt, poet Anne Waldman, since the age of ten. Waldman is a co-founding member of Radical Reversal, Diva of Deva Loka, and Notable Deaths. He has performed with Patti Smith, William Parker, Nadah El Shazly, Malcolm Mooney, Thurston Moore, Godspeed! You Black Emperor, Charles Hayward, Luke Stewart and Yoshiko Chuma. Waldman is also a member of NYC's Heroes Are Gang Leaders (led by poet Thomas Sayers Ellis and saxophonist James Brandon Lewis), of Sam Shalabi's Land of Kush, and of the Norwegian hardcore group MoE.

As a youngster, Waldman was taken under the wing of avant-garde giant Paul Bley. Along with Anne Waldman and cousin Ambrose Bye, Waldman is a co-producer for Fast Speaking Music -a NYC poetry and music label which has released recordings with Amiri Baraka, Meredith Monk, William Parker, Laurie Anderson, Eileen Myles, CAConrad, Fred Moten, Daniel Carter, Clark Coolidge, Thurston Moore, Joanne Kyger and many others.

Ancient to the future 2.0

Watermelancholia is about the law of Karma:
a law so obvious that it often goes unspecified and ignored.
Neglecting this law invites a world of chaos.
It's been articulated in endless ways.
Some have called it Cosmic Law or Natural Law.
Others translate it as Do No Harm.

(liner notes excerpt)

The moment the first bass note of Luke Stewart kicks in on 'Watermelancholia', followed by the swelling drum roll of Malick Koly and the lush leading voice of Janice Lowe you feel Devin Brahja will take you on a deep mind-blowing spiritual journey.


Channeling wild seventies Impulse vibes on 'O.P.K' or, could we say, even resonating the guts of early Art Ensemble of Chicago and the tempering spirit of Max Roach's 'We Insist' era: BRAHJA is soul searching their spirit on 'Watermelancholia'.


A poetic stream of consciousness, backboned by top-notch musicians, transcending the cosmic universe, trying to find answers and musically connecting.


Watermelancholia is a meditation on healing the inner schism between the sense of self - the ego - and the inner being. It is about bringing the ego to justice; putting it on trial, as it were.

Latvian producer mu tate joins Utter with the ‘Faded’ EP, a collection of five mesmerising ambient electronica pieces.

mu tate - real name Artur Strekalov - has been diligently and unceremoniously weaving his musical magic for the past half-decade. ‘Faded’ walks the same spectral path as his feted album ‘Let Me Put Myself Together’ (Experiences Ltd, 2020), which introduced many to Strekalov’s highly atmospheric, blissed-out sonic explorations. The EP glides along, each track enveloping the listener in a cocoon of undulating frequencies and ghostly rhythm, softly contained yet stretching out beyond into wide open space. Delicate, crackling sparks fizz in and out of perception above.

It’s a trip alright!

‘Faded’ is available on limited vinyl and digital formats, mastered and cut by Anne Taegert at D&M. Artwork by AS, laid out by Alex Egan. A special insert designed by Art Crime is also included with physical copies.

Dopeness Galore / Records We Release
"A newfound father's attempt to pass wisdom on to his children."

- Spring 2019 -

"As my girlfriend’s pregnancy was steadily treading along, I settled into my home studio in the attic of our new house. In our previous apartment I had a tiny room which could hardly fit my recording gear, let alone my drums which were still sitting at my parents’ house eating dust. Now that we’d moved into a bigger place, I had confiscated a part of the top floor to build my studio. This time I had just enough space to fit my drum set together with other percussion instruments, Fender Rhodes and synths. This sparked a whole new world of creative opportunities.

At the same time I also started to think about what kind of wisdom I would want to pass on to my children. I started writing down my thoughts. Little anecdotes, ponderings and things to think about as a human being.

These two events took place in parallel and once I actually started jotting down my first compositional ideas I saw the concept right there in front of me bright as day.

This LP has been written and recorded as inspiration to think about things and to keep re-thinking again and again to strengthen the knowledge of self.

Fruit Distro Collective is heavily inspired by Jazz composition, Hiphop drum sounds and the percussive elements of Afrobeat and Afro latin styles. "

Nocturne, the critically acclaimed sophomore album by Wild Noth- ing, is a window into singer/songwriter Jack Tatum’s “ideal world” of pop music. Written largely while living in Savannah, GA during 2011, the songs that became Nocturne blur the lines between Tat- um’s influences and personality. The album features some open ref- erences to past music just as his hit debut Gemini did, but it’s also an album that feels much less rooted in anything in particular, and marks a distinct evolution in songwriting for Wild Nothing.

Gemini was written before there were Wild Nothing fans or even a live band; Nocturne is different. With an unexpected new fan base to turn to, Tatum spent more time perfecting his craft. The obsessive- ness of Nocturne is inherent in it’s gentle harmonies, orchestrated synths, wandering voice, and songs that speak to his post-Gemini experiences as he explores new paradoxes of pop. And yet, Noc- turne isn’t obvious, it is a strange and distinctive musical beast, the product of an obsessive pop vision that creates its own reality.

AN EXCLUSIVE NEW LABEL DEDICATED TO JAZZ, HARD BOP, R&B AND SOUL MASTERPIECE IN STRICTLY LIMITED CLEAR VINYL EDITION.

Limited Clear Vinyl edition, 500 copies! “Bossa Nova Soul Samba” came as Ike Quebec’s best contribution to the fruitful marriage between Jazz and Brazilian music. Recorded in 1962 and released on Blue Note in the same year. this was Quebec’s final recording before his death in January 1963. A beautiful studio session dominated by Quebec’s tenor sax warm tone and the light and gentle groove provided by Kenny Burrell - guitar, Wendell Marshall - bass, Willie Bobo - drums and Garvin Masseaux - chekere.

AN EXCLUSIVE NEW LABEL DEDICATED TO JAZZ, HARD BOP, R&B AND SOUL MASTERPIECE IN STRICTLY LIMITED CLEAR VINYL EDITION.

Limited Clear Vinyl edition, 500 copies! “Bossa Nova Soul Samba” came as Ike Quebec’s best contribution to the fruitful marriage between Jazz and Brazilian music. Recorded in 1962 and released on Blue Note in the same year. this was Quebec’s final recording before his death in January 1963. A beautiful studio session dominated by Quebec’s tenor sax warm tone and the light and gentle groove provided by Kenny Burrell - guitar, Wendell Marshall - bass, Willie Bobo - drums and Garvin Masseaux - chekere.

AN EXCLUSIVE NEW LABEL DEDICATED TO JAZZ, HARD BOP, R&B AND SOUL MASTERPIECE IN STRICTLY LIMITED CLEAR VINYL EDITION.

