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**LIMITED BLACK VINYL** Rival Consoles returns with a resonant
and explorative soundscape of original
music, composed for renowned
choreographer Alexander Whitley’s
contemporary dance production
Overflow.

Exploring themes of the human and emotional
consequences of life surrounded by data, the piece
echoes the concept of social media, advertising,
marketing companies and political factions
exploiting our data to gain wealth, political
advantage and sow division. Key reading for the
project was based around the contemporary
philosophical work Psychopolitics: Neoliberalism
and New Technologies of Power by Byung-Chul
Han.
“The piece opens with Monster which has a kind of
drunken madness to it, highly repetitive to mirror the
repetitive nature of how we as humans engage with
technology such as social media. It’s sometimes
edging towards chaos but yet always returning back
to the same starting point, but eventually giving way
to exhaustion. I wanted to create a bold opening
piece for Overflow,” states West.

I Like features the mapping of data from dancer Tia
Hockey’s personal monologue, which allows chords
to be heard - but only based on the activity of her
voice, drawing attention to things happening behind
the curtain, invisible systems, algorithms.
The album also features the previously released
standalone slice of euphoria, Pulses of Information
— described by UK mag Clash as “typically
entrancing, Pulses of Information seems to
encourage a form of internal dialogue, between our
inner and outer selves.”

Overflow was premiered by the Alexander Whitley
Dance Company in May 2021 at the Sadler’s Wells
in London and is scheduled to tour through theatres
in Europe in spring 2022. The score will be released
by Erased Tapes on limited edition vinyl and CD as
well as digital formats on December 3.

Yellow Vinyl

From his early years on the music scene in Edinburgh, Theo Kottis has built a buzz as one of the UK's most exciting DJs. He is also the curator of his own unique sound, crafted on his Beautiful Strangers series, and gained clout from star DJs the world over.

The Mirror EP is fronted by a euphoric party track inspired by Kottis' lockdown yearning for "the kind of party where you don't stop dancing" - and crafted perfectly for this purpose. The raw energy of breaks and rave piano stabs is permeated by Busola's pep talk, getting the listener and the dancer geared up for the summer of release after a year of restrictions.

On the B Side, "Onda" takes its name from the Spanish word for waves. This is a blissed out relaxation after the intensity of the A-Side, an ode to an Ibiza poolside which still maintains a strong groove. Playful
pads pop out under sublime strings for an instantly nostalgic vibe.

Theo Kottis words on the release "Earlier this year during peak winter lockdown, craving the kind of party where you don't stop dancing, I took matters into my own hands, producing this new single "The Mirror", featuring Busola - who is the life of the party - to bring euphoric sounds to my living room and now to yours.

The thought of the impending "Summer of Love" got me through lockdown and I wanted to create something energetic and fun to mirror that excitement. I'd seen Little Gay Brother, the LGBTQ+ party and community perform at many festivals and knew their vibe would be an ideal source for this raw energy - I was introduced to Busola who provided the ultimate summer of self-love pep talk, something we all needed to get back out there post lockdown!

The second track is a nod to my summer escape to Ibiza where I played Pikes poolside and spent time in the sea and watching waves - "ondas" in Spanish - to reset and relax.

Genius, icon, trailblazer - he revolutionised music as head of the Beach Boys. Now, legend Brian Wilsonr etraces his steps and reimagines the most iconic songs from his back catalogue into their purest form, him alone at the piano. Featuring renditions of classic hits 'God Only Knows', 'Wouldn't It Be Nice', 'California Girls', 'Good Vibrations' and many more on solo piano. "I can't express how much the piano has played such an important part in my life. It has bought me comfort, joy and security." - Brian Wilson.

Bria is an intimate and incisive labour of love from multi-instrumentalists Bria Salmena
and Duncan Hay Jennings. Catapulted by a deep sense of dread and confusion in the
depths of 2020, Salmena decided to forgo writing her own music. “I wanted to listen for
what might reflect my life back to me,” she says, “six tracks that could be my mirror.” The
result is a pointillistic knockout of a release that weaves a landscape both luscious and a
little rogue; showing us exactly what good songs can do.
 Bria’s internal turbulence seemed to mirror last year’s external instability. When Jennings
and back-up singer Jaime McCuaig moved to The Outside Inn, a hobby farm in Hockley
Hills, Ontario, Bria soon joined. The farm’s living-room-turned-studio proved an ideal
setting for the long-time friends to compile a record of handpicked country covers. They
went searching for songs that could speak to our everyday loneliness, outside and in.
‘Cuntry Covers’ houses it all: well-worn favourites and lesser-known gems.
 The record opens with ‘Green Rocky Road’, as performed by Greenwich Village legend
Karen Dalton. Jennings’ twangy guitar carries Bria’s original inflection and richly textured
vocals, complete with dreamy overlay. ‘Dreaming My Dreams With You’, a rendition of the
Waylon Jennings hit, is followed by John Cale’s ‘Buffalo Ballet’, a lyrical journey through
Abilene, Texas, the endpoint of the Chisholm Trail.
 Engineered and mixed by Duncan Hay Jennings, each song brings desire and sexuality
front and centre, with all the swagger you’d expect – and more. Bria hopes the record will
be understood as a small contribution to the subversion of a genre with deep patriarchal
roots. Mistress Mary’s ‘I Don’t Wanna Love Ya Now’, from the 1969 album ‘Housewife’,
served as the original inspiration. “It was the first song Duncan and I worked on,” Bria
notes. “It definitely set the tone for the other tracks we picked.”
 Bria’s voice - described as wavering between “sultry and howitzer” - shines on ‘Fruits Of
My Labour’, written and performed by country great, Lucinda Williams. The Walker
Brothers’ ‘The Sun Ain’t Gonna Shine Anymore’ is a harmonic (and hypnotic) standout. A
musical explorer who moves fluidly between styles, Bria doesn’t consider herself a
country artist: “I feel as though I’m a visitor here, paying respect to a style that has
informed a part of my musical identity. Country music, as much as any other art form,
should be an arena for representation, expression and provocation. I have a ton of
reverence for artists who came before me and challenged the primarily whiteheterosexual status quo.”
 Salmena and Jennings have toured for years as members of Toronto four-piece FRIGS,
whose 2018 debut ‘Basic Behaviour’ was long-listed for the Polaris Music Prize. Making a
mark in diverse genres from country to punk, both play as permanent members of Orville
Peck’s band.
 ‘Cuntry Covers’ was recorded on the territories of the Anishnaabe, the Haudenosaunee,
the Wendat and the Mississaugas of the Credit. The release also features contributions
from FRIGS drummer Kris Bowering and vocals by Ali Jennings.
 LP pressed on opaque breeze blue vinyl.

