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Travelling Without Moving; long considered one of Jamiroquai’s most
popular albums and the best-selling funk album of all time celebrates it’s 25th year in 2021 with this special heavy weight coloured vinyl release.

Originally released in September 1996, the album features seminal hits ‘Virtual Insanity’ & Cosmic Girl’ which helped catapult it to #2 in the UK charts and Jamiroquai into the limelight globally.
This edition includes an updated sleeve for 2021, new liner notes by
Jamiroquai frontman JayKay and the Dimitri From Paris Remix Radio Edit of Cosmic Girl, previously only available physically in limited numbers on Dimitri From Paris’ own label.

Emigrate. The one-time project has become more than that. Much more. The three studio albums, EMIGRATE (2007), SILENT SO LONG (2014) and A MILLION DEGREES (2018), prove that squarely behind Emigrate stands Richard Zven Kruspe – an extremely creative mind who needs the freedom to explore his music and his vision in ways outside of Rammstein. With Emigrate there are no limits, no barriers. Everything is possible, nothing held back, and it’s this ethos that underlines THE PERSISTENCE OF MEMORY, the new studio album, set for release on November 5th. THE PERSISTENCE OF MEMORY is a special jewel indeed, with the nine featured songs bringing together ideas that Richard has collected across the last two decades. Industrial Rock, Rock with electronic elements, however you choose to describe it, there’s no question that the songs here always contain a strong sense of melody, as rousing as they are deep. At one stage, it seemed that the tracks might be part of a bigger project – a vinyl box set of the first three albums with an additional LP included. On this bonus LP would be a selection of unreleased songs dating from 2001 right through to 2018. In the end, however, this material was considered too precious to sit beneath the ‘bonus’ heading, so THE PERSISTENCE OF MEMORY was born... Richard reacquainted himself with his hard drives, coming across ideas, songs and lyrics that deserved to be brought into the light, material too good to remain in the archives. He threw himself fully into the task at hand, as he always does, working on the basis that "A good idea remains a good idea”, and if he felt that there was more to be gained he was open to taking another look at the arrangements and the lyrics; new parts were also recorded here an’ there, after which the entire mix was given a fresh polish, ensuring that the nine songs have a contemporary yet timeless coat of paint. This time, Richard tried to keep things as simple as possible, allowing the creativity to flow, keeping his sights firmly set on pure, raw Emigrate songs. Says Richard: "These songs were created at a certain point in my life, but ideas don't have an expiration date. Sounds, lyrics and themes, on the other hand, do." "Freeze My Mind", for example, is one of the first Emigrate songs ever written, going right back to 2001. Now, 20 years later, it sounds fresh, of the moment, yet Emigrate through & through, something that is true of the album as a whole. Some of the elements are forged in a familiar heat, but these are married to new ways of working, new influences and challenges.

IDLES return with their new album, ‘CRAWLER’, an album of reflection and healing
amid a worldwide pandemic that stretched the planet’s collective mental and physical
health to the breaking point.
 Frontman Joe Talbot says: “We want people who’ve gone through trauma,
heartbreak, and loss to feel like they’re not alone, and also how it is possible to
reclaim joy from those experiences.” IDLES albums have always been anchored by
these overarching themes, but the ability of the band to juxtapose beauty and rage
with humour and drama has never felt more satisfying than on ‘CRAWLER’.
 These stories are vividly brought to life through IDLES’ most soul-stirring music to
date, recorded with co-producers Kenny Beats (Vince Staples, Freddie Gibbs) and
IDLES guitarist Mark Bowen.
 Previous album ‘Ultra Mono’ was Number 1 album in the UK, with over 35k sales
week one.
 Huge 2022 January UK tour including five Brixton Academy dates, three at Glasgow
Barrowlands, two at Manchester Warehouse and more. Over 20k UK tickets sold in
the first hour of release.
 Three high budget music videos, written and directed by LOOSE (Lucy Hickling,
Stink Films).
 CD in digipak packaging.
 Deluxe LP mastered at half-speed (45rpm), pressed on deluxe heavyweight 180g
black double vinyl and housed in a gatefold jacket with printed inner sleeves.
 Eco-Mix coloured vinyl LP housed in a single-sleeve jacket and printed inner sleeve.
Eco-Mix vinyl production uses leftover wax that’s already in the factory, meaning
each record is different and the colour is completely random and unique.
 Standard black vinyl LP housed in a single-sleeve jacket and printed inner sleeve.

You might know Barnt as one of the people behind the idiosyncratic imprints Magazine and Schalen, through which he released his most of his EPs and the incomparable 2014 debut album, Magazine 13.; or maybe you know the thread of beautiful, unpredictable club hits he’s woven with labels like Cómeme and Hinge Finger.

Despite living in Cologne, and being friends with the label, Barnt has not put out anything on Kompakt yet, apart from an one-off appearance on Pop Ambient 11 over a decade ago. An EP had been in the air for several years, but it took Barnt a bit of time to get into the right state of mind, because he wanted to make sure the music paid tribute to “the ceremonial, emotional, grand sprit” that he connects with Kompakt.

Typical to the producer’s modus operandi, ProMetal Fan Decor Only Product spins out a surprising narrative, catching the listener unawares, while remaining fundamentally Barnt. After the elegiac opener “Fan”, stately in its melancholic, epic flourish, “You Know What’s Gone” stomps into earshot, the pounding thud of the drums pinning clanging patterns to the dancefloor, a Sturm Und Drang symphony, the tones all clashing metals and silvers.

After that, there’s release – the hypnotic psychedelic reels of “This Is For Decor Only” are Barnt gone trance, a sensual glide of a track that pirouettes out an eternity of sizzling hi-hats and strip light melodies. While you might want to be alone when listening to “Fan”, you might have the time of your life dancing to “This Is For Decor Only”, played by your favourite DJ at your favourite festival this Summer.

With ProMetal Fan Decor Only Product, wrapped in a sleeve by artist Lukas Heerich, Barnt and Kompakt finally come together, equal parts refined elegance and sweaty fervour.

Die 2007 gegründete deutsche Heavy-Metal-Formation KISSIN DYNAMITE hat sich mehr als nur einen
Namen in der Szene gemacht: Mit sechs Studioalben und diversen Chart Erfolgen (#7 in den GERAlbumcharts mit dem 2018er Full-Length Ecstasy) etablierte die Band ihren Trademark-Stil - geprägt
von modernen Sounds, wuchtigen Hymnen und eingängigen Hooks, gepaart mit 80er-Jahre-StadionrockAttitüde und einem außergewöhnlichen Look. Nun steht die Kombo in den Startlöchern bereit, ihr Napalm
Records-Debüt Not The End Of The Road zu veröffentlichen und mit 12 kraftvollen Tracks den Weg des
Metal im Jahr 2022 zu ebnen.
Produziert, aufgenommen und gemischt wurde das neue Studioalbum von Sänger Hannes Braun selbst, der
auch schon mit Bands wie SANTIANO, THE KELLY FAMILY oder BEYOND THE BLACK gearbeitet hat.
Das Mastering übernahm Jacob Hansen in den Hansen Studios, der Grammy Award nominierte Produzent
ist bekannt für seine Arbeit mit Bands wie VOLBEAT und vielen mehr.

