Cerca:light up

Fang Island's second and last record, long out of print and back in stock as gray splatter coloured vinyl in gatefold jacket LP via Joyful Noise, defined the sound of danc-y/math-y indie rock of the early 2010s alongside contemporaries Lightning Bolt, Titus Andronicus, and Japandroids. Fang Island described their music as the sound of "everyone high fiving everyone." No matter where they went, Fang Island's up-with-people approach made them a subversive art project by default. At a time when the belligerent noise-rock of Lightning Bolt and The Body defined Providence, Fang Island played major-key guitar harmonies and flashy tapping riffs. When people tried to call them "math-rock," they thought of themselves as "recess rock." Two years after Fang Island released what they expected to be their first and only album, Major became the "highly anticipated sophomore LP." The songs were bigger, shinier and hookier, forged under the pressure that comes with being a band rather than a couple of weekend warriors - label pressures, grueling tours and the frequent personnel changes that ultimately brought the band to their amicable end. Fang Island began with the crackle fireworks and, as the band heard fireworks going off in the distance as they played in Barcelona, they took it as a supernatural sign that this show would be the perfect bookend to their career. "We were getting older, we were in serious relationships, we were getting tired, and that just felt like the right way to end it."

Music To Varnish Owls By. Does Geoff Bastow have a claim for the best album title of all time? It's certainly up there. It's also one of the hardest to find library funk records. But don't let the eye-catching name fool you into thinking this isn't serious business.

As a key member of Giorgio Moroder's team, the legendary Geoff Bastow shouldn't need any introduction. You'll be familiar with his singular brilliance as the brains behind the much-sampled boogie/disco classics "You Don't Like My Music (Hupendi Muziki Wangu?!)" and "Don't Stop", released by his group, K.I.D.

But 1975's Music To Varnish Owls By is where it all began for our hero.

It's packed with incredibly soulful, soothing music that - despite being utilised a few times by Knxwledge - remains still largely un-mined. So, beat-makers, get cracking. And instead of that hyper-rare original, spend that £300 on something else.

Born in 1949, Bastow was a Munich-based English songwriter and record producer. Originally working as a guitarist and pianist in dance bands around his home county of Yorkshire, he moved to London in the early 1970s and then Munich in around 1976. He was one of the main architects of the Munich disco sound of electronic innovator Giorgio Moroder and also released heaps of killer library records for legendary labels like Bruton (with brother Trevor), Impress, JW Music Library and the Munich-based Sonoton between the 1970s-2000s. Bastow died tragically young, in Berlin, Germany on 16 March 2007, at the age of just 57. But he left behind a truly incredible electronic music legacy. He deserves to be much better known and this reissue should bring him to a fair few more ears. Let's see why...

Light-hearted opener "The Rough With The Smooth" contains a killer open drum break and is basically guitar-drenched flute-laced piano-funk. However, the first genuine highlight, "Beautiful People", is just majestic. Reflective, pastoral and silky smooth - as the title suggests, it's just straight beautiful; a chiming, deeply soulful instrumental that has to be heard to be believed. Sampled by Knxwledge but nobody else of note, which is crazy. Slo-mo soul beat "Tumbleweed" is another stone cold track just desperate to be laced by a skilled MC. Laconic, lysergic funk with nostalgic overtones, the guitar is prominent but the flute and glock really elevate it to perfection.

"Bits And Bats" is clav-enhanced Blaxploitation-esque street-funk with tough bass and crunchy drums that, despite its hardness, manages to flirt with breeziness. All in all, sumptuous, pounding wah-wah brilliance. Another huge one, up next. The insistent piano-funk head-nodder "A Change Of Pace" is a total sleuth-funk jammer, with a wonderfully soft snare and more hypnotic, melancholic flute lines. Man, we'd love to hear Alchemist chop this up. It even sounds a bit like Bastow was keeping things thoro with this one. Closing out Side A, the bright and breezy Bossa of "Janelle" makes it a perfect run of six untouchable gems. As elegant as it is sleazy, it sounds like it could've been on the classic KPM greensleeve, Piano Viberations.

