Cerca:late

‘Flicker’ is the second album from Ride guitarist and songwriter Andy Bell. Written almost as a conversation with his teenage self, it follows the triumphant solo debut that was 2020’s ‘The View From Halfway Down’. This 18-track double album finds Andy moving towards classic songwriting, notably on the reflective lead single ‘Something Like Love’, the strident harmonies of ‘World of Echo’, the joyous refracted loops of ‘Jenny Holzer B. Goode’ and the fuzz-laden late-’60s balladeering of ‘Love Is The Frequency’. Stylistically, the four sides of ‘Flicker’ take in everything from modern psychedelia to fingerpicked folk, whimsical baroque pop, and Byrdsian 12-string beauty. It’s a breathtaking array and makes it even more abundantly clear that Andy has entered a purple patch in his songwriting, hitting a new velocity in contrast to his initial inhibitions about becoming a solo artist. He gradually overcame these after the passing of David Bowie in 2016, with the Thin White Duke’s bountiful 50 years of music providing inspiration from beyond the grave. ‘Flicker’ is also an apt description for the genesis of the album. At the start of 2021, Andy returned to the stems of the recording sessions he made at Beady Eye and Oasis bandmate Gem Archer’s North London studio and added fuel to the fire, writing melodies and lyrics and turning them into fully formed songs. The same sessions were also the starting point for ‘The View From Halfway Down’ and this album picks up where that one left off, quite literally, with the very first words being “I was halfway down…”. This is the first of several playful, possibly intentional, references to albums and song titles that litter the record like a musical breadcrumb trail. As much as this is a modern sounding and forward-looking record, it’s also very much about looking back, something that is clear from the first glimpse of the front cover – a previously unseen outtake from Joe Dilworth’s photo sessions for the inner sleeve of Ride’s debut album, ‘Nowhere’. “When I think about ‘Flicker’, I see it as closure,” explains Andy. “Most literally, on a half-finished project from over six years ago, but also on a much bigger timescale. Some of these songs date back to the ’90s and the cognitive dissonance of writing brand new lyrics over songs that are 20-plus years old makes it feel like it is, almost literally, me exchanging ideas with my younger self.” This conversation takes place across ‘Flicker’’s 18 tracks. Essentially it advises us to stop worrying about the future and enjoy each day as it comes, embracing the crushing, unpredictable lows of life as much as the almighty highs of being in love. Some of it remains unspoken, taking place sonically rather than verbally: the album has a reflective, meditative feeling throughout, exploring many aspects of mental health, and the beautiful stillness of first single ‘Something Like Love’ could almost be a musical salve to the heartache 19-year-old Andy poured into ‘Vapour Trail’ in 1990. “The ‘Flicker’ I’m talking about in the lyrics is that flame that makes a person who they are,” explains Andy. “I wanted to find that in myself, so I went back to the teenage me – a technique I learned in therapy and have been doing ever since – and got some advice on how to live and be happy in the 2020s.“‘The View From Halfway Down’ was about turning 50 in a very weird time of introspection. ‘Flicker’ is about gathering the tools to equip myself mentally for life in 2022 and beyond – post-pandemic, post-Brexit, post-truth.”

For more than twenty years, Duquette Johnston has been amongst the vanguard of Alabama music. From the founding of the seminal indie-rock band Verbena, his work in Cutgrass and the Gum Creek Killers, to his acclaimed solo releases "Etowah" and "Rabbit Runs a Destiny", Johnston has consistently pushed the boundaries of what Southern American music can sound and feel like. On his latest, "The Social Animals", Johnston partnered with producer John Agnello and an all-star cast of players including Sonic Youth's Steve Shelley to create his boldest and most powerful music to date. In a career that's taken him from stages with Pavement, Foo Fighters and The Strokes, to the Etowah County Correctional Facility, and then into the world of fashion with his Birmingham based company Club Duquette, Johnston has gone to the edge and survived. On "The Social Animals", he opens the door into that experience with eleven songs that present a lush, loud, and eloquent meditation on the human experience. Producd by John Agnello (Dinosaur, Jr, Waxahatchee). Features Steve Shelley (Sonic Youth) on drums. Former member of influential 90’s indie rock group Verbena. Press from Shorefire Media, AAA radio campaign planned. Partnerships planned with Levi’s and Topo Designs. Full tour planned for 2022. Last records have received accolades from Rolling Stone, Paste, The Bitter Southerner, MOJO, Uncut and NPR.

LP Black Vinyl, DL card. ‘Devasting, with slow, burning songs that shudder and wince’ NY TIMES. Peel Sessions is an essential nine-track set catching Boston’s mighty Come at the peak of their powers. The collection includes two sessions recorded for John Peel in both 1992 and 1993, plus a previously unreleased live track ‘Clockface’ from 1991, unwrapping the blueprint of their sonic idealism. Raw, loud and live, exactly where the band’s dissonant blues noise rock originates. 1992’s four track session is direct from their debut; but more mangled, strangled and abrasive. The follow-up set from a year later includes live favourite ‘Mercury Falls’ and ‘City Of Fun’ neither of which surfaced as studio recordings. The sessions feature the masterful guitar interplay of two central pivots of the post-post-punk and alternative noisnik underground, Chris Brokaw (Codeine, Pullman, Thurston Moore, Ryley Walker, Lemonheads) and Thalia Zedek (Uzi, Live Skull, solo). The session’s line-up is completed by the addition of Sean O'Brian and Arthur Johnson’s visceral bass and percussion, documenting an essential era for the band. Peel Sessions follows their recently released ‘Don’t Ask Don’t Tell’ reissue, part of Fire Records forthcoming reissue series for the seminal group

New limited pressing on 180g Electric Blue Vinyl. L.A. Witch’s self-titled debut album unfurled like hazy memories of late-night revelries in the city center creeping back in on a hungover Sunday morning. Guitarist/vocalist Sade Sanchez purred and crooned over jangling guitar chords, painting pictures of urban exploits, old American haunts, and private escapades with a master’s austerity. Bassist Irita Pai and drummer Ellie English polished the patina of the band’s vintage sound, adding a full-bodied thump and intoxicating swing to the album’s dusty ballads, ominous invitations, and sultry rock songs. The album had an air of effortlessness like these songs were written into the fabric of the Western landscape by some past generation and conjured into our modern world by three powerful conduits. The band readily admits that L.A. Witch was a casual affair and that the songs came together over the course of several years. That natural flow hit a snag when the band’s popularity grew and they began touring regularly, so a new strategy became necessary for their sophomore album, the swaggering and beguiling Play With Fire

Curtis Godino’s first album producing for The Midnight Wishers. Mastered by Shimmy-Dic’s Kramer. “Golden Wish” Yellow Vinyl LP ltd edition of 500. RIYL: the Shangri-Las, the Chiffons, the Crystals, the GTOS, Ween. What if a cute girl group scored a hit song about a car crash, then actually died in a car crash, but decades later, David Lynch conjured their spirits for a beach-themed Halloween special? That’s a feeble attempt to describe the fun, spooky universe evoked by musician, songwriter and producer Curtis Godino with his latest project, Curtis Godino Presents the Midnight Wishers. “I’ve always been a fan of girl groups and old generic love songs,” says the Brooklyn-based artist, previously known around town for his psychedelic band Worthless and his ’60s-style light projection shows. “No matter how cheesy, they always get stuck in my head, so I decided I would try to make some of my own, with the help of my friends.” Chief among those friends are the Midnight Wishers: lead vocalist Jin Lee and backing singers Rachel Herman and Jessica McFarland, all of whom Godino recruited for the project. Lee also contributed lyrics, which she tends to recite as often as she sings in a dreamy, earnest voice. The trio are the perfect messengers for Godino’s tunes, visually as well as sonically. In photos, they pose before bubble-gummy backgrounds, playing with a ouija board by candlelight, elemental like a cartoon crime-fighting team with their respective black, red and blonde hair. But make no mistake: This project belongs to Godino, a musical ringmaster in the tradition of Phil Spector or more aptly Shadow Morton, whose noir sensibilities spawned such uncanny pop marvels as the Shangri-Las’ “Leader of the Pack” and “Remember (Walking in the Sand).” In this case, Godino built the wall of sound almost entirely by himself, recording on his eight-track tape machine during the pandemic shutdown. Starting with drum tracks from Andrew Max and Adam Amram, he would add picked bass guitar in the style of L.A. studio legend Carol Kaye, then go bonkers with fuzzy guitars, Farfisa organ, mellotron, analog synthe- sizers, glockenspiel, an arsenal of other percussion instruments and an array of mysterious electronic effects. To fully realize the vision, however, Godino knew he needed more firepower. The Wishers’ multilayered harmonies and other vocal tracks were recorded and engineered by his roommate, Paul Millar, at Millar’s Bug Sound East studio. “I'm sure all those incredible old records were recorded on a four-track or whatever, but I don’t have the same discipline,” says Godino, whose stated goal was to create “songs so sweet they’ll give you a cavity

A-side from the recent album “Back In Mono”! B-side a new track, exclusive to this 7”! The A-side 'Misfits & Freaks' is a standout track from the The Courettes' third album, Back In Mono. It comes backed with an exclusive new song 'Killer Eyes'. Cheer up, cheer up! It's the end of the world! “We wrote 'Misfits & Freaks' after a bittersweet concert in France in 2020, on our last tour in the pre-pandemic world. We played on the very evening France went in its first lockdown - our show at 9 pm, lockdown at midnight. Back then, nobody actually knew what was a lockdown, what was a pandemic and what the hell we were getting into, so people that day really partied as if there was no tomorrow. The audience and us, we were really having a party at the end of the world! That's how we felt that day: at the end of the world as we once knew it. And I guess we were right on that. It's also an ode to all the misfits & freaks, a call to our punk rock community. We were worried about the possible consequences of the pandemics, with venues being closed and the economic choking of independent and experimental artists. The fear of a boring new world without places to breathe and drift away from the established mainstream cultural diet, a boring new world without the community feeling that only a rock show can create. A call against the normalisation of Netflix and isolation, a hope that us misfits and freaks would survive. And now, two years later, we can say that we did. Cheer up!”

BRAND NEW 7” FROM LEED'S FINEST! A taster from their next full-length LP due out later in the year Ever been interrogated by the punk rock police? Are you manufactured by a company? Is your band real or plastic? Have you ever paid a thousand quid for a poster? Can the kids be trusted with rock n roll? Answers on side A

In 2006, Jimmy Hunt (then a proverbial punk-troubadour usually found in bars) and Ysael Pepin (bassist for Demon's Claws) started to jam here and there in one of the rooms of an apartment located above the late Zoobizarre in Montreal. Brian, Martin, and Dale eventually joined and the quintet recorded their first garage EP in two winter afternoons. Going against the ebb and flow of indie-pop, receiving praise in both languages all over Canada (La Presse, Exclaim!, Voir), Chocolat participated in the Francofolies de Montréal in 2007 and, in 2008, they were one of the first bands signed on a new label named Grosse Boîte, the French section of Dare To Care Records. They went on to release their first album, Piano élégant, which was met with great acclaim. It featured Beatle- esque melodies, a clearer sound and an addictive chanson side. During the two years that followed, between disheveled yet jolly efficient performances, Chocolat strung together shows and insolence, and even performed at the Vancouver Winter Olympic Games. Then, wanting to try something new, the band decided to take a break in the middle of 2010 and Jimmy Hunt eventually released his first solo album. Jimmy and Ysael kept contact and kept playing together, laying the foundations of an abstract project named Fantôme. Then, at the end of 2013, during the Holidays, while on a break from the tour promoting his second solo album, Maladie d'amour, Jimmy Hunt pitched some ideas on his tablet. The few demos he recorded consisted of linear sequences with drawling riffs interspersed with rhythmic breaks and rudimentary electronic effects. Realizing that Chocolat represented the ideal band to play these, Jimmy got the members together and invited his close friend Emmanuel Ethier (Jimmy Hunt, Cour de pirate) to replace Dale who had left for Europe. After only 3 practices, Jimmy booked the Victor studio in January 2014. For a few days, the guys recorded live and full band. In general, they stuck to the second or third take for each of the tracks. This allowed them to take advantage of the spontaneity of Ysael and Brian's garage games played on the mechanical tracks composed by Jimmy. As spring blossomed and schedules filled up, the guys managed to remotely mix what would become Tss tss, an album recorded between friends, a pop dump of white heat, a discharge of hypnotic rock, and, still under the Grosse Boîte label, an essential tool to hit the roads and travel across Quebec again.

Re-release of the third full-length album by the American grindcore legends! True to the American interpretation of Grindcore Terrorizer amalgamate the most forceful elements of Death and Thrash into a true juggernaut of Metal. Since their famed debut “World Downfall” (1989), this beast has been driven by the relentless and precise pounding of Pete Sandoval (Morbid Angel), who delivers yet another jaw-dropping barrage. Fans will be delighted to see Morbid Angel frontman David Vincent once more returning to play bass on this album. They will also be glad to hear that excellent singer Wolf aka Anthony Rezhawk (Resistant Culture), who already refined the highly acclaimed second album “Darker Days Ahead” (2006) is again adding his resonant and fierce growls as well. The new line-up is completed by Katina Culture (Resistant Culture), who is replacing the sadly late Jesse Pintado (August 28th, 2006) on guitar.

FFO: Arthur Russell, Stealing Sheep, Neu!, Agar Agar, Galaxians
Holodrum are a new disco-infused synth-pop group, who feature members of Hookworms, Yard Act, Cowtown, Virginia Wing, Drahla and more.

Maybe Holodrum were destined to start at this point. This might be the first time they’ve all officially worked together, but between Emily Garner (vocals), Matthew Benn (synth/bass/production), Jonathan Nash (drums), Jonathan Wilkinson (guitar), Sam Shjipstone (guitar/vocals), Christopher Duffin (sax/synth) and Steve Nuttall (percussion) they’ve shared bands, mixed each other’s records, promoted live shows and made music videos together in and around Leeds. As Holodrum, this is the 7 piece’s debut album, but the interlocking grooves and hot headiness of their repeato-rock-via-CBGBs dopamine hits have in one way or other been fermenting for years.