Bria is an intimate and incisive labour of love from multi-instrumentalists Bria Salmena
and Duncan Hay Jennings. Catapulted by a deep sense of dread and confusion in the
depths of 2020, Salmena decided to forgo writing her own music. “I wanted to listen for
what might reflect my life back to me,” she says, “six tracks that could be my mirror.” The
result is a pointillistic knockout of a release that weaves a landscape both luscious and a
little rogue; showing us exactly what good songs can do.
 Bria’s internal turbulence seemed to mirror last year’s external instability. When Jennings
and back-up singer Jaime McCuaig moved to The Outside Inn, a hobby farm in Hockley
Hills, Ontario, Bria soon joined. The farm’s living-room-turned-studio proved an ideal
setting for the long-time friends to compile a record of handpicked country covers. They
went searching for songs that could speak to our everyday loneliness, outside and in.
‘Cuntry Covers’ houses it all: well-worn favourites and lesser-known gems.
 The record opens with ‘Green Rocky Road’, as performed by Greenwich Village legend
Karen Dalton. Jennings’ twangy guitar carries Bria’s original inflection and richly textured
vocals, complete with dreamy overlay. ‘Dreaming My Dreams With You’, a rendition of the
Waylon Jennings hit, is followed by John Cale’s ‘Buffalo Ballet’, a lyrical journey through
Abilene, Texas, the endpoint of the Chisholm Trail.
 Engineered and mixed by Duncan Hay Jennings, each song brings desire and sexuality
front and centre, with all the swagger you’d expect – and more. Bria hopes the record will
be understood as a small contribution to the subversion of a genre with deep patriarchal
roots. Mistress Mary’s ‘I Don’t Wanna Love Ya Now’, from the 1969 album ‘Housewife’,
served as the original inspiration. “It was the first song Duncan and I worked on,” Bria
notes. “It definitely set the tone for the other tracks we picked.”
 Bria’s voice - described as wavering between “sultry and howitzer” - shines on ‘Fruits Of
My Labour’, written and performed by country great, Lucinda Williams. The Walker
Brothers’ ‘The Sun Ain’t Gonna Shine Anymore’ is a harmonic (and hypnotic) standout. A
musical explorer who moves fluidly between styles, Bria doesn’t consider herself a
country artist: “I feel as though I’m a visitor here, paying respect to a style that has
informed a part of my musical identity. Country music, as much as any other art form,
should be an arena for representation, expression and provocation. I have a ton of
reverence for artists who came before me and challenged the primarily whiteheterosexual status quo.”
 Salmena and Jennings have toured for years as members of Toronto four-piece FRIGS,
whose 2018 debut ‘Basic Behaviour’ was long-listed for the Polaris Music Prize. Making a
mark in diverse genres from country to punk, both play as permanent members of Orville
Peck’s band.
 ‘Cuntry Covers’ was recorded on the territories of the Anishnaabe, the Haudenosaunee,
the Wendat and the Mississaugas of the Credit. The release also features contributions
from FRIGS drummer Kris Bowering and vocals by Ali Jennings.
 LP pressed on opaque breeze blue vinyl.

The multiple award winning action-adventure game God Of War was first released in
2005, but became such an instant hit, that Santa Monica Studio created seven more versions of the game. The most recent one, released in 2018 for the PlayStation
4, focusses on main character Kratos’ journey in the Greek world together with his son Atreus, following a path of vengeance as a result of being tricked into killing his family by Olympian gods.

God of War received universal acclaim for its story, design, graphics, combat system, characters and music. It was awarded ‘Game of the Year’ by numerous media outlets and award shows. God Of War (2018) performed well commercially, selling over five million copies within a month after its release. It became one of the best-selling PlayStation 4 games.

The official soundtrack won a BAFTA Award and is composed by Bear McCreary. It is set up around themes he created around primary characters in the game. Inspired by Viking folk music, McCreary used exotic instrumentation and languages from various Northern European folk traditions. It resulted in a score featuring deep choirs, pounding drums, shrieking brass and features Faroese singer-songwriter Eivør (Pálsdóttir). The American composer Bear McCreary is best known for his work on TV shows like Battlestar Galactica, Outlander, The

We are extremely excited to announce that Licorice Pizza: The Original Motion Picture Soundtrack will be released on Friday 10rd December 2021 on both CD + Vinyl. Licorice Pizza is the story of Alana Kane (Alana Haim) & Gary Valentine (Cooper Hoffman) who grow up & fall in love in San Fernando Valley (1973). Written & directed by filmmaker Paul Thomas Anderson. Sean Penn, Bradley Cooper, Tom Waits & Benny Safdi also star. Limited movie release in the U.S. Nov 26 and goes wide in US on Dec 25. Radiohead's Jonny Greenwood composed the film's score & Paul Thomas Anderson curated the soundtrack also features songs by David Bowie, Paul McCartney and many more to be revealed. The title pays homage to the California record store, Licorice Pizza.





[d] 4 Ac–Cent–Tchuate The Positive (Single Version) [feat. Vic Schoen & His Orchestra] – Bing Crosby & The Andrew Sisters
[e] 5 Blue Sands [feat. Buddy Collette] – Chico Hamilton Quintet

[g] 7 My Ding-A-Ling (Live At Fillmore Auditorium, San Francisco, CA/1967) [feat. Steve Miller Band] – Chuck Berry

Deutsche Grammophon launch a Gold Vinyl Edition of Benny Andersson’s phenomenal global hit album PIANO (from 2017). Legendary ABBA songwriter and co-founder to release career spanning 21-track solo piano album via Deutsche Grammophon The concept is an instrumental piano album, featuring Benny playing songs spanning his entire career, including those from ABBA, songs from his musicals and beautiful, emotional solo work. ‘Piano’ takes listeners on a 21-track journey through his acclaimed and celebrated career as songs from ABBA, his musicals and other solo-compositions are re-interpreted as you have never heard them before, performed unaccompanied by just Benny himself, on his trusted grand piano. The album was recorded with Linn Fijal, engineer and studio manager at his own RMV Studios, on the island of Skeppsholmen, in the heart of his hometown Stockholm.

A Beautiful Revolution Pt. 2 was created with hope and inspiration in mind. The spirit of the album was meant to emulate what a greater day would sound and feel like. We were in the midst of some tough political and socially challenging times. There was still hurt, anger and pain lingering, so I was thinking, “what is the next step in this revolution?” I thought about what being still in these times had brought me and that was a peace beyond understanding, a greater love for self, a closer connection with God, and more appreciation for my family, friends and the simple things in life. I wanted to write about that and create music that embodied that. What does a new day, a brighter day feel like being told through an emcee and some gifted musicians? How could this music be an example of the beautiful aspects of revolution that include joy, self-love, compassion, dreams, peace and good times? As a piece of art, I believe we took it to different places musically only to come back to the original intention. To bring joy to people’s hearts, fun to their lives and smiles to their souls. ABR2. Love Common RADIO: 6Music A List, Album Of The Week on 6Music, support across BBC R1, 1XTRA, Radio 2, 6Music. PRESS: Features in Huck, New Cue, DIY, Daily Star, The Guardian, Line Of Best Fit, MOKO, Clash, NME and more… “If ‘…Pt 1’ felt like a look at the progress we made last year, then this follow up stares down the road ahead – not with trepidation, but with boundless optimism” – DIY **** ‘A Beautiful Revolution, Pt. 2’ is the soundtrack to a new revolt. It’s about unity in the face of adversity and bringing awareness to the Black struggle. But at its core it’s a celebration of Black pride that sees Common in full swing as a champion of peace, love and freedom.” - NME “This is Common’s most hopeful album in years” – The Independent “A late career high” - Clash

He's back! After nine years away from the big screen, the Big G reappeared for his 30th anniversary in THE RETURN OF GODZILLA. Produced by Godzilla's creator Tomoyuki Tanaka and directed by Koji Hashimoto, the picture returns the uber-kaiju to the ultimate antagonist he was always intended to be. Watch as he devastates Tokyo after being resurrected by an underwater volcano and thrill to the dramatic and explosive musical score by Reijiro Koroku!