Parisian producer, DJ & multi instrumentalist THEOS returns to Shall Not Fade with 'Turn Up Marty' - the follow up to his sold out and widely acclaimed debut 'We Miss The Crowd' EP.

At only 19 years old, French producer THEOS says that last year he decided to dedicate his life to music. 2021 has been a massive year for the young French producer and he continues where he started with 4 killer cuts for Bristol label Shall Not Fade

First ever box set from one of the most thrilling bands of the Twentieth
Century.
 Deluxe 7” singles box set featuring the phenomenal original run of singles
with two bonus singles exclusive to this set. Seven 7” singles housed inside
a lift-off lid box with a booklet featuring an essay by Clinton Heylin,
reminisces from Thurston Moore, Henry Rollins, Mark Lanegan X and Dan
Stuart, rare photographs and flyers, new exclusive issue of the ‘Fire of Love’
fanzine, Ruby Records postcard and a ‘Gun’ button badge.
 If ever there was a band seemingly determined to come from nowhere and
go straight back there, it was The Gun Club. Jeffrey Lee Pierce’s search and
destroy combo was spawned by the LA punk scene in 1979. Two years later
their first LP, the incendiary ‘Fire Of Love’, was spewed out by Slash
Records, a matter of months after the punk zine Pierce wrote for, and the
label named itself after, breathed its last. ‘Fire Of Love’ was one of the 80’s
genuinely shape-shifting US debuts, igniting post-punk depth and minting
genres including blues, psychobilly and Americana.
 Jeffrey Lee Pierce was an extraordinary character. Learning to play guitar at
the age of 10, he quickly immersed himself firstly in reggae and later the
Delta Blues, particularly works by Tommy Johnson and Robert Johnson. By
1976, he had become obsessed with Blondie, going on to become President
of the West Coast Blondie Fan Club. It was Jeffrey Lee Pierce who
suggested to the band they cover ‘Hanging On The Telephone’. The Blondie
connection would later resurface in 1982 when Chris Stein signed and
produced The Gun Club for his Animal Records label. In 1996 after releasing
seven studio albums, 37-year-old Jeffrey Lee Pierce sadly passed away
following a stroke. What he left behind is a legacy of work that has had a
prolific effect on some of the most distinguished rock acts of the past 20+
years, these include Nick Cave & The Bad Seeds, Sonic Youth, The White
Stripes, Mark Lanegan, Primal Scream and The Black Keys.
 “Jeffrey was a human tornado. Yet during the most turbulent points in his life,
he was able to tap what seemed to be a limitless supply of astonishingly
beautiful music. Even now, songs like ‘Flowing’ and ‘Desire’ catch me up.
The immense power that passed through Jeffrey, like an electrical current,
informed his amazing body of work. That level of unrelenting heat and
incandescence is simply not survivable. I wouldn’t wish it on anyone.” -
Henry Rollins (April 2021)
 Six 7” singles reprinted with original artwork. Additional ‘Miami Demos’ 7”
exclusive to this box set. All singles remastered especially for these vinyl
editions.

BURNING THE OPPRESSOR is a group founded in 2012 by passionate musicians with different influences and armed with remarkable stage dynamism. With intense texts and brutal riffs, BTO puts into words and sounds the trials of modern life and the sufferings of a society in turmoil. Militant in favor of social equity and the inclusion of all people, the band denounces discrimination and oppression through its work.

BURNING THE OPPRESSOR is a group founded in 2012 by passionate musicians with different influences and armed with remarkable stage dynamism. With intense texts and brutal riffs, BTO puts into words and sounds the trials of modern life and the sufferings of a society in turmoil. Militant in favor of social equity and the inclusion of all people, the band denounces discrimination and oppression through its work.

Nusrat Fateh Ali Khan & Party lose themselves in this collection of ancient songs whose lyrics recall Sufi poetry and stories. Shahbaaz is intense, ecstatic and uplifting. Nusrat Fateh Ali Khan is one of the key artists on Real World Records and certainly one of the most influential. His voice is universally recognised as one of the greats in musical history and he was key in bringing the Qawwali music tradition—a form of Sufi devotional music popular in South Asia—to the Western world. In his lifetime, Khan collaborated with many Western musicians, including Peter Gabriel, Eddie Vedder and Michael Brook. His vocals appeared on soundtracks to films directed by Martin Scorsese, Oliver Stone and Tim Robbins. The foremost reason for his popularity is inventiveness—an ability to bring together separate traditions. To the popular Qawwali (devotional Sufi) form he has blended elements of the highly classical vocal tradition known as Khal (Persian for imagination). In this way he has created a wholly original fusion. More importantly perhaps he also draws on a range of lyrical material. It is as though he is continually both forgetting and reliving the six centuries of his family’s musical experience in a quest to find new and ever more daring paths to the sublime, carrying both eastern and western audiences to that realm known to the Sufis as Isshq— the state where earthly passion and divine love are reconciled.

One of the most promising and talented composer/arrangers of her generation, Japanese, New York based and Grammy-nominated composer / Conductor Miho Hazama releases her inspired new album, Imaginary Visions. Lauded in Downbeat as one of “25 for the future” Miho is an international star in the making. As a Japanese artist based in New York, she is also chief conductor of the Danish Radio Big Band as well as a permanent guest conductor of Metropole Orkest in The Netherlands. Imaginary Visions, her first album with the Danish Radio Big Band featuring entirely her own music is a full-bodied and fresh exploration of big band music, bursting with exuberance and compositions that conjure images of release/escape, encouraging us to be free and to embrace life.

Aagyr Ferboden, a newborn noise project led by New Zealand songwriter Charlie Ryder. As a member of the band Yumi Zouma, Ryder’s typical work veers towards the pop-leaning side of alternative music - however Aagyr Ferboden finds the guitarist foregoing traditional structures to dive into more distortion and drone-filled soundscapes. With a debut album scheduled for release in late 2021.

“Like most things in life, our normal workflow can sometimes need a counterbalance, and over the years I’ve found that becoming part of a current helps to recalibrate from time to time. I’m thankful to the rest of the gang and our manager Phil for encouraging me to share these works, and I hope they can be helpful to others like they’ve been for

As the 21st century was born, so Kreator underwent what was nothing less than a seismic creative rebirth. By this time, the iconic German band had released nine studio albums in the 1980s and '90s, which had established them as one of the most important metal names of these decades.In the first period, they had helped to shape and pioneer the thrash scene through such releases as 'Pleasure To Kill' (1986), 'Terrible Certainty' ('87) and 'Extreme Aggression' ('89). During the following decade, the band had opened up exciting horizons of experimentation on albums like 'Coma Of Souls' (1990), 'Renewal' ('92) and 'Endorama' ('99).
Now, though, it was time to move into a fresh era, as vocalist/guitarist Mille Petrozza explains.
“During the 1990s, we were definitely experimenting with what the band were doing. But (drummer) Ventor and I decided that for this album – our first of the new millennium – we wanted to go back to the sort of sound that we had at the start of Kreator. In other words, to get back to the reason why we began the band in the first place.”