Limited Clear Vinyl edition, 500 copies! “Bossa Nova Soul Samba” came as Ike Quebec’s best contribution to the fruitful marriage between Jazz and Brazilian music. Recorded in 1962 and released on Blue Note in the same year. this was Quebec’s final recording before his death in January 1963. A beautiful studio session dominated by Quebec’s tenor sax warm tone and the light and gentle groove provided by Kenny Burrell - guitar, Wendell Marshall - bass, Willie Bobo - drums and Garvin Masseaux - chekere.

In celebration of the Cars' Rock and Roll Hall of Fame induction in April 2018, one of the legendary group's most iconic albums - Shake It Up - has been reissued in an Expanded 180g 2LP-set. Remastered edition of the original album with rare unreleased bonus tracks. An Illustrated booklet accompanies the music and contains liner notes written by renowned rock journalist David Fricke, who details the history of the album with new interviews by band member David Robinson.

The Cars recorded Shake It Up in 1981 at Syncro Sound, the band's newfound studio in Boston, with producer Roy Thomas Baker. Working in their own space afforded them the time to perfect the sound of the album, which became their third-straight Top 10 hit record and sold more than two million copies. It features the unforgettable singles "Since You're Gone," "Think It Over" and the title cut, the latter serving as their first Top 10 hit. Several unreleased tracks make their debut on Shake It Up: Expanded, including an early version of "Since You're Gone," the demo for "Shake It Up" and an unreleased song called "Midnight Dancer."

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

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

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

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

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

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

VINYL COLOUR IS GREY. BORSTAL, the UK-Hardcore band featuring Nick Barker (Brujeria, ex-Dimmu Borgir, Cradle Of Filth) & Pierre Mendivil (Knuckledust) release details of brand new 2 track 7". Produced by Russ Russell (Napalm Death/The Exploited/At The Gates). The 2 songs are a follow up BORSTAL's debut EP "At Her Majesty's Pleasure". The 7" record is a collaboration between Rucktion Records & 4 Family Records. Both labels are offering different variants and bundles of the 7" in extremely limited quantities. Pressed on heavyweight Vinyl and including a free download code! Front man 'Pierre' comments on the new video 'No Surrender'; "This song is inspired by confronting the defeatist mentality that society seems to want to push on us, on so many levels! And even in ourselves as we battle everyday to try better and strengthen our mental attitude just to deal with life these days." BORSTAL Guitarist 'Lee' continues "It's nice to finally get some fresh music out there. We recorded these 2 songs in 2021 with our brother Russ Russell. But due to delays with pressing plants and so on, we got held up! I feel like our sound is really coming together now, and these new tunes are just a teaser for what's to come. We've nearly finished writing our full length too, so they'll be news to follow that soon". The cover artwork for the 7" is by Australian artist Mick Lambrou. Mick has recently designed t-shirts, flyers and artwork for the likes of hardcore legends Agnostic Front, Madball & Slapshot.

180g double LP, black vinyl, 45 RPM. Berlin-based psychedelic post-punk group The Third Sound (led by Brian Jonestown Massacre guitarist Hákon Adalsteinsson) are set to release a new Fuzz Club Session LP on December 9th. Recorded live at Berlin's Marie Antoinette club, the 10-track double album sees The Third Sound perform a discography-spanning set with tracks from last year's highly-praised 'First Light' LP (2021), 'All Tomorrow's Shadows' (2018), 'Gospels of Degeneration' (2016), 'The Third Sound of Destruction and Creation' (2013) and 'The Third Sound' (2011). The session is released on vinyl, digitally and as a series of videos by Fuzz Club Records. It's number 19 in the London label's ongoing Fuzz Club Session series which has also seen the likes of A Place To Bury Strangers, Night Beats, Holy Wave, Heaters, The Entrance Band, The Myrrors, Lumerians, The Underground Youth, 10000 Russos and more.

After previously releasing stand-out music on labels such as VEX, DPR, Rhythm N Vibe, Obstacle Records and on his own imprint Moodwing, DJ Perception has decided the time is right to truly express himself via the album format. As the standard bearer of modern UKG and after 1.5 years in the making Timehri is extremely proud to finally unveil DJ Perception's debut album, Journey To The Star. A 2x12" LP built for millennia in the future, retrieved during Perception’s deep exploration through space, guided by a faint starlight in the outer reaches and beamed back to earth for your listening pleasure.

As a forward thinking bridge between UK Garage and House music, Timehri Records has established itself as a fiercely independent, leading contributor to the underground scene in the UK and overseas since its inception. Three records deep, production guest mixes via cassette and events for the sonic purist provide the output for this label, who’s emphasis on heritage and the afrofuturistic ideas that underpin it, hold huge importance.

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

Milly make songs that simmer and spark. The Los Angeles-based band, led by songwriter Brendan Dyer, finds power in the slow burn: their music carries the tension of a lake’s surface moments before a storm hits, or a cracking pane of glass moments before it shatters. Their debut album, Eternal Ring, is kinetic, physical, and often a little bit volatile — a mixture of emo music and 90s-indebted indie that tastes as if it’s been fermenting for years, feeding on itself until it becomes something new entirely. A profound first full-length statement from Dyer and his closest collaborator, bass player Yarden Erez, it’s a record that takes the anxiety of modern-day America and filters it through a prismatic, powerfully individualistic lens, resulting in something intense, bracing, and deeply modern

The crown jewel of Finnish Death Metal, reissued in a band-approved new 30th anniversary edition. Features a new vinyl master from the original source by Noise for Fiction, plus a booklet with a lengthy feature by Hippo Taatila and some visual memorabilia. As an added vinyl bonus there's a large poster by the original cover artist Rob Smits creating a new vision of the album cover for the new millennium. Together with bands like Demilich, Abhorrence, Disgrace, Xysma and Sentenced, Demigod from the wastelands of Loimaa, southern Finland, put Finland on the map in the global death metal scene in the late 80's and early 90's. Having risen to underground fame with their demo Unholy Domain, Slumber of Sullen Eyes was a hugely expected debut album. When it was finally released in 1992 after a complicated creation process at Tico-Tico Studios in northern Finland, it was received with open arms and drooling excitement by the then very active underground death metal scene. That scene was, however, short lived,and by 1994 pretty much every band had switched from death metal to something else entirely. What was left after the bands had left the building was a number of classic albums that constitute the legacy of Finnish Death Metal. Among them, Slumber of Sullen Eyes is one of the most original and ferocious. There was nobody like Demigod.

The crown jewel of Finnish Death Metal, reissued in a band-approved new 30th anniversary edition. Features a new vinyl master from the original source by Noise for Fiction, plus a booklet with a lengthy feature by Hippo Taatila and some visual memorabilia. As an added vinyl bonus there's a large poster by the original cover artist Rob Smits creating a new vision of the album cover for the new millennium. Together with bands like Demilich, Abhorrence, Disgrace, Xysma and Sentenced, Demigod from the wastelands of Loimaa, southern Finland, put Finland on the map in the global death metal scene in the late 80's and early 90's. Having risen to underground fame with their demo Unholy Domain, Slumber of Sullen Eyes was a hugely expected debut album. When it was finally released in 1992 after a complicated creation process at Tico-Tico Studios in northern Finland, it was received with open arms and drooling excitement by the then very active underground death metal scene. That scene was, however, short lived,and by 1994 pretty much every band had switched from death metal to something else entirely. What was left after the bands had left the building was a number of classic albums that constitute the legacy of Finnish Death Metal. Among them, Slumber of Sullen Eyes is one of the most original and ferocious. There was nobody like Demigod.