Side B opens with the Ramsey Lewis-inspired "Time And A Half", a deceptively simple bass, drums and piano workout, decorated with stylish percussion with some great chord changes and hints of drama via a great bass solo. The heavy "Supersplash" is a doped-out drama suite with fuzzy wah-wah guitars, electric piano and glock. "Fillet Of Soul" is a catchy wah-wah propelled shuffle with piano and vibes, super dynamic but also incredibly chill.

"Well Above Average" is exactly that, a funky instrumental that serves as a straight ahead guitar-soul workout. Oozing bass-driven class, it gets better with every listen. Some open drums for your delectation, too. The fuzzy clav-and-vibes funk of "The Clan" - also understandably sampled by Knxwledge - is a monster head-nod slow jam whilst, seeing us out, the uber-relaxed "Sing Song" rounds things off in bright fashion with its slow but insistent clav, electric piano and glock greatness. Swoon.

As ever, the audio for Music To Varnish Owls By has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Steven Wilson is no stranger to composing music that appears to counter everything else before it in his catalogue. Bass Communion, his long running solo electronic project, is no exception to this perverse streak that apparently likes to turn all expectations upside down. The Itself of Itself, Bass Communion's first album for 12 years, skilfully pays testament to this. Long established as a purveyor of mostly atmospheric or ambient textures, the seven cuts that represent The Itself of Itself take detours from this approach in order draw as much from musique concrete, noise music, abstract electronics and uneasy listening. Whilst still rippled with the same shades of light and dark that can be found throughout all of Bass Communion's work, The Itself of Itself reveals a fascination with analogue sounds and, more importantly perhaps, 'unwanted' analogue artefacts like tape hiss, wow and flutter, static noise, and sonic break-up, taking the music into a space at once different yet familiar. 'Apparition 3' presents a stark nod to Wilson's established command of shifting textures steeped in penumbral gauze, while 'Bruise' is akin to a space probe adrift and headed towards a white dwarf as all communication is reduced to a disturbing and indecipherable crackle. Between the other five cuts we witness fragmented, garbled and buried voices, vast vacillating banks of grainy hum, what sounds like the dying gasps of an oboe, spooky swirls from an indiscernible source, swathes of tape hiss, moody drones, and spiralling slivers of noise. Meanwhile on the title track, a mellotron flute rusts and collapses in on itself in a way that renders it the very antithesis of the one deployed on 'Strawberry Fields Forever'. Everything adds up to a dynamic listening experience where unease, dread and comparatively claustrophobic torrents of sound make (un)natural bedfellows to moments of enchantment and serenity. Above all, The Itself of Itself sees Steven Wilson cutting his teeth on an album that's at once cinematic and moody whilst proving him to be a master in electronic music craftsmanship. It's an album that might surprise some of those who have thus far been paying attention to his work as Bass Communion, but setting out to please everyone was never part of his raison d'etre. The Itself of Itself catches Bass Communion spreading its weatherbeaten wings to embrace new strategies and a strong desire to journey elsewhere. Arriving in a wonderful Carl Glover designed deluxe cover also comprising a 24pp. booklet of his photographs and an obi strip, this version of The Itself of Itself arrives in December on Lumberton Trading Company as a 2LP pressed in an initial run of 1000 copies.