Having previously worked with Studio Ghibli's Hayao Miyazaki and Isao Takahata, Koroku was the perfect choice to score the Big G's triumphant return, creating no less than three themes for everybody's favourite kaiju. Listen to the rumbling low-frequencies and powerful brass attacks as he ravages a power plant and fights the Japanese Self Defence Forces (JSDF) and swoon to the love theme for Maki and Naoko. Koroku also wrote exciting pieces for the JSDF and the Super-X, a particular machine designed to fight Godzilla. Still, it's his respect and reverence for the Big G that makes THE RETURN OF GODZILLA such a success. The score ends with vocalists The Star Sisters lamenting Godzilla's disappearance, cementing the place he has in our hearts. "Take care now, Godzilla, my old friend."

“And now for a gentleman who’s come all the way from Kingston, Jamaica and a place called Cling Cling Avenue. We present to you the one and only, the Originator, the Godfather, Daddy U Roy!”

U Roy had visited Brighton before but there was something special about that balmy night in August 2017, when he walked out on stage at the Komedia to a hero’s welcome and immediately got the crowd cheering and dancing. There was so much warmth and excitement generated that night, and it’s all captured on this final live album of the reggae superstar’s illustrious career.

U Roy wasn’t quite the originator, but he was the first Jamaican deejay to dominate the Top 3 places on both radio stations and turn his predecessors’ simple exhortations into an artform – one that evolved into a global phenomenon. It was his performances on King Tubby’s Hometown Hi-Fi that made him the talk of Jamaica and led him to Treasure Isle studio, where he voiced hits like Tide Is High and Wear You To The Ball. From then on his catchy, uplifting rhymes could be heard on radios and jukeboxes throughout the island, as well as from behind the control tower of his King Stur Gav sound-system, where MCs like Josey Wales, Brigadier Jerry and Charlie Chaplin learnt their craft. The veteran deejay, who died in February 2021, continued recording and touring into his late seventies, and without abandoning either his musical standards or Rastafarian beliefs. At his peak, U Roy voiced for Jamaica legends like Lee “Scratch” Perry, Bunny Lee and Channel One, in addition to several European labels. What most of his recordings have in common is a sense of hope and often joy, because even Get Up Stand Up is delivered with optimism. They are the qualities that come across on this life-affirming set, recorded in front of an appreciative audience, and backed by some of the UK’s finest reggae musicians.

“We go round and round in the night and are consumed by fire” *

After their highly acclaimed 'Come La Notte' (2019) WOW are back with 'Falene' a special limited release, a flickering light in the dusk where the comedown is ecstatic, intense and staggering.
In between lockdown the Roma Est quartet played the liberating Meletao festival in the Simbruini Mountains in the middle of a forest. One night a moth (falena) started dancing above the fire attracted by the light and after a few twirls dived into the flames.
Somehow ‘Come La Notte’ anticipated many of the atmospheres and emotions we’d encounter during confinement and isolation; ‘Falene’ instead was born directly from those ashes, ghostly homes, clandestine get-togethers, an old farfisa saved from dust that sparked the initial motif of the album’s title-track, a somber march, a mini-opera that sways gently, sprinkled by the beautiful sax played by Gianlorenzo Nardi and by one of the most intense China performances layed down on tape, foreshadowed by Julie Normal’s Ondes Martenot that graciously elevates the ‘Anticoda’ intro.
Tropicantesimo’s remix of ‘Occhi Di Serpente’ breathes new life into ‘Come La Notte’s classic, elevating the hypnotic and extending the pure tribal force with one of the signature trademarks of the Pescheria crew. ‘Partirai’ sung by Leo Non again is WOW at its purest, escapism to the max encapsulated in a nugget of primitive rock’n’roll and 60s night clubbing. Folks, it’s time to start living again.

We are extremely excited to announce that Licorice Pizza: The Original Motion Picture Soundtrack will be released on Friday 10rd December 2021 on both CD + Vinyl. Licorice Pizza is the story of Alana Kane (Alana Haim) & Gary Valentine (Cooper Hoffman) who grow up & fall in love in San Fernando Valley (1973). Written & directed by filmmaker Paul Thomas Anderson. Sean Penn, Bradley Cooper, Tom Waits & Benny Safdi also star. Limited movie release in the U.S. Nov 26 and goes wide in US on Dec 25. Radiohead's Jonny Greenwood composed the film's score & Paul Thomas Anderson curated the soundtrack also features songs by David Bowie, Paul McCartney and many more to be revealed. The title pays homage to the California record store, Licorice Pizza.





d 4 Ac–Cent–Tchuate The Positive (Single Version) [feat. Vic Schoen & His Orchestra] – Bing Crosby & The Andrew Sisters
[e] 5 Blue Sands [feat. Buddy Collette] – Chico Hamilton Quintet

[g] 7 My Ding-A-Ling (Live At Fillmore Auditorium, San Francisco, CA/1967) [feat. Steve Miller Band] – Chuck Berry

CAM Sugar is proud to present the first physical release, on LP and double CD, of the original soundtrack to the TV series “MEDICI - MASTERS OF FLORENCE” (2016-2019), that received international praise following the Netflix distribution. The original score composed by Paolo Buonvino brings the Italian Renaissance back to life. The soundtrack mixes traditional instruments belonging to classical music (a common practice with historical dramas) with smooth electronic elements, allowing the listeners to take a journey of exploration through one of the most exciting periods of European history as much as into one’s intimacy.  The result is a score that is impactful and enjoyable for a broad audience, also thanks to the voice of Skin (Skunk Anansie), who performs “Renaissance” and “Revolution Bones”, respectively the theme songs to season 1 and season 2 & 3. The LP version offers a selection of the best tracks composed for the 3 seasons, while the double CD edition features the series’ complete soundtrack.

Nostalgia is a hell of a drug. No one in particular is renowned for that cliched statement, but when something is so universal, who cares who said it? And is there anything more nostalgia inciting than a blurry film, bursting with colours but aged just perfectly so that you know, it's from a past which will never return. Het Jaarronde, a 1977 short film by Dutch amateur filmmaker Jan van Keulen is a picture perfect study of Dutch rural life. Filmed at an observer's distance it, as the title states, follows the Netherland's throughout the year. It's not bombastic and grand like 1967's John Fernhout film, Sky Over Holland. Instead it's modest, even shy, as if afraid to document too much because to document means to acknowledge change and loss.

For the second time, Nous'klaer and The Netherlands Institute for Sound and Vision's RE:VIVE initiative have teamed up for a split 12" featuring two new film scores of Nous'klaer staple, Mattheis and newcomer Ranie Ribeiro. Each artist was given half the film to compose for, resulting in two sonically disparate pieces that are emotionally twinned. Mattheis offers a lush, heart melting wave of pianos and synths and field recordings to appease his own inner-nostalgia, as the images struck an immediate chord with his childhood and youth in Goeree Overflakkee, South-Holland.

Ranie Ribeiro, known under his solo moniker for his slamming chopped beats and earlier club oriented releases as D-Ribeiro unveils his talents as a harpist for the first time. His work, is an encapsulation of a calm autumn day. A work in the present rather than a reflection on the past. But as the day fades into night, one can't wish for it to stay, just a little bit longer, because who knows what tomorrow is going to bring?

