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A transcendental journey that takes in meditative musical mantras, sprawling tenor sax improvisation and mesmeric percussion, the new album byWork Money Death(the group that backed ATA artist Tony Burkill on his 2017 debut record of the same name) seeks to reinterpret the sound of artists such as Pharoah Sanders & Alice Coltrane over two tracks: the brooding tension of A-Side"Dusk"and the sanguine & uplifting"Dawn"on the B-Side.Titled "The Space In Which The Uncontrollable Unknown Resides Can Be The Place From Which Creation Arises", this new LP was conceived and recorded by Tony Burkill and Bassist Neil Innes during the spring/summer of 2020.

A stalwart of the Leeds music scene for the best part of 3 decades, Tony Burkill had maintained a low profile nationally, choosing to favour continued study and development on the instrument over attainment of success or recognition within the music industry. With his debut release on ATA in 2017 he impressed audiences with his powerful and gutsy approach to improvisation. Also featuring on the record are Drummer Sam Hobbs (The Electric Doctor M and Producer of Matthew Bourne's Moogmemory), Bassist Neil Innes (The Sorcerers, The Lewis Express), Pianist Adam Fairhall (Nat Birchall) and Percussionist Pete Williams (The Sorcerers, The Lewis Express).

Originally conceived as a large scale group performance of a single extended piece "The space in which the uncontrollable unknown resides, can be the place from which creation arises"was written by Tony and Neil through a series of extended improvisations similar to the extended meditation sessions that both musicians practice. These sessions enabled a state of flow through which Tony's compositional approach to improvisation yielded meaningful melodic fragments that would be returned to and developed in a way similar to someone returning to the mantra.

We finally made it: BEWITH100LP! And what better way for a re-issue label to celebrate such a landmark catalogue number than to give it to a record of new music. We couldn’t resist when the artist is Official Be With Family Member Kenny Dickenson and when the music is his lovely, lovely score to French-Vietnamese artist Mai Hua's 2020 documentary film “Les Rivières”. If you enjoy the more minimal, intimate piano of the likes of Nils Frahm or John Carroll Kirby’s solo work, you’re certain to fall for this beautiful album.

Taking six years to make, Mai’s film explores what happened when she brought her dying grandmother to France, pulling together four generations of women from the same family. Kenny’s score accompanies all the pretty things, sad things, dirty, beautiful, happy, broken and reborn moments of these women’s experiences.

The whole score is built around delicate, sparkling piano motifs. At times they’re joined by cello and complemented with ambient chords and other flourishes. It’s a very particular palette that Kenny and Mai established early on, as Kenny explains: “We had agreed on a particular sonic aesthetic early on in the process - to use specific and relatively minimal instrumentation, reflecting the intimacy of the picture. So piano and cello were quite prominent in instructing a sense of space and immediacy. Until I had to get the junkyard percussion out… ”

When it comes to describing the end results, Kenny’s happy to wear his influences on his sleeve:

“When the director and I sat down for the creative meetings early in the process, we watched ‘Wolf Children’, a Japanese animation film by Mamoru Hosoda. The amazing soundtrack by Masakatsu Takagi was a launching point for me and thereafter I leaned into more modern classical composers - Reich, Sakamoto, Glass as well as Jon Hassell’s Fourth World output. Richard Reed Parry’s ‘Music for Heart and Breath’ was a good early touchstone for me and Mark Hollis’ sparse, considered and deliberate approach was a constant presence. Also labels like Ghostly, ASIP and the ubiquitous Erased Tapes should probably get a nod here too…”

We’d even suggest there’s the occasional Yann Tiersen moment in there too.

Out of sheer necessity the collaboration between Kenny and Mai continued beyond this initial creative direction. With Kenny speaking neither French nor Vietnamese, Mai acted as translator, a process that naturally lead to discussing the film beyond just what was being said in the footage. Mai herself explains just how successful this relationship felt to her: “Music plays a very important role in all my work, particularly in Les Rivières. I cried every time Kenny sent me a new composition. I felt understood in a way that words cannot describe. It was absolutely magical and I am so happy if this music can make your soul vibrate too.”

Kenny composed much of the music in London, at the same time that Mai was shooting and editing. As the film took shape and the music also evolved, another challenge presented itself when Kenny relocated to Los Angeles part way through, resulting in Arnulf Lindners beautiful cello taking on new shapes- multi sampled, played and manipulated by Kenny into new compositions.

What Kenny has put together for the film score release is definitely a “soundtrack LP”, with the music arranged to work as a proper album in its own right that should be listened to from start to finish. Indeed the album also includes a new piece “Pour Marthe” that Kenny composed in memory of Mai’s grandmother who died after the film was finished.

Kenny’s personal highlight is also ours: “When I listen back to the album as a whole now, I never want part II of the Trilogy (Belles Larmes) to end. I have fond memories of recording it and I love how the dynamic of the piece gradually evolves from falling on the ‘1 and the 3’ to the ‘1 and the 2’. It’s so short and sweet, I keep wanting it to last for longer. But it’s kind of perfect as it is.”

Pretty much our sentiment for the album as a whole.

Running a record label means we often get asked advice about pressing a record. In this case the music was too good not to offer to release it ourselves. To Kenny, having the Les Rivières score on vinyl also feels like the final part of the project.

“It’s a beautiful thing to have it on vinyl. It’s quite an intimate soundtrack so there’s something really perfect about being able to listen to it on that format. When I was a kid, my Uncle Pat who used to work at Woolworths would visit and bring random records from their record department over to us. I can remember listening to “Theme From Exodus” by Ernest Gold. I had no idea what it was about but the imagery it conjured up when listening to that record was just mind blowing to me at that age. Soundtracks can have their own life on vinyl I think, and removed from their original context is this unique format for reinvention. So I’m excited that people who haven’t (and have for that matter) seen the film can have that experience.”

This might not be a re-issue, but the Les Rivières film score album has still been given the full Be With treatment. The vinyl has been mastered by Simon Francis (under Kenny’s ever-watchful eye/ear, of course), cut by Pete Norman and pressed at Record Industry. The sleeve follows the film’s poster and other promotional material, including Lucile Gomez’s almost magical illustration.

We’re under no illusions that many people reading this will have seen “Les Rivières”, but that doesn’t really matter when it comes to listening to the score. Just on its own, Kenny’s music still captures the robustness and the delicacy of lives lived.

Night Songs is the latest record from awakened souls, the Los Angeles based husband and wife duo- James and Cynthia Bernard (marine eyes). In the Spring of 2021, they found a good night's rest was more important than ever to help them through pandemic days of schooling kids from home and balancing work and life. After going on an evening walk, James and Cynthia would write in their bedroom studio and test the evening's songs out for sleep. Even prior to being together, they both loved searching for just the right album to calm their minds at the end of the day. Night Songs is their combined version of a sleepy evening record, exploring slowly evolving loop-based ambient primarily using bass guitar and vocal textures. The tracks which ultimately made it on the album helped them relax enough to go to a place where thoughts fade.

Night Songs is the latest record from awakened souls, the Los Angeles based husband and wife duo- James and Cynthia Bernard (marine eyes). In the Spring of 2021, they found a good night's rest was more important than ever to help them through pandemic days of schooling kids from home and balancing work and life. After going on an evening walk, James and Cynthia would write in their bedroom studio and test the evening's songs out for sleep. Even prior to being together, they both loved searching for just the right album to calm their minds at the end of the day. Night Songs is their combined version of a sleepy evening record, exploring slowly evolving loop-based ambient primarily using bass guitar and vocal textures. The tracks which ultimately made it on the album helped them relax enough to go to a place where thoughts fade.