“When it comes to doing music most bands fall between two extremes of doing it for some goal or as an end to itself” says Shjipstone. “I think Holodrum is about the joy and complexity of living, and I just hope to god everyone gets to have a good time doing it.”

Ultimately the core of the group comes from Shjipstone and his former Hookworms bandmates Benn, Nash and Wilkinson. After their abrupt dissolution in late 2018, the four of them spent six months apart; Benn still had Xam Duo, his ongoing project with Virginia Wing and some-time James Holden & The Animal Spirits live member Duffin, Nash remains vocalist and guitarist of long-running DIY rockers Cowtown and helms his solo project Game_Program; and Shjipstone plays guitar with Yard Act. However, the four of them missed the sixth sense synergy they’d built-up playing together over a decade and soon enough demos were being swapped and new ideas were discussed.

The vision of a large live electronic ensemble formed quickly. Friends were added: Duffin and Nuttall – who was keen to resurrect the double percussion interplay that he and Nash had been exploring as part of motorik trio Nope joined first. Then animator and VIDE0 singer Garner crystallised the line-up by joining on vocals.

“Apart from Emily, all of us had actually played together before in a covers band at a New Year’s Eve party at the Brudenell Social Club a couple of years ago, so we knew we could have fun together” says Benn. “So we set up to be a live party band early on. We wanted lots of people on stage having fun, playing for people that also wanted to have fun. It makes sense we take inspiration from bands like Tom Tom Club and Liquid Liquid; they were trying to help people to party at a point when New York was quite a scary and dangerous place we’re doing the same, albeit in the face of a decaying world and a global pandemic.”

Covid-19 hasn’t given them much opportunity to do that yet, with two fledgling shows in late 2019 to their name before festival appearances at the likes of Bluedot, Sounds From The Other City and Gold Sounds were scuppered last year. However, the 6 tracks on Holodrum crackle with the energy of the dancefloor. Opening cut 'Lemon Chic' described by Garner as her “workout track” starts out sparsely, with tight drum claps and burbling synths holding a teetering suspense before the whole thing’s prised open, allowing beaming saxophone skronk to shine in. Garner’s vocals bob and weave around the syncopations of the track’s building cacophony.

It sets the stall for an album heavy on euphoria, built atop crisp interplaying percussion and acid-flecked grooves. At times Shjipstone provides a raw counterpoint on vocals, while elsewhere - like on the strutting, swirling disco of 'Free Advice' and 'Low Light'’s late night ping pong synths - the pair indulge in playful call and response as the instrumentation builds and contorts around them. 'Stage Echo' provides a respite of sorts halfway through, a swirling, fever dream of a track that peaks with big squelchy frequencies and cavernous reverb, before the album returns to its repetitious exercises in body-moving catharsis underpinned at all times by a relentlessly propulsive rhythm section.

Flashback to 2008. Barack Obama is in charge of the US, China is hosting the Summer Olympics and Amy Winehouse's 'Back To Black' is ruling the charts. In Belgium - more specifically in Aalst - four friends of friends decide to make music together. A year or so later, Intergalactic Lovers achieves its first successes and in 2011, with 'Greetings and Salutations', the band records its first album. The press is wildly enthusiastic, the gigs are piling up, the train is rolling...

13 years and two more successful albums ('Little Heavy Burdens' (2014) and 'Exhale' (2017)) later, singer Lara Chedraoui, guitarist Maarten Huygens, bassist Raf De Mey and drummer Brendan Corbey know each other like the back of their hands as they have navigated many waters together, both professionally and privately. The unbreakable foursome is ready to start the next chapter in the career of Intergalactic Lovers. "We kept a low profile the last two years" Brendan admits, "but we always have to disappear for a while after a tour. From the stage and from each other. Otherwise, you couldn't keep doing this for 13 years alongside a job, a family..."

First Word Records is very proud to present you with 'Peace + Harmony'. The first EP from our most recent signing, K S R .

Hailing from Moss Side, Manchester, this young talent has been steadily building a rep for himself over the past few years as one of the UK's most exciting soul vocalists, with his releases encompassing an eclectic assortment of alternative R&B, future soul, hip hop and D&B. Influenced by an array of neo-soul artists, such as D'Angelo and Anderson .Paak, his own soulful style has already seen him tour and collaborate with a number of UK peers; working on projects with label-mates Children of Zeus & Australia's REMi, and supporting the likes of Etta Bond & The Mouse Outfit, as well as performing sell-out headline solo shows in Manchester and London, and playing various festivals across Europe, including the We Out Here festival very recently.

Since he began developing his music in 2017, K S R has had support from the likes of 1Xtra, BBC Radio 1, BBC Introducing, Mixmag, NTS, Reprezent, Unity & Soho Radio, in addition to featuring on a slew of D&B tracks with artists like Lenzman, BCee, Emba & Redeyes. The collab with Emba was recently named a 'Kiss FM Future Selection' courtesy of Hybrid Minds and features have been supported on Spotify's 'New Music Friday' and 'Mandem - Kings' amongst others. His debut release 'Unfiltered' appeared on Polarface Records in 2019, which was followed by single 'Flex With Me' (also produced by Tyler Daley from Children of Zeus) then an independent second EP, 'Take Control', followed in late 2020 (during the pandemic) which amassed over 500k streams. Additionally to the releases, he was recently recruited by Manchester United as part of their 21/22 season kit announcements, as well as working with Nike and Size? on a special MCR-themed Air Force 1 release.

It's now time for a new extended project from Roosevelt Kazaula Sigsbert - better known as K S R . 'Peace + Harmony' is a solid set of alternative R&B, produced by Dom Porter and mixed by Eric Lau. Six tracks in all, including the single, 'Harmless' (which received support from the likes of Mr. Scruff (Worldwide FM), BBC Manchester and Victoria Jane (BBC Radio 1), was 'Track Of The Week' on 1Xtra/BBC Introducing, and saw the video racking up several thousand plays in its first weekend) and follow-up 'CGWY' featuring Children of Zeus on a brand new interpretation of their classic track 'Get What's Yours'. From the intro track 'I Wonder', to the downlow future soul of 'Lily Apart', to the autobiographical vibes of 'Born In '98', to the closing track 'Given Summer', also featuring the vocals of Ayeisha Raquel, each track on the EP is of course laced with Roosevelt's unmistakable silky smooth vocals, and is set to join his already impressive catalogue of underground soul classics such as 'Alien Boo', 'Stylin' and 'New Love'.

K S R says "my third EP, P E A C E + H A R M O N Y is a collection of my thoughts and experiences from my journey throughout the last two years of my life. Lots of aspects of my life changed over 24 months, along with everyone around the globe. When we were thrown into the unknown at the start of 2020, I stepped away from music for a while as I couldn't find any peace in my creativity and needed to evolve. I finally started to feel cohesive with my songwriting and music, and I could feel harmony between myself and my art once again."

'Peace + Harmony' by K S R is released on vinyl & digital on First Word Records, late 2021.

Marc Rapson is a man of many dimensions. From rocking BBC's Maida Vale and Later with Jools Holland as part of Ben Westbeech's touring band, to releasing stellar re-edits of Marvin Gaye and Sarah Vaughan to the acclaim of Gilles Peterson, Marc has spent the last decade quietly building a following amongst those in the know. Dark vs Light seamlessly blends crunchy, low swung Hip Hop beats with Marc's jazz inflected Fender Rhodes and synth sounds. Not one to be confined to a singular style, Marc also fires up the sampler for tracks such as 'Click Loud', combining surgical chop skills with live instrumentation. Dark vs Light is the product of a mind that grew up on Ahmad Jamal as much as A Tribe Called Quest: the jazz pianist with a passion for raw beats. This first time on double vinyl complete edition includes all tracks from the now out of print EP along side additional bonus cuts from the original sessions featuring MC Replife as well as a dope cover of a classic Roy Ayers track. A great way to help celebrate Futuristica’s 15th year!

For their first installment, the Chateau Chepere crew brings a diverse EP from ambient house maestra Rai Scott.

Opening the EP is 'Logical Positivism', a deep, driving and cinematic nod to the forest dance floors of the late 90's. On 'Inspired', Rai brings the club in an introspective, melancholic mood. Slower, steady beats with rolling percussions and dreamy pads to shroud the dancers.

Picking up the pace is 'Open Your Eyes', a warm, bitter-sweet piece of house from from her own alter ego Serendipity. The club friendly 2021 rework shifts into an early morning vibe, while keeping it deep and moody. Closing out the EP is the title track 'Anahata Nada', a gorgeous, warm piece of ambient for the chill rooms.

Annie Booth is an Edinburgh-based artist with a gift for mood-painting
and storytelling - A seasoned modern folk singer, performer and
songwriter - with a fair for the nostalgic and the melancholy - she wields
a unique voice in Scotland, bridging genre and infuence with ease, her
restless live performance and songs never cease to capture the listener
with their haunting melodies and infectious arrangements
Recorded over several months at Chem19 Studios and Green Door Booth's debut
album An Unforgiving Light (Last Night From Glasgow/ Scottish Fiction) was
released in 2017 to critical acclaim. It was lauded as Roddy Hart's Record of Note
(BBC Radio Scotland), featured in Vic Galloway's Best Albums of 2017 (BBC
Radio Scotland) and was praised by Jim Gellatly (Amazing Radio). 2018 saw her
perform at the BBC's Quay Sessions and festivals such as XpoNorth, Celtic
Connections and the Kelburn Garden Party.
Adopting a more introspective and atmospheric approach, Booth's 2019 EP
Spectral (Last Night From Glasgow/ Scottish Fiction) displays her poignant
lyricism and haunting vocals at their most raw. The EP was championed by BBC
Radio Scotland, The Skinny and The List, with Booth appearing for a live session
on the BBC's Janice Forsyth Show. Booth was subsequently nominated for a
Scottish Alternative Music Award in the Best Acoustic category late 2019.
The singer-songwriter is also known for her enthusiasm for collaboration. From
2015 to 2020 she performed backing vocals and guitar with prolifc dark- folk
collective Mt. Doubt, touring across Scotland, England and Wales and recording
on numerous records. 2020 saw the release of Clean Living (Last Night From
Glasgow) under the moniker Slow Weather: a vintage-infused EP of alt-rock cowritten with producer extraordinaire Chris McCrory. The release garnered praise
and spins from Steve Lamacq (BBC Radio 6), BBC Radio Scotland and Amazing
Radio as well as features and airplay in the US. Over the years Booth has also
collaborated on tracks with artists such indietronica outft Out of the Swim and
indie pop quintet Wojtek the Bear.

Annie Booth is an Edinburgh-based artist with a gift for mood-painting
and storytelling - A seasoned modern folk singer, performer and
songwriter - with a fair for the nostalgic and the melancholy - she wields
a unique voice in Scotland, bridging genre and infuence with ease, her
restless live performance and songs never cease to capture the listener
with their haunting melodies and infectious arrangements
Recorded over several months at Chem19 Studios and Green Door Booth's debut
album An Unforgiving Light (Last Night From Glasgow/ Scottish Fiction) was
released in 2017 to critical acclaim. It was lauded as Roddy Hart's Record of Note
(BBC Radio Scotland), featured in Vic Galloway's Best Albums of 2017 (BBC
Radio Scotland) and was praised by Jim Gellatly (Amazing Radio). 2018 saw her
perform at the BBC's Quay Sessions and festivals such as XpoNorth, Celtic
Connections and the Kelburn Garden Party.
Adopting a more introspective and atmospheric approach, Booth's 2019 EP
Spectral (Last Night From Glasgow/ Scottish Fiction) displays her poignant
lyricism and haunting vocals at their most raw. The EP was championed by BBC
Radio Scotland, The Skinny and The List, with Booth appearing for a live session
on the BBC's Janice Forsyth Show. Booth was subsequently nominated for a
Scottish Alternative Music Award in the Best Acoustic category late 2019.
The singer-songwriter is also known for her enthusiasm for collaboration. From
2015 to 2020 she performed backing vocals and guitar with prolifc dark- folk
collective Mt. Doubt, touring across Scotland, England and Wales and recording
on numerous records. 2020 saw the release of Clean Living (Last Night From
Glasgow) under the moniker Slow Weather: a vintage-infused EP of alt-rock cowritten with producer extraordinaire Chris McCrory. The release garnered praise
and spins from Steve Lamacq (BBC Radio 6), BBC Radio Scotland and Amazing
Radio as well as features and airplay in the US. Over the years Booth has also
collaborated on tracks with artists such indietronica outft Out of the Swim and
indie pop quintet Wojtek the Bear.

John Carroll Kirby brings his talents as a composer
and producer to film scoring. His vivid imagination,
dreamy compositions and knack for storytelling with
instrumental music make for a perfect match with
comic book writer, artist and filmmaker Dash Shaw’s
vibrant, fantastical animated feature.
 Kirby’s score is at once deeply evocative and
mysterious, evoking nostalgia, wide-eyed innocence,
and ethereal otherworldliness. As with all of Kirby’s
music, the score resists easy genre classification,
melding together sounds from new age, exotica, library
music and the sweeter side of electronic music.
 ‘Cryptozoo: Original Motion Picture Soundtrack’
features the voice of Kacy Hill.
 Artwork by the film’s director, Dash Shaw.
 ‘Cryptozoo’ won the NEXT Innovator Award at
Sundance, premiered internationally at the 2021
Berlinale, and was bought by Magnolia Pictures.
 The film is currently streaming on MUBI UK and
Ireland as a MUBI Release and will be on the platform
for several months.
 ‘Cryptozoo: Original Motion Picture Soundtrack’ is
Kirby’s latest album following the release of his
electronic-jazz album ‘Septet’ in June 2021. He will be
touring the UK and Europe in March 2022.
 For fans of Bibio, Tangerine Dream, Susumu Yokota,
Laraaji, Joanna Brouk.
 Support from AV Club, New York Times, The Guardian,
Cinemacy, Collider, The Wire, BBC 6 Music, triple j
and KCRW, among others.