There was also new guitarist introduced, as Sami Yli-Sirniö (who had made his reputation with Finnish band Waltari) took over from Tommy Vetterli. The latter (also known as Tommy T. Baron) had joined in 1996 and played on the 'Oucast' (1997) and 'Endorama' albums.

The producer for this album was Andy Sneap, who was now making a name for himself as one of the pre-eminent masters of this art in the modern metal world.“I had known and liked Andy since the days he had been the guitarist in Sabbat, as they were signed to Noise Records as Kreator were on that label. He was our first choice to work on this new project. I liked what he'd done for Testament on their album 'The Gathering' (released in 1999). He had given them a sound they'd never had before, and that really was what we were after. It was natural and organic, and also very modern. I remember phoning him at his Backstage Studios in England (Ripley in Derbyshire). And Warrel Dane, the vocalist in Nevermore, answered. Andy was producing their new album at the time ('Dead Heart In A Dead World', 2000). And when I heard this, again I was very impressed. So, I was delighted when he agreed to produce the new Kreator album.”

The album title came from something Petrozza had read. “In a book I came across a comment that John F. Kennedy said (in 1962). This was: "Those who make peaceful revolution impossible will make violent revolution inevitable”. I thought 'Violent Revolution' would make a good title for an album. So, I kept it in my mind for this record. I think 'Violent Revolution' is a title that makes a real impact.”

One interesting aspect of the track listing was that the 52 second instrumental 'The Patriarch' actually came after the opening song 'Reconquering The Throne'. Fans might have been expected that it would have opened the album. But for Petrozza, there was a logical reason for this not to happen. “We really wanted to lead off with a thrashing track, to show everyone what we were now doing musically. After 'Endorama', it was important that everyone should recognise this was a new era for Kreator.”

'Violent Revolution' is without question an excellent album. While in some ways it does hark back to the glories of the band's earlier days, nonetheless it does not sound at all nostalgic. The performances and production values are very much part of the contemporary era, and the strength of the compositions themselves are of the highest values. Rising to the challenge offered by a new generation of ambitious metal bands, Kreator proved they were far from being a spent force. Unlike so many of their peers, here was a band who still had so much creativity to offer, and were also clearly excited themselves by what they were doing. And when you hear the band themselves enjoying the entire process, then you know this is a bona fide revitalisation.

Newly remastered audio.
LP pressed on black vinyl & housed in a gatefold jacket.

Willie Nelson’s 1996 album Spirit is an emotional concept album illustrating the forlorn tale of a man abandoned by the great love of his life. We follow him down the path of loss as he confronts grief, gets back on his feet, and eventually finds solace in acceptance. While producing Spirit, Nelson assuredly knew the commercial risks behind releasing an album this melancholic. After all, in 1973 he himself wrote: “sad songs and waltzes ain’t selling this year.” Beloved by those familiar with Nelson’s deep catalog, Spirit largely slipped through the cracks in the mainstream, but remains highly revered amongst critics and fans alike.
Backed by legendary country fiddler Johnny Gimble (of Bob Wills and His Texas Playboys), sister Bobbie Nelson on piano, and his longtime touring guitarist Jody Payne, the song-cycle is anchored by lilting Spanish-inspired instrumentals that absorb a lonesome gravity when placed next to ballads that tug at even the most unwavering heartstrings. Likened to Bob Dylan’s Time Out Of Mind or Waylon Jennings’ Right For the Time, Spirit sees Nelson maturing most gracefully: he trades rousing sing-alongs and saloon tunes for gut-wrenching lyrics and instrumentation of greater precision and skill, proving this release as deep and as challenging as his career-defining albums released twenty years before.
Originally released by Island Records in 1996, Spirit is newly remastered and housed in a gatefold jacket. This is a chance to own this unique album in its most beautifully presented form.

In 2022, the Vienna Philharmonic's New Year's Concert could once again take place in front of an audience. However, 2G-plus rules and an FFP2 mask requirement applied throughout the Gesellschaft der Musikfreunde building in Vienna. Standing room was not offered this year and the number of seats in the Golden Hall was limited to 1,000.

Daniel Barenboim performed with the Vienna Philharmonic as a young pianist as early as 1965, and he has also conducted them since 1989. He already took the podium at the tradition-steeped New Year's Concert in 2009 and 2014. Barenboim's engagements as head of the Berlin State Opera Unter den Linden and the Staatskapelle Berlin, as founder and director of the West-Eastern Divan Orchestra, and as a pianist show him to be a true musical citizen of the world. As such, he is also an exceptionally good fit for Vienna's world-class orchestra and the message of the New Year's Concert: hope, friendship and peace for the whole world.

At the start of the new year, the Vienna Philharmonic once again presented a cheerful, upbeat and contemplative program of symphonic waltzes, polkas and marches by the Strauss dynasty and its contemporaries. The 2022 program showed a clear reference to the fantastic and fairytale-like. In addition to the phoenix, a siren and an indeterminate number of brownies and nymphs, there was also Johann Strauss' waltz "One Thousand and One Nights".

Six pieces had their premiere at a New Year's concert in 2022. The "Phoenix March", the Polka mazur "The Siren" and the Polka française "Nymph Polka" were performed by Josef Strauss. Eduard Strauss was represented with the quick polka "Kleine Chronik", Carl Michael Ziehrer with the waltz "Nachtschwärmer" and Joseph Hellmesberger with the character piece "Heinzelmännchen" among the repertoire novelties.

There is the 50th anniversary of the UNESCO World Heritage Convention to celebrate in 2022, which Austria also joined 30 years ago. In the intermission film of the concert, the twelve Austrian World Heritage sites showed themselves from their best side. Schönbrunn Palace in Vienna, on the World Heritage List since 1996, was also the setting for the ballet interlude with ten dancers from the Vienna State Ballet to the waltz "One Thousand and One Nights." The second performance was created at the Spanish Riding School, which has been designated as a UNESCO Intangible World Heritage Site since 2015. Eight magnificent Lipizzaner stallions and their riders demonstrated the high school of classical horsemanship to Josef Strauss's "Nymph Polka".

The phoenix, a very special bird from ancient Greek mythology, burns at the end of its life cycle, only to rise again from its ashes. The Vienna Philharmonic Orchestra paid tribute to it twice. The concert began with the "Phoenix March", followed by the waltz "Phoenix Swing". Such a concert opening - with a march and a waltz - should be a sign. It is to be hoped that a rebirth and renewal in the new year can really take place.

Martina Topley Bird’s new studio album ‘Forever I Wait’, features collaborations and arrangements from Robert Del Naja of Massive Attack, Euan Dickenson, Rich Morel, Christoffer Berg, Benjamin Boeldt and Tiadiad.

'Forever I Wait' is Topley-Bird’s fourth long awaited studio album and her very first self-produced and curated piece of work to date. The album, set for a digital release on September 10th, with a vinyl LP available to pre-order now, captures an extensive journey confronting, exploring, analysing and reflecting on the devastating fragilities of life as it ultimately seeks to make peace with what life is.