RED/YELLOW MARBLED Vinyl

Internationally revered, multi-faceted artist Arnaud Rebotini arrives on Veyl with the new EP, 'New Territory'. While venturing into a wide array of musical genres and sonic realms, the release is still unmistakably Rebotini, fueled by infectious electro-body grooves and hypnotizing vocals.
From the utterly addictive, pulse pounding allure of “Special A” to the more industrial techno strains of 'A Noise Rose', Rebotini delivers a myriad of interconnected tracks which traverse fresh auditory landscapes but maintain a common circuitry. The poignant, anthemic lyrics of 'No More Love (No More Hate)' resonates loud and clear while the throbbing, Giallo flaire of 'Italian Sex Drive' sends shivers down the spine.
'The Pale Eastern Christ' injects a haunting atmospheric mood while the title track is irresistible ebmwave that falls perfectly in between the lines for an indelible sound that only the French producer can conjure. Rebotini’s work continues to shatter boundaries and fuse genres while essentially pioneering a category all of his own. 'New Territory' furthers the legend and keeps us begging for more.

You can always count on Magic Wand to bring a classy edge to any edit they press, and their latest batch of re-rubs is no exception. There's a downtempo slink and Balearic haze to the tracks on offer here, leading in with RSS' Clandestine Dub' of 'Somebody Told Me' before Baz Bradley takes over with the piano-powerd paean to tripping, 'Acid Love Bath'. Secret Soul Society slip into something more comfortable as they sample Whitney Houston for 'When The Night' and then the CC edit of What I Am does some magic with an eternal Wham! banger.

The Olympos series returns with its sixth instalment, this time calling on Athena, daughter of Zeus, goddess of wisdom and warfare.

Olympos 06 features 4 tracks of trippy techno that rides space themes and strong advanced sound fx's that make listeners feel like they are travelling the galaxies.

A-side, starts with 'Enceladus D' which is a jaunt into futuristic electro. Featuring a proper continuous build that's supported by an eeriness, giving you a strong sense of space trek. Gritty breaks and next-level breakbeats just add to the tension. 'Minerva' is an adventurous tech workout not for the faint of heart. The wobbling bass makes for a bumpy mission, throwing off your equilibrium...in a good way.

The B-side is a heavy one! First off, 'Ophis' is an ominous yet powerful voyage into the abyss. A strong magnetic gravity is literally pulling your ship apart as you ride this dangerous route.
Lastly, 'Glaphcopis' pushes the boundaries of deep techno further. The 90's mood is palpable in this stargazing journey. Don't let the robot noises distract you. They are just adjusting the spaceflight travel coordinates.

Super Session (1968) was conceived by Al Kooper and features the work of guitarists Mike Bloomfield and Stephen Stills. Kooper and Bloomfield had previously worked together on the sessions for the ground-breaking classic Highway 61 Revisited by Bob Dylan. For Super Session, Kooper recruited keyboardist Barry Goldberg and bassist Harvey Brooks, both members of the Electric Flag, along with well-known session drummer 'Fast' Eddie Hoh.

On the second day of recording, with the tapes ready to roll, Bloomfield did not show up. Kooper hastily called upon Stephen Stills, also in the process of leaving his band Buffalo Springfield. Regrouping behind Stills, Kooper's session men cut mostly vocal tracks, including 'It Takes A Lot to Laugh, It Takes A Train to Cry' from Highway 61 and a lengthy and atmospheric take of 'Season of the Witch' by Donovan.

The album peaked at #12 on the Billboard 200, and has been certified a Gold record. The success of this record opened the door for the 'supergroup' concept of the late 1960s and 1970s — Blind Faith, Crosby, Stills & Nash, and the like.

Repress due in March. Includes Previously Unreleased Instrumentals! Air Vinyl is proud to be reissuing Benny The Butcher and 38 Spesh's seminal joint album, Stabbed & Shot. These underground kingpins were both at their hungriest at the top of 2018 and this LP is the proof. Air Vinyl will also be releasing Stabbed & Shot II later in 2020, so this re-release should get fans ready. Benny the Butcher is as hot as any artist on the planet right now, fresh off of an incredible 2019 with his The Plugs I Met project, the collaborative effort Statue of Limitations (with Smoke DZA), and his Shady Records debut alongside his Griselda brethren Westside Gunn and Conway the Machine, entitled WWCD. 38 Spesh is heading up the Trust movement, and also had a stellar few years, including his Son of G Rap album (alongside Kool G Rap) and songs with Styles P, Jadakiss, Uncle Murda, AZ, N.O.R.E., Kool G Rap, and French Montana. He has worked with several high-profile producers as well, including the likes of DJ Premier, Pete Rock and Alchemist. Album art by Manuel "Cep" Concepcion.

10th anniversary reissue of this rhythmically churning one-man-band monster of an album, recorded in a single inspired studio session & originally released in 2012 on Editions Mego.

From the original Editions Mego press release:

“For anyone who still associates Oren Ambarchi exclusively with the clipped, bass-heavy tones of solo electric guitar works such as Suspension, this rhythmically churning one-man-band monster of an album-length piece might seem to come out of nowhere. However, listeners who have followed the breadth of his work for the last few years (solo and in projects with collaborators from Jim O’Rourke to Stephen O’Malley and Keith Rowe to Keiji Haino) will have noted how Ambarchi has allowed increasingly clear traces of his enthusiasms as a music listener (for classic rock, minimal techno and 70’s fusion, among other areas) to surface in his performances and recordings, all the time filtering them through his signature long-form structures and psychoacoustic sonics.

Recorded in a single inspired studio session, Sagittarian Domain displaces Ambarchi’s trademark guitar sound from the centre of the mix, its presence felt only as an occasional ghostly reverberated shimmer. Endlessly pulsating guitar and bass lines sit alongside electronic percussion and thundering motorik drumming (familiar from his work with Keiji Haino) at the core of the piece, locking into a voodoo groove like Faust covering a 70’s cop show theme. The work is founded on hypnotic almost-repetition, the accents of the drum hits and interlocking bass and guitar lines shifting almost imperceptibly back and forwards over the beat as they undergo gradual transformations of timbre. Cut-up and phase-shifted strings enter around the half-way mark like an abstracted memory of the eastern-tinged fusion of the Mahavishnu Orchestra’s classic Visions of the Emerald Beyond, before returning for an extended, stark yet affecting come-down coda, equal parts Gavin Bryars and Purple Rain.

While Sagittarian Domain contains traces of a diversity of influences, it mines all of them to uncover something that is clearly an extension of Ambarchi’s own investigations up to this point, exhibiting the same care for micro-detail and surrender to the physicality of sound that are present in all of his work, extending them in new ways to repetition, pulse and rhythm”.