Demon Records is proud to reissue this album as part of the Gary Crowley’s Lost 80s project. This Classic LP
reissue is presented on 140g translucent green vinyl.
The Kane Gang’s 1985 debut album was originally released on Kitchenware Records, where their label-mates
included Prefab Sprout, Hurrah! and The Daintees. ‘The Bad And Lowdown World Of The Kane Gang’
reached #21 in the UK albums chart, and features 4 singles, including #12 charting ‘Closest Thing To Heaven’
and ‘Respect Yourself’ (#21).
Hailing from the North East, The Kane Gang consisted of vocalists Martin Brammer and Paul Woods, plus
multi-instrumentalist Dave Brewis. They made their recording album debut in 1985 with this, their poised,
stylish collection 'The Bad And Lowdown World Of The Kane Gang'.
“I am absolutely cock-a-hoop that it's being given a vinyl re-release under our GC Lost 80s umbrella because
it's an album that I return to regularly. Signed to the uber-cool Kitchenware label, they were an under-rated
band in my opinion whose distinctive sound saw them taking their cue from a raft of Soul Funk greats, and
you can clearly hear that love right across the album. Produced and crafted lovingly by Pete Wingfield and
featuring the likes of P. P. Arnold and Sam Brown on backing vocals, the album is chock-a-block with singles
including the impressive ‘Small Town Creed’ (chart placing No. 60), the sublime ‘Closest Thing To Heaven’
(No. 21), the moody ‘Gun Law’ (No. 53), as well as a delicious cover of the Staple Singers’ ‘Respect Yourself’
(No. 21). I love the entire album but there are also other songs that also stand out for me. The Chic guitar
driven joy of 'How Much Longer' and the dreamy, shimmering 'Crease In His Hat' being two cases in point.
The band would later go on to enjoy success on the American Black R&B chart (which must have thrilled
them personally to bits) and release an equally grand second album in 1987 in 'Miracle’.”

• Best known for their self-penned 1982 recording ‘Moneys Too Tight To Mention’, which was ranked at No. 6
among in the Top Ten "Tracks of the Year" by NME and which was later famously covered by Simply Red,
• “The Valentine Brothers” eponymous debut album was recorded for US label Source Records, owned and run by
Logan H. Westbrooks and includes the two singles ‘The Sound Of Music’ and ‘We Belong Together’.
• Billy Valentine performed as a singer with Young-Holt Unlimited in the mid-1970s, whilst both brothers
performed a three-year stint as part of the touring company of The Wiz musical.
• Another one of those hidden Soul gems, Demon Records is proud to announce this first reissue of “The
Valentine Brothers”, since the album’s original 1979 release.

The pair continue to explore their love of Italian film soundtracks and library music with these two fresh offerings. The title track "Acqua" is a joyful upbeat song with a steady 6/8 groove accompanied by optimistic flutes, winding saxophones and a multitude of arpeggiated synthesizers.

The B side, "Tema Cinque", is more like an electro ballad with a hypnotic drum machine that provides the back drop to luscious sweeping pads and a moody soprano saxophone solo. These two tracks give listeners another taste of what's to come from Lorenzo
Morresi and Tenderlonious' forthcoming album, which is due for release on 22a later in 2022.

“Let’s trade... love,” or so propositions Josh Lane into the waiting ears of a lover on the whispering intro of Thee Sacred Souls‘ latest offering. “Trade of Hearts” is a perfectly coquettish hand-held stroll in the vein of an early Marvin and Tammy duet, on which hearts are traded like so many kings and queens in a playful hand of lovers’ bridge. On the flip, Jensine Benitez dips in with a soaring refrain for the hook of a mid-tempo groover, calling upon a wanted one to let their charm be felt and heard. Without mercy, an infectious rhythm erases any space that might have remained between two dancing souls. The Souls have already captured the hearts of Southern California and beyond with their unique soul sound, at once raw and honey sweet, yet this freshest platter can only tighten that embrace. Hold your cards close, cause they’re playing for keeps!

Erik Escobar with his third release on Ten Lovers Music is joined by Michael Pipoquinhal on Bass and Miguel Assis on Percussion and Drums for five amazing Brazilian Jazz Fusion tracks. The EP is titled New Brazilian Trio and first up is a track called Arcanjo Miguel which is dedicated to the aforementioned drummer and percussionist Miguel Assis. Following that is Chick which is dedicated to the late great Chick Corea who is still one of Erik's main references. Onto the AA side and Samba for Petrucciani is another track dedicated to one of Erik's main influences, the track is inspired by a Michel Petrucciani track called Bite. Next up is Maraca - Funk, this song is a fusion of a Brazilian rhythm called “Maracatu” with added Funk in the style of Herbie with The Headhunters, another one of Erik's influences since his teenage years. Finally Change of Plan is a song dedicated to the memory of his father, Freddy Escobar who was his mentor.

Each LP sleeve is delivered as a bespoke limited edition, hand-printed and customised by the man himself. Features Jehst, Taja, Jaz Kahina, Vandal Savage, Junior Disprol and Cappo. The return of the “Zack de la Rocha of Ashby de la Zouch”, back in tandem with Chicago producer Spectacular Diagnostics World status 2020-21; a write-off, one to be struck from the record, ‘NULL AND VOID’ if you will. This hasn’t stopped Kid Acne kicking on and bringing what he calls “the difficult fifth album” to the Lewis Recordings megaplex. Full of Yorkshire say-so, his inimitable strain of hip-hop delivers the mind-bending with everyman knowhow, fearlessly “taking out pop chart sucker rappers with a blow dart”. Spectacular Diagnostics (Westside Gunn, Vic Spencer, Conway the Machine, Nolan the Ninja) is back on the boards for Kid Acne’s latest magical mystery tour, strengthening regional alliances with UK heavyweights Cappo, Jehst and Vandal Savage as well as introducing one-to-watch Taja. Driven by the wise man’s testament that thou shalt never use the internet again, Acne shakes off screen burn and heads back to the great (socially distanced) outdoors with a fresh batch of wavy, chaos theorising boom-bap.

A Letter from TreeTops is the debut album from Pneumatic Tubes, the solo project of multi-instrumentalist Jesse Chandler. Grounded here in his own bucolic makings, Chandler opens his imagination to the world with this very personal and contemplative album. It’s a kind of American Kosmiche Music, a paean to the wild landscapes of the Adirondacks and Catskills of Upstate New York where he grew up. (TreeTops is the name of a summer camp, fondly remembered by several generations of the Chandler family.)

The album came to Chandler almost as an automatic transmission. Shortly after the death of his father, he holed up alone in the old family home with a few synths, a couple of vintage keyboards, percussion instruments and of course his beloved flutes and clarinets - the “pneumatic tubes” of his nom de plume. Channelling raw memory and landscape, Chandler laid down most of the material for this mystical and elegiac suite of music in just a few days. He later called on some talented friends to flesh out the final recordings; Paul Alexander on bass, Bill Campbell on drums, Marissa Nadler backing vocals and Robert Gomez on electric guitar.

The result is a series of beautifully faded musical photographs. Gentle melodies are propelled along by synth arpeggiators or laidback sidestick and felt beater drums. Chandler’s wind instruments are woven throughout like wild vines binding the elements together. Towards the end of the album an underlying note of melancholy swells into grief during the very moving Witch Water, which is subtly underpinned with Marissa Nadler’s haunting voice. The clouds soon clear, the mountains reappear, and the wheel of the year and of the generations turns again as A Letter from TreeTops signs off with the same lilting melody on which it began.

Originally hailing from Woodstock, New York and now living in Denton, Texas, Jesse Chandler is the keyboard and woodwinds player for the bands Midlake and Mercury Rev. His particular warmth as a composer and improviser is informed by a childhood ensconced in the mystical Catskill mountains, where he absorbed the area’s rich musical history and developed a fascination with keyboard and woodwind instruments.

A Letter from TreeTops is not his first appearance on Ghost Box, he also contributed organ and flute on the Soundcarriers’ incredible Entropicalia album.

Evocative liner notes are provided by Justin Hopper, author of Old Weird Albion and writer of the Ghost Box spoken word album Chanctonbury Rings. By happy coincidence Hopper also grew up in New York State and has his own deep connection to the landscapes there.

THE ELECTRONIC VISIONARIES RETURN WITH THEIR NEW STUDIO
ALBUM
.On their new album 'Raum', Tangerine Dream develop the concept of its
precursor EP (Probe 6—8) further
Composed & produced with full access to Edgar Froese's Cubase arrangements
(& Otari Tape Archive with recordings from 1977-2013), Thorsten Quaeschning,
Hoshiko Yamane & Paul Frick deliver late-night real time compositions combined
with classic studio productions, sequencer driven haunting soundscapes
alternate with anthemic warm synthesizers.
Composed in a time of social distancing & cancelled shows, the tracks cannot
exactly be recreated (or will at least need significant re-instrumentation for a live
performance). With the 17-minute 'In 256 Zeichen', they lay the fundament of this
record. 'Continuum', with its repetitive sequence & broken beat shows glimpses of
acid sounds & increasing choral atmospheres. 'You Are Always On Time' is built
on PPG wavetable sounds & eerie field recordings. The title track 'Raum' makes a
nod towards the early live studio performances like 'Zeit' & 'Phaedra' - the melody
accompanied by a chorus- like Roland Jupiter 8 part. An ambient rave Moog
Minitaur sequence highlights the final peak, till the violin slowly transports the
listener out. A heavy Moog bass marks the beginning & the end of this 15-minute
piece.
'Raum' is the band's second studio album after the passing of the founder Edgar
Froese in 2015. With deep respect for the sound of the previous five decades, this
record continues in the ever-evolving pathway of Tangerine Dream.
The band will be supporting the release of 'Raum' with live shows in 2022, starting
with an extensive headline tour of the UK in March. 'Raum' will be released as a 7
track CD presented in a digipak with a 12-page booklet

JJ Tartaglia and Jonny Nesta (also band members of world-renowned
Skull Fist) have joined forces once again to form Thunderor, the latest
80s-infused heavy metal /hard rock sensation
The debut album 'Fire It Up' delivers hook-driven stadium caliber songs with an
untamed spirit. Thunderous drums, lightning hot guitar licks, dreamy synths, and
piercing vocals form the musical storm that is Thunderor. Complete with singalong choruses, drum solo breaks, ripping guitar leads, keytars, motorcycles, and
gongs, the Canadian trio will have you fueling up for adventure as you sail through
the 9- track album. For those who've ever felt a longing for escape, a thirst for
adventure, wrapped in romance and danger, Thunderor is your soundtrack!

Matrimony emerged from the scrum of yobbos making noise in late-'80s
Australia (Cosmic Psychos, Lubricated Goat, etc), a nearly all-female
band of punk-pop minimalists as raw emotionally as musically
Building songs around simple, repetitive bass lines and the languidly morose
vocals of one Sybilla, the band reveals its disaffection more through what it
doesn't say than what it does. So while choppy guitar squalls underpin songs like
'Kitty Finger' and 'Fish and Chips Sweetheart,' elsewhere the playing is stripped
nearly bare. Sybilla's love/ hate relationship with her titular subject on 'Mr. Pop
Star' is reduced to a series of stuttered yelps, while her dispassionate plea on
'Come Back Baby' is backed only by finger snaps and the ubiquitous heavy bass
lines, distilling a lifetime of self-pitying angst into a two-minute session in front of
a cracked bedroom mirror. Matrimony also pays a nominal tribute by covering the
Scientists' 'Frantic Romantic' even more dourly than the original.

Reissue of violinist Jean-Luc Ponty's 1967 album 'Sunday Walk', originally
released on the SABA label (which later was renamed MPS), featuring an
all-star group that includes pianist Wolfgang Dauner, bassist NielsHenning Örsted-Pedersen and drummer Daniel Humair
Legendary drummer Kenny Clarke compared Jean- Luc Ponty to Dizzy Gillespie.
Fellow violinist Stuff Smith marvelled, "He plays violin like Coltrane plays
saxophone." Born in 1942, the French violinist transported jazz violin playing into
the world of modern jazz. On Frank Zappa's urging, Ponty moved to the States in
1973. Over the next years he toured with Zappa as well as the Mahavishnu
Orchestra. In 1975 he founded his own band and became one of the most
prominent figures of the jazz- fusion movement in the USA, selling millions of
albums that all reached the top of the U.S. charts.
On the 1967 'Sunday Walk' the band saunters through two blues, a waltz, and a
standard before reaching "Suite for Claudia", which begins at a blistering pace
with Ponty's saxophone- like "brilliance and fire" playing. It then settles into a
medium swing groove with Wolfgang Dauner's infectious piano play followed by a
smouldering Ponty. Daniel Humair's crisp drum solo segues into a heart- felt
waltz. After all, this was written for Ponty's wife. Ponty is here with a group of
Europe's finest at their youthful best. The way they play, it's all a walk in the park.
Beside Dauner and Humair, legendary bass player Niels-Henning Ørsted Pedersen
completes Ponty's quartet.
"The re-issue of this album by MPS makes me extremely happy as I consider it to
be one of my best recordings from the 60s. " - Jean-Luc Ponty

"Europe's greatest clarinetist and free spirit" (Jazzthetik) plays ballads and
legendary love songs on his new MPS album. In so doing, he delivers new
meaning and a fresh sound to the pieces. A sentimental look back is simply not
his thing. Together with his new quartet of pianist Frank Chastenier, bassist Lisa
Wulff, and percussionist Tupac Mantilla, Kühn contrasts his sensitive side with
his unbridled desire to experiment. "I've chosen some of my favourite ballads for
this album. These pieces have nothing to do with any sort of trend. For me, they
are poignant and beautiful; they are simply timeless," says Kühn. "I found it
especially appealing to combine these particular choices with my latest
compositions. The album opens with "Both Sides Now", a classic by Joni
Mitchell. Kühn liked the poetic text, and says that, "Somehow, in life there are
always two sides, but it's best when they enrich each other and can smoothly
merge in order to create something new."
One of five new compositions, the title song "Yellow + Blue" encapsulates the two
perspectives: the flamboyant, the impulsively vibrant yellow next to the soft,
sensitive, warm bluesy-blue tonal colour. In turn, a new musical color is created
out of the contrast.