A sentient and sensual presence framed Tricky’s trip-hop pioneering white label debut release, Aftermath. Hauntingly unique and immediately recognisable, that voice became the defining timbre of a new music movement. Behind this voice was mysteriously soft-spoken, London-born Martina Topley-Bird, whose exquisite voice came to inspire and infuse other pioneering artists across all genres.

“It’s a trip through different emotional states and frequencies, mostly dark, from insecurity and desire, all the way through to serenity and acceptance with themes that resonate from my young teens all the way through till today. Things that I’ve seen and things I’ve felt and worked through, although sometimes I sense them trying to return”

“Forever I Wait”, as the title alludes, was written and re-written over a long period of time.

“I had to change my way of relating to music and the music industry in order to make the record I wanted to make.…and that took time. And I took the time I needed. I started in London, moved and lived in America for the first time in my life, then briefly moved back to London and finished the record in Spain.”

“After trying to work on a new record for a couple of years, I came to a realisation that in order to move forward I had to separate the concept and vision I had for this record from me as a person. I had to shift my perspective. That was a big personal win and the beginning of “Forever I Wait.”

'Forever I Wait' leans on a multitude of tense sounds, dubby atmospherics and natural instrumentation to demand the listeners attention leading to over two decades of observations, experiences and musical sacrifices. It is a bi-product of the new perspective featuring carefully selected and tailored supporting arrangements from a handful of collaborators including Robert del Naja (Massive Attack), Rich Morel (Deep Dish), Christoffer Berg (Fever Ray) and Benjamin Boeldt (Adventure).

A truthful expression of desire and heartache “Forever I Wait “Is Topley Bird’s most precise and accurate album to date.

Flee Lord brings you his Lord Talk Trilogy album on limited edition vinyl. Originally released in 2020, this album is the third installment of his Loyalty or Death / Lord Talk series. The 10-track project is fully produced by godBLESSbeatz and also features guest appearances from Ransom, Eto and T.F. In 2020, Flee Lord pledged to release a full length album for every month of the year. Not one to let his fans down, Flee kept his promise and released 12 high quality projects in 2020, culminating with the release of the acclaimed In The Name of Prodigy album. An ode to the legacy of the late Prodigy, Flee Lord tapped in with Havoc (of Mobb Deep) to handle all of the production. Looking to keep up his momentum, Flee has since teamed up with Roc Marciano to drop their collaborative Delgado album to rave reviews in 2021. In 2022, Flee followed up with the release of Pray for the Evil 3 and his latest effort, Ladies & Gentlemen. Lord Lord!

Lo-Fi was rather an involuntary attribute in the 90s. 90s hip hop instrumentals with the sound aesthetics of old 12-bit samplers are the blueprint for everything that runs under chill and lo-fi beats today. For this double LP, SEPALOT dug deep into his demo box, listened to countless DAT cassettes and dug up 36 pearls from the period 1996 - 2002.

Sepalot: "I had to laugh a lot at times and was sometimes embarrassed, but the innocence of the early days also has an insane power. The best beats demos and sketches from my early days now get their moment."

Handpicked by Gilles Peterson from Manchester’s vibrant live music scene, and newly signed to Brownswood, 2021 set to be the main stage for them to breeze on to the scene, as a multi-generational band breathing new life into the classic British street-soul sound, founded by singer/song-writer Kemani Anderson, multi-instrumentalist and song-writer Callum Connell and Manchester music scene stalwart Stuart Whitehead.

Debut track ‘The Sun’ was inspired by a poem written by Callum Connell at the top of Greenwich Park viewpoint looking over the infamous London cityscape as the sun set. At the time the band were writing and arranging separately with Callum & Kemani living in South London while they attended Trinity Laban (following in the footsteps of many of the UK’s young Jazz prodigies). Eventually, they congregated for a fateful recording session at Blueprint studios in Manchester, that would be the amalgamation of their individual processes, to create ‘The Sun’. Inspired by four bass chords flowing like a stream of consciousness, Callum’s poem sprung



to life as the centrepiece of the track, with the melody being polished and refined by Kemani on keys and vocals. The result is an invigorating debut produced by influential music producer and sound engineer Yvonne Ellis (Simply Red & Swing Out Sister). Kemani coins this sound as “spiritual and healing” whilst Callum shares “The Sun’ is a powerful and uplifting song that can take you on a

spiritual journey but also make you reflect on everyday life.”

Tape

The Forbidden Dance label is marking their first year of existence and with already top-notch names (Vick Lavender, Alton Miller, The Mechanical Man) with the first three releases, they are celebrating the one year mark with another global gem, disco and house finest - Ilija Rudman!
Where Wild Horses Go is conveying an unquestionable sense of 80's electro and synth boogie filled with smooth and heavily reverberated rhythmics drenched in strong snares. Aligned with catchy and spaced-out disco pads, the album is riddled with ever strong analogue elements processed in a light, quirky and summerish way but with enough groove in some tracks easily applicable on the dancefloors in the late hours.
Dead Horse Gang is a brainchild music band/brand by Ilija Rudman dedicated to cinematic dance concept laying on the Los Angeles funk attitude, Art Of Noise perception of sound and raw 12-bit grooves making a statement of mid 80's culture with surf vibe of California summer.
"Dead Horse Gang Music is more than music, it's a way of life, a way of thinking, a path to a maximum freedom of the one, who can accept it."
-Ilija Rudman

Apparel Tronic is proud to present you the new album by Artizhan called Breaks From The V.
The DJ and producer from Naples, who’s been a pivotal figure of the Italian Electronic music scene since a very young age, is not new to the Tronic catalogues with his newest moniker but this one is surely his most complete, heartfelt and anticipated work to date. Having been in the scene for more than 25 years allowed Franky B to experiment, improving his creative techniques with ninja-like dedication and always testing himself along the rapids of music production, DJing and scratching. Now he’s ready to emerge once again from the shadows with his new LP: a groundbreaking, powerful, cutting-edge work we’re all extremely proud to finally release and, most importantly, his most profound sonic confession so far. With ‘Breaks From The V’ (the title of which is a tribute to his homeland, where ‘V’ stands for Vesuvius), Artizhan narrates his life through his music and embodies the best version of himself displaying, through ten stunning tracks, great versatility as a producer, ranging from D&B and Jungle to abrasive beats and some masterly composed and very personal paraphrase of IDM. The LP is a massive showdown by the artist himself and his label, both united towards a single objective: telling Artizhan’s incredible story as effectively and efficiently as possible.

The third instalment on O’Flynn’s club label Hundred Flowers is a collaboration between Spooky - J (Nihiloxica) and Ekhe.

Two high speed and energetic bangers in their rawest form, these are club weapons that can be used to spice up any set.

A distillation of dance floor energy, the record is the result of a live improvised performance over New Year’s Eve 2019/20.

Spooky - J: "We both enjoy jamming together and not planning too much ahead of time, so naturally it makes sense to improvise at live shows. It also leaves space for the music to go off on a tangent depending on what the crowd or we are feeling.”

Ekhe: “Live improv becomes a real antidote for my concerns about preparing music. Instead, you’re creating something in the moment, directly corresponding with the energy around you, which in turn is influenced by your sound. Getting caught up in that is unlike anything else."