Spaceship is Mark S. Williamson, a musician, sound artist and educator based in Todmorden, West Yorkshire. His work is often made in response to his environment, working on location, combining field recordings with electronic and acoustic instrumentation, usually recorded outside, amid the landscape and weather. Mark has recorded for wiaiwya, Apollolaan, the Dark Outside and his own Forged River Recordings. His work has been reviewed by The Wire, Electronic Sound, Shindig and The Quietus and he was recently one of the fourteen artists featured in Electronic Sound Magazine’s ‘field recording special’. His collaboration with Luke Turner on series of readings from Luke’s book ‘Out of the Woods’ has seen performances at Cecil Sharp House, Port Eliot Festival, The Trades Club in Hebden Bridge, Krankenhaus Festival and the Horse Hospital and he recently collaborated with the artist Michael Powell on his Calderfolk project. A direct sequel to 2019’s Outcrops (also on wiaiwya), Ravines moves its focus from the uplands above Todmorden to the narrow, steep sided ravines, known as cloughs, that contain the streams that flow down the valley sides to feed the River Calder. These valleys, formed over hundreds, if not thousands of years can be peaceful sanctuaries, their stepped pools and waterfalls a shelter from the windswept moors. In time of heavy rainfall though, they become the conduits for the rapidly descending overland flows which reach the Calder and, in extreme circumstances, cause the floods which remain a part of valley life. These cloughs also saw the beginnings of industry in the area. Colden Clough and Jumble Hole Clough contain the ruin of small water fed mills which would evolve into the much larger steam powered facilities in Todmorden and Hebden Bridge. Mostly recorded in the field using portable equipment, these pieces are intended to reflect all three of these aspects; the peace, the violence and the beginnings of humankind’s ultimate separation from the landscape brought on by the industrial revolution. The sleeve is by Maxim Peter Griffin, an artist, illustrator and writer based in Lincolnshire. A fine art graduate and former stonemason, over the past few years he has been building a body of work that echo his experiences on foot between the North Sea and the hills. "...a luminous soundtrack to the passage of geological time." Shindig // "Williamson is building desire tunnels, churning through the layers of rock and soil to find his conclusions." The Wire // "These rumbling synth drifts and ominous drones transport you to entirely different places-like being cast adrift in a cosmic void" Electronic Sound // "...the droning synthesizer waves conjure up something spectral and eerie, stretching out like the wide horizon..." The Quietus // "Beautiful." Hannah Peel

“Out of Our Hands” brings together Alvin Lucier and Jordan Dykstra who, through the hands of Ordinary Affects, have created debut recordings of two new compositions.

These companion pieces have similar orbits as they were not only both composed in Middletown, CT (where Alvin and Jordan lived for a number of years), but are about Middletown, at least from a starting point. Alvin’s piece — a homage to the location of the house in which he recorded “I am sitting in a room” back in 1969 — continues his study into slow-moving glissandi and carefully crafted beating patters by interweaving three string players within a minor third (voiced by two vibraphonists). The result is entrancing, almost psychedelic, and opens space where one didn’t expect. Like much of his previous work, it is conceptual and process-based; once the wheels get turning they go on and on, giving the listener time to approach the piece, sit with it, and then move back inward.

On the other hand, Dykstra’s piece “32 Middle Tones” (a pun on his Middletown street address and the harmonic microtonality utilized in the composition) is a very textural work. His piece asks the cellist to sustain pitches for extended durations — at times quietly singing in close proximity to the stopped pitch coming from the cello — while the rest of the ensemble (violin, viola, and 2 percussion) voice a sequence of chords separated by notated silences. The cello voice is sometimes alone, but never for too long as it finds itself supported from both the top and bottom in a harmonic embrace. This supportive structure involves a percussion section which colors the seemingly simple chords (major 6th, inverted minor 7th, inverted minor 2nd, etc.) with a non-traditional toolkit of bowed singing bowls, stone sheets, harmonicas, and even leaves.

This is music that gently gives the listener a sense of predictability but always in an unexpected (and subtly indeterminate) shade. Speaking of shade, the album’s cover photo was taken in 2019 in Alvin’s backyard in Middletown. Alvin and Jordan sit with similar demeanors in front of his favorite tree — a crooked aspen which early on looked to be doomed — but which he would often saunter over to spend time with, giving it whispers of blessings and encouraging words.The world was blessed with Alvin’s presence and hopefully this album will whisper to you and yours.

Artist statement:
“With Alvin’s recent passing I was overwhelmed with messages and calls from friends, collaborators, and his former students. Everyone had a heavy heart, no doubt, but were grateful for the memories and their gift to be around Alvin during his lifetime of prolific dedication to the arts, his fascination with poetic storytelling through scientifically-inspired minimalism, and his calm and warmhearted spirit. In his last few years on earth, Alvin was busier than ever — brainstorming new ideas, creating new pieces, and planning big things. While he was here, he was alive, and may his music — and spirit — live on forever, spreading from his corner of Church and High (where he recorded his seminal piece I am sitting in a room) to every corner, concert hall, and loudspeaker in the world.”

Christian Lee Hutson starts his new album Quitters with a laugh. In this follow up to his ANTI Records debut, Beginners, Hutson moves away from a focus on growing up to the dread and complications of growing older. Written under lock down, the laugh that announces Quitters is the kind you'll find at the end of John Huston films, one of resignation and release, and somehow a cosmic laugh that says "California," a place where lonely people gather together like birds. The song "Rubberneckers" follows the story a romance from beginning to break?up, with backing vocals by Phoebe Bridges, who returns as producer along with Conor Oberst. Quitters is a departure from the digital recording of his debut. Hutson shares, "With this record, Phoebe and Conor had an idea that it would be fun to make it to tape. Phoebe is my best friend and making Beginners with her was so comfortable and easy. So I wanted to work with her again and Conor is someone who I really respect as a lyricist." If every great record is a world, then this is Christian Lee Hutson's world. It's one filled with the fuzzy haze of a dream, and the half-remembered moments of a for?gotten life. It's a record brave enough to say, In the good old days, when times were bad. But beyond the songs, it is this voice. The voice of someone who was alive in 2021 and recorded a group of songs with his friends for us to hear.

2001’s »Anima« was the third album released by Sasu Ripatti under his Vladislav Delay moniker and marked a turning point in the stylistic development of the prolific producer. Clocking in at roughly 62 minutes, the single piece draws on dub aesthetics while working with Musique concrète-like methods through the liberal use of samples to create a dreamlike logic. Muffled voices, lush chords, subtle rhythms and indefinable sound events are not so much integrated into a composition with a predetermined outcome but rather engage with each other freely in a constant sonic flow, forming constellations in one moment before moving on to connect with other elements in the next one. »Anima« marked the first time Ripatti was using a DAW in his working process, creating a piece constantly in motion that subtly evolves over time. This vinyl reissue on the German Keplar label follows up on the 20th anniversary edition of 2000’s »Multila« and will be complemented by a ten-minute long version of the original piece, previously only available on the CD version released by the artist on his own Huume label in 2008.

After the release of his »Ele« and »Entain« albums in 1999 and 2000, respectively, Ripatti took the 1998 independent movie »Hurlyburly« as a conceptual starting point to experiment with different gear and production methods. »Until then I had worked with an old MSQ-700 MIDI sequencer and an Ensonic EPS16 sampler/sequencer that had one or two MB of sampling memory and mixed the music live on a Mackie, which was very limiting arrangement-wise,« says Ripatti. Loading a slightly shortened version of the film into his DAW however allowed him to play along to it with the DrumKAT MIDI controller, triggering and playing all the sounds that can be heard on »Anima« while also contributing synths, bass and other sounds during repeated playthroughs before mixing a total of six stereo tracks together. »This way, after I had edited out most of the few parts that had music in them, I was in the movie; almost like an extra character playing music,« explains Ripatti. »This was certainly the most organic way in which I have ever made music, and I have never again approached another record like this.«

While »Anima« sounded like an unusual Vladislav Delay record at the time of its release, it also prefigured many of the developments Ripatti would go through in the course of his long career. Combining visceral immediacy with a sense of abstraction, it is far more than a mere missing link in his discography but rather a conceptually and musically outstanding piece of work that remains as engaging as it was 21 years ago.

All tracks composed and recorded by Vladislav Delay.
Originally released on Mille Plateaux in 2001.
Remaster and cut by Kassian Troyer @ D&M.
Art direction and design by Marc Hohmann.
Text by Kristoffer Cornils.