Never before released on vinyl, this album captures masters of technical brutal death metal Cryptopsy live in Montreal, 2002. It is also the only recorded performance by the band's then-new vocalist Martin Lacroix, who departed soon after. It is a "truly crushing affair" (Metal Crypt), and the setlist features a great selection of Cryptopsy's classic tracks and is considered by many a fan as the greatest live death metal album ever.

Never before released on vinyl, this album captures masters of technical brutal death metal Cryptopsy live in Montreal, 2002. It is also the only recorded performance by the band's then-new vocalist Martin Lacroix, who departed soon after. It is a "truly crushing affair" (Metal Crypt), and the setlist features a great selection of Cryptopsy's classic tracks and is considered by many a fan as the greatest live death metal album ever.

My Idea with these series of 10” records was to do 5 in around a year to 18 months. This got scuppered by the situation at world pressing plants with the extreme wait for records.

The tracks are all taken from my live set which I’ve been doing over the last few years which has taken in some huge gigs and festivals including Houghton, Dimensions, Ion and extensive club gigs too.

All of them have the dance floor funk and the artwork is from long term design partner Lung.

The vibe on these is rolled plasticine using a different coloured vinyl each time. So making the series quite collectable too.

Lord of Dem Tings is a tribute to the late great Lee Scratch Perry and theres a nod to him on the sticker for this one.

Pharoah Sanders‘ drittes Impulse!-Album, „Karma“ von 1969, ist ein Meilenstein der Spiritual-Jazz-Bewegung
und eine natürliche Weiterentwicklung der musikalischen Erkundungsreisen, die Sanders, zusammen mit
John und Alice Coltrane, in den fünf Jahren zuvor geführt hatte. ”The Creator Has a Master Plan”, einer
der beiden langen Tracks auf dem Album, wird oft als Hymne des Spiritual Jazz bezeichnet.
VERVE ACOUSTIC SOUNDS SERIE: Stereo, komplett analog von Ryan K. Smith bei Sterling Sound
von den Originalbändern gemastert, QPR-Pressung (180 g), stabiles Tip-On-Gatefold (Stoughton Printing), wattierte Innenhülle

RUN-D.M.C.'S PATH-BREAKING SELF-TITLED DEBUT BENEFITS FROM DEFINITIVE RESTORATIVE TREATMENT
Mastering Source to Be Determined Closer to Production Date


The impact, influence, and importance of Run-D.M.C.'s self-titled debut – the album that invented hardcore hip-hop and bridged rap, rock, and funk in then-unparalleled ways – cannot be measured. The first full-length record released by Profile Records, the 1984 set permanently changed the sound of music, broadcast streetwise wisdom to every corner of the country, and made the notion of a one-man band a distinct reality. Produced by Russell Simmons and Larry Smith – and bolstered by an incendiary blend of staccato deliveries, stark beats, aggressive exchanges, evocative hooks, and socially conscious messages – Run-D.M.C. still hits listeners in the jaw with the same intensity it did nearly 40 years ago when it could be heard booming from ghetto blasters carried around city blocks nationwide.

Sourced from the original master tapes and pressed on MoFi SuperVinyl, Mobile Fidelity's numbered-edition 180g SuperVinyl 33RPM LP is the definitive-sounding version of this groundbreaking work.

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

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

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

2nd installment in RZA's brandnew 2022 Bobby Digital Trilogy on Electric Blue vinyl! Rza returns with the second of his three record Bobby Digital Trilogy, coming on the heels of his critically acclaimed first installment "Saturday Afternoon Kung Fu Theatre Rza vs Bobby Digital, Produced by DJ Scratch! The album is also the soundtrack and addition to the new Bobby Digital comic of the same name. "Dating back to the 1990's RZA has been using Bobby Digital as a pseudonym for various solo projects. These are not strictly outside of the Wu-Tang Clan diaspora as various members make cameos or co-produce, but they've allowed Diggs to explore musical and lyrical ideas that fight better with his alter ego. Bobby Digital can be considered a comic book superhero, fighting evil in both the physical realm and the virtual world of cyberspace, achieving a "meta" reality long before Facebook thought to trademark the term." - rap revies 2022 2022 release. The founding member of the multimedia supergroup, The Wu-Tang Clan, introduced the world to his alter-ego in his 1998 album Bobby Digital in Stereo. With lush digital orchestral sounds and inventive beats, he was putting the love of comic books on full display through it's concept and execution. Now, exactly 23 years since it's original release, RZA announces a partnership with Z2 Comics to give the character a story in the medium which inspired his creation! Bobby Digital: Pit Full of Snake pairs RZA with White Noise Studios member Ryan O'Sullivan, whose last collaboration with Poppy was widely celebrated by fans and critics alike, with Sound & Fury artist Vasilis Lolos rounding out the team to bring the world of Bobby Digital to life.

Hailing from Queens, NY, the original members of Onyx were discovered by the legendary Jam Master Jay of Run-D.M.C Onyx released their ninth studio album, Onyx Versus Everybody. Almost 30 years since their debut, Onyx still have raw energy, undeniable boldness and their pulse on the culture. The 10-track LP is a cohesive body of work that is full of street tales featuring appearances by Big Twin, Ricky Bats, Harrd Luck and Termanology. If you're a diehard fan of Onyx, this is one of the group's best projects in their legendary career. According to Sticky Fingaz, the album was completed in just two weeks thanks, in part, to the group's new songwriting process. "We didn't really write anything," he recalls. "We wrote a little bit but you know, we got a new technique where we just vibe and get on it. We recorded everything in the Batcave. That's Fredro's studio." Fredro says their classic "Last Dayz" from their sophomore album, was the inspiration behind the production on their new album. "'Last Dayz' is a Hip Hop classic beat you know? It was in 8 Mile and that made it even more legendary so I wanted to get the vibe on the album," he says. "I know what I know when it comes to making beats and my style never changed. That's why it sounds like 1996 because I didn't change the way I make my beats. When it comes to producing, Fredro claims to have the hardest tracks in the game and he brought that same energy to the new album. "I don't get nothing from a beat machine," he added. "I don't even use a hi-hat. I got my own drums. I play my own drums. My shit is dirty. I need it to be dirty. My shit is filthy. I got the nastiest, grimest, beats in Hip Hop." With their signature hardcore lyricism and gritty production, Onyx Vs Everybody makes a strong case for being named among the best albums of 2022 so far, but that isn't the recognition they seek. "Onyx Vs Everybody is the hottest, grimmest, dirtiest album of the year," Sticky Fingaz boasts. "I don't want the best album of the year. They can have that. This is the grimmest album of the year." Coming off a Versuz beating Cypress Hill at the forum in LA and now on a international tour, for fans of Cypress Hill, Public Enemy, Run DMC