Spooky - J is currently on tour with Nihiloxica and the pair have a gig planned for this NYE in Amsterdam.

It’s time to get high and live life (safely).

What If It Works’ first release, minimum wage maximum joy arrives by way of newcomer 11:68PM. Produced in Berlin in the winter of 2020 and mixed & mastered at the newly minted Brewery Studios, minimum wage maximum joy’s five tracks are precision-tooled for the club, showcasing 11:68PM’s veneration for UK-leaning house and techno.

11:68PM’s moniker, as well as the EP title minimum wage maximum joy draws on the artist’s experience of balancing the grind of the 9-5 with dreams of realizing his creative vision. The skittish breaks on “Bluff Mind State” and “Sway”’s glitchy “Call Mohandes Dub” reveal this state of mind, while “Vertical Mobility” reveals a playful side with its irresistible acid bassline and soaring synths.

In 11:68PM’s words: “Writing the record in the evenings in my bedroom on one of the loudest streets of Neukölln, after I had clocked out from work, I found myself in the ever-present struggle of being artistically active while making ends meet. In making this EP, I decided to prioritize my own desires and not wait for some hypothetical moment to pursue this project that might never arrive.”

Visually, this is underscored by Philipp Pess’ striking artwork, depicting the gaunt face of a man whose tired eyes hint at a lifetime spent in front of a screen.

With minimum wage maximum joy, 11:68PM offers a compelling glimpse into a new generation of Berlin’s left-of-centre club producers.

After their first album “Vertigo” (2018), the Paris-based musicians making up BLOW are back with the indie-pop album “Shake the Disease”. Produced by Crayon, this surprising new chapter is a collec- tion of purer, more organic sounds with a somewhat 70’s/80’s tilt. A return to basics, one that doesn’t turn its back on reality.

The changes are radical as the need was strong to surprise people including themselves, to think outside the box. They went for radical changes: a new method of song writing, a new musical genre, a new way of working, ... But the group’s fans should be reassured: even if the electronics have given way to a more rock-inspired sound, and the chords are a bit richer, and even if the bass, the driving element of each song, is stronger than ever, “Shake the Disease” is pure BLOW.

In terms of the lyrics, a common thread appears: duality. Without ever giving way to schizophrenia, this duality of “what I’d like to be” versus “what I really am” stands at the center of the chessboard. Legitimate and healthy questions give rise to life changes that almost all of us ask ourselves when en- tering into our thirties, just like the members of BLOW. Coming to terms with all this mentally without losing our instincts or our spontaneity, is the guiding idea behind this second album.
Coming back strong, BLOW started dropping uplifting single and live session «Full Delight» and more recently «One Life», both supported in France and abroad by Greenroom, Tsugi radio, The Inde-pendent, Ones to Watch, Hotmix, Brain, Vanyaland, Kulturnews, Laut.de, DetektorFM...
This third extract is «Shake The Disease», a laid back single coming along with a COLORS session including breathtaking performances from Quentin (singer of BLOW) and the only featuring of the album, praised female songwriter and singer Anna Majidson from French duo HAUTE (also featured on COLORS a few years back).

At 52-minutes, “Moonflowers” is an eight-song affair that drives deep into the heart of Swallow The Sun main songwriter Juha Raivio’s disconsolate soul. From the dramatic “Enemy” and the grim “This House Has No Home” to the delicate “Moonflowers Bloom in Misery” and the beauteous “The Fight of Your Life,” “Moonflowers” is as rewarding and dynamic as it is accomplished and intimate. That it features Cammie Gilbert (Oceans of Slumber), Antti Hyyrynen (Stam1na), and Trio NOX—who perform a re-arranged classical version of “Moonflowers” in a Finnish church, which comes as a bonus album to some of the album formats—are more reasons to hold Swallow the Sun’s latest leap into the unknown in the highest regard. Available as Ltd. Deluxe “Blue Blood Edition” 3LP+2CD & Art Print Box Set, Ltd. 2CD Mediabook, Gatefold 2LP+CD and digital album.

In 1972, Australia’s Albert Falzon made a film that would forever change the way the world thought about surfing. The film was Morning of the Earth. For many people it was the very first time they came to recognise surfing as a complete lifestyle. This recognition, coupled with mind-blowing, innovative surfing made the film a classic that has remained vital for over 50 years. Albe’s portrayal of all things pure and simple influenced generations, and passed on an enduring sprit to our Australian culture, our music, and our lifestyle.

Morning Of The Earth’s ethos of soul and spirit in surfing representing surfing as a lifestyle rather than a commercial entity. Not only did it show that these opportunities were open to everybody on their own doorstep, but it also showed for the first time the new exotic frontiers of Indonesia and Hawaii, in which you could further your adventures that encompassed the realm of spirituality and soulfulness.

Morning of the Earth took a unique approach to music. G Wayne Thomas’s selection of performers, songs and songwriters along with his own writing and performance created a warm blend of country soul and pop that helps carry the film to an esoteric level. For the first time, music was not treated as a background or incidental to the vision on the screen. The music was the narrator, with each track played in its entirety. The original soundtrack produced the Australian #1 single Open Up Your Heart and was the first Australian soundtrack to achieve gold sales. It was also recently included in the 100 Best Australian Albums.

The movie and the soundtrack have gone on to become legendary within the Australian surf history so we will be re-issuing the original 12 track soundtrack on black vinyl to commemorate the 50th Anniversary.

The first installment in the D-Vine Spirituals Story. The Memphis gospel label that took the South by storm in the late 60's-early 70's is finally getting it's due with the reissue treatment that the Bible & Tire imprint is known for. Gritty, raw and real sacred soul from a time when the sound of gospel music was at its peak and most contagious. The collection consists of legendary artists like Elizabeth King, Elder Jack Ward & The Gospel Four and The D-Vine Spiritualetts to name just a few. This is Sacred Soul gospel from D-Vine Spirituals Records.

Grey Marbled Vinyl
Mit unerschütterlicher Hartnäckigkeit hat die undurchdringliche Schwermetall-Hartkernfabrik HATEBREED eine weitere eiserne Guss- und Schallwaffe mit dem Gewicht des falschen Selbst hervorgebracht. Es ist keine Überraschung, dass ihr achtes, abendfüllendes Album das Ergebnis des üblichen Schweißes und Blutes ist, das HATEBREEDs einzigartige Nische in der Musikwelt seit über zwei Jahrzehnten zementiert hat. Bekannt für ihre Fähigkeit, ihren Fans eine intensive und kathartische Veröffentlichung zu bieten, haben HATEBREED ihren Schreibstil durch diesen Albumzyklus herausgefordert, um Material zu produzieren, das in einer zeitgenössischen Welt, die von Überreizung, emotionaler Dämpfung und mangelnder sozialer Geduld überflutet ist, außergewöhnlich gut zu vergleichen ist. "Weight Of The False Self' ist eine perfekte Darstellung von HATEBREED im Jahr 2020, ein frischer Ansturm von baldigen Klassikern mit all den Elementen, die Sie vom ersten Tag an hierher geführt haben", erklärt Gitarrist Frank Novinec. Fast jedes Individuum trägt ein metaphorisches Gewicht in Bezug auf sein emotionales Konstrukt. Unsere Erfahrungen prägen, wer wir werden, und im Laufe der Zeit entsteht allmählich eine schwere Last, die wir immer weiter mitschleppen. Für viele von uns wird die Last so groß, dass wir uns schwer tun, von unten herauszukommen, geschweige denn uns zu bewegen.