New solo record from Philip Frobos of Omni (Sub Pop, Trouble in Mind), this record is released in conjunction with a novel by Philip of the same name.

Philip Frobos' ‘Vague Enough to Satisfy’ will be released on 180g black vinyl - Only 500 Pressed Worldwide October 1st 2021. The novel will be published by Hex Enduction Books in Seattle on the same day.

‘Vague Enough to Satisfy’, is Philip Frobos’ debut solo album, it is also the original soundtrack to his debut novel of the same title. This lounge-inspired punk album acts as the musical bedrock for the story of a young man who revels in the day to day details (both romantic and mundane) of his experiences in Leipzig and Atlanta. The tone of the record reflects the tides of the protagonist’s confidence and self-doubt throughout the novel.
‘Vague Enough to Satisfy’ rushes straight to the point with it's bossa nova beat and seductive lo-fi musings. ‘Vague Theme’ opens the album with a groove reminiscent of ‘Whammy’ era B-52s while the vocals tell the story of a young romantic confused of his place within a relationship and the city around him.

‘Vacant Street’ proceeds with a hooky bassline, the revolving, cryptic sort that Frobos is known for as a member of Atlanta post-punks Omni. ‘No Packages Today’ is similarly sprightly and circuitous, sounding like the Au Pairs refining an obsession with Bowie’s ‘Lodger’. “I’m afraid that you need more than I can offer” opines Frobos bedecked by shuffling beats and burgeoning waves of saxophone. ‘Never Noticed’ and ‘Through with Buzz’ introduce notes of tension and intrigue to the frisson of the story, “you’re stuck in the same day” confesses Frobos in the former.

Instrumental tracks help to prolong an uneasy feeling of ambiguity too, with compositions like ‘Pool Disturbance’ and ‘Inflatable Flamingo’ taking their musical cue from Henry Mancini. Curious flourishes, a metronomic headiness and shuddering xylophones bring to life the intensely vivid imagery and cynical humor that suffuse the novel.

‘Pathetic’ collides the casual, magnetism of Serge Gainsbourg with tight Cars-style vocals and choruses. Meanwhile ‘Singer Not The Song’ and ‘Saturn Return’ showcase a more sedate approach, languid and arch. ‘Vague Enough to Satisfy’ is a trip, plunging you into a curious world populated by the unexpected.

160 to 170 BPM full EP, very psychetribe to Hardfloor. A very very solid party weapon... this EP countain the very awaited Mentracore 2 from AirG !

For a duo whose youthful energy rejuvenated the world of house music at the start of the 2010s, it seems incredible that Disclosure are now into their second decade of musical life. The incredible vigour of those early records, the spark of invention and ever-onward musical thrust, remains with the Disclosure brothers, Howard and Guy Lawrence, to this day. The emphasis throughout DJ-Kicks is on motion. After a brief ambient introduction from Pépe's Life Signs, Disclosure keep the energy high, in a mix that showcases the wonderful malleability of a house beat in the right hands. From sub bass to disco samples, African funk to 303 tweak, all is welcome in Disclosure's house, with the mix allowing individual songs space to breath even as the pace remains harefooted.

50th Anniversary Re-Edition - Includes Original Releasesheet Inlay - Original Release: 1972 - 2021 Re-Cut carefully overseen by Manuel Göttsching

We proudly announce the authorised 50th Anniversary Edition 2021 of the 1972 Original release , one of the most important German Krautrock albums in a 2021 Re-Cut carefully overseen by Manuel Göttsching himself. As for the info we refer to Julian Cope´s review in his “Krautrocksampler” Book, Publisher : Head Heritage (1 Oct. 1995) : “Beware of Schwingungen!” That should be the large sticker on the front of all copies of this record. For it is dangerous to be casually introduced to something that is life-changing, as I found out to my cost when first listening to this record. It all starts fairly simply and without any cause for alarm - “Look at Your Sun” begins with a Doorsy lone groover guitar begins a pedestrian blues, beautiful. Then the most crushed voice, a cross between Johnny Rotten and Tiny Tim, preaches its way into the proceeds. God, it is beautiful - John L. repeats over and over, “We are all one, we are all one”, until a howling fuzztone solo guitar blows the whole onechord “Signed D.C.” ringing-cymbals torture to an end. And then the most far out track of all begins. This is called “Flower Must Die” and it is a free-rock giant that transcends everything else in its field (there are no contenders.) As I’ve written before, PIL sounds like this. John L. was John Lydon in a previous incarnation. After a slow weird build, a frantic streamlined one-chord mantra kicks in and it’s like the Stooges’ Funhouse period but in a Righteous Vision Zone that fucks them right off.

Mercury Prize nominee Warren Hampshire (The Bees) and Prolific British Jazzer Greg Foat return with their 5th Album

An instrumental Suite based on a day in their home town of Ventnor on the Isle of Wight. Featuring local musicians and field recordings of bird song and pubs, this album captures the essence of life in this seaside town.

LP + 3xCD + booklet !

The Doors found their mojo (and Mr. Mojo Risin’) in November 1970 as they recorded L.A. Woman over six days at the Workshop, the band’s rehearsal space on Santa Monica Boulevard. A success both critically and commercially, the album was certified double-platinum and contains some of the band’s most enduring music, including the Top 20 hit “Love Her Madly,” “Riders On The Storm,” and the title track.
To commemorate the album’s 50-year anniversary, Rhino keeps on risin’ with a 3-CD/1-LP set that will be available on December 3rd. L.A. WOMAN: 50TH ANNIVERSARY DELUXE EDITION includes the original album newly remastered by The Doors’ longtime engineer and mixer Bruce Botnick, two bonus discs of unreleased studio outtakes, and the stereo mix of the original album on 180-gram virgin vinyl.
For this new collection, the original album has been expanded with more than two hours of unreleased recordings taken from the sessions for L.A. Woman, allowing the listener to experience the progression of each song as it developed in the studio. An early demo for “Hyacinth House” recorded at Robby Krieger’s home studio in 1969 is also included.
The outtakes feature Jim Morrison, John Densmore, Robby Krieger, and Ray Manzarek working in the studio with two additional musicians. The first was rhythm guitarist Marc Benno, who worked with Leon Russell in The Asylum Choir. The other was bassist Jerry Scheff, who was a member of Elvis Presley’s TCB band.

Maenad Veyl returns to his namesake label along with The Sarcasm Ensemble for the new album, 'Comfort in Misery'. Made up of ten compositions exploring sparse beats, cinematic textures and mind altering experimentations, this is an offering of thought provoking pieces which perhaps make the perfect accompaniment to the modern world. As the name implies, 'Comfort in Misery' seeks to find ways of dealing with perpetual shifts and agonizing circumstances.
The opener, 'Weak & Weary', acts an almost rude awakening, while simultaneously cleansing the palette for the forthcoming journey. 'Harsh Whispers' quickly takes hold and feels like a fragmented dream you may or may not remember while then moving to the more minous, 'Life Expectancy'. From the sparkling tones of 'Deep Ruby' to the uncomfortable bliss of 'Always Worse', the project touches on the most known yet unknown of moods, emotions and states of being.
Winding down with 'Irreconcilable Differences' before concluding with the satisfying chaos of 'Shred', 'Comfort in Misery' cannot be pinpointed or married to any one sound or status. While tackling a seeming insurmountable subject, Veyl & The Sarcasm Ensemble provide a perfect solution for the everlasting pain.
Or do they?