Buzzard Buzzard Buzzard began as a bedroom studio project for Tom
Rees in late 2016, though since then he has employed the help of brother
Eddie Rees, Ethan Hurst and Zac White
With an insatiably wild live show citing the ghosts of rock and rolls past, Buzzard
Buzzard Buzzard offer a fresh look on the classic rock model, and it comes
dressed in denim.

Back in stock! The second of two electric-blues albums released on Chess Records and Cadet Concept imprint in the late 60s, Muddy Waters' After the Rain has achieved cult-like status amongst blues fans in the years since his death in 1983.

After taking a backlash from critics with first attempt at adopting psychedelic influences on Electric Mud, Muddy made adjustments for the follow-up, despite keeping a majority of the same session players.

This time, he toned down the psychedelic elements and put them in balance with his classic Chicago blues sound, and the results yield some vintage tracks that glow with fuzzy guitars and bass:
“I Am the Blues,” “Ramblin' Mind,” “Bottom of the Sea,” and “Blues Trouble.”

After being out of print for years, Get On Down is proud to present this rare classic from Muddy Waters pulled from the original masters and presented on vinyl.

Red hot Modern Soul 45 recorded in Memphis, Tennessee in 1985. Big thanks to Robert Garcia @mrbighappy & Daniel Mathis @quartzwatches for the research and words on this one!!

Brotherhood Band was started by Ernest Coleman(EC) and Clint Hyson, who met thorough a US Navy band called "Mid-South", which was the US Navy's premier musical organization operating out of Millington, Tennessee (20 min outside of Memphis). The group initially played as an instrumental jazz band. In keeping up with the times, they shifted gears towards a more contemporary sound. Shortly after, they decided to cut a single. Enter "Nicci's Theme", which is the B-side here and it's a beautiful jazz tune EC wrote for a girl he fell in love with. This song was supposed to be his door way in, but he actually never opened the door with her.

A few weeks later Clint called EC and played this syncopated bass line for him over the phone. And then EC being the ladies man that he was wrote the lyrics to "Leather Pants" to it. Part of the lyrics read "The pants they stretch, but they don't bust. Enough to make a blind man cuss", but it originally read as, "The pants they stretch, but they don't bust. Enough to make a PREACHER cuss". The song was ready, but they needed to find a singer. That's when member Richard Owens mentioned that he had a young cat back in Atlanta named Taji. In a gamble Taji drove up to Memphis for the Sunrise recording studio session to record the track. According to EC when Taji laid the vocals down he took the song to the next level. In fact it was so impactful that EC, who is now a Grammy producer, still references Taji's sessions when working with new artist.

After the single dropped the group played at Memphis hot spots, Bills Twilight Lounge and Club No Name. EC even had an idea to host a local leather pants contest as a way to promote the song. This lead to a frenzy of women seeking to be "Miss Leather Pants".

Obwohl es nun schon eine ganze Weile her ist, dass Svartsot neues Material veröffentlicht hat, ist die Band immer noch sehr lebendig. In der
Zwischenzeit seit dem 2015er „Vældet“ sind die biergetränkten Folk-Metaller in der Live-Szene in Dänemark und im Ausland aktiv, u des Bassisten
und der Entscheidung, das Material eines Albums 2017/18 auf Eis zu legen, entstand die Idee, eine Sammlung traditioneller Folksongs zu ver-
öffentlichen, die die Band inspiriert haben und die im charakteristischen Stil von Svartsot überarbeitet wurden.
Die ursprüngliche Idee war, dieses fünfte Album mit dem Titel „Kumbl“ (ein altes dänisches Wort für „Denkmal“ oder „Denkmal“) im Jahr 2020
zu Svartsots 15-jährigem Jubiläum zu veröffentlichen. Aus praktischen Gründen wurde das Album jedoch erstmals während der Pandemie aufgenommen – von keinem Geringeren als dem Schlagzeuger und aufstrebenden Produzenten der Band, Frederik Uglebjerg.
Die Veröffentlichung markiert auch die erste Zusammenarbeit der Band mit dem dänischen Metal-Label Mighty Music.
„Kumbl“ enthält 12 Tracks, die eine Mischung aus relativ unbekannten und anderen populäreren Folk- und spätmittelalterlichen Liedern aus
Dänemark und ganz Nordeuropa präsentieren. Zwei Lieder beinhalten Gastauftritte von Andrea Uglebjerg, Sängerin der dänischen Punkband
Situationsfornærmelse und Schwester des zuvor erwähnten Frederik. Drei Singles werden veröffentlicht: „Liden Kirsten“ ist eine traditionelle
dänische Volksballade, die davon erzählt, wie ein König beschloss, die Dame seiner Begierden zur Mutter seiner Kinder und seiner Königin zu machen, ohne es ihr vorher zu sagen; „Carmen Vernale“ ist ein Lied aus der Zeit um 1500, geschrieben von Morten Børup, Kantor an der Kathedrale
von Aarhus, das die Ankunft des Frühlings preist und in der lateinischen Sprache vorgetragen wird – die Melodie wird stündlich von den Glocken
des Rathauses von Aarhus gespielt; „Drømte Mig En Drøm“ ist eine Ausarbeitung des ältesten aufgezeichneten dänischen Liedes, das uns in einer
Runenhandschrift von ca. 1300. Zu „Liden Kirsten“ wird ein Musikvideo veröffentlicht, außerdem wird eine Lyric-Videoversion von „Drømte Mig
En Drøm“ erhältlich sein.
Zur Unterstützung des Albums wurden Svartsot für eine Reihe von Konzerten in ganz Dänemark gebucht. Während derzeit nur wenige europäische Shows gebucht oder geplant sind, werden hoffentlich weitere folgen, wenn die Reisebestimmungen dies zulassen.

Obwohl es nun schon eine ganze Weile her ist, dass Svartsot neues Material veröffentlicht hat, ist die Band immer noch sehr lebendig. In der
Zwischenzeit seit dem 2015er „Vældet“ sind die biergetränkten Folk-Metaller in der Live-Szene in Dänemark und im Ausland aktiv, u des Bassisten
und der Entscheidung, das Material eines Albums 2017/18 auf Eis zu legen, entstand die Idee, eine Sammlung traditioneller Folksongs zu ver-
öffentlichen, die die Band inspiriert haben und die im charakteristischen Stil von Svartsot überarbeitet wurden.
Die ursprüngliche Idee war, dieses fünfte Album mit dem Titel „Kumbl“ (ein altes dänisches Wort für „Denkmal“ oder „Denkmal“) im Jahr 2020
zu Svartsots 15-jährigem Jubiläum zu veröffentlichen. Aus praktischen Gründen wurde das Album jedoch erstmals während der Pandemie aufgenommen – von keinem Geringeren als dem Schlagzeuger und aufstrebenden Produzenten der Band, Frederik Uglebjerg.
Die Veröffentlichung markiert auch die erste Zusammenarbeit der Band mit dem dänischen Metal-Label Mighty Music.
„Kumbl“ enthält 12 Tracks, die eine Mischung aus relativ unbekannten und anderen populäreren Folk- und spätmittelalterlichen Liedern aus
Dänemark und ganz Nordeuropa präsentieren. Zwei Lieder beinhalten Gastauftritte von Andrea Uglebjerg, Sängerin der dänischen Punkband
Situationsfornærmelse und Schwester des zuvor erwähnten Frederik. Drei Singles werden veröffentlicht: „Liden Kirsten“ ist eine traditionelle
dänische Volksballade, die davon erzählt, wie ein König beschloss, die Dame seiner Begierden zur Mutter seiner Kinder und seiner Königin zu machen, ohne es ihr vorher zu sagen; „Carmen Vernale“ ist ein Lied aus der Zeit um 1500, geschrieben von Morten Børup, Kantor an der Kathedrale
von Aarhus, das die Ankunft des Frühlings preist und in der lateinischen Sprache vorgetragen wird – die Melodie wird stündlich von den Glocken
des Rathauses von Aarhus gespielt; „Drømte Mig En Drøm“ ist eine Ausarbeitung des ältesten aufgezeichneten dänischen Liedes, das uns in einer
Runenhandschrift von ca. 1300. Zu „Liden Kirsten“ wird ein Musikvideo veröffentlicht, außerdem wird eine Lyric-Videoversion von „Drømte Mig
En Drøm“ erhältlich sein.
Zur Unterstützung des Albums wurden Svartsot für eine Reihe von Konzerten in ganz Dänemark gebucht. Während derzeit nur wenige europäische Shows gebucht oder geplant sind, werden hoffentlich weitere folgen, wenn die Reisebestimmungen dies zulassen.

The go-to, chart-topping afro house label MoBlack Records, favoured by the likes of Dixon, Black Coffee and Ame, offers up four classics sure to get any crowd calling for more. This latest EP also includes a Red Zone mix from the legend David Morales.

DJ Support:

Ame, Dixon, Solomun, Black Coffee, Bedouin, Adam Port, Rampa, &ME.

Orison is the latest aural exploration between zake & City of Dawn and a predecessor to their previous orchestral effort, 'A Sorrow Unrequited'. Orison is a prayer or plea to a deity. The archaic origins of the term stem from the Latin language simply meaning to 'speak to God'. Patient and solemn symphonic drifts that foster stillness, boundless thought, introspection, and eternal contemplation.

Highly recommended. About the album Blind Emperor Through wetland, winters, rubble and fallout come horizons new; civilisation shattered under a vengeful cataclysm, eventually led to dawn from the light of a blighted leader. Every action has a reaction, and those who wish to prosper must first be willing to offer something of intrinsic value. As one empire crumbles, another takes its place. The struggle for a fleeting utopia comes at a cost, and those who strive towards golden gates must trek along a solemn valley. The Allegorist Berlin-based artist, The Allegorist, has been meandering through stories with her purposeful and introspective take on electronic music. Each release explores themes that require joint participation from the listener as they look to flood your mind with images of fabled characters and places through her artistic soundscapes. Her carefully build worlds that straddle sci-fi and fantasy, feeding off of the light and dark dualism are the perfect blend of reflective contemplation and storytelling. As a holistic artist, Anna Jordan (The Allegorist) encapsulates a myriad of her talents within her work. Her previous albums, Hybrid Dimensions I. and Hybrid Dimensions II., established her aesthetic and detailed fictitious stories, along with the language ‘Mondoneoh’, a language to unite all nations. Her latest endeavour, and 4th album, The Blind Emperor, portrays the essence of a mythical land that tells of struggle that will lead to prosperity. The protagonist, Blind Emperor, leads the charge into a brighter tomorrow. Like chapters from a novel, each track allows the listener to be carried by the story. It is an epic, cinematic, choral, ambient techno album. The album combines her depictive, written and musical storytelling with a concept portrayed visually, orally and audibly to deliver another saga in her ever-evolving figments of fantasy. It comes as an entire artistic project, as The Allegorist created the album art, wrote the included story and composed a poem that all combine to tell the tale of Blind Emperor.

His last LP has barely touched record store shelves and Ivan ave is back with a EP for Mutual Intentions. Mid Season finds Ivan Ave in bloom as he evokes the sounds of
spring on his latest offering. The EP title also refers to a mid-album-recording process, which Ave currently finds himself in. Mid Season gives the listener insight into a
forthcoming full length album, entitled All Season Gear.
The prolific Norwegian rapper continues to charm with a seductive baritone that blows like a cool breeze through the production’s warm accompaniment. Dusty drum
machines under glacial keys and guitars offer a platform from which Ivan waxes lyrical about everything that touches him. He has crafted a unique voice in Hip Hop echelons, finding quirky analogies in the mundane. While in the past, he could find a parable for love in a bicycle lock or existential questions in an worn out sock, he turns his
attention increasingly to social realities.
He regularly takes aim at the ridiculous aspects of our contemporary society throughout Mid Season, with lyrics that poke fun as much they ask what the fuck?
“Spotify owner 'bout to buy a whole ball team… That mean I own a corner flag or some seats at least?,” he sings on «What a Day!!!». The record is peppered with these
types of anecdotal metaphors that come together like a social media story through a bionic AI. Ivan Ave is the product of this generation and it’s only right he should reflect
that. He does it in a unique way that requires the listener to untangle these preternatural allegories.
Playing with a dichotomy of words, he doesn’t labour on a thought before he’s lazily propelled onto the next at the turn of each bar. His laissez faire approach is only
emboldened by the slow moving percussion and keys that have come to define his sound. Picking up on early nineties influences from the likes of Native Tongues or Dilla,
the music on Mid Season continues to reassess and revolutionise these archetypes. It’s in the keyboard sounds of this latest EP, that Ivan Ave and producers have found
yet another new evolution in his sound.
Synthesisers that sound like they belong to a Maynard Ferguson record rather than a Hip Hop EP make the record come alive over a chugging and forceful rhythm section. It provides an airy and playful contrast to the more serious elements on the track, and much like Ivan Ave’s lyrical prowess offers an extra layer of depth that often
eludes Hip Hop’s most successful stars. The more you listen to Ivan Ave the more you get entrenched in his work and Mid Season continues to send the artist on an
exciting trajectory.

First Word Records is very pleased to welcome back Quiet Dawn with a brand new EP entitled 'Movements'.

Parisian multi-instrumentalist Will Galland has been with First Word since late 2014, providing several releases for us over the years, from his acclaimed debut album 'The First Day' to his last EP release, the organic opus 'Human Being - The Short Story Of The Reed'. Collaborations have included Makaya McCraven, Oddisee, Miles Bonny and First Word crew such as Eric Lau, Bastien Keb and Sarah Williams White, who he teamed up with on his classic remix of the track 'Hum' and most recently on the track 'One By One' which appeared on the compilation EP 'A Family Affair' at the start of 2021.

For his latest project, 'Movements' sits firmly in the realms of broken beat, after being heavily inspired at First Word's infamous 14th birthday party at Total Refreshment Centre, where he played alongside label-mates such as Kaidi Tatham and Children of Zeus. This delectable six-track EP encompasses a series of deeply percussive grooves and squelchy synths. This is a predominantly instrumental affair, though does feature the supremely soulful vocals of Oliver Night on the track 'Change Must Come', following on from Oliver's work with the CoOp Presents crew amongst others.