Es sind diese Kämpfe, die sich durch das Gewicht des falschen Selbst übersetzen lassen. "Ob man es sieht oder nicht, jeder trägt eine Last. Die Musik, die wir lieben, hilft uns, diese Last zu tragen", erklärt Sänger Jamey Jasta. Stücke wie "Cling To Life" liefern ein Wortspiel, das normalerweise bedeutet, sich verzweifelt an die letzten Atemzüge zu klammern, aber hier zeigen diese Worte, dass es nach wahrem Verlust und Trauer aufrichtige Erleichterung bringen kann, sich an die Idee von Glück und Zukunft zu klammern. Am anderen Ende des philosophischen Spektrums präsentiert die erste Single "Instinctive (Slaughterlust)" nicht nur ein neues Vokabular-Wort, sondern schreit auch nach der Kraft, die von unseren Verteidigungsmechanismen ausgeht, wenn wir in eine Ecke gedrängt werden. Wenn jemand von seiner Vergangenheit verfolgt wird, von einer anderen Person, oder wenn er nur sein eigenes Territorium verteidigt, ist es nur eine Frage der Zeit und der Entfernung, bis er zu einer wilden, ursprünglichen Bestie explodieren kann. "Es sollte verboten sein, ein so schweres Lied zu machen", beschreibt Bassist Chris Beattie. Das Lied "Wings Of The Vulture" ist eine Metapher für all die negativen Kräfte der Natur, des Schicksals und der Menschheit, die hoffen, uns in einigen unserer schwächsten Momente zu erbeuten, indem sie auf den Tod von etwas Sinnvollem warten. "A Stroke Of Red" berührt, entgegen dem, was auf den ersten Blick scheint, das Konzept, die Wahl zu haben, sich selbst oder anderen zu schaden. "Auge um Auge, aber das macht jeden blind. Wenn man einmal diesen dunklen, gewalttätigen Weg gegangen ist, gibt es kein Zurück mehr.

Dieses Lied ist eine dunkle Leinwand; ich verlasse meinen Körper, um schreckliche Dinge auf einer anderen Ebene zu tun, und komme zu mir selbst zurück, um daraus zu lernen, so dass man diesem dunklen, fleischlichen Verlangen niemals nachgibt", erklärt Jasta. Das Album-Artwork des renommierten Heavy-Metal-Künstlers Eliran Kantor zeigt einen Mann, der an der massiven Skulptur einer Steinbüste herummeißelt. In Kantors klassischem Malstil, der durch den Lehm von Aufruhr und Traurigkeit bricht, beginnt ein Licht durch den Fels zu scheinen, während der Bildhauer sein Gesicht von den blendenden Strahlen der Heilung abwendet. Das Bild kombiniert visuell die Themen des Albums, nämlich den emotionalen Kampf und die Überwindung des Schmerzes, nachdem Schichten von Depression, Angst, Verrat und Herzschmerz die Seele eines Menschen verhärtet haben. Im Laufe von mehr als 20 Jahren und 8 Alben ist der Schreibprozess für eine Band wie HATEBREED in ihren Wurzeln sicher geblieben, aber dennoch hat sie sich nach knackigen und überzeugenden Stücken mit progressivem Sound umgeschaut, die dem Mix hinzugefügt werden sollen. Es gibt Wellen von frischen Klängen, während das massive Fundament, auf dem HATEBREED stehen, weiterhin stark gehalten wird. "Auf diesem Album habe ich mich wirklich angestrengt und mich dazu gebracht, die Dinge umzuschreiben, bis sie besser waren, bis es klickte. Ich habe mich aus dieser Komfortzone herausgerissen. Im Zeitalter der Altlasten, in dem die Bands so viele Hits aus ihrem Katalog bei Shows spielen müssen, hören wir gerne, dass die Fans neue Songs verlangen, wenn wir live spielen", erklärt Jasta, "wir haben mit diesem Album wirklich unsere Stärken ausgenutzt". "An fleischigen Rippen und adrenalingeladenen Trommeln mangelt es auf dieser Platte nicht. Ich bin stolz darauf, dass wir durchweg einen Soundtrack liefern, zu dem man in seinem Wohnzimmer moshen und seine Wohnung zerstören kann", erklärt Schlagzeuger Matt Byrne. Bei der erneuten Aufnahme des Albums mit Hilfe von ZEUSS erlebte die Band ein Gefühl der Herausforderung und des Durchbruchs, das es ihr ermöglichte, eine neue Ebene des Klangs zu erreichen.

Nachdem er mehrere Jahre lang mit der Band gearbeitet hat und während er normalerweise seine Zeit mit Bands verbringt, die einen ziemlich anderen Sound haben, ist Zeuss in der Lage, HATEBREED zu testen und ihre bereits berüchtigte Schwingung zu erweitern. "Es war wirklich großartig, wieder mit Zeuss an diesem Projekt zu arbeiten. Ich liebe die Art und Weise, wie die Gitarren klingen", kommentiert Gitarrist Wayne Lozinak. Im Laufe der Zeit scheint die Qualität der Produktionstechnologie immer besser zu werden und ein sicheres und produktives Nest zu schaffen, in dem das Album

Having already proven that he is capable of maintaining sonic quality and distinction over the course of a full original program, Chevel (a.k.a. Dario Tronchin) now makes his LP debut for Stroboscopic Artefacts. His other S.A. contributions (including the inaugural entry in the label's singular Monad series, the "One Month Off" EP, his participation to the label's five-year retrospective series) have already hinted that a more complete exposition of his unique inner world would surface, and here it is at last.

Over the course of his young career, Chevel has gained a mastery over several compositional elements: Polaroid-like slow melodic fades, sharp ricocheting beats, and simply making one's headphones feel like a viable means of physical transportation. All of these elements come into play shortly after the needle hits the grooves of (Track A1), a euphoric introductory track marked by a spectral panning sequence and by beats chopped with a culinary expert's sense of elegance. The drum kit sounds that feature throughout are used sparely but - either because of this or in spite of this - provide maximum impact upon the listener's nervous system. The almost 'far Eastern' use of 'block' percussion on (Tracks A2 and B1) perfectly complements the synthetic sheen produced by fuzz distortion, radio static and bandpass-filtered sound bites, taking us to a terrain where a palette of decay effects provides just as much aesthetic inspiration as the presence of technological advancement.