1971 entstand unter der Leitung von Jürgen Dollase, der auch alle Titel komponierte, dieses Album, welches 1972 veröffentlicht wurde. Aufgenommen wurde in den Dierks Studios durch Dieter Dierks selbst. Dollase und der Schlagzeuger Harald Grosskopf waren später auch Mitglieder der legendären Cosmic Jokers. Das Debütalbum wurde von treuen Krautrock Fans eher im Bereich des Progressiv Rock verortet, womit sie dem Album nicht wirklich gerecht wurden. Opulente langatmige Werke wie Lunetic mit einer Spieldauer von 12 Minuten zählen heute zu den Highlights dessen was unter Krautrock zusammengefasst wird. Von den originalen analog Bändern transferiert und sorgfältig remastert, ohne den Charakter der Aufnahmen zu zerstören. Absolut hörenswert! ENG In 1971, under the direction of Jürgen Dollase, who also composed all the tracks, this album was recorded and finally released in 1972. It was recorded at Dierks Studios by Dieter Dierks himself. Dollase and drummer Harald Grosskopf were later also members of the legendary Cosmic Jokers. Loyal Krautrock fans labelled this album as Progressive Rock - but that doesn't really do justice. Opulent, lengthy works like Lunetic with a playing time of 12 minutes are today among the highlights of what is summarized as Krautrock. Transferred from the original analog tapes and carefully remastered without destroying the character of the recordings. Absolutely worth listening to!

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

Deniz Cuylan set out to explore his own distinctive sound on his 2021 solo debut album 'No Such Thing As Free Will.' The album signaled the Turkish musician's first bold step into the spotlight following a winding 15-year path in the music industry playing in multiple bands with home bases dotted all over the globe - Stockholm, NYC, Istanbul - and tackling a wide array of styles both on the stage and in the studio. Now settled into his current home in Los Angeles, Deniz lends his instrumental talents to create scores for independent films and recurring Netflix original series, yet these projects inevitably fulfill the sonic backdrop for another artist's vision. Looking inward on his own for the first time, 'No Such Thing As Free Will' laid the groundwork for his own personal soundtrack, one that fused his love of classical guitar, introspective jazz, and ambient expressionism with his whimsical compositional ear. Over a magical 6-track journey, 'No Such Thing As Free Will' painted a lush cinematic narrative with Deniz's guitar as its guide, delivering an album that "seems to invent new languages for the guitar" (The Guardian) and receiving glowing comparisons to legends like Steve Reich, The Durutti Colum's Vini Reilly, Glenn Branca, and Bert Jansch. With such a singular foundation exposed on a debut album, many artists would stay true to their inventive winning formula and find out if lightning could strike twice. Deniz is not one of those artists. An explorer at heart, Deniz unveils a beautifully alluring and lightly adjusted language on his mesmerizing second album 'Rings Of Juniper.' The record continues to spotlight Deniz's exquisite guitar work and hypnotic compositional skills, yet it boasts a punchier, refined, and more immediate tone right from the start. Accented by a desire to once again uncover a new shade of his sonic palette with the support of a talented cast of friends and artistic collaborators, 'Rings Of Juniper' lays bare a rich, dynamic, and evocative sound that Deniz lovingly refers to as Mediterranean Minimalism.

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

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

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

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

Funkadelic’s eleventh studio LP, released in 1979, was more militant in tone than its predecessor 'One Nation Under A Groove' which described a Funk utopia. In contrast, ‘Uncle Jam Wants You’ stated mandate was to “rescue dance music from the blahs”. The album features a 15-minute version of what was to become the Funkadelic’s last hit single ‘(Not Just) Knee Deep’, an edited version of which made no.1 in the US R&B chart. This was Funkadelic’s first album since 1972 not to feature a cover design by artist Pedro Bell (although he did contribute the interior design). A reference to the “Uncle Sam Wants You!” US Army recruitment poster, the sleeve depicts George Clinton aka Dr Funkenstein in a Huey Newton Black Panthers pose. ‘Uncle Jam Wants You’ and Funkadelic-Parliament had a huge influence on Prince, The Red Hot Chilli Peppers, Bill Laswell, Tupac Shakar, De La Soul and many more across all musical genres. George Clinton’s genius Funk & Style will continue to be an influence for many more years to come... FUNKADELIC Masterminded by the larger-than-life figure of George Clinton, Funkadelic was a key component of his influential P-Funk empire. Funkadelic’s unique combination of Rock, Psychedelia, R&B & Soul led to the band crossing over to the pop mainstream & gaining a vast international following, becoming one of the most important & influential groups in music. On 6 May 1997, Parliament / Funkadelic were inducted into the Rock & Roll Hall Of Fame by Prince. To commemorate six decades of thrilling & delighting fans, George Clinton returned to the stage in 2022 for a series of concerts. To celebrate, Charly have reissued Funkadelic’s classic four albums ‘Hardcore Jollies’; ‘One Nation Under A Groove’; ‘Uncle Jam Wants You’; & ‘The Electric Spanking Of War Babies’ (originally released by Warner Bros during a golden period for the band between 1976-1981). Each album will be available as deluxe gatefold Digi-Sleeve CDs in PVC wallets + obi-strip & facsimile-edition gatefold LPs on 180-gram black vinyl & limited edition 180-gram colored vinyl + 1970s-style obi-strip in a protective PVC sleeve. “They played a HUGE role in creating the future of music.” PRINCE

Jon K and Elle Andrews’ MAL imprint returns with a new LP from one of the London experimental underground's best kept secrets, Rory Salter aka Malvern Brume. His music is rare, eccentric and mysterious - somewhere between Coil's bleak ritual magick and the BBC Radiophonic Workshop's most experimental, minimal fringes. 

Malvern Brume operates just beneath the radar, occasionally turning up at Café OTO lineups and on a smattering of releases for Low Company, Alter, Infant Tree and Kasual Plastik - but he’s never one to shout too loudly about his work. ‘Body Traffic’ is his most interesting set to date, laying bare a process melting found sounds, field recordings and spoken word into throbbing, pulsing rhythms. It’s an evocation of a fraught mindset during the early weeks of lockdown in 2020; sequestered in his flat next to a trainline, the infrasonic - and more audible - rumbles of rolling stock and a nagging sense of dread infecting his ambiguously discomfiting recordings.