On the tribute album Songs for Tres, Psychic Ills band members come together to commemorate the late Tres Warren who passed away just as the world turned upside down in March of 2020. Isolated, feeling helpless and lost by the death of her musical soul mate and collaborator of 18 years, bassist Elizabeth Hart found making music to be her only outlet in a time where people were unable to be physically together to mourn. So, she reached out to Adam Amram, Jon Catfish DeLorme and Brent Cordero, the main players in the Ills line up since the release of their last full length album Inner Journey Out (2016), to ask if they would embark on this cathartic journey with her. This was a different kind of production endeavor for Hart driven solely by “the aching need and urgency” to do something to honor her friend.

Hart, Amram, DeLorme and Cordero reunited for the first time five months after losing Warren at Amram’s loft – the same spot where they’d rehearsed countless times before – although this time with a different objective. In an effort to share, support and create, the old friends joined in the painful and healing experience of making this tribute album to cope with their loss. The band members wrote, arranged, and rehearsed for months and the result of their work culminated in a weekend of recording in the southern Catskill mountains at the end of 2020. This isolated and intimate environment was a perfectly serene and fitting location to finalize their story.

Throughout the album, Hart, Amram and DeLorme take turns as the vocal lead on each of the songs while Cordero showcases his finger-picking guitar skills in addition to his piano and organ playing, which he is known for. Along with the core band members, a number of other musicians played on the album, many of whom had collaborated on prior Psychic Ills releases and wanted to be a part of this last collaboration in memory of Warren. Keeping the project in the Ills family, Hart produced the album alongside Iván Diaz Mathé, the long-time Psychic Ills sound engineer.

The album consists of five original tracks and four cover songs. Initially, learning the covers was just a method for the musicians to “break the ice” and play together again for the first time without their band leader. However, those tracks became just as important to include as the originals because of their essential role in the process of coming together to make the album. The cover songs were chosen because of their unique connections to the band’s memories of Warren. Dennis Wilson’s "Rainbows" and Fleetwood Mac’s "Station Man" come from two of Warren’s favorite albums, Pacific Ocean Blue and Kiln House. The band also recorded Blaze Foley’s "Clay Pigeons" and Powell St. John’s "Right Track Now." The idea for the latter was suggested by Amram. Warren once sent him a clip of Roky Erikson singing a moving rendition of that song in the film Demon Angel and it had stuck with him ever since.

Hart wrote "I’ll Walk With You" on the day of Warrens’ passing, at the time not knowing what it meant. When she got the call with the heartbreaking news, it became clear to her what the song was about. Relying on a gently lilting string arrangement to set the tone, this duet features Mazzy Star vocalist Hope Sandoval alongside Hart. Sandoval previously collaborated with Psychic Ills accompanying Warren on "I Don’t Mind" (2016). The ideas for "Home" and "Walk Around," two other songs on the album by Hart, started simply with an acoustic guitar and lyrics, a hopeful exercise to connect with her lost friend. Brent Cordero’s instrumental "Whole Lotta Piece of Mind" is nothing short of a transcendental experience. By running his pedal steel through a Leslie speaker, Jon Catfish DeLorme crafts the unique tone showcased on Wonderful Feeling, a moving example of studio experimentation combined with old school techniques. DeLorme describes it as “an attempt to highlight the musical experience I shared with Tres both sonically and thematically. What resulted is the unguarded exaltation I feel lucky to have shared with my fellow bandmates.” Adam Amram’s “Into the Sea” was composed spontaneously the week Warren passed. The melodic tune has a hopeful lightness and Amram describes it simply as “a song to my brother”. Their connection shines through.

In fact, the entire album is one that radiates the layers of friendship, love and music that will forever exist between this family of musicians. As the band themselves state: “This album was made out of love and a commitment to honor our dear friend and bandmate.” A portion of the proceeds from the album will be donated to RAICES, a charity who aids children who have been displaced at the Texas/Mexico border.

"Deficiency" is the first solo release of Gyeongsu. This record is a collection of 10 songs recorded in the past three years, ideas and sketches initially conceived separately and evoking different moods at the time of birth.

Supported by NTS's Ony, Maria Sommerville, Okonkole Y Trompa ...

To the empty-stadium rock opener "after diner not yet" to the buzzing closing "a post", through the fading down cello on "gratitude" to the burgeoning arpeggios of "1,2,3", the record is continuously fournishing elements of guitar in different states of work, juxtaposed on additional drums, bass lines, nebulous voices and samples sometimes reminiscent of a psychedelic state or confused dream with many elements hard to reassemble.

All songs have been mixed by Yohann Henry at Plush Space Studio, Paris. Mastered by Lorenzo Targhetta.

Griffit Vigo has been producing music since 2004 and spearheaded the sound of gqom in the early 2010s alongside artists such as DJ Lag, Rudeboyz, Emo Kid, and Dominowe. Predominantly releasing on Gqom Oh!, it was Vigo’s singles ’Ree’s Vibe’ and ‘DJ’ that cemented his reputation and helped gqom go on to become something of a global phenomenon with its intense, heavily syncopated style of dance music filtering into the work of producers around the world.

This is the debut album by Funeral Parade Of Roses. It takes the form of a suite of four ominous, cinematic soundscapes suffused with foreboding and unease. In each track, dread-laden industrial atmospherics are punctuated by scorching bursts of rhythm, pantomiming an ongoing struggle between loss and liberation.

The presentation of this body of sound work is also conceived as a collaboration between the artist and designer / illustrator Priscilla Genet, whose artwork is featured both on the full color printed insert sleeve and the accompanying zine.

The zine itself is a booklet of stream of consciousness verse that explores a highly personal meditation on negation, the anarchic, and utopian eschatology.

Heavy Rain, Dark Lights is the third release by Tim Tama on his own imprint Dreamscape Music. The tracks were featured in Tim's sets and podcasts over the last year(s), and will now finally be released. The release features four dance floor oriented tracks showcasing razor-sharp sound design in combination with Tim's signature melodic work.

Mattiel, the Atlanta based group made up of Mattiel Brown and Jonah Swilley, announce
the release of their third album, ‘Georgia Gothic’, on Heavenly Recordings. ‘Georgia
Gothic’, a magic third in Mattiel’s run of full-length albums, was shaped in the quiet
seclusion of a woodland cabin in the north of the Atlanta duo’s mother-state; “Some
faraway place that just Jonah and I could go where there would be no distractions,
nothing else going on, and we could turn everything off and only focus on writing songs,”
reflects Brown.
 Where 2017’s self-titled debut and its 2019 follow-up Satis Factory were written with what
Swilley refers to as a “hands-off” approach - he arranging the music and Brown the lyrics
and vocals, the two working largely separately - the making of ‘Georgia Gothic’ was, for
the first time, a truly collaborative undertaking. “This was the first time we made a point to
just be together and work out ideas in the same room. That was the initial intention... it
was about learning what each other wanted to accomplish on a sonic level, and then just
trying different things out,” Swilley continues. “Everything happened backwards. Normally,
you’d have friends that make a band... with us, we started making music from the jump,
and then became homies.”
 Cultivated by time spent together on the road touring the first two albums, it is this
newfound sense of intimacy between Mattiel’s members that enabled the writing of
‘Georgia Gothic’ not as two separate musicians, but rather as one creative entity. The
album remained within the four walls of Brown and Swilley’s private world for much of its
evolution - with recording taking place in a simple studio set up by the pair in the
borrowed room of a dialysis centre, Swilley in the producer’s seat - until, nearing
completion, it was transferred into the trusted hands of the Grammy award-winning John
Congleton (whose extensive list of credits includes artists as diverse as Angel Olsen, Earl
Sweatshirt, Erykah Badu and Sleater Kinney) for mixing.
 Not only does the affinity between its creators translate into an electric synergy between
‘Georgia Gothic’s words and music - the brine-shock of Brown’s taut lyricism cut against
the bourbon-smoothness of Swilley’s instrumentation - but here too are the palpable
spoils of experimentation, each party trustful enough of the other to trial and error their
practices into new geometries. Swilley puts this wide palate, in part, down to the place
they call home. “I definitely feel like being from Georgia allows us to have a certain way of
approaching music.” Brown chimes in: “We haven’t really highlighted where we’re from in
the past two records, even though those were also written in Georgia. There’s so much
great art and great music that’s come from Georgia, from all different types of genres and
all over the state - but take R.E.M. and OutKast: there’s this weirdness that I can’t really
put my finger on.” Swilley concurs: “It’s the same with the B-52s, the Black Lips... it
doesn’t feel like L.A., it doesn’t feel like New York, it feels like another planet. We’re not
really in a ‘scene’ here in the same way. You have to make your own sound, create your
own identity.”
 And it is precisely the forging of Mattiel’s distinct musical identity that ‘Georgia Gothic’
signals; its members guiding each other ever-homewards not just in a geographical or
sonic sense, but spiritually, too.
 Initial LP pressing on Red Hot coloured 140g vinyl with digital download code. (Once this
format has sold out, a black 140g vinyl edition with digital download - HVNLP202 - will be
made available.)