All the music in the world is at your fingertips, and it's up to you to set the vibe_ So, what should we listen to? If you're having trouble deciding, turn on the radio. It's the perfect place to discover something new, or jam along to a tried-and-true station that'll never let you down.Tune In is due out 11/1/2024 via Chiefdom Records. The second of three installments in the Terrestrial Radio series, it's a carefully curated collection of instrumental fusion, designed to serve as the perfect radio mix for fans of jazz, hip hop, funk, soul, reggae and beyond. It's the latest release from Cincinnati based executive producer Doctor Bionic (Jason Grimez). As a DJ, producer, and former member of 90s rap group MOOD, Grimez' musical career revolves around hip hop. He's always preferred to sample songs from the late 60s and early 70s because of the authentic tone. "Growing up collecting and sampling records was an education, whether we realized it or not," he explained. Grimez records and produces music using analog gear to emulate the instrumentals that he's always loved as he works with some of the best musicians in the Cincinnati area to bring his ideas to life. Among others, Jonathan Luck Spaulding and Josh "Mojo" Cole made several appearances on guitar throughout the record. Every Doctor Bionic release is accompanied by a unique, thought-provoking album cover. For Tune In, Grimez worked with Refael Idan Suissa, a painter and digital artist based in Israel.Next time you're looking for some new instrumental tunes to set the tone, you can count on the growing catalog from Doctor Bionic. Tune In is available everywhere on 11/1/24.

FIVE LIVE YARDBIRDS is the debut album by British blues-rock band The Yardbirds. It features ten American rhythm and blues songs reimagined in, what would become, The Yardbirds’ “rave-up” signature. The “rave-up” treatment was the art of stretching a song with instrumental interludes building to a climax and was pioneered by the band for their live shows.

The album was recorded at the Marque Club on Wardour Street, London in March 1964 and released in the UK in December that year. It was the inspiration of the bands manager Giorgio Gomelsky who wanted to capture and preserve their youthful energy and the electric atmosphere.

At the time of release, it was not well received critically and failed to chart. Subsequently it is acclaimed as the most important live album of the Sixties during the British rock boom. Aerosmith’s founding guitarist Joe Perry describes their version of Chuck Berry’s ‘Too Much Monkey Business’ as a blueprint for much of what Aerosmith tried to do.

Pacific Rhythm returns with a heady new offering entitled the “Deep Hows EP" from NYC based Producer and DJ, Arsenii under his Bliss Street Queens moniker. The EP effortlessly trips through the cosmic and psychedelic sounds of the hazy and hopeful 1990's in a refreshing and modern style, all while shining a light on Arsenii’s undeniable ear for rhythm, energy, and feeling on the dance floor.

This one can carry you from the chill-out room to the main stage and is an essential pick-up for all of the Interesting Audio enthusiasts out there looking for machine funk of the highest caliber!

New single with echoes of Slowdive, Lush and the Cocteau Twins. Limited edition 7-inch on Precious Recordings of London comes with free badge – plus an exclusive B-side. Download card also included – with a bonus 'Popkiss version' of the title track.

Blueboy continue their extraordinary re-emergence after 20 years of separation with a magnificent new single that hits you in the solar plexus and then forces you to sing along.

At various times, their guitar-led sound has been described as having echoes of bands like The Smiths, Slowdive, Lush and The Cocteau Twins.

Darkness, light and shade, melancholy and euphoria, sadness and joy are Blueboy's natural territory; in ‘Deux’, an anthemic chorus is juxtaposed with quietly spoken verses, mood and emotion driven by
ever-present guitar.

The thread of you, through everything, pulls me upwards … Could it be I'm not one; we are deux?



Blueboy first got together in the early 1990s and went on to build a global following, touring Europe and Japan and featuring regularly in the UK independent charts with a series of acclaimed singles and well

regarded albums.



Having reformed in 2024, founder member Paul Stewart was joined by Gemma Malley (now on vocals) to play in London, Cologne and Paris; their comeback single ‘One’ was launched at a triumphant full

band show in London where drummer Martin Rose and bassist Mark Cousens rejoined the team from the 1990s line-up.



Later this month, Blueboy will play to 45,000 people at the Joyland Festival in Jakarta along with Bombay Bicycle Club, St Vincent and Air

Denovali presents the new album of the prestigious Swedish pianist and composer Matti Bye. Matti is well-known for his regular performances at various silent film festivals and screenings worldwide, where you can see him perform solo and with artists such as Lau Nau. Bye has been involved in several collaborations, including Hydras Dream, where he recorded and released an album with Anna von Hausswolff. Additionally, Matti is recognized for his scores in projects like ”Young Royals," ”Tove," „The Hundred-Year-Old Man Who Climbed Out of the Window and Disappeared,“ and "A Traves de tu Mirada” among many others.