Operating in a headspace that values world-building and vivid, visual emotionality, Salter’s careful melodies are familiar - the distant, weeping melancholia of 1970s British TV hangs off the recordings like net curtains, and his atmosphere loops into experiments that weave through bare traces of industrial music, blank-faced electro pop, and hedonistic Brummie techno, all reduced to a cinder. 

The mood is set on the bellyaching resonance and crawling walls of the title tune, while 'Through Beaked Fog Horns' is drowned beneath morning mists: lopsided synth drones choke and drift, percussion mutates into inebriated bubbles, and tape-f*cked environmental whirrs create an atmosphere that’s hard to decipher in one take. 

‘Moss Spines Clenched’ follows cryptic stains on peeling flocking, and the icy creep of ‘Tense Branches Waver’ quivers beyond a cracked windowpane. The artist’s voice appears from beneath a cardboard box fort in the imaginary world of ‘Cornered Into Sleat’ as a distant drum beats out a marching thud and traffic squeals are sculpted into chirpy whistles, before ‘Bri Dun’ resolves the eerie tension in an OOBE-like ascent above the dado-rail and across the tracks, watching himself fade into a dissociative bliss.

"All chatter falls quiet…” Salter murmurs thru saturation and white noise. It’s a sound that’s gonna stick with us for a while.

For its second release, Elmir once again puts 1980s pop-raï in the spotlight with the identical reissue of Cheb Kader's masterpiece: El Awama. Originally self-produced on cassette in 1986, this album was then released on vinyl by Michel Lévy, who was then Cheb Mami's manager and producer. Back then, the album was not the hit it was expected to be, because a little too avant-garde for the time. But more than 35 years later, fans and collectors consider the few remaining copies as priceless. The raï of Cheb Kader is a subtle compromise between the melodies of Oranese suburbs, the electricity of Casablancan guitars and the roaring layers of reggae. The listener can only be fascinated by this Awama (witch) who burns in his heart and to whom he declares his love; they can only be carried away by his hypnotic Reggae-Raï. This record is a rejuvenating find that makes you fall in love with the raï of the beginnings all over again. This new edition was remastered by Josh Stevenson in Canada and enriched with notes in French and English by the specialist Rabah Mezouane.

Cultivated Electronics presents For The Floor, a new series of split 12s on its vinyl-only sister label CE LTD. For the Floor is strictly aimed at the dance floor and showcases CE regulars alongside new artists with EPs incoming from DeFeKT, Rico Casazza, Tripeo, Cycloplex, Steve Allman, Alex Jann, Cyphon, Obzerv, Maelstrom and Sync 24 x Alienata. Hot on the heels of his latest release on the mighty Tresor, Irish Electro king and CE regular DeFeKT kicks off the series with 2 dancefloor destroyers. "Control Your Mind" rips through with harsh distorted 808s and booming vocals while "Fear and Body" is a spooky, funky electro groover perfect for dark basements. On the flip, CE welcomes back Rico Casazza to the label. Rico continues the electro funk vibes with "Home Here Us", slick beats and a bubbly bass line lay down the backbone of this peak time banger. Things then go deep and trippy and acidic with "Caldo" , a rolling robotic groove made for the club!

A new entity has made musical contact with Shipwrec. Alpha Vistor. The newly minted moniker of musician and sound designer Ivan Zapico, this four tracker debut is steeped in the traditions of electro. In the ghostly "Ciudad Fantasma" threats lurk in the murky shadows of basslines and beats, an unsettling atmosphere of menace penetrating speakers from the outset. Clinical percussion and an overarching unease introduce "20202020." Dark undercurrents of melody brood below shimmering glass chords in this foreboding work. The flip comes to life with "Malos Tiempos para la Guerra," an ominous prescience coming to bear in the track title. A hi-hat haze is broken by sweetened strings, a kick drum maintaining the intensity. When a snare arrives, it is accompanied by greasy acid basslines; brightness countered with shadow. The final encounter comes with "Templo de Cova." A soaked beat surfaces amid stabbing sythlines and twilight tones that break to triumphal highs, a reflective culmination to this ruminative record.

We are delighted to finish off the last full EP on the Telomere series with a new Artist you may or may not be familiar with.

Aspetuck, a US based DJ and producer. has his vinyl debut with a well rounded and stacked four tracker.

This EP blends the many genres of electronic music while leaning towards the deeper and melancholic sounds of electronica. Tart Jam, is a real Jam that will get the dance floor movin’, groovin’ and smilin’!
Very limited black copies as always with a few colored copies available via the Wex bandcamp, be quick!

Banging electro/EBM tracks on this new ELectronic Emergencies! 'Lune Atroce' by Ayats-Thorvald arrives just in time for the dark days of December. Lune Atroce is a five track 12-inch on green vinyl by techno and electro laureates Marc Ayats and Jorgen Thorvald, famous for their work for the legendary A-TRACTION Records, among others. The collaboration of Ayats and Thorvald results in a stomping electro/EBM-banger, fuelled by absinthe and inspired by the poetry of Rimbaud and a great friendship. Apart from 2 different versions of Lune Atroce by the masters themselves, the release contains 3 other remixes: one by emerging French producer Voltaire, one by techno hero Southsoniks and the final one by Swedish EBM legend Celldod. Prepare to turn the heater off (or your shirt) when Lune Atroce is played in the club!

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

Neue Sachlichkeit bezeichnet eine Stilrichtung der Kunst,
welche sich nach den Gräueln des ersten Weltkriegs mit der
menschlichen Vergangenheit von Gewalt auseinandersetzte.
Entgegen der Romantisierung des eigenen Weltbezugs trat
eine nüchternere Betrachtungsweise, welche der Darstellung
von Hässlichkeit neben Schönheit einen Platz einräumte.
Neue Sachlichkeit bezeichnet ebenfalls die Platte des
Produzenten und Rappers Soseies. Das Album setzt sich auf
seine Weise ebenfalls mit Vergangenem auseinander und
stellt es in Form von Beats, Skits und Texten fest; gipfelt
ebenfalls in einer neuen Perspektivität. Neue Sachlichkeit
kommt als erste Platte des Magdeburg-based Labels
Hallenbande auf schwarzem Vinyl daher. Wesentliche
Bereicherung erfuhr das Album durch hauseigenes Mixing &
Mastering von Asbeluxt sowie Texte von Schubidoobie,
Schmero und Pucci. Das gesamte Design basiert auf dem
Gemälde der Künstlerin Mundiartis. 14.12.2022 Der Sturz
aus den Festigkeiten wird Schwebenkönnen. Hallen ist die
Bande.