Quiet Dawn says "after the birth of my son, I took the time to get back to making new music.

And when I started to work on new tracks, I wanted to compose something without concept, unlike my previous records, just because time is precious and I wanted to find pleasure again when I composeand not be fixed to a concept, or a story.



These new tracks are instinctive; made with my main instruments, rhodes & piano, synths, percussions, vocals, bass and guitars. They are naturally oriented towards my big musical crush, BRUK, along with different rhythms, vibes and grooves. For me, it's definitely a record for the dancers. For this reason, the new EP is called 'Movements'. Aside from the dancer's element, the title relates to everything that is happening in the world at the moment, working on this record over the pandemic. Affecting people in all countries, friendship, mutual aid, solidarity and movements in many instances are very important to me, my family and my musical family, First Word.'



The influences on this particular EP come largely from the West London music scene; DKD, Bugz, Neon Phusion, 2000Black, Domu, IG Culture, Jazztronik, MdCL, the First Word fam and many many more artists. There are also heavy vibes inspired by 70's jazz, funk, disco, latin & african music."

'Movements' by Quiet Dawn is released on First Word Records on vinyl & digital in late 2021.

The second Be With foray into the archives of revered German library institution Selected Sound is one of our favourites, Sound Inventions from Klaus Weiss Rhythm And Sounds, originally released in 1979.

From the notoriously strong mind of Niagara drummer / library-funk overlord Klaus Weiss, Sound Inventions is loaded with tripped out studio funk-freakery, mad samples and swaggering abstract funk grooves. From dramatic deep disco with dark Italo/Moroder leanings to heavy German funk breaks, this is absolutely sensational. Absolute synth-and-string-drenched magic.

Born in 1942 in Gevelsberg, Germany, Klaus Weiss began his career as a jazz drummer at sixteen (with a group called the Jazzopators) before working with the internationally successful 60s groups the Klaus Doldinger Quartet and the Erwin Lehn Big Band. In 1965 he formed his own trio, the first of many groups to bear his name, and as his renown as a bandleader grew over the next decade it naturally lead to working in production music.

About as cult as it gets when it comes to library music legends (German or otherwise), he produced essential records on German library labels Coloursound, Selected Sound and Sonoton, as well as making two essential entries in the Conroy catalogue. Collections of music in the trademark Klaus Weiss sound of electronics unsurprisingly built on top of sometimes funky, sometimes frenetic, but always hard-hitting drums.

Sound Inventions is one of those library records with a hefty track list, 22 in total, but they’re all pretty stunning. That’s not something you can often say and picking out the highlights is almost impossible. If pushed, we’d steer you towards the tough teutonic funk of “Drumcrazy”, the by turns juddering and sweeping majesty of the title track “Sound Inventions”, the aquatic serenity of “Glide”, the elegant strut of “Greenwich Street”, the muted, eerie cosmic-funk of “Air Space”, the squelchy acid-clavs of “Rhythm Function”, the calming, melodic “Waves”, the stuttering proto-Timbaland sensation that is “Rainbows” and the percussive funk-fuelled workout of “A Few Cuts”. Phew. Heavy indeed!

Founded in the late 60s by German composer and musician Klaus Netzle, Selected Sound began as a production music company specialising in jazz, orchestral and electronic recordings. You can’t miss those early LPs in their iconic glossy metallic copper sleeves with minimal German typography. Serious, classy stuff.

This re-issue of Sound Inventions has been mastered for vinyl by Be With regular Simon Francis from audio from the original tapes. Richard Robinson has handled reproducing the glossy metallic (iconic) original Selected Sound sleeve. Essential.

Bob & Earl's all time classic gets a late '70s FUNK treat which could not have done any better. The B-Side features an equally great funk instrumental in the style of Tower of Power. A damn good 2-sider for sure which will please any discerning funk dj and the dancers in the clubs too!

Boot Records proudly presents the Jazz T remix of Roughneck Jihad & Senz Beats' track "Catastrophe", from their 2021 EP (also on Boot Records) "The Little Assassination Handbook". The B-side offers up an exclusive cut from Lex Boogie From The Bronx & Senz Beats entitled "War of the Worlds", featuring scratches by DJ Jazz T.

DJ Jazz-T, owner of Boot Records, was the 1999 UK ITF Advancement champion. He has laced cuts on hundreds of tracks since 1995 and produces under the name of Jazz T and Boot Productions, which is Jazz & genius Dr Zygote. He was Tim Dog's tour DJ before he passed away, and he currently DJs for Gawd Status, Jehst, Micall Parknsun, Ramson Badbonez, Leaf Dog & BVA, Joker Starr and Diversion Tactics.
Jihad the Roughneck MC started rhyming in the late 80's and was a member of one group before Third Sight (with Dufunk & D-Styles). He is originally from the city of Santa Clara in Northern California, relocating to the Los Angeles area in 2004. He has played shows in California, Nevada, Oregon and toured Japan twice with Third Sight.

Lex Boogie From The Bronx grew up as a kid around the jams in the parks. He carries The Bronx with him wherever he goes. His different chambers of production and raps have seen him work with the likes of Stahhr, Marq Spekt, Boog Brown, Vordul Mega, billy woods, Mike Flo & more.
Originally from Brussels, now based in Montreal, Senz' first approach to cutting records up was on a pair of Technics 1200s, which he and his best friend claimed mutual custody over (1 month each) in 1998. After over 15 years spent producing on MPC ("War of the Worlds" was produced on a 2000xl), 2020 saw Senz switch to Koala Sampler app, by Elf Audio. His crazy beats have grabbed the attention of legends such as Dibia$e & Grap Luva.

In 1994, hip-hop was going through an at-times painful growth spurt. Since N.W.A.'s and Ice-T's ascent in the late '80s, the rap game was no longer owned by the East Coast. After the worldwide popularity of Dr. Dre's The Chronic in 1992, things were looking even worse for hip-hop's hometown. The East Coast / West Coast feud that would later indirectly claim the lives of Biggie and Pac was still in its infancy, but New York needed a shot in the arm. The hype behind young Queensbridge native Nasir 'Nas' Jones had been in full swing months before his smash debut album Illmatic, thanks to Columbia Records' promo machine. From his earliest appearance on Main Source's 'Live at the BBQ,' to his own accomplished debut 'Half Time' (as Nasty Nas, on the Zebrahead soundtrack in late 1992), it was clear that this kid was something special. In fact, the pressure on him must have been overwhelming at times. April 19, 1994 couldn't have come soon enough. And as soon as the first lines of 'N.Y. State of Mind' kick in, bolstered by perhaps DJ Premier's darkest beat of all time, the entire East Coast breathed a collective sigh of relief. God's Son had arrived. Backed by an absolute all-star cast of New York's top-shelf producers - Premier, Pete Rock, Large Professor, Q-Tip and a youngster named L.E.S. - the album never lets up. Serious to a fault, and lyrically dense to an extent that has possibly never been matched, the 20-year old Nas stood on the shoulders of his predecessors and proudly proclaimed, 'Don't f*** with the East... we are BACK.' Illmatic was actually a slow-burn, which might surprise fans that have come to its genius more recently. Despite an unheard-of '5 Mics' in The Source - despite an unwritten rule of never awarding classic status to debuts - it didn't go gold until early 1996, and didn't hit platinum status until late 2001. But when you dive deeper that shouldn't be a shock: like Black Moon and Wu-Tang's debuts, it was a dark, hard record, made for heads in New York, not teeny-boppers in Des Moines. There were no dance beats, no crossover love songs. Just boom-bap and rhymes, skills and heart.

During the late 1970s, deejay-turned-producer Jah Thomas played a key role in the emerging dancehall movement, harnessing the Roots Radics at Channel One studio for rough-edged futuristic rhythms that became platforms for songs of everyday life. Junior Keating’s solid debut LP Weekend Lover gathered popular singles such as ‘Watch What You Do,’ which implored upright living, and lovers laments ‘Long Long Time’ and ‘Something Is Bugging Me’; ‘Conquering Lion’ showed that the versatile singer was also adept at deep roots tunes. With a tough mix by Scientist at King Tubby’s studio and additional editing by Bullwackie, this superb offering is of massive appeal to all fans of late roots and foundation dancehall.

"The core of confusion and upheaval that drove some of the band's most fiery earlier work, however, is replaced by a more stabilized undercurrent, a mentality that's reflected in songs not afraid to try new things and honestly explore uncomfortable feelings. When combined with exciting production and songwriting choices, that mindset helps make Feels So Good // Feels So Bad one of the Shivas' best albums.” - AllMusic "Portland, Oregon-hailing psych-surf band The Shivas accomplish another time-traveling, reverb-ridden sound that refuses to get boring. Jared Molyneux’s guitar work knows when to be bright or bashful at the right times, breaking into guitar solos that possess a late-’60s groove… The Shivas seem to blissfully flourish” - Paste "a consistent treat for the ears” - The Vinyl District "Though the psych-tinged guitar riff that drives 'Feels So Bad' was written while The Shivas were still on the road, its lyrics didn’t fall into place until the band was well into lockdown, unsure of when they’d be able to return to their most imperative true love: Live shows... Accordingly, 'Feels So Bad' permeates with a sense of urgent desperation, building off a chugging prog-rock instrumental.” - Consequence (on “Feels So Bad”) "They hooked the audience with their throwback rock sounds. The guitar strums and rhythmic drum beats were layered atop smooth and hallucinogenic vocals. The eyes can tell the take at times and there was a sparkle there that said that the band members just love doing live performances." - California Rocker "This single layers on the fuzz but keeps it dreamy, with an especially sticky guitar riff sure to lodge itself in your brain with minimal effort." - Portland Monthly (on “If I Could Choose”) “'My Baby Don’t' translates the genuine vibrant joy


of the live experience into the studio, bringing the band’s ‘60s garage rock roots, sharp pop vocal harmonies, and fervent performances along for the ride." - Under The Radar "Perfectly straddling the line between a solid-head bopping track and an introspective deep cut, The Shivas’ 'Undone' is a rock & roll gem. The track sounds straight out of the late 60s and fits seamlessly in the Portland band’s electrifying catalog." - The Luna Collective "The first time I clicked play on this track, I knew it was a yes for me." - Ear To The Ground Music (on “If I Could Choose”) "The harmonies would make the “Happy Together” Turtles blush, but the unsettling guitar doesn’t shy away from the woollier implications of the ’60s." - Willamette Week (on “If I Could Choose”) "'Undone' is just the perfect song for the good days and the bad ones." - GlamGlare "another hit" - Austin Town Hall (on “Undone”) "one of the best forthcoming albums of the year" - Austin Town Hall RADIO: #3 Most Added @ NACC - 50 official adds BIO Every working musician has had their life turned upside down by Covid-19. For The Shivas, who had recently released a new LP and normally keep a rigorous touring schedule, it was a particularly screeching halt. “We were about to go to SXSW, the following weekend was Treefort in Boise, and then we were going to open for our friends’ band on tour in the US before going to Europe,” Jared Molyneux remembers. Then everything just stopped. They were faced with a dilemma. “It forced us to adapt or just quit,” Molyneux says. “The reality is that shows are our job.” In truth, live shows aren’t just The Shivas job: they are the band’s greatest love. Shivas shows are bombastic, explosive and thoroughly communal live rock and roll experiences where barriers between the performers and their audience seem to dissolve into the sweat and sound. The stage—or the basement, or the living room—that’s The Shivas’ true element. It’s their raison d’etre. It’s their religion. The band’s live urgency may have been born in 2006, when the band’s young members—who began booking West Coast tours while still in high school—waited without fanfare on sidewalks or in parking lots, before being rushed onstage for their sets at 21-and-up clubs. Maybe it developed a little later, as The Shivas blasted their way through Portland’s storied and unsanctioned mid-aughts house show scene. Whatever the origin of their famously kinetic live experience, it’s the show that keeps them coming back after over 1,000 performances spread over 25 countries in 15 years. In those 15 years, The Shivas have grown tight-knit as a group. Guitarist/singer Jared Molyneux, bassist Eric Shanafelt and drummer/singer Kristin Leonard have all been with the band since its earliest days; guitarist Jeff City, another high school friend, joined in 2017. Together they’ve learned to thread a seemingly impossible needle: They’ve honed and tightened their performances without sacrificing the element of surprise that makes each show special. And despite touring and recording for most of their lives, they speak about their project with humility, in the DIY vernacular of their Pacific Northwest upbringing. They talk up their own favorite bands, play all-ages shows as much as possible, and bring a sort of blue-collar humanism to the live performances they relish so much. “We just want to make people feel good,” Molyneux says. “We want them to forget they have to work tomorrow.” Kristin Leonard elaborates, “The live show is all about that feeling of catharsis—in ourselves and in everyone who comes out. We’re creating this safe space where we can all let go. Where we can exhale. And it feels really good when we are able to facilitate that.” So when Covid hit, the band knew it was time for transformation. After a settling realization that live music would be grounded for the foreseeable future, The Shivas booked significant studio time with Cameron Spies, who also produced the 2019 Dark Thoughts LP. They also transformed their lives: three of the band’s four members found work with a local nonprofit serving unhoused Portland residents. They became engaged in protests and fundraisers for social justice. They spent a whole summer actually living in Portland, settling into the city they had always called home, but that sometimes felt like a temporary stop between tours. “We got into a more community-minded headspace,” Leonard says. “And that did give us some purpose. It felt cool to see everybody come together to stick up for what they believe in. It feels like an incredibly formative last twelve months.” The album that emerged from this new moment finds The Shivas reborn as a band that seems seasoned and perfectly at home with itself. There is a calm, even a hopefulness, to Feels So Good // Feels So Bad that sounds new. The Shivas didn’t write or record the album with a particular theme in mind, but one seems to have emerged: where Dark Thoughts was about confronting your demons with fearless self-examination, much of Feels So Good // Feels So Bad is about what happens once you find that peace: how being honest with yourself changes your relationships and your priorities. “I do think it’s about acceptance,” Leonard says. “There’s a weird relaxation that comes with being at peace with things you can’t control or have regrets about.” Maybe that’s why the squealing, riff-laden break-up song opener, “Feels So Bad,” is such a shock to the system. But it’s more of an exorcism than a melodrama: more a song about not being able to do the thing you love (in


this case, playing live shows) than splitting with a partner. “It’s like part of you goes to sleep,” Leonard says. As bandmates who are also in a long-term relationship, Molyneux and Leonard know that their songs might be seen as glimpses into their personal lives, but their songwriting is rarely autobiography. Leonard compares their process to something more akin to screenwriting. “There’s bound to be some autobiographical material in there,” she says. “But the common denominator is the exploration of universal feelings: ones that everyone experiences or can relate to.” The goal is to use the music to drill down into something genuine and sincere, beyond genre or stylistic affectation. That’s where The Shivas have arrived. Whatever growth led the band to Feels So Good // Feels So Bad, plenty of their fascinations remain. They’re still turning love songs into psychedelic, transcendent epics. “Tell Me That You Love Me” subverts doo-wop extravagance and dabbles in Flamenco rhythms. “Rock Me Baby” is a bubblegum anthem soaked in so much reverb that we might just be hearing it from the stadium nosebleeds. “Sometimes” is almost impossibly huge, like a witchy outtake from the Brill Building era. Those songs feel like logical expansions from a band that has always excelled at a timeless sort of rock and roll that tinkers with and explodes elements from every era. But on the towering and mournful “You Wanna Be My Man,” a slow-burning six-minute shoegaze prayer for a higher sort of love, there is a level of emotional nuance that feels like something altogether revolutionary. It’s there again in the stripped-down vulnerability of the album-closing elegy “Please Don’t Go.” Yes, Feels So Good // Feels So Bad is an album about acceptance. Sometimes that acceptance feels enlightened and sometimes it feels like the end result of a lot of kicking and screaming. The Shivas have adapted in both of those ways. With new tours scheduled and a new album on the way, they’re still hoping--like all of us--for a new era of vibrant, cathartic live music. The lessons they learned from having their normal upended, though, have only helped them grow