"Two Duos" is pressed from cellist Okkyung Lee's most recent OTO Residency; the first side a duo with Jérôme Noetinger on Revox B77 and the second with Nadia Ratsimandresy on Ondes Martenot. Cut together, the two meetings seem to raise three cellos in the search for expressive voice: the cello, its magnetic reproduction, and the dual controls of the machine invented to expand on its musical qualities. On the A side Noetinger's opening tape hiss establishes a current; an electrical partner who gives Lee room to slide across and stretch out. Progressively the cello is returned, duplicated and manipulated with increased velocity and distortion. Noetinger draws out the full extent of Lee's extended technique; rewinding strands of Lee's horse hair and transmuting her percussive attacks into shuddering echos, before letting his own concrete interjections spin the duo's sonic tussle into an almost romantic daydream. On side B the ondes (invented by French cellist and wartime radio operator Maurice Eugene Louis Martenot and so loved by Bernard Parmegiani, Varese and Messiaen) seems shaken from classical tradition and those long, drawn out horrorscapes it has come to be associated with. In a duel with Lee, Ratsimandresy grasps the ondes' extraordinary capacity for dexterity, nuance and speed, hounding Lee's cello in a bid to drive her instrument out of the past and into the future. Two fantastic pairings and a testament to the freshness with which Lee and her collaborators continue to work with their instruments. Okkyung Lee / cello. Jérôme Noetinger / Revox B77. Nadia Ratsimandresy / ondes Martenot. Recorded live at Cafe OTO on. Mixed and mastered by Lasse Marhaug. Design by Maja Larrson.

Scott Walker, PJ Harvey, Coil, Matmos, Autechre & Pan Daijing. 180g LP with inner, 12”x24”poster + DL card. The Debut Full-Length By Montréal Producer Kee Avil, The Project Led By Avant/Improv Guitarist Vicky Mettler, Also Known As A Member Of Sam Shalabi’s Land Of Kush And As Co-Founder Of Concrete Sound Montréal. Advance Single “See, My Shadow” Premiered By Mary Ann Hobbs On BBC6 And Picked Up By Music & Riots, Backseat Mafia, Aural Aggravation, Etc In Dec 2021. Kee Avil, a project led by Montréal producer and guitarist Vicky Mettler: a singular expression of fractured dream logic concretized in chiselled postpunk guitar, sinuous low-end electronics, a panoply of organic and digital samples creating alternately twitchy and propulsive rhythm, and the anxious intimacy of her finely wrought lyricism and vocals. Bound by an outstanding production sensibility throughout, Crease unfolds one oblique earworm hook after another, with compositional innovation anchored to an inscrutable and compelling voice across 10 songs of tremendous and imaginative sonic detail. Kee Avil brings a contemporary electroacoustic sensibility to bear on traditions and conventions of pop, postpunk, electronic and sound-art songwriting, where touchstones range from Scott Walker and Coil to Fiona Apple, (early) PJ Harvey and (later) Juana Molina to Eartheater, Pan Daijing and Smerz; or Grouper produced by Autechre. Her unconventional alloys also conjure the guitar-inflected deconstructions of Gastr del Sol and the crystalline micro-worlds of Bjork, Matmos and Rashad Becker. Crease is one of those debut records that excites a wide range of peerless references precisely because it's so compelling in its own idiosyncratic authority, originality and execution. Each song on Crease is its own sculpture, meticulously assembled to resemble disassembly: “each of these worlds was built without consideration for the other; it felt impossible to me, once I would enter the atmosphere of a song, to try to start another until that idea was finished.” The album nonetheless unfolds in impressive holistic integration through a palette of textures and techniques deployed in recurring but continually refracted ways. Alongside her superb austere guitar work stitched into electro-industrial, dark-ambient and minimal-techno soundworlds, it’s her voice and lyrics confidential, hermetic, implacable that provide the galvanizing, always captivating through-line. Her more compositional, exacting, (de)constructed musical identity was first unveiled with the self-titled Kee Avil EP (Black Bough Records) and further honed by pre-pandemic tours sharing stages with Pere Ubu, Marc Ribot and Bill Orcut among others. Woodshedding since then, Crease presents a quantum leap in Kee Avil's exploration of studio-based experimentation, arrangement and production, signaling the arrival of a brilliantly genre-melding, refined and assiduous new voice in avant-garde songcraft.

Nearly 24 years ago, on 7th July 1998, the first Hefner LP was released, it garnered some great reviews, ensured the band were to become one of Peel’s favourites (they had 5 entries in 1999’s festive 50!), and cemented their reputation as Britain's largest small band. NME - “truly independent, unassuming and painfully honest: the sound of thin, white indie dukes in spectacles.” Melody Maker - “heart-skeweringly astute” combination of “grimly sweet lyrics and delicate, tentative tunes.” Time Out - “awe-inspiring in their naked honesty” More recently, the album was number 25 in Pitchfork’s 50 greatest Britpop albums, above A Northern Soul (Verve), Fuzzy Logic (Super Furry Animals), Vauxhall and I (Morrissey) and Tellin’ Stories (the Charlatans) Breaking God’s Heart now gets the essential 20th anniversary vinyl re-issue, accompanied by some shows where Hefner frontman, Darren Hayman, will play the album in full Here’s what Darren has to say about the record now: Breaking God's Heart is an awkward, over confident start to my career. I have yet to get to grips with it again properly in preparation for these anniversary shows. It's so far away in my past that I have some difficulty in relating to the person who made it. Mostly when I hear it I'm just amazed at the confidence, and possibly arrogance, I had then. I insisted on mostly first takes being used, vocals being recorded live in the room with the instruments, a ban on any reverbs or ambience being used. It was like I was trying to sabotage my career at the first hurdle. Many of those decisions were based on half understood, interviews with my idols from the American Lo-Fi scene but I really didn't know what I was doing. It does make a bizarre and caustic record though, and I know there are plenty of people who think this is my best work and I never got back to the blunt energy of these recordings. I do see their point. Quotes - Hefner's is a bedsit world of spindly guitar and towering passions; of skewwhiff ideals and surprisingly smooth melodic surges; of awkward outbursts and slow-burning lo-fi for lovers… 'Breaking God's Heart' is all about sparkling melodies, twinkly-eyed poetry, intimate confessions, a thrillion knowing references to sex, soul and sadness and the sort of chipper attitude that says: 'This is a record you will relish for years to come'. So save yourself time, start treasuring it now. 8/10 NME // Hefner are running on the same rock-not-rock fuel as early Violent Femmes or The Modern Lovers, and like those groups are expert at building emotionally charged arrangements by adding or subtracting at precisely the right time. 8/10 Drowned In Sound