Flaminia’s first solo release on 47 features four mesmerizing techno rollers. London-based artist Flaminia makes her solo 47 debut with four sophisticated techno tracks that perfectly balance brooding intensity with dreamlike atmospherics. A producer with EPs on Samurai Music, VSK Series and her own label, Metempsychosis Records, Flaminia builds on her canon of previous work with 47033, adding to the label roster’s growing arsenal of expertly honed dance floor releases. On the A-side, two four-to-the floor heavyweights—”Pure” and “Burn Loudly”—offset bone-shaking kicks with plangent melodies that make these tracks uplifting despite their ferocity. The B-side takes a darker turn; “Back To Zero” is an icy broken beat that shines in its stuttering rhythmic complexity, while the closer, “Dissolved,” is just as foreboding: synths scrape and shatter like shards of glass against a spare and crunchy kick while Flaminia’s voice reverberates in the background. The entire package will be

Rich-poor divide widens. Unemployment soars. The East and West eyeball each other on the brink. 2022 isn't too far off the 1980s. Contort Yourself know this.

Following the huge success of the prophetic 80s Underground Cassette Culture Vol 1, Vol 2 is set to hit shelves and screens with the same brand of distortion soaked didactics.

Twenty one tracks from across the globe make up this second installment with nothing being constant. Instead, the overarching message is one of wanton abandonment; burnt-out artists peddling an electronic punk profanity, marginalised musicians spitting on the establishment and industry.

Rusted guitar strings, cobbled drum machines and fire in the belly; this is the recipe.

A soundtrack of despondent despair, a lament of languid lechery, an anthem of what was then and still is now.

The Vivid label is yet another one from Burnski who also runs Constant Blanc and Instinct. He is s single handed garage hit making machine and he knows how to tap into the next gen, too. Here he calls upon Peaky Beats for a naughty and nasty three track affair that has retro feels but contemporary style. 'Can't Stop' opens up with a 2-step shuffle and steely hits, then 'Get Ready' gets more free and melodic with some boxing little melodic patterns and oscillating bass. Last of all is the most menacing and dark - 'Wildcat' flips into a dub wise swagger mid-way through that is going to blow up the clubs.

Lag & X-Coast announce collaborative project XL Traxx.

Lag is a DJ/producer who has previously released on MORD, THEM, Elements, and Don’t since his first 12” in 2013. X-Coast has released on Steel City Dance Discs, Unknown To The Unknown and his own Riviera Records following his smash debut with the 90s-tinged ‘Mango Bay’ in 2016. Teaming up for the first time, the Serbian duo unleash their new project XL Traxx with a fierce three-track EP on Radio Slave’s Rekids.

Leading the release is the energetic ‘M-Bomb’, bringing heaving kicks, rave stabs, and vocal snippets together for a rowdy affair. On the flip, ‘E-Dancer’ sees clever sampling and atmospheric pads meet over pounding drums before the propulsive ‘D-Edge’ rounds out the vinyl with slick synthesis and shuffling
percussion.

Just a single album and a bunch of singles, rising star Linda Di Franco debuted in 1985 and left the scene all of a sudden in 1986. Her first album was a combined effort produced by Don Was (Blue Note’s Renaissance Music Man and previously leader of post disco combo Was Not Was), a gentle selection of soul-pop ballads and lushy synth arrangements. With leading single ‘My Boss’ the album shows an ethereal continuum with an excellent rendition of Burt Bacharach ‘The Look Of Love’. Recorded in London, Detroit and New York the Rise Of The Heart is definitely a keystone in the rising club culture revolution verging on the more existentialist pop aesthetic. RIYL: Sade, Lizzy Mercier Descloux, Carmel, Antena.

From an aspiring b-boy to working with luminaries Billy Porter, Joss Stone, Kimberly Davis and Teni Tinks, The Shapeshifters, Simon Marlin announces the release of his brand-new studio album “Let Loose”.

Wrapped in a defining optimistic mood and colourful palette, “Let Loose” plays with the friction between musical persona and influence, delivering a masterclass in Simon’s flourishing depth of integrity as a producer and admiration to those that exert their enduring influence upon him.

“I'm a facilitator of talent. I'm blessed that over the years I've managed to put a team of people together - as a producer, that's what I do, very much in the old school sense like a Quincy Jones or Gamble & Huff, they’re the guys I try to emulate - and make something magic out of nothing, but do it in a contemporary way. That’s what really floats my boat, and that's what this whole project is about.” Simon Marlin – The Shapeshifters

Across the latest and long-awaited studio album “Let Loose” The Shapeshifters pledge rhythmic allegiance to the golden era disco records and their spellbinding qualities; embracing the tension often found between tradition and future to craft a euphoric, certifiable body of work presented to the devoted audience he deserves. The Shapeshifters exemplify a scene in rude health one that is now switching on an ever-younger fan base, and with Marlin being the beating heart of it it’s easy to see why The Shapeshifters are more in demand in the clubs than ever.

The twelve-track album is illuminated with vocal collaborations including the recently released and debut collaboration with the Grammy, Tony and Emmy Award-winning Billy Porter.

Layers of rushing strings, flares of brass and hedonistic grooves provide refreshing dancefloor power dynamics and deliver a liberating, triumphant and inherently uplifting record.

Taking an impeccably smooth course through disco-infused house, The Shapeshifters continue the rich relationship with Glitterbox and its record label; one that has yielded instant classics that epitomise the label’s ethos for preserving disco’s mission to uplift and empower.

First Word Records is very proud to bring you a brand new album from Takuya Kuroda!

Takuya Kuroda is a highly respected trumpeter and arranger born in Kobe, Japan and based in New York City. 'Midnight Crisp' is Takuya's seventh studio album, entirely self-produced and following 2020's highly acclaimed 'Fly Moon Die Soon', also released on UK label First Word (winner of the Worldwide Award's Label of the Year in 2019). Consisting of six new tracks, this once again sees Takuya displaying his unique hybrid sound, blending soulful jazz, funk, post-bop, fusion and hip hop.

After following the footsteps of his trombonist brother playing in big bands, he relocated to New York to study jazz & contemporary music at The New School in Union Square; a course he graduated from in the mid-noughties. It was here that Takuya met vocalist José James, with whom he worked on the 'Blackmagic' and 'No Beginning No End' projects.

Following graduation, Takuya established himself further in the NYC jazz scene, performing with the likes of Akoya Afrobeat and in recent years with DJ Premier's BADDER band. Premier said "The BADDER Band project was put together by my manager, and an agent I've known since the beginning of my Gang Starr career. He said, 'What if you put a band together that revolved around a trumpet player from Japan named Takuya Kuroda? He's got a hip-hop perspective and respect in the jazz field…"

Takuya Kuroda is already incredibly prolific, releasing six albums in the past decade and fortifying a solid reputation in the global jazz scene. 2011 saw the release of Takuya's independently-produced debut album, 'Edge', followed by 'Bitter and High' the following year and 'Six Aces' on P-Vine in 2013. Takuya was signed to the legendary Blue Note Records in 2014 for his album 'Rising Son', as well as appearing on their 2019 cover versions project, 'Blue Note Voyage'. He released his 5th album 'Zigzagger' on Concord in 2016, which also featured Antibalas on a reimagining of the Donald Byrd classic 'Think Twice'.