Ninja Gaiden, of the most iconic and beloved 2D action game series ever created, was first released in the arcades in 1988, while making its console debut on the Nintendo Entertainment System (NES) later in the same year. At the time of the console release, Ninja Gaiden was renowned not only for its deep storytelling beautifully visualized by TECMO’s unique “cinema scenes,” but also through its legendary chiptune soundtrack, whose unique rock-’n’-roll sound and drum beat instantly became a formative musical experience for players who were only just getting into video games.

Ninja Gaiden: The Definitive Soundtrack is divided into volumes. The first, Ninja Gaiden Vol. 1, features the music of both the NES title and the Arcade game, both titled Ninja Gaiden. These legendary soundtracks have been digitally restored under the supervision of Keiji Yamagishi, one of the original series composers. The booklet includes a comprehensive roundtable discussion among several members of the original development team, including the director, producers, artist and composers; an essay by game historian Ray Barnholt; and original archival artworks.

Deluxe 2LP editions with artwork re-imagined by Ian Anderson of 'The Designers Republic'. "If I could watch any jazz band in the UK, any, I would choose Matthew Halsall's band, just love what he's been doing over the last few years ... It's always high level, spiritual jazz music" - Gilles Peterson BBC Radio 1. Matthew Halsall (*September 11th' 1983, in Manchester, England) is a Worldwide Award winning and MOBO nominated trumpeter, composer, producer and DJ.

Since 2008, Matthew has released seven critically acclaimed studio recordings and has been a key figure in the rise of a new jazz sound in the UK. In addition to his own releases Halsall has collaborated with many DJs and producers, most notably DJ Shadow and Mr. Scruff, and in 2013 Matthew's music was selected by Bonobo for his Late Night Tales compilation. Halsall is also the founder of Gondwana Records, a genre bending independent record label featuring a wealth defining albums by the likes of Portico Quartet, GoGo Penguin, Hania Rani and Mammal Hands. His own rich music draws on the spiritual-jazz of Alice Coltrane and Phaorah Sanders, contemporary electronica and dance music alongside his travels in Japan, the traditional art and music of which, has left a lasting impression on his compositions.

Sending My Love (2008) and Colour Yes (2009) were his first releases and document Halsall's first great bands featuring the likes of flautist Chip Wickham, saxophonist Nat Birchall, harpist Rachael Gladwin, bassist Gavin Barras and drummer Gaz Hughes. Joyful, life-enhancing albums, drawing on UK jazz and spiritual jazz influences but with a decidedly modern bounce, they introduced Halsall's music to the world gathering support from the likes of Gilles Peterson and Jamie Cullum, Mojo, Straight No Chaser and beyond. But Halsall was never completely happy with how the records were presented and as part of Gondwana Records 10th anniversary decided to revisit the recordings, meticulously remixing and remastering them for vinyl and commissioning new artwork from Ian Anderson, one of his favourite designers. These then are the definitive editions of the records. Sending My Love comes complete with the beautiful bonus track This Time, while Colour Yes features the equally striking It's What We Do and Ai.

"I am very proud of these early recordings. They represent the starting point of my musical journey in Manchester and showcase some of the cities finest musicians such as: Nat Birchall, Chip Wickham, Rachael Gladwin, Adam Fairhall, Gavin Barras and Gaz Hughes. They are also the very first recordings my brother and I decided to release on our record label (Gondwana Records). Listening back they sound full of energy and joy and really reflect how I was feeling at that precise moment. But as much as I loved the music, I was never 100 percent happy with the sound of the mixes and mastering. So I decided to go back to the original tapes to remix and remaster them and present them the way I'd always wanted, and along the way we unearthed a couple extra unreleased tracks, which we decided to include as bonus material. Myself and my brother also decided to bring in Ian Anderson of The Designers Republic to re-imagine the artwork and we are super blown away by the results!" Matthew Halsall, Oct 2019.

NEW REPRESS (SAME COLORS) - RELEASE SEPTEMBER 24th

Ninja Gaiden, of the most iconic and beloved 2D action game series ever created, was first released in the arcades in 1988, while making its console debut on the Nintendo Entertainment System (NES) later in the same year. At the time of the console release, Ninja Gaiden was renowned not only for its deep storytelling beautifully visualized by TECMO’s unique “cinema scenes,” but also through its legendary chiptune soundtrack, whose unique rock-’n’-roll sound and drum beat instantly became a formative musical experience for players who were only just getting into video games.

Ninja Gaiden: The Definitive Soundtrack is divided into volumes. The first, Ninja Gaiden Vol. 1, features the music of both the NES title and the Arcade game, both titled Ninja Gaiden. The follow-up, Ninja Gaiden Vol. 2, features the music of both Ninja Gaiden II: The Dark Sword of Chaos and Ninja Gaiden III: The Ancient Ship of Doom. This bundle includes BOTH Vol. 1 and Vol. 2 at a special price. These legendary soundtracks have been digitally restored under the supervision of Keiji Yamagishi, one of the original series composers. The booklet includes a comprehensive roundtable discussion among several members of the original development team, including the director, producers, artist and composers; an essay by game historian Ray Barnholt; and original archival artworks.

Limited Edition Turquoise/ Yellow &White Splatter Colour Vinyl 2LP Set. 1500 Units for UK.

Nina Simone’s story from the late sixties to the nineties can be told through her legendary performances in Montreux. Taking to the Montreux stage for the first time on 16 June 1968 for the festival’s second edition, Simone built a lasting relationship with Montreux Jazz Festival and its Creator and Founder Claude Nobs, which uniqueness, trust and electricity can be clearly felt on the recordings. Simone’s multi-faceted and radical story is laid bare on ‘Nina Simone: The Montreux Years’. From Nina’s glorious and emotional 1968 performance to her fiery and unpredictable concert in 1976, one of the festival’s most remarkable performances ever witnessed, the collection includes recordings from all of her five legendary Montreux concerts – 1968, 1976, 1981, 1987 and 1990.

Featuring rare and previously unreleased material from Claude Nobs’ private collection, Nina Simone devotees worldwide will be thrilled by the inclusion of the powerful I Wish I Knew How It Would Feel To Be Free, poignant and fearless Four Women and Simone’s hauntingly beautiful performance of Ne Me Quitte Pas. A spine-tingling version of Janis Ian’s searing and potent Stars, which Simone covered for the very first time during her 1976 Montreux performance, sits alongside her bold and electrifying re-imagine of Bob Marley’s ballad No Women No Cry in 1990. The collection closes with the encore of Nina Simone’s final Montreux Jazz Festival concert and one of Simone’s most-loved and best-known recordings, the exuberant My Baby Just Cares For Me, showcasing the deep and multidimensional facets of Simone’s life and music.

Since their debut in 2017 and the highly acclaimed
latest album ‘No God? No Problem’ (released in
2019,’ Detroit freak rockers The Lucid Furs have
performed over 100 out of state shows, invading
music venues to wash minds with their heavy
blues rock concoctions.
 The band‘s live performances build up with a big,
head bang energy, winding down to sultry blues,
then blasting back into hard rock with a dash of
funk you can’t help but dance to.
 Their new album won’t make any exception. The
band’s heavily grooving talent and soul of the
blues is immediately evident, driven by a vibrant
70’s vintage vibe.
 Their songs embody a culmination of each
member’s early influences, ranging from rock
classics like Alice Cooper and Heart, to Chicago
blues like Howlin’ Wolf and Buddy Guy, to the era
of alternative rock groups like Soundgarden and
Queens Of The Stone Age.
 For fans of All Them Witches, Janis Joplin, Led
Zeppelin, Rival Sons, Cream, Queens Of The
Stone Age, Jefferson Airplane, Blues Pills.
 Red coloured vinyl LP.

The young and ambitious hip hop group Blackalicious emerged from the underground during the late Nineties. Their debut album established them as one of the West Coast’s top outfits, but it was the follow-up Blazing Arrow that earned them major acclaim. This second studio album was originally released in 2002 on MCA Records. The album features several guest appearances, including Zack de la Rocha (Rage Against The Machine), Gil Scott-Heron, Ben Harper & The Innocent Criminals, Cut Chemist and Chali 2NA (Jurassic 5) amongst others.

Blackalicious was known for their ‘positive tip’, in other words, their lyrics have often been spiritual and uplifting rather than violent or misogynous.The group consisted of DJ/producer Chief Xcel and rapper Gift of Gab.

Khruangbin and Leon Bridges announce their latest collaborative EP, ‘Texas Moon’, out on Dead Oceans.

 An extension of the two’s chart-topping four-song ‘Texas Sun’ journey, ‘Texas Moon’ is an introspective stroll through the dark. “Without joy, there can be no real perspective on sorrow,” say Khruangbin. “Without sunlight, all this rain keeps things from growing. How can you have the sun without the moon?”

 Crediting their mutual home state for inspiration, ‘Texas Moon’ pensively examines Texas’ musical perception, while paying homage to the marriage of country and R&B that’s become synonymous with the lone star state. Propelled by rolling guitar licks, conga and bongo, lead single ‘B-Side’ meditates on meeting in a dream and frolics across the nearing contemplative night-time state with its longing joy.

 Elsewhere on ‘Texas Moon’, the artists channel a newly intimate musical scope that’s illustrated most dramatically when the spacy sensuality of the minimalistic ‘Chocolate Hills’ leads into the stark spirituality addressed on ‘Father Father’, a reminder of both acts’ gospel roots. Over a simple rolling guitar figure, Bridges pleads with the heavens - “Look at the mess that I made / Just a man with unclean hands” - only to be reminded of God’s eternal love.

 For Khruangbin, one song in particular was indicative of the trust that Bridges put in them. “The song ‘Doris’ is about his grandmother making the transition from this world to the next realm,” says Khruangbin’s Donald Ray ‘DJ’ Johnson Jr. “It’s a very somber, very deep record. And when someone places that kind of work into your
hands, the last thing you want to do is junk it up, overproduce it, or do too much. We treated it with the respect it deserved, and treated Doris with the respect she deserves.”

 “It’s like a short story...,” says the band’s Laura Lee of the music. “And it leaves room to continue having these stories together. It’s not Khruangbin, it’s not Leon, it’s this world we created together.”

 Upon its release, ‘Texas Sun’ soared to the No. 1 slot on Billboard’s Emerging Artists Chart along with landing the No.1 on spot on Americana/Folk Albums, among many others. Significantly, both parties’ musical directions were deeply affected by their time working together on ‘Texas Sun’.

 Khruangbin’s most recent studio album, ‘Mordechai’, moved their own vocals to the forefront, a change they readily admit was a direct result of working with Bridges.
Their sound was also tapped for remix / reinterpretation of a Paul McCartney song for the ‘McCartney III Imagined’ project. Meanwhile, in addition to his genre-defying Grammy-nominated album ‘Gold-Digger’s Sound’, Bridges has put out several other challenging, shared collaborative tracks, including work with John Mayer, Lucky Daye and, most recently, Jazmine Sullivan. Each of the artists appeared recently on Austin City Limits and will tour throughout the new year.

Introducing jazz harpist Amanda Whiting. From Wales, the home of the harp, Amanda has taken her classical roots and forged them in the path of jazz harpist Dorothy Ashby.

She has toured extensively with Matthew Halsall and the Gondwana Orchestra performing at Jazz festivals around the world. More recent collaborations have included recording with DJ Yoda and Chip Wickham and touring Wickham's latest album including appearances at Ronnie Scotts and Le Petit Halle, Paris.

Whiting's first album was recorded as a trio for CD in 2013, and pays tribute to Coltrane and Ashby with her own take on standards. She's joined by Deej Williams (bass) and Tony Robinson (drums). Here we've taken a selection of tracks for inclusion on vinyl, the best medium for serious music lovers.

Just 500 copies pressed and housed in a beautiful bespoke flip-back sleeve.