Matti Bye's third album, "Capri Clouds", moves through the element of the air and further into space. A lone piano sounds, echoes - sometimes like a waltz. We have the sound of the wind with us and the sound of the sea below us as we fly, and above we hear the stars and planets spinning. A piano from the past, as if Satie met space - as if Spiritualized and Satie talked to each other across timeand space.These songs go straight to the heart and to the senses, and create images in your head. Stories from your own memory bank, as well as new visions – music to lean into, meditatively and hopefully longing. But there is also an undertone of something dark and desolate. Musically, Matti Bye moves within the realm of neo-classicism, but he is also approaching romanticism. References to composers suchas Schubert and Beethoven are to be found here, as well as to post-romantic bands such as Kraftwerk and The Cure. In this third album of a trilogy – the first was "Bethanien", the second "The Forgotten Land" – Bye continues his musical journey. Here we encounter a brighter and lighter production. Anders af Klintberg has brought "Capri Clouds" up from the underworld and the dreamscape, towards clouds and skies.

In the fall of 2022, celebrated UK chill-out institution Seahawks landed in Los Angeles for the first time in their 15-year history, with plans to record a sweeping new age downtempo "exploration of visionary California."

Instead, they immediately fell ill with flu (Fowler collapsed next to a taco truck; 911 was called), and were bedridden for the better part of a week. Upon recovering, they resituated at the synthesizer sanctuary of Brian Foote (Peak Oil, Kranky, Leech), channeling their post-sickness psychedelia into one of the band's lushest and most elevated creations to date: Time Enough For Love. Inspired by the "groove and mood" of Harry Nilsson demos, as well as its wider 70's wavelength - Rhodes, Wurlitzer, wood paneling - Seahawks transposed their classic post-rave ambient exotica onto a warm and woozy Golden State palette. Buoyed by the liquid touch of English maestro Kenny Dickenson on keys, the results rank high among the duo's smoothest and most multi-sensory voyages. "Sail Across The Moon" delivers on its title, a simmering, phaser-smeared cruise through the beauty of the night. "Messengers" echoes the cosmic lounge of Air's Moon Safari, shuffling, weightless, and ethereal, while "Falling Deep" reaches for the stars, pure cascading bliss, the ecstatic moment writ large.

The album skews steadily more astral as it progresses, drifting towards jazzy, galactic outer reaches. "Like A Grain Of Sand" opens with a spoken sample by the celebrated late American poet Rachel Sherwood ("The children watch, breathless / with the birds / They feel an emanation / from this shuddering place"), before taking flight on a Balearic trip through island house, PM Dawn gold dust, upright bass meditation, and kaleidoscopic light. A remix of the title track by Chicago trio Purelink closes the record in a suitably subdued and skittery state of mind. Time Enough For Love radiates color, complexity, and positivity, infused by the "life enhancing" nature of the band's time in Los Angeles - sunsets, sound systems, and sativa, framed by coastlines and cloudbanks, the city's mystic sprawl glittering beneath purple dusk.

In addition to the unique musical proposals and the large body of work that they have developed separately, Amelia Cuni and Werner Durand have been performing together as a duo as well as in collaborations (Tonaliens, Born of Six) for more than 20 years. Fusing her Indian Raga singing in the Dhrupad style with his minimalist and experimental approach, they have expanded the reach of their soundworlds as well as proposed new paths for contemporary music.In this occasion, Uli Hohmann joins them in a range of hand drums from the Middle East and North Africa, plus a dulcimer-sounding hammered guitar. Durand's various self-made wind instruments, soprano sax, and blown kalimba shine along with Cuni's astounding vocals, which are sometimes sung through a mirliton (a medieval type of kazoo). Clearing is the trio's first published recording.