Transparent frosted clear vinyl, no downlode code. Their third album 'WILDLIFE. The Eggs returned with an album that encapsulates the isolation of extensive touring and brief time back in their home town Lancaster. The two piece raucous noise pop duo combine their gritty British northern surreal lyrics with thunderous guitars and crashing drums on this their third self-recorded gem. Working alongside Gruff Rhys who produced Allergies and Cornershop's Tjinder Singh who has remixed Food for a special digital download, Wildlife is yet another wonderful and unique album from a band who continue to cement their reputation as one of the most genuinely exciting and essential bands around today. Already lead track Allergies, the first single taken from Wildlife, released on the Too Pure Singles Club, has won the BBC 6 Music Rebel Playlist - with 82% of the public vote and declared winner of Steve Lamacq's 6 Music Round Table as well as Artrocker's single of the month. For The Lovely Eggs being in a band is a way of life. True to this, they live the way they play. Fiercely, constantly in search of the good times. With this their third album in three years The Lovely Eggs explore further into their own world and the bizarreness of reality and invite you to come inside to join the party, strange as it is!

Jerry Leger follows up his critically acclaimed 'Time Out For Tomorrow' with 'Nothing Pressing'; produced by Michael Timmins (Cowboy Junkies).Jerry's last self released album 'Songs from the Apartment' was a stripped-down lo-fi affair recorded in Leger's home using a cheap tape recorder with an internal microphone
This lead to two songs from Nothing Pressing, "Underground Blues" and "Sinking In," to be also recorded in Leger's home.The remaining nine tracks included on 'Nothing Pressing' present Leger's work in two starkly contrasting soundscapes.

"Nothing Pressing," "Protector," and "Still Patience," are soloacoustic recordings cut live in the studio with little embellishment. The other six tracks are prime roots rock and roll featuring his long-time band The Situation. Among the latter songs, "Kill It With Kindness" and "Have You Ever Been Happy?" have the kind of drive, energy and spirit that are sure to make them highlights of his future live shows.

Leger often times finds himself at a loss as to explain the source of his songs. He feels his songwriting, while clearly drawing on experiences filtered through a panoply of influences,often verges on being a supernatural experience. Over the course of the eleven songs on Nothing Pressing, the songwriter's songwriter engages with questions of existence, mortality,hope, trust and heartbreak while
simultaneously conjuring feelings of isolation, reflection, longing and gratitude.

Paired with such evocative lyrics are wonderfully crafted melodies, soulful vocals and the spirit and energy of a mature songwriter, comfortable in his skin and growing as an artist withevery release. Nothing Pressing serves a wonderfully refreshing tonic in troubling times

Legendary American musician Ry Cooder played together with the world's greatest artists, such as John Lee Hooker, The Rolling Stones, Van Morrison, Neil Young, and Eric Clapton. Cooder is known for his slide guitar work, and was ranked eighth on Rolling Stone magazine's 2003 list of “The 100 Greatest Guitarists of All Time”.

Chicken Skin Music was his fifth studio album. The title serves as a direct, simple description of the album's emotional appeal. For this record, Cooder decided to ignore traditional boundaries and instigated lasting cross-cultural communication through music, which was unusual for 1976. Chicken Skin Music blends gospel, folk, blues and Hawaiian with the help of his backing band (Jim Keltner, Milt Holland, Chris Ethridge, and George Bohannon) and two eminent Hawaiian musicians, Gabby Pahinui and Atta Isaacs. In addition, to throw in some Mexican styles, Ry Cooder is assisted by Norteño musician Flaco Jimenez.

Chicken Skin Music is available on black vinyl and includes an insert.

NEW LIVE ALBUM RECORDED DURING GONG'S 2019 TOUR - DUE FOR RELEASE ON KSCOPE - 2LP 140Gram Gatefold Sleeve

Formed in 1969 by Daevid Allen, one of the founding members of Soft
Machine, classic albums such as 'Camembert Electrique', 'Flying Teapot' & 'You' established Gong as one of the most unique, innovative & experimental rock groups of the Seventies. Before he sadly passed away in 2015, founding Gong member, Daevid Allen, laid
out his hopes for a future Gong, that it should be uplifting, exploratory & a positive force. Kavus Torabi, Fabio Golfetti, Ian East, Dave Sturt & Cheb Nettles, chosen by him, continue his vision.

'Pulsing Signals', recorded live at The Wardrobe in Leeds, The Cluny in Newcastle & Rescue Rooms in Nottingham in 2019 during 'The Universe Also Collapses' tour finds the group in spirited form, unbeknownst to them, it being their final tour before the global pandemic took charge.

Owing to Gong being an international band, lockdown & restrictions on travel made it impossible to convene & work on new music. The band received many requests by fans to release a live album & fortunately enough, the band had multitrack recordings of several shows from the 2019 tour. Bassist Dave Sturt went through all the master tapes & selected the best performances which
became 'Pulsing Signals'.

The album was recorded by Pete Wibrew & mixed by Frank Byng, while mastering was handled by Andy Jackson. The stylish artwork was designed by Steve Mitchell, who has worked closely with the band since 2016's 'Rejoice I'm Dead'.

With touring now set to recommence & bookings going long into 2022 & beyond, Daevid Allen's vision for the future looks set to be fulfilled. 'Pulsing Signals' will be released as a 9-track gatefold double LP on 140g black vinyl.

ANATHEMA'S 'WEATHER SYSTEMS' NOW AVAILABLE ON 2LP GATEFOLD VINYL

'Weather Systems' is the ninth studio album from Anathema. Lead vocalist & guitarist, Daniel Cavanagh, discussed the album, "it feels like we are at a creative peak right now & this album reflects that. Everything from the production to the writing to the performances are a step up from our last album."

He continues, "This is not background music for parties. The music is written to deeply move the listener, to uplift or take the listener to the coldest depths of the soul."
The intertwining melodic structures, the profoundly beautiful & intensely powerful - yet simple - songs transports the listener closer to the heart of life, that is to say, to the heart of themselves.
Previous album, 2010's 'We're Here Because We're Here' was described by Steven Wilson (Porcupine Tree) as, "definitely among the best albums I've ever had the pleasure to work on."

''Weather Systems' was recorded in Liverpool, North Wales & Oslo, each place significant to Anathema. The record was produced & mixed by 5-time Norwegian Grammy nominated Christer- André Cederberg (Animal Alpha, In the Woods...), who Daniel described as "a revelation. His calmness & brilliance helped to bring about the greatest inter- band chemistry that Anathema have experienced
together in their career."

This career stretches back to 1990 when the band formed in Liverpool. Since then, they have embarked on a remarkable musical journey, initially emerging as pioneers of melodic heavy music & continually evolving over the ensuing years, always remaining true to their original goal of creating forward thinking, meaningful, passionate & honest music.
"Absolute World Class" 'Detlef Dengler' Metal Hammer

Italian artists Francesco Parente and Josh Kalker team up with vocalist David Blank as they get set to release Lost In Paradise on Hot Creations. Upcoming UK producer Wheats is also onboard to deliver a solid remix.

An infectious bassline entices you from the start on Lost In Paradise, as the uplifting chords and sensual tones of David Blank’s vocal make an invigorating and euphoric ride for the dancefloor. On the remix, intricate drum patterns set the pace. Minimal undertones bubble throughout, as the track unfolds with hypnotic vocal cuts, leading to a buildup that will be sure to make the crowd erupt.