There is more than enough humor and playfulness at work here, too, helping to once again banish the persistent stereotype of the modern techno producer as a sterile technician: the queasy melody line, sliced-and-diced whistling and gelatinous bounce of (Track D2) evoke a child's wonderment at playtime more than they do the rarefied rigour of the laboratory. The less pulsating numbers like (Track C3) and the closing (Track D3) will engage the listener as well, being like short audio films of abiogenesis (i.e. spontaneous generation of life from 'non-living' material) taking place. These tracks are not so much 'interludes' or contemplative retreats from the action as they are enhancers of it, utilizing fluttering cycles of melody to engage in a kind of conversation with the more driving tracks. As to the 'driving' tracks themselves: the places that they drive the listener to are satisfyingly beyond customary experience.

In other words, despite Chevel's keeping the sonic toolkit and overall atmosphere consistent from track to track, there is a rich variety in the emotional affectivity on display here. The net effect is like a dream state that leaves strong impressions even though one can't pinpoint exactly why they are doing so (and which leaves one wanting to dive back into the dream pool and experience something similar again.) This is a talent that unifies the diverse constellation of Stroboscopic Artefacts producers, and one that makes Chevel in particular one to continue watching, listening to, and experiencing.
Wire (USA/Germany/UK) - ''Very intriguing, can/'t wait to dive in.''
Pitchfork (USA) - "Nice use of space, though do find the atmosphere a little one-note. Percussion really pops."
RBMA - "Thanks for reaching out. Having a listen now and the album sounds really good. Happy to give it a shout on RBMA Twitter whenever is best for you."
Paramount Artists (UK) - "20/10 top effort!"
NTS Radio (UK) - ''Nice IDM music with fine textures and bass frequencies..''
Groove (Germany) - ''Very interesting delicate structures. Suggested for review in Groove.''
Exclaim! (Canada) - "I like this. I'll float it to my team and I'll let you know if anyone's interested in covering it."
Big Up Magazine (USA) - "Absolutely epic album."
Vicious Magazine (Spain) - "Great sounds, for our september issue, thx a lot!"
Little White Earbuds (USA) - ''Fantastic album from Chevel. I have unfortunately been at work today without my usual headphones but even listening on very poor quality ones, the rich sonic mastery comes through. Can't wait to get home and listen to this properly.''
Cone Magazine (UK) - "Thanks for sending this through. Looks great, and always interested about a new Stroboscopic release. I'll let you know when something goes up."

Whereas many electronic producers aim at being the most prolific in their genre, or the most extreme, Lucy and Rrose have wisely chosen to be the most consistently curiosity-provoking representatives of their craft.


Whereas many electronic producers aim at being the most prolific in their genre, or the most extreme, Lucy and Rrose have wisely chosen to be the most consistently curiosity-provoking representatives of their craft. Their decision to team up as a production duo for the newest Stroboscopic Artefacts EP may have seemed inevitable, given their shared responsibility for shifting techno's focus towards the facilitation of profound psycho-acoustic effects. And yet, even those who saw this coming will still be in for a wild ride.

Lucy's skill as a studio technician - displayed capably over his trilogy of full-length albums - has always been enhanced by his skill as a storyteller and as an artist with reverence towards myths and the pull of the unknown. This sonic personality is a perfect complement to the scientific severity of Rrose, for whom the electronic pulse beat and subsonic massage permit entry to a febrile psychic landscape whose contents are never entirely what the individual listener might expect or be prepared for.

As with both of the artists' solo offerings, these recordings feel as much like the branching off point for new creative acts rather than as objects to be passively enjoyed. As such, the opening "Chloroform" is a somewhat ironic title for a piece that is anything but anesthetic: at high volumes, its monstrous low-end surge and prickly, scintillating sonic ephemera are very likely to bring attention to otherwise imperceptible phenomena. "Peeling" continues in this style with a more urgent tempo, developing its own cascade of sensory impressions from seemingly unstable deep-bass loops, injections of intentional surface noise, and pitch-shifted / harmonizer-effected phantom phrases.

"Stained Glass," maybe the most straight-ahead piece on the record, is still a potent distortion of the mundane primed with shivering bell tones, tamed feedback and hints of speaker cones fraying. The climactic "Foil Gardens" is an elegant study in harmonics whose time-dissolving ability nods to the works of composers like Charlemagne Palestine or Eliane Radigue, without being a pure homage to either. The undertow of distortion beneath the glistening tone waves, in particular, provides a distinct update to the legacy of so-called
tonal 'minimalism'.

The end result here is a record that feels uncannily lifelike: an organism that always seems on the verge of a heuristic breakthrough, and whose full potential may not even be known by its creators.

Words by Thomas Bey William Bailey

Trouble’s classic debut album from 1984 with faithfully restored audio represents everything that Doom Metal should be.

Released in 2019 in a limited edition of 50 cassettes, 'Planetary Exploration' by Ogawa & Tokoro is a handcrafted synthesizer dream sequence. Looking through an ancient oriental telescope, let us seek the future of music and Zen in this new era. When the time comes to abandon our planet, we still will be the ancestors of all humankind. Pressed to vinyl for the first time, remastered by Kuniyuki Takahashi!

The Wombats kick off the most exciting phase of their constantly evolving success story today with the announcement of their fifth studio album Fix Yourself, Not The World, due for release on 7th January 2022 via AWAL. Alongside this, the indie heroes have revealed plans for a five date headline UK arena tour in April 2022, playing massive nights in Leeds, Glasgow, Cardiff and Liverpool, as well as their biggest ever headline show at The O2, London on 15th April. Tickets will go on sale from 9am BST on 20th August.

The announcement comes accompanied by a brand new single ‘If You Ever Leave, I’m Coming With You’, which is BBC Radio 1’s Future Sounds Hottest Record In The World.

Recording remotely over the past year from their respective homes, the band have been working hard to produce some of the most captivating, inventive and forward-thinking music of their career to date. With frontman Matthew “Murph” Murphy in Los Angeles, bassist Tord Øverland Knudsen in Oslo and drummer Dan Haggis in London, they discussed each day’s plan via Zoom, then recorded separately, sending individual files to producers Jacknife Lee (U2, The Killers), Gabe Simon (Dua Lipa, Lana Del Rey), Paul Meaney (Twenty One Pilots, Nothing But Thieves), Mark Crew (Bastille, Rag‘n’Bone Man) and Mike Crossey (The 1975, The War on Drugs, Yungblud) to mix into the finished tracks. “It was pure madness, to be honest,” explains Murph.

“We’re so excited for people to hear this new album! We’ve explored new genres and pushed ourselves further than ever musically. It will always stand out for us in our memories from our other albums as we recorded it across three cities during lockdown, and we weren’t all in the same room at the same time!” says Dan Haggis.

The Wombats kick off the most exciting phase of their constantly evolving success story today with the announcement of their fifth studio album Fix Yourself, Not The World, due for release on 7th January 2022 via AWAL. Alongside this, the indie heroes have revealed plans for a five date headline UK arena tour in April 2022, playing massive nights in Leeds, Glasgow, Cardiff and Liverpool, as well as their biggest ever headline show at The O2, London on 15th April. Tickets will go on sale from 9am BST on 20th August.

The announcement comes accompanied by a brand new single ‘If You Ever Leave, I’m Coming With You’, which is BBC Radio 1’s Future Sounds Hottest Record In The World.