Seconds of Thirst, recorded in one session at Uli´s studio in Bavaria in early 2014, is truly a conjuring where distinctive balances come to gather. A deep drone unfolds patiently in a hypnotic manner, comprised by Werner's characteristic PVC clarinets, a hammered guitar played by Hohmann, and subtle electronic tones. Above all, Amelia's singing voice, filtered through the mirliton, drifts buzzing along the gradually shifting harmonic waves, meandering through serpentine melodic lines and microtonality.

In the middle pieces, vocals turn into an ethereal multi-layered chorus, an exotic and astonishing instrument pulsing delicate and vaporously, like a gliding silk sail without a mast to bind it. Misty ambiances linger on as the soft atmosphere disperses the weight of undelivered syllables. Just intonation aligns the pan-ney's winds with vocal navigation. Foe to scattering, hurry, and affectation, Clearing's pace has lifted a fog translucent enough to reveal treetops calmly appearing, efficiently condensing damp into definite drops that fall drumming, forecasting what's yonder.

With a condensing sound going from Buddhist morning chants down to Indian festive traditional music, the title track, which closes the album, is the most vibrant of all, permeating a bit of commotion through buzzing drones and galloping percussion. Without disorder, yet without measure. Clearing is therefore this shuttle into the distance, this space that weaves, unites, and tenses the different cords that we are made up of.

When the clouds advance silently, gray, until they become dark in a few minutes, it means that the monsoon is coming. It reaches us without apparent noise, but then resounds in its images, leaving behind lightness, freshness, clarity, and a tremendous luminosity that comes from so far away: from the Himalayas, from so ancient, from Sanskrit, from a sound where the darkness and the divine, where the concrete and the landscape, where the rock and the humidity leave a mark that brings together and ties a sky loaded with new clouds.

Kevin de Vries teams up with label newcomers Y do I on this three-track excursion. Label mainstay Kevin de Vries joins forces with breakthrough act Y do I on the Saga EP. Across all three cuts they combine emotionally-charged moments with pulsating basslines and high energy. Tapping into the juxtaposition of light and dark, the EP exemplifies the Afterlife sound, cultivating human connection through rhythm, emotion and vibration.

Mark Barrott’s 2024 album, 'Everything Changes, Nothing Ends', is a profound and deeply personal exploration of life, love, and loss. Released on Anjunadeep Reflections, this album is a follow-up to his critically acclaimed 2023 release, Jōhatsu (蒸発). Unlike his previous works, this album chronicles a more intimate and emotional journey, reflecting the life Mark had with his late wife, and the harrowing experience of her illness and eventual passing. It stands as both a tribute to her memory and a reflection on the profound impact she had on his life and music. Mark has been a constant innovator throughout his nearly four-decade-long career. He’s best known to some as Future Loop Foundation, the alias under which he created ambient drum and bass in the mid-90s. Others know him for his ‘Sketches From an Island’ series, released under his own name, which played a significant role in the revival of the Balearic music scene. He’s also the founder of International Feel, a label that was instrumental in the bespoke vinyl movement of the 2010s and played a role in bringing DJ Harvey back into the spotlight. Barrott’s work has always pushed the boundaries of genre, and 'Everything Changes, Nothing Ends' is no exception. However, this album is perhaps his most personal and emotionally charged work to date. The album’s creation was born out of tragedy. Barrott began writing music for the album during the eleven weeks of his wife’s illness, using it as a form of therapy to cope with the overwhelming grief and loneliness that followed her passing on January 25, 2023. “I actually started writing music most nights throughout this process—it was therapy to mitigate the loneliness of coming back to a cold, dark winter home after spending the day with her at the hospital,” Barrott explains. What began as a way to process his emotions evolved into a project that would ultimately become 'Everything Changes, Nothing Ends'. The album traverses genres, blending orchestral, ambient, and jazz elements to create a rich and varied soundscape. Each track on the album serves as an audio diary, capturing specific moments from the eleven weeks of his wife’s illness. The music oscillates between intense emotional peaks and more soothing, delicate moods, reflecting the rollercoaster of emotions that come with facing such a profound loss. Ultimately, this album is about acceptance and gratitude for what was, not grief for what could have been. It addresses the fundamental issue that confronts all human beings: life and death. ‘Everything Changes, Nothing Ends’ is out on 29th November on Reflections.