BIOHAZARD formed in Brooklyn in 1988 and soon after released their first demo. The band consisted of founding members Billy Graziadei (vocals, guitar), Bobby Hambel (lead guitar) and Evan Seinfeld (vocals, bass). After the release of their second demo in 1989, drummer Anthony Meo left the band and drummer Danny Schuler replaced him. BIOHAZARD released their combined the urban sounds of hard-core, metal and rap with scorching lyrics describing the forces at work in our modern urban lives. With an impressive career spanning over 20 years with 10 albums (on both indie and major labels), the band sold over 5 million records. In 1990, Biohazard signed a recording contract with Maze Records. The band's self-titled debut album was poorly promoted by the label and sold approximately 40,000 copies. The album's subject matter revolved around Brooklyn, gang-wars, drugs, and violence.

In 1992, Biohazard signed with Roadrunner Records and released Urban Discipline, which gave the band national and worldwide attention in both the heavy metal and hardcore communities. The video for the song "Punishment" became the most played video in the history of MTV's Headbanger's Ball, and the album sold over one million copies. The band also began opening for larger acts such as Pantera, Suicidal Tendencies, House of Pain, Fishbone, and The Cro-Mags. In 1993, the hardcore rap group Onyx brought on Billy Graziadei for an alternate "Bionyx" version of their hit single "Slam" with Biohazard as their backup band. This led to a collaboration on the title track of the Judgment Night soundtrack. The soundtrack would go on to sell over two million copies in the United States. Months later, the band left Roadrunner Records and signed with Warner Bros. Records Inc. who released their third studio LP, State of the World Address. The album was produced by Ed Stasium in Los Angeles and contained the single "How It Is" featuring Sen Dog of Cypress Hill, for which a video was also shot. During their 1994 tour, the band made an appearance on the second stage at the Monsters of Rock festival held at Castle Donington. State of the World Address went on to sell over one million copies, and Rolling Stone magazine selected the Biohazard logo as the best logo of the year.

This was the last Biohazard album with Bobby Hambel, who left due to differences with the rest of the band. The band recorded their fourth studio album, Mata Leao, as a three piece in 1996. It was produced with the help of Dave Jerden. For the 1996-97 Mata Leao Tour, former Helmet guitarist Rob Echeverria joined the band. The band also played on the Ozzfest mainstage alongside Ozzy Osbourne, Slayer, Danzig, Fear Factory, and Sepultura. While touring Europe in support of the Mata Leao album, the band recorded their Hamburg, Germany, show for their first live album, No Holds Barred (Live in Europe), which was released in 1997 through their former label, Roadrunner Records. The band signed to Mercury Records and released their fifth studio album, New World Disorder, in 1999, once again with Ed Stasium as a producer.

The relationship with Mercury Records soured quickly as the band felt betrayed and misunderstood by the label. They severed their ties with the label amidst the merger of Mercury Records, Island Records, Def Jam Records, and Polygram into the Universal Music Group. The following year, Biohazard signed two new record deals with SPV/Steamhammer in Europe and Sanctuary Records for the remainder of the world. Despite the new record deals, the band took some personal time in order to work on other projects. Graziadei and Schuler also collaborated in transforming the band's rehearsal Brooklyn studio into a digital recording studio, known as Rat Piss Studios and soon after changed the name to Underground Sound Studios. Re-investing into the band, Graziadei and Schuler honed their engineering and productions skills while recording and producing local acts and new Biohazard demos. The band then undertook the process of writing, recording, and producing their own music. Their studio work led to the band's sixth studio album, Uncivilization, released in September 2001.
The album featured several guest appearances by members of bands such as Agnostic Front, Hatebreed, Pantera, Slipknot, Sepultura, Cypress Hill, Skarhead, and Type O Negative. Shortly after the release of Uncivilization, guitarist Leo Curley left the band and was replaced by former Nucleus member Carmine Vincent, who had previously toured with Biohazard as part of their road crew. The band had to cancel scheduled European festival dates when Carmine Vincent underwent major surgery. The band did manage to find a temporary guitarist, Scott Roberts, formerly of the Cro-Mags and the Spudmonsters, in time to join the Eastpak Resistance Tour with Agnostic Front, Hatebreed, Discipline, Death Threat, Born From Pain and All Boro Kings. Biohazard completed their seventh studio album in seventeen days; Kill Or Be Killed was released in 2003. While touring North America with Kittie, Brand New Sin and Eighteen Visions, Biohazard announced that Roberts would remain as their permanent lead guitarist. The tour was curtailed when it was announced that Seinfeld had fallen ill. With more downtime due to Seinfeld's illness, Graziadei and Schuler collaborated to mix Life of Agony's live comeback album, River Runs Again: Live 2003. Once Seinfeld was healthy again, the band toured Japan and North America, headlining over bands such as Hatebreed, Agnostic Front, Throwdown, and Full Blown Chaos.

By the end of 2003, the band had begun recording its eighth studio album, Means To An End. The completed album was lost in a studio disaster, forcing the band to completely re-record the album, which was finally released in August 2005. In October 2004, Graziadei announced that Means To An End had been the final Biohazard album and that he would continue playing with his new band Suicide City as his main focus. One month later, on the Biohazard website, it was announced that there would in fact be a 2005 Biohazard tour. On December 15, 2005, Seinfeld and Graziadei participated in the Roadrunner United conglomerate event at the Nokia Theater in New York for an all-star event. The show opened with Biohazard's "Punishment," performed by Seinfeld, Graziadei, Sepultura's Andreas Kisser, former Fear Factory member Dino Cazares, and Slipknot's Joey Jordison. Graziadei and Schuler relocated their recording studio to South Amboy, New Jersey and renamed it Underground Sound Studios. The studio was renovated to include a live room with 20-foot (6.1 m) ceilings and 4,000 square feet (370 m2) of studio space. After Schuler's departure from the studio business, Graziadei relocated the studio to Los Angeles and changed the name to Firewater Studios. In January 2008, the classic lineup of Evan Seinfeld, Billy Graziadei, Danny Schuler and Bobby Hambel made the announcement that rehearsals had begun for a 2008 summer tour to commemorate the band's 20th anniversary. They toured Australia and New Zealand in April with Chimaira, Throwdown, Bloodsimple and headliners Korn to celebrate their newly declared reunion. The band also took part in Persistence Tour 2009, and announced at one of their shows that they were working on a new record. Biohazard brought in producer Toby Wright to work on the album and after several months at Graziadei's Firewater Studios in Los Angeles, the band completed their recording sessions. In June 2011, Biohazard announced that Evan Seinfeld had quit the band and Scott Roberts returned to replace Seinfeld for two UK dates but no decision regarding a permanent replacement was made. In January 2012, the band decided that Scott Roberts would remain with the band as a permanent member. The new album, Reborn In Defiance, was released worldwide, with the exception of North America, on January 20, 2012 through the Nuclear Blast label. In support of the album, Biohazard embarked on a short co-headlining tour of Europe with Suicidal Tendencies in the latter half of January 2012. After touring the world in support of Reborn in Defiance, the band entered the studio to work on a new release and after a falling out, Roberts departed the band.

Biohazard remains as it’s core founding members of Graziadei, Shuler and Hambel. Graziadei has since ventured off onto a solo career as BillyBio and teamed up with Cypress Hill frontman Sendog to start Powerflo. Both groups are working on their second releases due out late 2021 and early 2022.

Eva Cassidy’s un-paralleled posthumous recording career began with the release of the Songbird album in early 1998. Twenty-three years and over five million sales later, Songbird sits atop Eva’s album catalogue; with Eva becoming one of only 11 female artists to ever achieve 10 or more UK Gold albums.

Tape

The occult and folk music have been friends for a while. In the 21st century, hauntology and the resurface of some cult soundtracks from the 1970s and 1980s helped to create a new sense of folk, not associated with the typical acoustic feeling, but more relatable with library, krautrock/kosmische and industrial music. João Kyron and Tony Watts, long time collaborators since the late 1990s with their band Hipnótica, and more recently with Beautify Junkyards (Ghost Box) are well acquainted with this friendship. Hidden Horse is their new project as a duo and “Opala” their first release.

With eight tracks and almost thirty minutes, their first release explores dense and greyish urban utopias. The song titles explore ideas that mix sci-fi, horror, science, space and urban phobia, and the music Kyron and Watts create delivers, using electronics and drums with great relish. Their relationship as musicians, which spans more than two decades, can be felt in the way their music flows with a continuous dialogue.

“Opala” is always keen to take you to another dimension. It lives in its own twilight zone, where the obscure entangles the most obvious senses of reality. It sounds like Jacques Tati “Playtime” with a hauntology soundtrack: it kind of feels that this imaginary world is real, but it’s not. And it sucks you in to be a part of it and enjoy it: close your eyes and let yourself go while listening to “Levitação Magnética” or “Fantasmas do Planeta”. You will feel like a foreigner in a new city.

"Salvator Dragatto’s debut 45 “N˚ 1” is an exciting addition to the growing collective of modern instrumentalists influenced by the greats in library and soundtrack music. Dragatto takes the listener through five mood heavy pieces textured with analog synths, melancholy guitars and lush string arrangements, giving an exciting glimpse into what lies ahead. The beauty of discovering something new is a timeless theme, one that Salvator conjurs with his latest single "Shook". Balancing Dragatto's signature melancholy guitars with tough drum tones, the feeling of being rattled to core is taken further with swooning horn lines and spacey synths he's become

Khruangbin and Leon Bridges announce their latest collaborative EP, ‘Texas Moon’, out on Dead Oceans.

 An extension of the two’s chart-topping four-song ‘Texas Sun’ journey, ‘Texas Moon’ is an introspective stroll through the dark. “Without joy, there can be no real perspective on sorrow,” say Khruangbin. “Without sunlight, all this rain keeps things from growing. How can you have the sun without the moon?”

 Crediting their mutual home state for inspiration, ‘Texas Moon’ pensively examines Texas’ musical perception, while paying homage to the marriage of country and R&B that’s become synonymous with the lone star state. Propelled by rolling guitar licks, conga and bongo, lead single ‘B-Side’ meditates on meeting in a dream and frolics across the nearing contemplative night-time state with its longing joy.

 Elsewhere on ‘Texas Moon’, the artists channel a newly intimate musical scope that’s illustrated most dramatically when the spacy sensuality of the minimalistic ‘Chocolate Hills’ leads into the stark spirituality addressed on ‘Father Father’, a reminder of both acts’ gospel roots. Over a simple rolling guitar figure, Bridges pleads with the heavens - “Look at the mess that I made / Just a man with unclean hands” - only to be reminded of God’s eternal love.

 For Khruangbin, one song in particular was indicative of the trust that Bridges put in them. “The song ‘Doris’ is about his grandmother making the transition from this world to the next realm,” says Khruangbin’s Donald Ray ‘DJ’ Johnson Jr. “It’s a very somber, very deep record. And when someone places that kind of work into your
hands, the last thing you want to do is junk it up, overproduce it, or do too much. We treated it with the respect it deserved, and treated Doris with the respect she deserves.”

 “It’s like a short story...,” says the band’s Laura Lee of the music. “And it leaves room to continue having these stories together. It’s not Khruangbin, it’s not Leon, it’s this world we created together.”

 Upon its release, ‘Texas Sun’ soared to the No. 1 slot on Billboard’s Emerging Artists Chart along with landing the No.1 on spot on Americana/Folk Albums, among many others. Significantly, both parties’ musical directions were deeply affected by their time working together on ‘Texas Sun’.

 Khruangbin’s most recent studio album, ‘Mordechai’, moved their own vocals to the forefront, a change they readily admit was a direct result of working with Bridges.
Their sound was also tapped for remix / reinterpretation of a Paul McCartney song for the ‘McCartney III Imagined’ project. Meanwhile, in addition to his genre-defying Grammy-nominated album ‘Gold-Digger’s Sound’, Bridges has put out several other challenging, shared collaborative tracks, including work with John Mayer, Lucky Daye and, most recently, Jazmine Sullivan. Each of the artists appeared recently on Austin City Limits and will tour throughout the new year.

Third almanac from Good Morning Tapes, plucking exclusive pearls by label regulars Pataphysical, Nueen, Salamanda, Angel Hunt, Yama Yuki and Saphileaum, for the good of your health.

Continuing to provide succour for stressed energies with their latest volume of the hugely collectable "All Welcome” series, volume 3 opens with an exclusive addition to São Paolo-based Yama Yuki’s impressionistic projection of ‘Inverted Cities’ with the elegant froth of ‘Bucharest’, and sashes thru the lilting synthetic thumb piano and midi flute melodies on the 4th world charmer of ‘Eclipse’ by Nueen, to take in shoreside Balearic atmospheres in the rolling congas and warm breeze of Saphileaum’s ‘Arif’, and the Far Eastern environmental music of S. Korea’s Salamanda on ‘Planting a Blue Velvet’

Pataphysical follow that quietly unmissable ‘Hapticality’ tape with another arpeggiated pearl on ‘Xochitl’, this time sounding something like Bola’s classique 'Forcasa 3’, before Angel Hunt’s ’Skulp Haunt’, ends things off with a smudged tripped pop energy, like a heat-haze inversion of Massive Attack’s ‘Karmacoma’.

F.S.Blumm and Nils Frahm have confirmed details of their fourth collaborative album, 2X1=4, which will be released on September 3, 2021, by LEITER, the new label formed by Frahm and his
manager, Felix Grimm. The seven-track album finds the duo unexpectedly exploring a dub influenced universe, though in truth it’s one already familiar to both. F.S.Blumm, for instance, is
co-founder of Quasi Dub Development, whose 2014 album, Little-Twister vs Stiff-Neck, featured Lady Ann and Lee Scratch Perry, while Frahm’s music – not least 2018’s All Melody – has
occasionally betrayed a fondness for the form’s associated studio techniques, though he concedes wryly that his approach has always been “a little bit more German” than his influences.

F.S.Blumm, a revered mainstay of the German underground for over two decades, and Nils Frahm, who’s enjoyed significant success in recent years with his ground-breaking compositions
for piano and synths, first met in the early 2000s. Frahm was a big fan of Blumm’s 2001 album, Mondkuchen – he refers to his fellow Berlin resident admiringly these days as “a vital brick in the
Berlin Wall” – while Blumm was soon dazzled by Frahm’s studio set up. “Compared to mine,” he says, “it was like a space ship!” Soon they were working together on a variety of projects –
including theatre pieces and animated films – and by 2010 they’d released their first collaborative album, Music For Lovers Music Versus Time. A second, Music For Wobbling Music Versus
Gravity, followed in 2013, and a third, Tag Eins Tag Zwei, in 2016.