The Mighty Soulmates is a towering early 90s project from the legitimate super group of André Cymone (bass player with Prince), St. Paul Peterson (guitarist with The Family and Prince), Mic Murphy (of Sass and The System fame) and Gardner Cole (writer, producer and musician probably best known for his work with Madonna). The sound is a majestic blend of sophisticated funk, emotional R&B, New Jack Swing flava and slick deep soul.

These should-be legendary sessions have been almost a secret since they were recorded back in 1993. The first Be With knew about the project was whilst working with Mic on some Sass re-issues and he told us he had something else we might be interested in hearing.

Mic explained, “In the summer of 1993, Gardner Cole asked if I’d be interested in coming out to work with him, André, and St. Paul. So we all headed out to what can best be described as a fantasy music summer camp at Gardner’s house in Woodland Hills, California. We had all worked together in the past in some form or another so everyone was energized and enthused and excited to see what we could create together. St Paul and Andre had already begun some songwriting at Gardner’s well equipped home garage studio. The songs and ideas progressed quickly and some additional recording was completed at André Cymone’s studio in downtown LA. We ended up working on the project for about 6 months, off and on, until Gardner's house fell victim to the Northridge Earthquake in January 1994.”

There were some vague ideas at the time about turning the sessions into a finished record, but everyone went back to their day jobs and as St. Paul puts it: “for nearly 30 years it just sat there, marinating like a fine funk masterpiece. Everything has its right time and now just be the time”.

From all the tracks Mic sent over, we’ve cherry picked the absolute cream for a tight four track EP. In an alternate history all four for these would’ve been radio smashes. No doubt. But these songs never even reached a plugger. A mixture of beat ballads and uptempo non-hits, coming on like Al B Sure! or Babyface take on Shalamar or, dare we say it, The Purple One - maybe not so surprising given who’s playing!

The feel-good dancefloor dynamite of “I Wanna Be The One” is the explosive opening track. A piano-driven, groove-laden blast of yearning deep-pop, with perfectly delivered soulful vocals and an unmistakable “early 90s” sound. Indeed, fans of Eddie Chacon’s old group will dig this for days. “Back In The Day” has a timeless swing and swagger, the lyrics reminiscing about the halcyon streetlife of the Soulmates’ youth, about Curtis, Superfly and innocent days gone by, about hustling with friends. Yet more spine-tingling vocals over yet another perfectly produced musical backdrop. Stunning.

Opening side B, “Blue Tuesday” is the thrilling pinnacle of the EP, at least for us. It’s absolute soulful-pop perfection, and the one we’ve been asked about most after teasing this collection on our NTS show. A soaring beat ballad full of chiming guitars, gorgeous harmonising, falsetto “doo-doo-doo-doo do-do-do-do” backing vocals and a real steppers’ groove. Glide to this with your loved one at the next roller rink party.

Dramatic, purple-hued closer “Private Time” seems to predict the Timbaland-dominated sound of the mid-to-late 90s, all synthetic strings and squelchy, acidic-drum-machine soul. There’s even room for funky piano breaks, vocoder bridges and more cowbell than you can shake a cowbell at. You could just as easily hear Aaliyah vibing over this as much as Mic.

This EP represents the sound of four incredibly soulful, talented, and influential (soul)mates jamming together over one long hot summer and weaving pure sonic magic. André Cymone loved the “kinda pop, experimental exploration of sound and music. I think these songs make a statement. Not just because of the collection of talented musicians involved but the idea of musically branching out and experimenting; which is what I loved about the project and for people to hear and hopefully appreciate the artistic adventure this music takes, I think it’s a much needed breath of fresh air.” As Mic recalls, “it had the feeling of recovery in a circle with my dudes making music sitting around catching up on life - it felt like living a second childhood. We just wrote what we felt. I don’t remember ‘aiming’ at anything but a great song, melding all our different influences from throughout our lives. We had no restraints. For me personally, it was a time to make music and regroup. I call it the ‘Soulmate Experience’ because in many ways we are kindred souls as a band. We did have an amazing time making the record and so much fun together. Probably my best summer ever”.

The Mighty Soulmates EP has been mastered for vinyl by Simon Francis, cut by Pete Norman at Finyl Tweek and pressed at Record Industry. That early 90s gloss sounds spectacular, if we do say so ourselves.

And such a special record needed some truly almighty artwork, so thanks go to DJ Ruby Savage for directing us to London-based illustrator and designer River Cousin. This music needed something elegant and indulgent yet soulful and striking and something as simultaneously tongue-in-check and deadly-serious as the group’s name. The end result is as modern yet timeless as the music itself.

And these are just our four picks. There’s plenty more where this came from and Mic tells us he’s even picked the album title: “Earthquake Summer”.

Room is a female-led early progressive rock group with minor orchestrations, simple jazzy vocals, heavy guitars and extended tracks. Like most early progressive rock-groups there's also some blues-rock and jazz-rock. The mix of genres works great for variety and is a good example of its time. The use of a small orchestra (violins, violas, cellos, bass, trumpets, horn, trombone) is always risky business for progressive rock-groups, but Room excels in its limited and effective use. Way better integrated then, for example, the silly orchestrations on Salisbury. Another key-element of the listening experience is the recording quality, which is remarkably good for such an unknown record - especially when it comes to the spacious feeling. The instruments are well spread in the musical landscape.

For many years now, the comparative of epic has simply been EPICA. Since their formation in 2002 and their quick ascension to stalwarts of symphonic metal noblesse with trailblazing masterpieces “The Divine Conspiracy” (2007) or “Requiem for the Indifferent” (2012), Dutch metal titans only knew one way: Up. Especially with their last three releases “The Quantum Enigma”, “The Holographic Principle” and this years’ “Ωmega”, forming a metaphysical trilogy that’s both alpha and omega of all things symphonic metal, EPICA became rightful monarchs of a genre they themselves helped made become a global phenomenon.

Yet, as every other band, EPICA couldn’t take their latest installment of breathtaking cinematic grandeur to the seven corners of the world as they would have normally done. You know why. Thus, plans have been made and visions fulfilled to produce a once-in-a-lifetime event that couldn’t be further away from yet another streaming show. What EPICA unleashed upon the world on Saturday, June 12th, 2021, was a monument to their music, their career, and their enduring legacy as forebears of a whole genre. Now finally being released on Blu-ray and DVD and various audio formats, “Ωmega Alive” is the EPICA show of your wildest dreams, brought to life by blood, sweat, tears and a healthy dose of megalomania. Think Marvel meeting Cirque de Soleil in a Tim Burton universe.

Celebrating the release of their gargantuan new opus magnum, „Ωmega“, the streaming event saw fans from over a 100 countries flock to the screens to witness a show that has proven to be the defining moment in EPICA‘s concert history. A show that’s nothing short of the band’s most explosive performance to date, brought to life with an enormous production on an ever-evolving stage setting that’s full of visual surprises. For the first time ever, EPICA performed songs like ‘The Skeleton Key’ or the insanely monumental “Kingdom of Heaven Part 3” from “Ωmega”, alongside the band’s most popular songs, rare songs, fan favorites and huge surprises. “What started as a basic idea to do an online release show for “Ωmega” quickly spiraled out of control and became our most ambitious project to date,” creative director and keyboard wizard Coen Janssen says. “As usual, we wanted to push the boundaries, explore the limits, and think outside the box. We found ourselves back in our happy place. This concert film, our ray of light for you in the dark times that we have all been living in.”