Recording remotely over the past year from their respective homes, the band have been working hard to produce some of the most captivating, inventive and forward-thinking music of their career to date. With frontman Matthew “Murph” Murphy in Los Angeles, bassist Tord Øverland Knudsen in Oslo and drummer Dan Haggis in London, they discussed each day’s plan via Zoom, then recorded separately, sending individual files to producers Jacknife Lee (U2, The Killers), Gabe Simon (Dua Lipa, Lana Del Rey), Paul Meaney (Twenty One Pilots, Nothing But Thieves), Mark Crew (Bastille, Rag‘n’Bone Man) and Mike Crossey (The 1975, The War on Drugs, Yungblud) to mix into the finished tracks. “It was pure madness, to be honest,” explains Murph.

“We’re so excited for people to hear this new album! We’ve explored new genres and pushed ourselves further than ever musically. It will always stand out for us in our memories from our other albums as we recorded it across three cities during lockdown, and we weren’t all in the same room at the same time!” says Dan Haggis.

The soundtrack to the movie The United Way. The United Way is the legendary story of ‘The Red Devils’ – Manchester United. From their humblest of beginnings in England’s Industrial North at the turn of the 20th Century, Manchester United gifted working men, women and children alike, the poor and the struggling, a new Dream – a winning Dream of hope, beauty and ambition. Here is a family club which pulled itself, phoenix-like, from the ashes of the horrific Munich air disaster to become champions of European football, committing to a stunning, relentlessly attacking style and elevating working class boys to the status of gods: Charlton, Best, Cantona, Beckham and Ronaldo. Such is the mythical aura of the club, that its stadium is universally known as “The Theatre of Dreams”. Now, with over 650 million supporters around the world, 73m Facebook fans, 18m Twitter followers and 1.8m shirts sold per season, Manchester United are the most celebrated, widely supported sports club in the world. Presented by the peerless Eric Cantona and featuring stunning archive and never seen before footage, “The United Way” celebrates the birth and growth of a global phenomenon – a unifying club for the people, by the people. The whole film is set to a score by George Fenton - one of the UK’s most successful composers, writing scores for over 100 films and dozens of plays and TV programmes. He has been recognised with numerous awards: 5 Oscar nominations, multiple Ivor Novello, BAFTA, Golden Globe, Emmy and BMI awards, a Classical Brit, The Nina Rota Award at Venice and a World Soundtrack Lifetime Achievement Award from Film Fest Gent.

From its earliest utterances, experimental music has been particularly disposed to transnational and cross-cultural collaboration. Seeking the answer for a fundamental problem - how to transcend the boundaries of difference, distance, and time - it presents a means to find common ground and communicate through the elemental form of sound. Over the last 5 years, this precisely what the duo of Félicia Atkinson & Jefre Cantu-Ledesma has achieved, intertwining sublime sonorities across the geographic expanses between their respective homes in France and the United States. Their third album for Shelter Press, ‘Un hiver en plein été’ (‘A winter in the middle of summer’) - the first to have been largely recorded by Atkinson and Cantu-Ledesma together in the same space - distills a mesmerizing pallet of acoustic and electronic sources into an open discourse of radically poetic forms, offering glimpses of warmth and intimacy waiting in the post-covid world to come.

Both veteran experimentalists with celebrated bodies of solo work behind them - each traversing the challenges of electroacoustic practice in their own singular ways - prior to their first recorded outing in 2016, Félicia Atkinson and Jefre Cantu-Ledesma had only crossed paths in person once, initially meeting in San Fransisco during 2009. The mutual bond formed during that brief encounter flowered into their first LP, ‘Comme Un Seul Narcisse’, followed two years later by 2018’s ‘Limpid As The Solitudes’. Both recorded remotely - sending files back and forth, fortified by conversations on a vast range of subjects - these two albums were guided by impassioned conceptual nods to Guy Debord, Baudelaire, Brion Gysin and Sylvia Plath, while seeking resolutions for the challenges and unique possibilities that working at a distance provoked.

Where the triumphs of its predecessors rose from the bridging of disparate moments and divergent spaces, ‘Un hiver en plein été’ culminates as a celebration of closeness, a result of Atkinson and Cantu-Ledesma working together in the studio, responsively in real time, for the first time. Recorded in Brooklyn during August of 2019 - a handful of months before the pandemic would impose chasmic distances across the globe - its six discrete works, carefully crafted and finalized over the ensuing year, evolve seamlessly across the album’s two sides, weaving a sprawling tapestry of sonority, within which both artists retaining their own voices and visions, while drawing each other towards uncharted ground.

Atkinson likens the recording of ‘Un hiver en plein été’ to have been akin to “a playground”, each artist “hungry for each sound, a bit like the rush in the Louvre in Godard’s Bande à part”, to which Cantu-Ledesma adds that the process seemed to have had “a mind of its own”, with both “along for the ride”. This organic sense of entropy and enthusiasm - a joyous exploration of the unknown - guides the momentum of the album’s evolving arc, as unfolding chasms of ambient space ripple with humanity, life, and fleeting glimpses of the actions that led to its material core.

Crafted from deconstructed melodic elements and drifting long-tones - laden with subtle nods to Indian classical ragas and free jazz - searching patterns of speech, textural elements captured within the studio and the outside world, and searching tonal and percussive interventions, ‘Un hiver en plein été’ coheres as a multi-faceted series of electroacoustic dialogues; nesting conversations between two artists working at the juncture of abstraction and narration, field recording and harmony, and the philosophical and phenomenological, in search for the meaning of friendship, and its manifestation in pure sound.

In 2020 Brooklyn's Holy Hive introduced us all to something we didn't know we needed. Homer Steinweiss' thickly pocketed drumming paired with Paul Spring's floaty falsetto vocal produces a sound that's like a salve. It's been dubbed Folk Soul and Holy Hive not only expertly overlay the more apparent musical aspects of folk and soul-but they also draw from the more profound: being able to pull traditions from the past and make them their own. When Homer wasn't playing drums for Lady Gaga or Adele or Bruno Mars, he'd produce Paul's solo folk records. Along with original bassist and frequent collaborator Joe Harrison, these sessions proved to be Holy Hive's foundation. And their fi rst record, Float Back to You, expertly combined what each musician does best: Paul's heady, reflective approach to folk with Homer's universal classic soul sound. With their new record released on Big Crown, Holy Hive's beautifully simple-and-sparse Folk Soul sound is back-but updated. With new influences and the challenge of creating and capturing music during a global pandemic, this new self-titled album, is more personal, more reflective. They describe three distinct phases when piecing together Holy Hive: this first stage was pre-pandemic in California while traveling as a group, then-like the rest of us-they were separated, creating together but apart, and lastly an explosion of output once they reunited in New York. There is a natural but subtle evolution for Holy Hive on this record. Homer and Paul drew from new and maybe more obscure-yet-honest influences. It's still very much Folk Soul-how could it not be. But, like all artists, they've taken in what they've made and how they've made it, only to push it into new places. We know of Holy Hive's ability to lyrically convey the abstract and complex in poetic and palatable ways. But where the first record was soulfully silver-tongued with chill songs about love and affection, Holy Hive widens the lens with these novel influences, reflecting the points both Homer and Paul are in their own lives.