2X1=4 is very different to its predecessors, but its final track, ‘Neckrub’, first took shape as they wound up work on Tag Eins Tag Zwei. “We had a certain sound in the back of our heads,”
Blumm recalls, “which was influenced by these 80s rhythm machines, and we suddenly discovered a common love for dub.” Most of the new album, therefore, was initially developed in 2016 during improvisation sessions recorded by Frahm to two-track cassette. “It was like we were running a combine harvester,” Blumm laughs, “so we could write our names on a single grain!”

Afterwards, they worked on editing and overdubs in Frahm’s new studio at Berlin’s legendary Funkhaus. “We kept on making new songs out of these sessions and starting over and over again,” Frahm smiles. “It was a process that was time consuming but really fun.” Not that either of them is eager to claim a purist approach. “I love ending up somewhere where I’m surprised by myself or the machine or the person with whom I’m making music,” Blumm concludes, while
Frahm emphasises that, “None of this is too serious. The record is only as much of a dub record as the ones before are jazz records…”

Danish composer, musician and producer Trentemøller announces his new studio album 'Memoria' which is set for release in early 2022 on his own label In My Room alongside the first single 'In The Gloaming' which is released September 10th 2021. Anders Trentemøller's sixth studio album, Memoria, seems to exist at the
confluence of inspiration, coincidence, and maybe even a little bit of the supernatural.
A recent, unanticipated drop of four songs, in the form of two singles (No One Quite Like You, and Golden Sun), might leave one surprised to find that a full album's worth of material was also waiting in the wings.
As with most Trentemøller releases, it's a body of songs that are thematically linked by many melodic threads.

The first single from the upcoming album, 'In The Gloaming', which is released in September 2021, implies the arc of the album might have actually begun late in the day, giving the sensation of waking in the evening. Nocturne's dawning. Stars emerge in the form of percussive arpeggios.

2019's Trentemøller album 'Obverse' was an exercise in what could be done if the prospect of performing the songs onstage wasn't a factor. It opened up some doors, and signaled a new chapter. Memoria, even considering its resplendence, almost feels like it demands to be presented live as well.

Stroboscopic Artefacts is proud to present the debut album of Malaysian born Bangkok based artist Wanton Witch.

Born in an isolated community of Borneo Island in 1993 Wanton Witch is a DJ and producer with a hyper-sensitive connection and approach to sound through performance. Coming of age in the relative isolation of island life, it wasn’t until relocating to Bangkok that she was able to access the different communities of musical genres that she would later travel between. With an early taste for trap and hip hop, she began working in the deconstructed club and techno scene where she found her musical voice, beginning her DJ career in 2018. Wanton is also a cofounder and original member of Queer underground creative collective ‘Non Non Non’ that has become a Bangkok nightlife staple.

Being an “outsider” musician and producer with no formal training, it was the fortuitous crossing of paths online that has sparked the creative collaboration between Wanton and label owner and creative director Lucy. Last year Stroboscopic Artefacts celebrated ten years established between experimental and dance floor spectres and this is the first record the label is releasing after one year break, marking the launch of a new chapter for the imprint. It is with releases like the eponymous debut album from Wanton Witch and the support given to emerging artists like her that the imprint continues to forge pathways within the industry.

Featuring 11 tracks, these recordings are the first body of work from the Bangkok producer, and include many different snapshots of electronic music genres from IDM and experimental to hardcore and rave, using caustic electronics to deconstruct traditional track conventions. This collection of cuts read more as a complete soundscape, like listening to a live set. The phrenetic jump from genre to genre, the mixing of diverse sound textures and landscapes reflect Wanton Witch’s own experience navigating a hostile world as a Queer trans woman in Malaysia. The intense energy with which each track is cut together reminds the listener of the nostalgia of mixtapes and a time in life when identity is being constructed.

Wanton Witch has created an album which feels like a reflection of the aggregation that already exists within musical internet sub-cultures and communities. A place where many diverse and contrasting sound palettes, textures, and structures can fit together to create a new different, Queer way of seeing the world.

Following up on Wanton’s LP, label head Lucy will also present an actual full length album named ‘Lucy Plays Wanton Witch’ featuring re-interpretations of the original material in a whole new body of work. This upcoming follow up release will not represent a mere remix edition, but a recreation from scratch and the rebirth of “one into another” so to say. Expect the quintessential Lucy treatment.

Sam Evian knew he wanted to leave New York City almost as soon as he arrived, more than a decade ago. An upstart songwriter and producer, he, of course, loved its creative wellspring—the ideas, the instrumentalists, the energy. But he’d grown up in the woods of upstate New York and, later, along the coast on the rather empty eastern end of North Carolina. The city was expensive, anxious, and unsettling, however inspiring it could be. So in the Summer of 2017, he and his band decamped to a rented house upstate to cut his second album, the magnetic You, Forever. He then realized he could no longer resist the urge; two years ago, Sam and his partner, Hannah Cohen, split from the city, building their refuge in the quiet of a Catskills town. That reflective, relaxing environment inexorably shaped Time to Melt, his third LP and debut for Fat Possum. A glowing set of soulfully psychedelic pop gems, Time to Melt is a testimonial to the life and wisdom to be found when you give yourself the mercy of space..

Following the release of their latest single ‘Animal’ Brighton 4-piece Will & The People have announced details of their new album and subsequent tour this November/ December; following recent sold out shows in London and Brighton, as well as festival plays at the likes of Boardmasters and Green Man, where they headlined the Chai Wallahs stage on closing day.

Recorded at The Libertines’ The Albion Rooms over the course of a week, the band say of the album:
‘It represents a journey of the soul; from the darkness and depression of a lost and seemingly hopeless position - to a realisation and acknowledgment of needing to change, needing to empower oneself and then finally to a more joyous, un-shakeable happiness towards all aspects of life. Life is beautiful and can be lived with joy and grace. Through staying true to your passions and beliefs and finding, new chapters, happiness is there. The album, “Past the point of no return”, is the meeting of the past and present on our journey into the future. It's a four-way diary entry for life as we currently know it.’

You can tell from the way they play, talk and live that Will and The People aren’t following a formula or trying to follow the pack. They play music because it makes them feel good, feel free and feel whole.

Master are an old school death metal band from
Chicago. Originally formed in 1983 as Death Strike
after the demise of the band War Cry, they were
heavily influenced by the rough brutal assaults of
Venom, Slayer and Motorhead.
 In 1985 vocalist / bassist and bandleader Paul
Speckmann renamed the band Master and obtained
a record deal with Combat Records. An album was
recorded but then shelved by the label (later to be
released as the ‘Unreleased 1985 Album’). The
band were then signed by German metal
powerhouse Nuclear Blast and the debut album
‘Master’ was finally released in 1990.
 Two more albums appeared on the label but Master
went on hiatus while Speckmann focused on several
other projects like Abomination and Krabathor (and
relocated to the Czech Republic). Since then Master
have been releasing new albums with various
different labels and embarking on several European
tours.
 This live release is a recording of the 2014 show
Master performed in Athens, released by Doc
Records on CD and double vinyl - a full show of
Paul and his crew with all the highlights from his
career.
 For fans of Obituary, Autopsy, Possessed, Vader,
Benediction, Massacre, Death, Bolt Thrower.

In an age of never-ending genre caveats, there’s something refreshing in a band simply referring to themselves as a rock band, plain and simple. Lonely Pirate Committee define themselves in such a way, and while their music encompasses a number of different strands and influences, they like the openness of that descriptor, the space it leaves for exploration and experimentation.

Moving through various iterations over the years, Lonely Pirate Committee remains in 2021 as the musical project of childhood friends Pearce Gronek and Fletcher Barton. Together, the pair has guided the band’s studio work, before bringing varying members to flesh out LPC’s high-volume and high-intensity live performances that juxtapose the more mellow and laid-back sound that mostly defines their recordings to date, save for the band’s occasional moments of skewed eccentricity.

Formed in Cleveland, the pair work both together and apart, splitting the band’s songwriting down the middle, working on their ideas at home before bringing them together under one defined vision. In early 2020 LPC released their second album, Everyday Ordinary, and it showcased a more refined version of the band than what had come before, the pair’s songwriting drifting into creative and hazy new textures across the album’s ten songs.

In early 2022, Lonely Pirate Committee release their first new work since those album sessions in the form of a brand new 7” single for Saddle Creek’s Document series. Formed of two new tracks, both recorded in late 2020, the release is led by “He Was in the Father”, a song which should be seen as a caricature of Middle-American suburbia; a white picket fence daydream through a shadowy lens. The track began simply as a sonic experiment but soon evolved into the full song we hear today – albeit one shaped by AI. “The track is partially written using AI music generation technology, in direct collaboration with the human composer,” the band explain.

Latest Levellers album to be pressed as a picture disc for your collection -

Peace: a word that’s both direct and loaded with meaning. On the surface, it suggests tranquility, evenness, a state of bliss already achieved. But the word that gives the Levellers’ 11th studio album its title is open to a multitude of interpretations, too. It could be a reference to a disappearing value. It could be a sneering statement of irony. It could be a cry for calm in a crazed world. It could mean whatever you want it to mean.

Peace is the most relevant album of 2020. Its 11 electrifying songs are a charged reaction to a world that seems to be teetering on the edge of madness and self-destruction. The environment is buckling under the weight of humanity’s disregard, right-wing demagogues are spreading hatred and fear across supposedly civilised nations, society and culture is trapped in a death spiral that’s playing out in real time across social media

"Rock and metal music have always been a haven for those who have bigger stories to tell; who have grander emotions to convey. For more than thirty years, Finnish figureheads Amorphis have done their best to carve their very own niche in heartfelt yet aggressive, melancholic yet soothing tunes. On “Halo”, their staggering fourteenth studio effort, the Fins underline their trailblazing status as one of the most original, culturally relevant and rewarding acts ever to emerge from the land of the thousand lakes. In the past, mythology and legend took the role of today’s pop culture: Stories and a set of values uniting us by giving us a voice and a tapestry on which we can find each other and identify with something. By weaving the tales of Finnish national epos “Kalevala” into their songs and interpreting them in a timeless way, Amorphis combine the role of ancient minstrels and luminaries of the modern world, honouring tradition without getting stuck in the past. The vibrant, lively, and touching beauty that is “Halo” highlights their musical and storytelling mastership on a once again soaring level: It’s a progressive, melodic, and quintessentially melancholic heavy metal masterwork plucked from the fickle void of inspiration by original guitarists Esa Holopainen and Tomi Koivusaari, bassist Olli-Pekka Laine, drummer Jan Rechberger, longtime keyboardist Santeri Kallio and vocalist Tomi Joutsen, the band’s long-standing lyrical consciousness Pekka Kainulainen and a selected group of world class audio professionals led by
renowned Swedish producer Jens Bogren. Considering the band’s prolonged journey in the forefront of innovative metal music, it’s difficult to grasp how Amorphis manages to raise the proverbial bar time and time again, presenting a more than worthy finale to the trilogy begun with 2015’s “Under the Red Cloud” followed by 2018’s “Queen of Time.” “It really is a great feeling that we can still produce very decent music as a band,” says Holopainen, a founding member of the band. “Perhaps a certain kind of self-criticism and long experience culminate in these latest albums.” To the songwriter himself, “Halo” sounds both familiar and different. “It is thoroughly recognizable Amorphis from beginning to end but the general atmosphere is a little bit heavier and more progressive and also organic compared to its predecessor,” he elaborates. Tomi Joutsen, the man with vocal cords capable of unleashing colossal, bear-like growls as well as singing soothing, mesmerising lullabies, adds, “To me, ‘Halo’ sounds a little more stripped down compared to ‘Queen Of Time’ and ‘Under The Red Cloud.’ However, don’t get me wrong: when a certain song needs to sound big, then it sounds very big.” He’s right, of course: By stripping down some of the arrangements, the monumental moments become even more monumental. That’s of course also thanks to producing renaissance man Jens Bogren who harvested the thirteen final tracks from a batch of thirty songs Amorphis offered him. “Jens is very demanding, but I really like to work with him,” says Holopainen. “He takes care of the whole project from start to finish, and he allows the musician to focus on just playing. I may not be able to thank Jens enough. Everything we’ve done together has been really great, and this co-operation has carried Amorphis significantly forward.” Indeed. Setting off with the stormy grandeur of opener “Northwards,” Amorphis take us on an epic journey through the lands of the north, their rich cultural and historical heritage and musical traditions. This is not only an album for fans or metal connoisseurs. It’s a must for every imaginative mind out there with a soft spot for cinematic soundscapes, triumphant melodies and breathtaking dynamics measuring the borderlands of light and dark. However, no Amorphis album would be complete without the imaginative and poetic storytelling of renowned lyricist and “Kalevala” expert Pekka Kainulainen. “From day one, Pekka has always been an enthusiastic and prolific lyricist for Amorphis,” says Joutsen. “It is a slow process of translating archaic Finnish poetry into English and adapting it our progressive rhythms. Fortunately, Pekka does everything on time and with great care.” Since 2007’s “Silent Waters,” Kainulainen has been navigating the mythological waters of his homeland with great skill and respect. For “Halo,” he outdid himself once again. “‘Halo’ is a loose themed record filled with adventurous tales about the mythical North tens of thousands of years ago,” he explains. “The lyrics tell of an ancient time when man wandered to these abandoned boreal frontiers after the ice age. While describing the revival of a seminal culture in a world of new opportunities, I also try to reach the sempiternal forces of the human mind.” Thirty-one years after their inception, with uncounted global tours under their belt and fourteen albums deep in their career, Amorphis still proves to be the musical fountain of youth, an extraordinary band constantly reinventing itself without abandoning its mystical roots. With “Halo”, they deliver an astonishing album that deserves to be played everywhere, transcending the realms of metal and rock by its sheer profoundness and musicality."