His last album was the afore-mentioned 'Fly Moon Die Soon' on First Word, which received plays and support from the likes of Pitchfork, Earmilk, Bandcamp Weekly, Worldwide FM, All About Jazz, Apple Music, Tidal, Stereogum, Treble, Brooklyn Vegan, FIP (France), Tony Minvielle, Jazz FM, Huey Morgan (BBC 6 Music), BBC Radio 3, Novena Carmel, KCRW and tons more DJs, tastemakers, selectors, radio stations, bloggers & magazines.

The new project 'Midnight Crisp' will be released October 21st 2022 on vinyl, CD and digital, worldwide via First Word Records.

(GF Col. LP + DL
Formed in 1980 by guitar prodigy Leonardo Vela Rodriguez, Sonido Verde de Moyobamba created some of the hardest, craziest Cumbia to emerge from the Peruvian jungle. With distorted, surf-addled guitar facing off against lysergic organ and hyperactive tropical rhythms, Sonido Verde conjured the organic sound of the dense forests surrounding their hometown while riding their dance-party grooves to dizzying psychedelic peaks.

Compiled by Analog Africa, Sonido Verde de Moyobamba presents eight ultra-rare tracks of guitar and organ madness drawn from the band’s five albums recorded for Discos Universal between 1981 and 1987. Pressed on Sun Yellow colored vinyl, housed in a screen-printed jacket and strictly limited to 2000 copies, Sonido Verde is a definitive trip into the heart of the jungle.

Limited Edition 180g LP - Comes with a Silk-Screen printed cover and a Sun Yellow colored vinyl
Download for LP from Bandcamp also includes unlimited streaming of *Sonido Verde de Moyobamba* via the free Bandcamp app along with high-quality download in MP3, FLAC and more Analog

MORE HOUSE proudly welcomes Detox Twins aka Rob Mello & Mark Currell to the Family!

"Love Shared" was originally released in 2000 on Music For Freaks (U.K).

Now, 22 years later we have the honour to bring this beauty out on vinyl again.

"Meat. The story needs meat. (And blood ... coagulated blood (Gore)). The substance we are seeking here lies beyond the bare bones of fact, thewhen and the where (founded in 1988, Mülheim an der Ruhr) or personneland instruments (a trio since 2016, built around keyboards, saxophone, bass & drums). The story is more than the sum of its facts. Mysteries may very well lurk here or there along the way. What keeps the final two foundermembers going after all this time Do Morten Gass and Robin Rodenberg have skeletons locked in their closets How dearly we would we love to know the answer to that one, alas the most beautiful puzzles tend to remain unsolved.Including their debut Gore Motel' (1994), BOHREN & DER CLUB OF GORE have amassed an impressive eight longplayers. Four album titles allude to the night - their debut was followed by Midnight Radio' (1995), Sunset Mission' (2000), and Black Earth' (2002), whilst the most recent instalment carried the name Piano Nights' (2014). The nocturnal quartet was punctuated by Geisterfaust' (2005), Dolores' (2008) and a mini-album entitled Beileid' (2011), adding rather eerie overtones to the after hours ambience. The BOHREN & DER CLUB OF GORE legend has grown stronger both at home and abroad with every record they have released and every show they have played. Strange as it may seem, there is a uniform consistency to their reception. Whatever the band does, critiques are unfailingly positive, yet repetitious. References, links and associations recur almost word for word. Consider the arrival of Christoph Clöser in 1997, by way of illustration. When he joined the group, his saxophone replaced the departing Reiner Henseleit's guitar as one of the defining instruments in the band. This was arguably the sharpest break in their sound to this day and a significant marker in terms of the band's reverence for Dutch instrumentalists GORE (the clue is in the name), whose repetitive riffs paved the way for how the guitar would be deployed in a post-everything future. Nevertheless, this fissure in the BOHREN continuum has barely merits a mention in the greater scheme of things. Similarly conspicious by their absence in the BOHREN chronicles are the numerous instruments which they added to the mix - vibraphone, organ, tuba, bass trombone to name just a few. The introduction of choirs at least had a clear visual impact. Since Thorsten Benning left at the end of 2015, the band has continued as a trio, sharing shifts on the drums (although they have equipped themselves with mechanical brushes). A decrease in personnel was conversely accompanied by quantum leaps forward in the group's musical development - or more precisely, minor adjustments triggered major effects. Such changes may not get any easier to spot in the future, such is the intensity of internal imagery sparked by the music, a maelstrom of distractions so powerful that its promises are too sweet and too dangerous in equal measure. The music of BOHREN & DER CLUB OF GORE opens up remarkable rooms of association, from a warm burrow to a pristine secret lodge, from a
dusky woodland tavern to a smoky quayside dive. Individual and collective floods of images rush forth irresistibly. Loneliness is not at all problematic: empty multi-storey car parks, nighttime drives, remote bridges to nowhere. All in your mind. This is the temptation, a sweet, guilt-free addiction. It's all in your mind - and only there. These sinister crackling songs are invitations to secrete oneself in darkness. With track titles such as 'Maximum Black', 'Zombies Never Die' or 'Dandys Lungern Durch Die Nacht', the mind wanders inexorably into filmic spaces.
Echoing the masters of midnight cinema, stories evolve all by themselves. As the American Film Noir Foundation observed so smartly: 'the vivid co-mingling of lost innocence, doomed romanticism, hard-edged cynicism, desperate desire, and shadowy sexuality.' Their definition of Film Noir serves just as well as an appraisal of the group, 'Bohren For Beginners'.
Which says it all really, doesn't it A final word of warning! Sources close to the band describe the double CD
released in October 2016 as a gateway drug to the Bohren universe. Enter at your own risk, some have never found their way out again."(by Lars Brinkmann)

More than three years has passed since her last release on Höga Nord Rekords but now Laughing Eye is back on the label with two tracks of electronic neo hippie beat-music. A departure from the 2019 album (”Laughing Eye”) but still true to the core of psychedelic music, Laughing eye taps in to the early eighties and primitive drum machine driven music on these two tracks.

Both ”An Die Freude” and ”Pass in Light” has an alien and outer spacey feeling to them: the titles suggests this and the music fits them perfectly. If Laughing Eye aimed at your inner space on the last album, these songs goes to seek extraterrestrial life with kind intentions.

Gothenburgs observatory lies under threat of a shutdown due to raised rents, but maybe with help from Laughing Eye and other space freaks like her, we can turn this ”development” around and secure the resources needed in the search for life on other planets!