For half a year, the band worked tirelessly on a show that’s been setting a new standard for concert films and streaming events. “What we wanted to do was the ultimate EPICA show where we could fulfill every dream we ever had, where there was room for all the ideas, effects and props that are just too big to be taken on tour.” Far from your usual streaming concert, the band developed a trademark feature called a “living backdrop.” Coen explains: “We built another stage right behind our stage where lots of things were going on the whole time. And we meant that very literally,” he laughs. “Every song got something extra, something unique that was fitting its world.”

He can say that again: Elaborate visuals, tailor-made videos and graphic effects, fire, and flames on a Nibelungen level, dancers and actors, artistic performances or fire performers all add to the aura of symbolism and cinematic splendor, setting the stage for a band that can’t be happier to finally bring their new album to life, harmonizing wonderfully and giving their A game for a show to remember. “It was so great finally playing with the band again, actually standing on stage with them. Boy, did we miss this,” Coen emphasizes and adds: “We also built a pretty cool new stage with some fire-breathing snakes and lots of rotating elements. Good thing is, we might also take it on the road when we can finally tour again.”

Until then, “Ωmega Alive” will be a more than efficient remedy against no-concerteritis – for bands, fans, and crew alike who all look back on an extra-long dry spell. Divided into five acts as there are letters in EPICA and “Ωmega”, each part gets a different theme, look, and feel, complemented with references to the history of EPICA, the symbolism of the band and the videos they did. It’s, in short, the best show they ever did, a two-hour spectacle spanning their storied career up to their latest endeavors and graced by Simone Simons’ breathtaking a-cappella rendition of ‘Rivers’ from “Ωmega” complete with choir, easily the most emotional and achingly beautiful moment in their entire career. Frankly, you don’t see this on a normal tour.

What EPICA brought to life here with the help of 75 artists and crew members is a testimony to their burning will to take their band ever higher – even now, in the darkest of times we ever had to endure. Let “Ωmega Alive” be your ray of light as it was theirs, a journey into the heart, body and soul of one of the most passionate and visionary metal bands alive today.

While Mötley Crüe legend and Sixx:A.M. mastermind Nikki Sixx takes a view in the rear mirror in his new book 'The First 21' (published in October 2021) 'HITS' sums up the career to date of Sixx:A.M. in a remarkable manner. It contains all the band's hits plus three new and unreleased tracks including the forthcoming single, also entitled 'The First 21'.

Editions Mego is proud to welcome Powell to its roster with a bizarre and strangely emotive new LP of synthetic computer works entitled Piano Music 1-7.

Via his own Diagonal Records imprint, his work on XL Recordings and, most recently, the opening of audio/film platform A Folder afolder.studio, Powell has firm footing in the contemporary electronic landscape. During a wry and obstinate musical life he has twisted myriad synthetic forms into shapes that explore and expand upon the districts of post-punk, techno, noise + computer music, and in the the last year alone he has released four albums of hi-def abstractions, each inspired by a formalisation of music proposed by Iannis Xenakis.

As an extension of this intense period of work/research/play with stochastic functions using probabilities to compose music, various processes emerged that Powell then began to apply to more traditional musical events. Where ordinarily in his work the probabilities and relationships are used to define parameters such as wave-shape, folding, FM, filter modes etc., he now began to use them to create musical formations and visual scores that could be played back using any software/MIDI instrument one of these can be seen on the rear cover of the LP release. While mapping out this cartography of relations, he used a basic Grand Steinway sampler as a placeholder instrument; the longer the process went on, though, the more he began to embrace the acoustic properties of the synthetic piano and make it the bedrock for this new constellation of work.

Piano Music 1-7, subtitled 'Music for Synthetic Piano and Assorted Electronics', consists of seven different synthetic islands strung together into a single composition. All were composed using the aforementioned processes that allowed Powell to play a piano, even if he never learned to do so with his hands. After all, 'In writing electronic music,' Robin Mackay once wrote, 'you also have to direct the invention of new tools.'

At times the piano skips gleefully over shadowing synthesis, whilst at others the synthetic sheets swarm and envelope the keys. The interplay between the two create a fantastical alternate reality, a cosmic machine in which time is eroded, shrunk and expanded, like a wax upon which operations and relations are inscribed or engraved. Many of the pieces express a playfulness or optimism verging on vitalism, as bundles of piano notes dance and interpolate with a never-repeating range of electronic gestures. The feel is of a brightly coloured flower-bed in various stage of bloom. This interplay of the artifical acoustic and the electronic builds on the pioneering processes developed by David Behrman in works such as Leapday Night, and Piano Music 1-7 could also be posited as a modern take on Conlon Nancarrow's investigations for player piano. Similarly, the razor-sharp sonic properties and unfolding of non-human events recall the computer works of Xenakis and the surgical precision of Mego mainstay Florian Hecker.

Recorded in late 2020, these new Powell works propose not just a bold and bright vision of electronic music but serve also as a map with which, for 35 minutes at least, we can navigate our way out of the current milieu. As the artist himself remarks in the sleeve-notes, '. . . What emerged from this fog or soup for me were ideas and processes that felt affirmative and life giving — sensations I had always hoped to convey in my music. Perhaps the optimism or positivity I felt at these musical events unfolding, these clusters and knots tumbling in different directions across time, can also be felt by you.'

On Wayfinder, the follow-up to the acclaimed 2019 album Free Company, Oakland-based songwriter Taylor Vick, under her songwriting moniker Boy Scouts, chases down life's queries to the very edge of the horizon. This is an album that's not afraid to track down what it all means -- how life unspools around the monoliths of love and death, the heavy knots of even quotidian conflict, the task of carrying your own suffering with you day after day, the challenge of meeting other people out here in the tangled expanse of living. In a warm, expansive style that recalls the raw punctures of Lucinda Williams and Alex G, Vick once again shows herself to be a fearless seeker shedding light on the unanswerable. Vick's true superpower is her voice. Strands of slide guitar, organ, and strings ring under her affable, ex?pressive voice, bolstering layers and layers of harmony. There is something so honest about her songs, they feel like a late-night therapy session with your best friend.