Francesco Parente started producing at the age of sixteen and soon received support from the most respected artists in the underground scene like Nicole Moudaber and Marco Carola. In 2017 Francesco started playing in the famous clubs in his region followed by international bookings and support from his mentor Loco Dice, leading to releases on labels like Rawtentic, CUFF and HOTTRAX. Josh Kalker is influenced by the house and techno of the 90s. Since working full time in the studio and DJing in Europe, Josh has had the opportunity to release on labels such as La Pera Records, Nervous, Lost, Roush, Safe, Cryminal Hype, and many more. His music is supported by heavy-weights including Marco Carola, Loco Dice, Wade and Michael Bibi.

Wheats has become one of the most exciting new artists, sitting at the forefront of the UK’s surging wave of rising DJs and producers making an impact on the global scene. Releasing cuts on Hottrax, Kaluki, Circus and Solid Grooves, Wheats enjoys the backing of some of the biggest names in the underground scene.

Nate Scheible's "work of gentle genius" – Fairfax – is arriving on vinyl & all digital services in February 2022. Remastered by Lawrence English and featuring brand new artwork, this edition uncovers a completely new side of the "dreamy and dramatic, meditative and somber" album by the American artist. ~~~

"Few albums have stuck with me like Nate Scheible's Fairfax. In fact, I feel lucky to have had my copy of the original tape to drop into over several years, some heartbreaks, a few streaks of loneliness; when I've not felt terribly well, or couldn't face reflecting for fear of noticing personal decay.

With fresh treatment from mastering maestro, Lawrence English, this new version has brought out fresh new colours in Scheible's elegant composition. The moments of icy isolation are sharper, while the embrace of the album's finale is warmer and heartier than ever. Scheible's found polaroids on the front of the package also fit so aptly that they barely even feel new. The album's allure and message of craving is more powerful than ever.

To anybody who hears this album, she's a great heroine of literature, the voice of Fairfax. Her frank admissions of longing and weakness are infectious cries of hope. She's a powerful woman, unashamed, the innermost voice of reason, grasping the world together selflessly. I wanted to tell her about the times when things weren't so good. I want to tell her now too, just how well things can turn out.

Scheible's beds of oozing and luscious melodies, decaying on reels or tape, flinging out from plucked bass strings, or rising from a struck vibraphone, are a truly loving soundtrack to this mysterious voice found on a tape that came into the artist's possession. The audio letters reveal the woman's story of painful hope and self-gifted redemption, while the click of the saxophone and moan of Scheible's wobbly piano snippets, they sing her – no ~our~ – mood right back to us. Fairfax reminds us that, like the protagonist, we're all gonna do something, ~someday~."
– Tristan Bath

Featuring: Deena Abdelwahed, Rabih Beaini, Fari Bradley, Dieb 13, DJ Sniff, Gavsborg (Equiknoxx), Electric Indigo, Donzilla Lion (Nyege Nyege), Marina Rosenfeld, Microhm, Muqata’a, Bob Ostertag, Rrose

Project presentation:

Sampler / Sampled is an album made of two interdependent parts rather than a double-album.

The first part of the project, Sampler, is a trumpet solo album that catalogues the unique sounds and extended techniques that Mazen Kerbaj developed for the instrument in the past 25 years; it consists of 318 pieces ranging from less than a second to forty seconds each, and presenting different sonic materials. This catalogue of sounds works on various levels: first and foremost, it is a trumpet solo that could be played in its original order, or in random mode to create different pieces of music. But it is also a collection of samples that could be used for various applications (ringtones, phone sound effects, cinema…) and, of course, to create new pieces of music based on sampling.

The second part of the project is the composition Sampled for a musician working with loops and/or samples. The composition has one instruction: create a piece of music using solely tracks from Sampler as your sound source (with the possibility to use all kind of effects or treatment). Each interpreter/musician becomes thus a co-composer who appropriates the piece and makes it their own. In this regard, the musicians that were commissioned to play Sampled were chosen from different geographical origins and musical genres to create highly different and personal pieces of music.

One important output of this project is putting in practice the overused idea of music as a universal language. This idea is very present in “free improvised music” where musicians from different origins can meet for the first time and make music together without the need to adapt to different musical traditions. But here, the collective part of creating music in real time is not involved. It is rather the contrary: it starts with one middle-eastern musician creating a new language/vocabulary for his western instrument, to be later used by other musicians from around the globe who will appropriate this vocabulary and use it with their own language/grammar.
The final output of this double faceted album that was recorded during the Covid lockdown proved to be a very efficient new way to collaborate from a distance in times of world isolation, and ultimately put in practice the universality of music by breaking the boundaries of genres that are the most difficult to break.

Gábor Lázár’s “Boundary Object” is a collection of eight real-time recorded, unedited tracks made in Budapest and Prague between 2020 and 2022 using a self-designed compositional interface. It's Gábor Lázár’s second album for Planet Mu following “Source” in 2020. The title comes from the idea of a Boundary object as a flexible concept of sociology and computation of how collaborations could happen between groups of people who have different kinds of backgrounds and different levels of knowledge. A Boundary object could be anything which translates between these groups to make a collaboration happen. Boundary objects are plastic, interpreted differently across communities but with enough common identity across social words and contexts to maintain integrity. This is a neat summary of how Gábor’s approach and working process led to his music on this album. Prismatic, flexible, and functioning on different levels of interpretation. On “Boundary Object”, the shiny surfaces and uniformity of “Source” have collapsed inward, leaving intact the recognisable pulse and frames of his music. While each individual track has a non-linear structure, the album as a whole has a strong narrative. Passages that start out Trance-like and familiar warp and weft into different shapes as if Gábor is examining the music like a 3d object, pulling at the edges, breaking and rebuilding what he examines, turning expectations inside-out. “Boundary Object” is intense, full-spectrum and a lot of fun.

Spaced Repetitions is the brand-new label by veteran producer Manuel Tur. Following his most recent releases on Running Back and Lossless, the German digs deeper on the “Alphalpha EP”, fusing hints of sampled house grooves and bleepy techno synth work. With the lead track reminiscent of classic Parisian dark chemistry à la Motorbass, things get more driving on the B-side: the percussive “La Terre” leads us to the magnetic acid groove of “Immune Response”, rounding off this hypnotic three-track EP.

Inner Vision also features four cuts, these courtesy of DJ Compufunk, aka Nao from Osaka. He's the founder of Compufunk Records (the longest-running record shop for House and Techno in Japan) and, as the four solidly crafted tracks show, an experienced producer in his own right. The vertigo-inducing title track struts aggressively with a high-velocity swing peppered by tinkling synth accents and acidy squelches, after which “Abyss” cools the pace for a sexier House style (a swishing drum machine detail even gives the cut a rather Kraftwerk-like tinge). On the flip, “Midnight Sky” grooves as boldly, this time with a smattering of Garage worked into its swing and chiming synths brightening the mix, while “Mind Power” changes things up with a swirling bottom end that's so dizzying it's positively gyroscopic. Dj Compufunk sn't averse to packing his productions with layers of dizzying detail, and as a result the stimulation level remains high throughout. Strictly limited 250 copies.

Released in conjunction with the reissue of the Raintears EP, Quindi is proud to present further archival finds from Italian experimental project Cabaret du Ciel. Like a Fool / Inside Loneliness is a single shining a light on the brief collaboration between Andrea Desidera, Gian Luigi Morosin and singer Barbara Volpato.