Prairiewolf make easy listening music for an age of fracture. They almost do it in spite of themselves. No one can seriously question the head music bona fides of the members of this Colorado-based trio.

Guitarist Stefan Beck has already assembled a formidable discography of jewel-toned guitar zone-outs under his Golden Brown moniker. And keyboardist and guitarist Jeremy Erwin and bassist Tyler Wilcox have both made their reputations as chroniclers of the vast world of out-music. Erwin helms the indispensable Heat Warps blog, a performance-by-performance archive of Miles Davis’s labyrinthine electric period. And Wilcox has been covering the ragged edges of psychedelia and experimental rock at Aquarium Drunkard and other publications, not to mention his own virtual basement for heads, the great bootleg blog Doom and Gloom from the Tomb.

These guys come by it honestly. And yet, given their backgrounds, Prairiewolf’s self-titled debut last spring was remarkably free of face-melters, brown acid blowouts, and ascendant spiritual jazz odysseys. Instead, they dropped a record of beautiful, elegant, low-key cosmic groovers that sounded like the piped-in background music to a resort hotel on Jupiter. It was an unlikely psychedelia, brocaded with mid-twentieth century sonic threading from the hi-fi era: vintage synthesizers, smears of spaghetti western, luxe tropical details, the faint schmaltz of space age pop. Imagine something like a Harmonia residency in the airport lounge. And yet somehow it all worked brilliantly. Prairiewolf became last summer’s cool-down standard. After a year woodshedding around Colorado’s Front Range region, the Prairiewolf boys have fired up their trusty Korg SR-120 drum machine for another outstanding collection of suborbital exotica. The appropriately titled Deep Time operates in its own chronology, unspooling at its unhurried pace. All its incongruous period and stylistic references—the new age pulses, Hawaiian steel, shaggy hippie rambles, lysergic guitar spirals, and orchestral synthesizer flourishes—float atop the album’s own singular temporality. Deep Time makes its own time.

From the moment Beck folds his slide guitar, origami-like, into a sound resembling the call of gulls on the tranquil album opener, “Peach Blossom Paradise,” there is a sense of departure from everyday life. The shimmering “Lighthouse” has a similar sunbaked nonchalance, like an afternoon passed day-drinking in a seaside bar. That they named their lush, kaleidoscopic downtempo track “The Meander” pretty much says it all. The ranging, propulsive “Saying Yes to Everything” seems like a nod in the direction of Rose City Band’s brand of wookie krautrock. And the motorik noir of “Demon Cicadas in the Night” also goes hard. Beck and Erwin’s intertwined guitar jam on the eerie album standout “The Cold Curve” evolves into something that sounds like primitive computer music. A genteel bassline from Wilcox on another album highlight, “Revisionist Mystery,” sets the stage for a loopy space jazz turn from guest clarinettist Matt Loewen of Rayonism. The title of post-rock cowboy tune “Another Tomorrow” might refer to the alternative future that so many critics heard in the music of Prairiewolf’s first album. Or it might simply refer to the persistence of time, however deep. Either way,

I’m thankful for the way Prairiewolf make each of their tunes a little oasis or sanctuary, each subsisting according to its own crystalline little logic for a few minutes. It is no simple task to filter out the omnipresent anger and anxiety of everyday life these days. But Prairiewolf are out here making it seem easy.