Renowned Finnish jazz innovator and band leader Iro Haarla takes a detour towards progressive rock Iro Haarla Electric Ensemble to release their debut album in October Known for her large number of works in the field of acoustic free jazz, Iro Haarla is a notable Finnish pianist, composer, arranger and band leader. Now, having inked a deal with Finnish cult label Svart Records, Haarla takes an eye-opening sidestep towards progressive rock. Her new band consisting of renowned Finnish musicians, Iro Haarla Electric Ensemble weaves a vastly colourful world of sound around Haarla’s peculiar melodies, and welcomes us to new sonic territory: a vibrant world where black music influenced rhythms, acoustic instruments, analog synthesizers and spacelike, valiant electric guitars converge. In her long career as one of the most distinctive creative powers in modern scandinavian jazz, Haarla’s history includes both the works with her past life partner Edward Vesala (d. 1999) and an extensive repertoire of her own innovative solo works, recorded for the renowned ECM Records. For What Will We Leave Behind - Images from Planet Earth Haarla has put together a band whose musical expression is strong and profound. The rhythm of the music lies in the dynamic hands of bass player Ulf Krokfors and drummer Aniida Vesala, and together with Sami Sippola’s (Hot Heroes) responsive tenor saxophone and Finnish rock legend Jukka Orma’s (Sielun Veljet) imaginative ability to dive into new dimensions with his electric guitar, What Will We Leave Behind grows into an unforgettable experience for both prog rock and jazz enthusiasts. Out on the 29th of October 2021, the Iro Haarla Electric Ensemble debut is a homage to nature - our common planet and home. Inspired by nature, the album is also a cry for help in the age of natural disasters and depletion of natural resources around us. “I admire nature’s grand beauty, which arises from extreme phenomena and the battle for survival. The thread of life is unbroken”, Haarla says. Each album track portrays a place on Earth: between the humane opening track The Song We Loaned From Our Children and the hopeful closing track What Will We Leave Behind? vibrates a variety of soundscapes from lakesides, oceans, glaciers and rainforests, all the way to the winds and rumbles of mountains and man-made cities. Adding even more depth to the musical themes and landscapes, the album’s cover art was picked up from environmental art pioneer Teuri Haarla’s photo collection.

This collection of 12 luk thung* songs from the 1960s-70s, all produced by Surin Phaksiri, is a superb showcase of cross-genre/multi-national fertilization, with Latin, jazz, western pop, Indian and Japanese music seamlessly melding with the musical culture of Isan (northeast Thailand), which is strongly rooted in Laotian culture; indeed, the Isan language, as featured in these songs, is a form of Laotian. Esteemed producer Surin Phaksiri, an Isan icon, always strove to drive Thai music forward, with innovative techniques and open ears, introducing international elements as well as Lao influences, including the use of the khaen. Many of the singers here, all famed and respected, have Lao roots, and it is predominantly through music that the Isan Lao-Thai culture has entered the Thai national consciousness. These lovely and joyous songs are, for the most part, previously unavailable outside of Thailand; more than half are first-time reissues. The wide range of songs here includes covers of Japanese folk and pop songs, a paean to marijuana, proto-Thai funk, a ramwong-style** dance tune, a cover of a Bollywood classic, some straight-ahead luk thung, a unique Indian-style luk thung, and a gorgeous answer song to a movie hit. An array of gems, available on vinyl and CD, with English translations of the lyrics and Soi48’s liner notes. Cover art by Shinsuke Takagi (Soi48)

* Lukthung: A musical genre whose name means ‘country person’s song’ or ‘children of the field’. The name became established in the latter half of the 1960s and now has the status of a national genre of popular song unique to Thailand. The lyrics of luk thung songs deal mainly with the rural idyll, comparisons between the city and the countryside, life in the big city and current affairs. There are certain typical traits to the music, but no official musical form.

** Ramwong: A unique form of Thai dance music, fostered as a means of promoting national pride and unity. Similar to Japanese Bon Odori, participants form a circle and dance together. The term can refer to the particular style of music, or the actual dance.

The Waterboys 1990 album ‘Room to Roam’ was the bands fifth album. It continued the Folk-Rock sound of 1988's Fisherman's Blues and was recorded at Spiddal House in Galway, where the last recording sessions from the preceding album, Fisherman's Blues, had been recorded. Room to Roam would be the last of The Waterboys' Folk-rock sound until the release of Universal Hall in 2003. Fiddler Steve Wickham, who had been a large inspiration for the change to that sound for Fisherman's Blues, left the band shortly before Room to Roam was released.



This new vinyl has been produced to compliment The Magnificent Seven CD/DVD/Book box set. Mastered for Half-speed and cut by Miles Showell at Abbey Road and made into a double album running at 45rpm. The original artwork has been presented in a new 5mm wide spine sleeve, polyline inners and insert.

UK label Wisdom Teeth returns with its third long-form offering - Sculpturegardening: a new LP by Mexico City-based artist and producer, Tristan Arp. Incorporating elements of ambient, glitch, microhouse and downtempo, it’s an otherworldly record populated by knotty modular textures, blossoming floral melodies, tight pointillist rhythms and glossy acoustic instrumentation. The record was born from a process of “collaborating with machines”: using modular synthesisers to generate probabilistic melodies and rhythms, with the artist taking on the role of sculptor and curator. Throughout, the boundaries between the organic and digital are playfully blurred: we hear synthesisers played by guitars; emotive and distinctly human melodies generated by modular circuits; digital percussion drummed by hand; and live cello processed with a digital finish. The results sometimes recall Roman Flügel at his most colourful, or Benge’s meandering synth workouts, and even at times echo the dubbed-out cello experiments of Arthur Russell.But really sculpturegardening occupies a sonic world of its own, born from a unique web of happy accidents and incidental arrangements. The record’s bright colours and subtle rhythms make it a fitting follow-up to K-LONE’s 2020 LP Cape Cira and Facta’s 2021 LP Blush, and place it neatly alongside the work of label mates Duckett, Benoit B, Steevio and Iglew.
“With sculpturegardening, my concept was to approach music like gardening. I collaborated with machines inspired by the way a gardener collaborates with the earth. A gardener creates the conditions for the plants to come to life and develop on their own. In a similar way, I created a set of conditions and probabilities for the music to make itself. Who is making the music here? “A sculpture garden to me can be a really beautiful environment of balance between randomness and order––between nature and human interaction. Things that are either extremely organized or completely random tend to not resonate with us. On the other hand, something very interesting happens when a balance between the randomness and organization is struck. I invented this verb sculpturegardening to represent creating with the aim of this balance, and the with the aim of building a world in which each piece is a zone, or a sculpture in a garden.” The record will be twinned with a physical iteration - a sound installation at an exhibition curated by Tristan Arp titled Nada Se Pierde; Todo Se Transforma. The show opens on 9th October in Mexico City at Avant.dev. The physical sculpture garden will be a collaboration with Mexican sculptor Pablo Arellano. The sound installation will centre around a 4-channel audio system that gives voice to different sculptures and allows visitors to create a mix of the sounds depending on their position in the garden.

Sometimes, the best place to begin is at the end. If you really want to dig deep into Illusory Walls, the fourth album by THE WORLD IS A BEAUTIFUL PLACE & I AM NO LONGER AFRAID TO DIE, it definitely helps to do that. That's because epic closer "Fewer Afraid" -all 19 minutes, 44 seconds of it-doesn't just revisit the themes and ideas on the ten songs that precede it, but also offers a self-aware summary of the Connecticut band's entire history. It's the conclusion of all the stories within the record as well as a nod to all the lives that helped make them-little glimpses of everything that's come before, on both a micro, immediate level, and a more universal one. "That song is a higher level look at my whole life and the whole world," explains vocalist/guitarist David F. Bello, "as well as the album, our band and our discography. It places the band in the context of the rest of the world, as if we're listening to everything that came before. It touches on all the themes of the previous songs, but there are also callbacks to songs from earlier in our career. But in this song, they're the object, not the subject-I'm talking about a world in which these things happen, not talking about these things happening." Due to the coronavirus pandemic, the band-completed by Steven K. Buttery (drums and percussion), Joshua Cyr (bass/vocals) and Katie Dvorak (vocals/synth)-had nothing but time to realize the full extent of their musical and thematic aspirations. And so, four years on from lauded third album Always Foreign, they were able to make what is undoubtedly the band's most ambitious and epic record to date. Written and recorded remotely-a first for the band-Illusory Walls takes on the weight of human existence while it's buckling under the pressure of today's near-dystopian society. Personal anxieties and political struggles collide with a series of portentous, apocalyptic and dramatic tunes, resulting in some of the darkest music the band has made since forming in 2009.