After years working as an instrumental outfit, the sessions with Volpato from 1991 were the first time Desidera and Morosin's project had welcomed in a vocalist. Of the many tracks written and recorded at that time, the best two were selected and carefully restored from the original tapes, now immortalised on vinyl and expanding the public impression of Cabaret du Ciel.

'Like A Fool' re-imagines the hazy serenity of Cabaret du Ciel in a dream pop context, injecting the soft-focus synth work with the energy of bold drums to provide a suitable framework for Volpato's voice. The crisp twang of new wave guitar completes the picture, while the trademark progression intrinsic to Cabaret du Ciel lends itself to the traditional song structures of pop.

'Inside Loneliness' is a natural companion to the A side, redolent with the heavy-hearted synth-pop romanticism of the late 80s and early 90s. The DIY sound on the track conveys an intimacy that can only come from artists recording in their own private environment, pouring their hearts and souls into a four-track recorder without a conceit other than pure, honest expression.

Nightcrawlers is a Scottish house music project, assembled by producer, DJ and vocalist John Reid. In 1992, John Reid formed the act following his local success as a DJ and vocalist. It was 1995 when he released his debut album, which was titled after its lead single. Two singles of the album reached the UK Top 10: “Push The Feeling On” and “Surrender Your Love”, plus three singles that reached the UK Top 40: “Don’t Let The Feeling Go”, “Should I Ever (Fall In Love)” and the lead single “Let’s Push It”. The latter became an overnight success, peaking at No. 7 on the US Hot Dance Club Play charts and briefly crossing over to pop radio, peaking at No. 80 on the Billboard Hot 100. “Push The Night Again” gained new spotlight recently, when Nightcrawlers together with Riton scored a worldwide#1 hit with “Friday”, which is a remix of the track.

“Push The Feeling On” was then remixed by Marc Kinchen, an American record producer. He stripped down the song to edited vocal samples, creating an unusual sounding track “The Dub of Doom Mix”. Reid released an album containing all six singles he had previously released, using the single “Let’s Push It” as the album’s title. Marc Kinchen once again worked closely with Reid, repeatedly remixing tracks to his trademark sound.

High Focus ​Records linchpin ​Fliptrix announces his 8th solo album ​‘Light Work’. The 16-track project is a complete representation of ​Fliptrix as both an artist as well as reflecting the person behind the artistry. The album tackles deep rooted issues within society, the current state of the world as well as portraying an overarching message of peace, openness and optimism.

“Light Work is the culmination of years of experience, emotion, research and love. Crafted to heal, fulfil my desire to create and further raise vibrations.”

The London born, Brighton based lyricist’ creative CV has become one of legends. His long-standing trade as a solo artist is paired with him being one-quarter of the acclaimed collective ​The Four Owls (Big Owl)​, adding in Founder and Director of ​High Focus Records and not to forget becoming a first-time dad earlier this year. Operating at this level has been achieved by years of self-development and his mission is to pay it all forward.

Both Fliptrix and High Focus Records have been irreplaceable cogs in the UK HipHop machine for well over a decade. He and the label have been there for the hard times and the glory days but have never sought out fame or verification. Albums such as ​‘The Road To The Interdimensional Piff Highway’ and ​‘Patterns Of Escapism’ ​were pioneering amongst peers and resulted in multiple global tours and a dedicated fanbase across the world.

Kicking off the album is the title track ​‘Light Work’ which starts with faded, eerie laughter whilst Fliptrix unleashes a barrage of flows ending with “DMT be elevating my consciousness​”​. An introspective cut,

‘Light Work’ expresses his undeniable passion for his craft whilst tackling personal demons and overcoming them through altered states of consciousness. ‘​Multicolour’ paints a raw psychedelic picture and encourages us to think outside the box and not take everything for face value. His vivid storytelling continues throughout with feelings of being burnt out expressed in ‘​Broken Glass​’ whilst ​‘Powerizm’ ​switches up the tempo and he conveys his daily grind whilst paying homage to his fallen friend and legendary London graffiti artist ‘POW’ as well as his recently born first child. Tracks ‘​Problem, Reaction, Solution & ​The Realisation Part 2​, tackle the world's current situation head-on with a no holds barred viewpoint. Coming full circle, ​Fliptrix closes the project with ‘​Vibes’​ which is full of positivity and hope.

No stranger to talking openly about his mind-altering experiences, spirituality, quest for knowledge and dedication to the exploration of consciousness, Fliptrix’s raw flow and intricate lyricism perfectly portray the albums hard hitting narratives and set him apart from the rest of the scene. Self-reflection, personal improvement, determination and revolution are at the core of ​‘Light Work’ and they come together harmoniously under one roof.

Alex Cameron has always been a great storyteller,
finding his ways into the depths of the places where not
many others are looking, and ‘Oxy Music’ continues on
that trajectory. It’s filled with stories of people who fall
outside the system and exist in the grey areas of life.
 And much like 2017’s ‘Forced Witness’, ‘Oxy Music’ is a
work of fiction. In its design - its music, lyrics and
tracklist - lies the journey a person can take, if the
circumstances present themselves - down the road of
heavy drug and alcohol abuse. Initially inspired by Nico
Walker’s ‘Cherry’, Cameron was spurred into yet another
commentary on American Life, this time about the opioid
crisis that has taken over the country.
 Alex says about ‘Oxy Music’: “The album is a story, a
work of fiction, mostly from the perspective of a man.
Starved of meaningful purpose, confused about the state
of the world, and in dire need of a reason to live - a
person can, and according to the latest statistics,
increasingly will, turn to opioids. This is one of those
people.”
 While ‘Oxy Music’ could be dark, it’s instead brighter and
more buoyant than much of Cameron’s previous work, a
shift in mood first seen across 2019’s ‘Miami Memory’.
It’s told from a place of optimism and through the lens of
Cameron, in the way that only he can tell it.
 Co-mixed by Mount Kimbie’s Kai Campos.
 Past collaborators include Angel Olsen, Brandon
Flowers (The Killers), Jason Williamson (Sleaford
Mods), Kirin J Callinan and Roan Yellowthorn.

Siavash Amini is a composer from Tehran, Iran. He Has worked with labels like Room40, Hallow Ground, Opal Tapes and Umor Rex for the better half of the past ten years. He has performed at festivals like CTM & MUTEK and many other well known international events. Apart from it Siavash is a co-founder of the “SET experimental art events” and “SETfest” in Tehran, Iran. His work ranges from fragile ambient pieces and brittle IDM (incorporating his distinctive style of atmospheric guitar playing) to noisy drones and bleak modern classical pieces. His compositions have been inspired by films such as Andrei Tarkovsky's The Mirror as well as novels by Dostoyesvky and poems by T.S. Eliot.

Saffronkeira is the Sardinian sound researcher Eugenio Caria being active in the electronic music scene since almost two decades. His most recent work - a cooperation with the Italian jazz trumpet legend Paolo Fresu - earned a lot of praise from the international music press for the pure timelessness of the album.

"Upon hearing a small snippet of sound an image is conjured, not a memory but not unfamiliar. A shell of a memory, thousand events superimposed on each other. While trying to extract points of a narrative to ease the discomfort of this recollection, I try to separate and unfold the image and with it the points of the spectrum which make up the sound, a shell of a narrative. Here is an album based upon an almost entirely imagined/ synthesized happening upon hearing a snippet of sound. It sounded like of a whole story that never happened but yet I felt myself amongst it’s participants, a sound triggering a false memory. Each sound in Eugenio’s collection of sounds and ideas guided me a to a point in the narrative and it’s construction. He had handed me a portals of some kind to a few scenes of the whole narrative. This is the soundtrack for that false memory from all the perspectives I can think of."