10 year anniversary edition on orange & red marble vinyl. While his formative years were spent listening to everything from Yes to Photek, Scott Hansen didn't get his hands on an actual guitar or drum machine until he left his native Sacramento for San Francisco in 1995. "Encountering this whole new world at 20 years old was a profound experience," says Hansen, better known by his musical pseudonym Tycho and as the graphic artist ISO50. "At the time, I was just learning the processes of design and music; both felt very similar, and have flowed back and forth for me ever since."As seamless as his two creative outlets have been, nearly a decade passed before the release of Hansen's first proper Tycho LP, Sunrise Projector (later expanded and reissued under the title Past Is Prologue). And while three striking singles have emerged since then, the sum of all those sepia-toned parts is nowhere near the double-exposed soundscapes of Dive. The product of a prolonged break from IS050's design work and blog, it pays tribute to Tycho's prismatic past (the dense, guitar-guided turning points of "Daydream" and "Adrift") but spends most of its time pointing to the project's not-so-distant future.That can mean any number of things, really, from the halcyon hooks and hopeful horizons of "A Walk" to the expansive, wildly expressive tone poetry of the title track, an eight-minute epic that unfolds like a compressed concept album. Or at the very least, a restless vision of prog-rock - one that's been coated in neon colors and filtered through a thick piece of blotter paper. And then there's "Elegy," a spare curtain closer that pairs a vulnerable crescendo with a fitting bridge to future works.And with that, Dive establishes its position as the most diverse musical statement of Hansen's multi-medium career; the point where his skills as a performer finally catch up with his vaporized vision of a world that doesn't belong to any particular time or place."Nostalgia is a common thread in my work," says Hansen, "but this album wasn't driven by that idea. I see these songs as artifacts from a future which might have more in common with our past than our present."

Pianist, drummer, composer and producer Hamish Balfour presents jazz funk, soul and electronic music, bridging the gap from classic Blue Note to Warp via Sonar Kollektiv on Running Colours, his electrifying debut album for London's Shapes of Rhythm Records.

Praised by Jazzwise for hissolo flourishes and sidestepping harmonies, Hamish Balfour should be a recognisable face to jazz addicts. The go-to keys player has performed and recorded alongside American jazz drumming legend Harvey Mason, Tenderlonious, The Temptations, Odyssey, Faze Action, Yolanda Charles' Project PH, Bassically, Nim Quartet and Yam Who. Popping up not only in the credits of many sought-after albums, but also Channel 4, ITV and BBCprogrammes for his compositions on various shows.

Over the course of eleven tracks, Balfour folds in and explores his influences, with a wide yet highly cohesive and strong palette of sounds, whilst interacting with high caliber guest vocalists such as spoken word artist and broken beat icon, Lyric L(Seiji,Nathan Haines), London Elektricity and Hospital Records' star vocalist Elsa Esmeralda, award-winning and chart-storming singer-songwriter Belle Humble (Freestylers, Paloma Faith) and soul and house mainstay Andre Espeut (Afriquoi,Simbad,Faze Action).

Responsible for all piano, synths, percussion and production on the album, Balfour's musicality shines through, a reminder of how overdue this debut album as leader is. However, in addition to the incredible vocalists, he's joined by some of the UK's finest jazz musicians: James Copus (trumpet), Pete Matin (bass), Laurie Lowe and Saleem Raman (drums) and Rob Updegraff (guitar).

Elsa Esmeralda implores us 'not to be afraid' on lead single and title track Running Colours. A perfect invitation to get stuck into this many layered album. Balfour compliments Esmeralda's soothing vocals with delicate piano intro before Lowe's bruk-easque drums and lead an irresistible groove bedded in warm synths and guitar licks.

Yes or No showcases Loose Lips legend Lyric L contemplating the uncertainty of love over a swinging mid-tempo jazz funk boogie groove propelled by tight drums and Hammond chords, closing with a flying trumpet solo from Copus, weaving around Balfour's nimble keys.

Wealth, featuring singer/songwriter Belle Humble, displays incredible depth and restraint. Humble delivers the enticing vocal with ease, as it slides over the intricate webs of jazz fusion and electronics.

Mogul is arguably Running Colours' curveball. An eastern-inspired whirlwind of all manner of synths and twisting drums which constantly morph throughout. Guitars and trumpets take turns to solo on a track that feels like a series of questions that we never quite get answers to.

Balfour's ability to merge free wheeling jazz and fusion with timeless electronic production and soulful compositions is also apparent on instrumental pieces such as Reflector 28. Here, we find the musicians upbeat, uplifting, progressive and playful, showcasing the keys whilst the bass underpins the groove.

South Of The Sun is Running Colours' laid-back moment with Roy Ayers-type vibrations as bass and drums sit in the pocket (at least to begin with), whilst a Rhodes weaves its magic. Like many of the album's tracks we take a few twists and turns before returning to our main feel-good motif.

Hamish's long awaited debut is sure to exceed the expectations of those who know him already, whilst introducing a whole new audience to his wealth of talent and originality.

Belgian artist Melawati steps up to Ellum Audio with an arresting debut album, Artimia. Produced with an array of modified machines and modular synths, it is a testament to finding beauty in chaos.

Martijn Ravesloot aka Melawati makes music out of mistakes. He comes from an indie background but has always admired Aphex Twin while playing in bands such as The Subs and working in theatre. He has a love of experimenting with soundwaves that gives rise to his complex, experimental and improvised sounds. He first met Maceo Plex while jamming and that session turned into the track 'Daliah' which dropped on Ellum Audio and was remixed by Tale of Us.

After that, Melawati wrote this most absorbing and beautiful album during the pandemic in a dark studio attic in the heart of Brussels. He set about recording live experiments on analog synths and then deconstructed and reconstructed them into the tracks presented here. The angelic tones of guest vocalist Lisa Jane feature on two tracks though the pair have never met, and Melawati is now set to take his impressive live show to Tomorrowland. His life has changed since writing the album, he now has two children and lives on a farm, but the power of this music where organic and alien worlds intersect remains utterly compelling.

Opener 'I Just Want To Go Walking' pairs a heavenly vocal with celestial chords and a bustling broken beat that strikes a powerful emotional note right from the off. The excellent 'Riddles' showcases more majestic synth work and molten melodies that suspend you in mid-air while 'Slow Pulse' is an intense layering of drones and heavy drum tumbles that again offsets light and dark, tension and release. 'Red Herring' rests with beautifully pensive synth patterns that twinkle, warp and melt before your very ears and 'You And I' takes off on a rubbery groove overlaid with heart-aching keys and shimmering, wordless vocals. 'Somebody' is brain-soothing synth bliss with lush patterns and icy drums that gently unfold to get you in a trance and the gorgeous 'Radiate' then offers a widescreen and cosmic ambient interlude. The heartbroken synths of 'Let Your Love Wash Over Me' speak of the end of a cosmic love affair and 'Violent Thoughts' rebuilds on smooth arps and smeared pads over downtempo drums. The final trio of tracks offers rousing breakbeats on 'New White Noise', uplifting synth catharsis on 'Pain And Pressure' and a melancholic lullaby on 'Stellar'.

Artimia is a beautiful mix of harmony and dissonance, of real emotional power and improvised musical elegance.