Brace yourselves for a heavy dose of hi-tech futurisms from a long time Sneaker associate. Laurie Osborne has held true to his free-spirited musical demeanour since his breakthrough dubstep years, springing across tempos and styles while holding fast to a deep-rooted raver's instinct. His profound appreciation and knowledge of vast oceans of music injects his sound with a boundless, playful enthusiasm. As was evident with his 2018 LP Life In A Laser and his ALSO collaboration with Second Storey, Osborne speaks fluently in the techno and electro vernacular as much as UK soundsystem gear, channeling a sparkling, melodic energy which typified those genres at their inception. On Infinite Hieroglyphics, Osborne trips into expansive imagined vistas and fizzy furrows with a pervasive sub-bass footing.

Some people say it’s the hope that kills you, but statistically dreams are responsible for a lot more casualties. The second album from the Icelandic supergroup, not only acknowledges this but celebrates it. To dream is to slowly digest oneself from the inside.

In January 2021 the team was reunited and have since then been writing, recording and releasing a new song every last friday of each month, much like they did in 2018. Dream is Murder is the result a collection of all 12 songs on one album.

Sin Fang, Sóley and Örvar are all established performers, composers and producers in there own right, but their Team Dreams project is so much more than a sum of it’s parts. Even though each of their individual fingerprints can be found all over the album, the result has a distinctive sound of it’s own.

The first three songs on the album display the diverse nature of the project, Imaginary Love is a catchy pop tune, Calling for Your Touch a sprawling cinematic ballad with hints of both Top Gun and Twin Peaks, then there is Shame a gut wrenching tragedy of being born into decay. Where the Maps Run was specially recorded for Amnesty Inter-national in Iceland and given as a part of Amnesty’s 60 year anniversary.

Artwork for each of the songs was conjured up by the one and only Ingibjörg Birgisdóttir and is as much a part of the whole as the music. Each song was accompanied by a res-in sculpture with leftovers from dreams and daily life cast and preserved in with in it. The music takes up three sides of the 2xLP and the fourth and final side holds an exquisite etching by Ingibjörg, depicting the artifacts within.

‘Zola’ (Original Motion Picture Soundtrack), featuring
incredible original score by Mica Levi (‘Monos’, ‘Under
The Skin’, ‘Jackie’) intertwined with dialogue from the
Janicza Bravo film.
 Pressed on white vinyl, the soundtrack comes housed
in a deluxe spined sleeve featuring original cover
artwork by Kezia Harrell, with the records themselves
housed in a double sided printed inner sleeve.
Includes digital download card.
 Mica Levi is a musician and composer born in
Guildford and living in South East London. They are
currently a member of the groups CURL, Good Sad
Happy Bad and Tirzah.
 From acclaimed writer / director Janicza Bravo, Zola’s
stranger-than-fiction saga, which she first told in a
now-iconic series of viral, uproarious tweets, comes to
dazzling cinematic life. Zola (newcomer Taylour
Paige), a Detroit waitress, strikes up a new friendship
with a customer, Stefani (Riley Keough), who seduces
her to join a weekend partying in Florida. What at first
seems like a glamorous trip full of ‘hoeism’ rapidly
transforms into a 48-hour journey involving a nameless
pimp, an idiot boyfriend, some shady guys in Tampa,
and other unexpected adventures in this wild, see-it-tobelieve-it tale.

No Bragging Rights are releasing a brand new self titled album. As a band we still felt we had more to say. Life took us all in different directions which made writing difficult. Anthony (Tron) joining the band was the spark and the resource we needed to start writing. Daniel would drive 2hrs to Tron’s studio in Tacoma to write and send the demo’d ideas. I was in my last year of undergrad so I would write lyrics/melodies over my Thanksgiving and Christmas breaks. We hit the studio in January which was the first time Martin had seen Daniel or Tron since our last show in 2016. We feel that we were able to bring new elements to our sound without sacrificing our identity as a band.

BBE Music is excited to present the long awaited, eponymous debut album from the USA/UK partnership of JTronius and Maverick Quest, aka Sons of the Sun. Delivered remotely following a chance meeting on music-tech networking app ‘Brapp’, the ingenious pair sent files back and forth between Texas and South East London to manifest their shared vision for ‘Sons of the Sun’. Remarkably, the duo are still yet to meet in person. A respected solo artist knighted by Bootsy Collins as an official ‘funkateer,’ Berklee College graduate JTronius is an extravagant entertainer, entrepreneur and lifestyle brand. Self-dubbed The Guvna of the Galaxy, he brings his swaggy, soulful style to all his endeavours. He has shared stages with LL Cool J, The Roots, Talib Kweli, Pharrell, Busta Rhymes and Damian Marley and is an accomplished actor, appearing in a number of successful Hollywood feature films. Genre-blending record producer and multi-instrumentalist Maverick Quest grew up immersed in the aesthetic of hip hop. But in an environment where flipping loops from vinyl was standard, developing his musicianship to create his own sounds was radical, a move that paved the way for his signature sonic. He has previously performed with and produced for Guru, Grandmaster Flash, Ice T, Ibibio Sound Machine, Solo Rosa and Portico Quartet to name but a few, and is firmly rooted in the epicentre of the burgeoning South East London jazz movement. Sons of the Sun’s debut long player features a host of luminary guests and musicians from all over the globe, including guitarist Dai Miyazaki (Bilal, Ms. Lauryn Hill, Tye Tribbett), keyboard player and vocalist Matt Cusson (Christina Aguilera, Brian McKnight), singer Ayesha Brooks (The Voice, Season 6), saxophonist & flautist Jelani M. Brooks (Ghost Note, RC & The Gritz, Erykah Badu), Boston rapper Madame Cruz and Scottish horn collective The Brasscats, among many others. Mixed by Grammy-nominated Clinton “Ubiquity” McCreery and mastered at Grammy-awarded studio The Carvery, this album inks an impressive first chapter in the story of Sons of the Sun.

Tape

Tony Rolando's debut release Old Cool Echoes is the kind of tape you flip over and play again and again. His second release, an LP for Important titled Breakin' Is A Memory, will be available in early 2022. A CD titled Shared System will follow.

Imagine if you wished away your surroundings and found yourself in a synthetic landscape where the simplest three color pattern animated an entire horizon. If you could suppress your memory enough to experience the new beauty of it, but not so much that you lost the pieces of yourself that make life worth living, this could be your soundtrack.

For more than a decade, Tony Rolando has composed electricity into musical instruments at Make Noise. When he collaborated with Alessandro Cortini in 2019 to create the Strega instrument, the experience rekindled Tony's love of composing and recording music. On "Old Cool Echoes," Tony follows mutating patterns and slow timbral gradients, allowing them to suggest composition as much as he does, occasionally exploring digital media catacombs and dabbling in the microtonal, all with minimal percussion interruption.