Brent S. Sirota

RSD 2024

First time ever release on vinyl format. 180 GRAM BLACK VINYL. After The Sabres of Paradise split in 1995 Andrew Weatherall underwent one of many reinventions. He began working with Keith Tenniswood as Two Lone Swordsmen which released several records on the Warp label, set up a new electronic imprint under the Rotters Golf Club banner and fully explored new DJ personas departing from his house-based sets into dub, electronica and rockabilly. Renowned for unconventional sets where he’d raise the roof dropping an unexpected but exactly right track into the mix, he’d push the audience to new heights by introducing them to music they’d never even thought of exploring. The experiments went down especially well in Japan where he’d tour playing solo sets as well as performing alongside pioneers like Underworld, Adrian Sherwood and The Orb. In 2003 his new label, Rotters Golf Club, was approached by the Italian fashion house Emigliano Zegna to create some music to help launch their first foray into Japan. Andrew always had a keen eye for quality and agreed to provide some music. At the time it wasn’t envisaged as an album. He’d just grabbed some tracks he and Keith had been working on, polished them up and swapped them for a small advance and a large raid on their Bond Street store. He then let them get on with the release and turned his attention to the next TLS album proper. This was Double Gone Chapel where rock and psychobilly were mixed in with electronica and controversially Andrew added his own vocals. The Zegna album ‘Still My World’ was sidelined by a live band and a whole new direction. Andrew’s untimely death refocused attention on his historical recordings and ‘Still My World’, previously only released on CD in Japan, now sees the light of day in the rest of the world.

"Waxwork Records is honored to present the release of the Original Motion Picture Soundtrack to George A. Romero’s horror classic, NIGHT OF THE LIVING DEAD. Written, filmed, and released in 1968 by a rag tag group of Pittsburgh based misfits, NIGHT OF THE LIVING DEAD is an American independent horror film that follows the story of seven people trapped in a rural farmhouse that is besieged by a large and growing group of living dead ghouls. The film is regarded as a cult classic by critics, film scholars, and fans and has garnered critical acclaim. The film has been selected by the Library Of Congress for preservation in the National Film Registry and is deemed “culturally, historically, and aesthetically significant”.

Filmed and released on a shoestring budget, NIGHT OF THE LIVING DEAD became a smashing success earning over 250 times its budget. The film is a first of its kind and ushered in a new way of writing, directing, and filming horror films. The overused script of romantic, fantastical tales of otherworldly monsters and creatures was completely flipped and tossed aside by visionary George A. Romero. As the film’s writer and director, Romero created a new, obvious threat, and one that is universally recognizable - Our very own neighbors. Due to an unseen force beyond man’s control, the recently deceased arise from the dead in seek of living human victims. These ghouls kill and feast upon the flesh of their victims, and the only way of stopping them is by destroying their brains.

From 2015 to 2018, Waxwork Records worked closely with the remaining members of the independent production company that made NIGHT OF THE LIVING DEAD, Image Ten, to produce a definitive soundtrack album featuring all music from the film. Much of the film’s music was thought to be lost or destroyed but was located in its entirety and faithfully restored and re-mastered for vinyl. This special release of NIGHT OF THE LIVING DEAD features the complete soundtrack, double LP “Black & White Hand Poured” colored vinyl, all new artwork by Robert Sammelin, a booklet featuring never before seen production photos, liner notes by Daniel Kraus (co-author of THE SHAPE OF WATER with Guillermo Del Toro), liner notes by Night Of The Living Dead’s dialogue recorder and sound engineer, Gary Streiner, and deluxe packaging."

For release number 051, Dame-Music welcomes E-bony to the label for the first time, with a full EP showcasing his fresh take on the electro sound.
Naor Dayan, also known as E-bony, DJ and Producer, began his music production journey in 2017. His musical style seamlessly blends elements of Techno & Electro, navigating through shades of darkness, light, and funky grooves, captivating listeners along the way.
E-bony’s Machine Code EP is made up of 4 tracks, including three originals and a powerful remix of "System Error" by infamous French producer The Hacker.
Get ready for these bangers!

With over 30 years of studio experience under his belt, pivotal British techno producer Kirk Degiorgio once again lands on De:tuned with the mesmerizing eight-track album Requiem. The trademark As One sonic signature shines through and beautifully expands with a more melodic touch as Catherine Siofra Prendergast joins the As One line-up. Nourishing your body and soul, the progressed As One soundscapes result in a coherent production of the highest order. Stay tuned!

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops. Stay tuned!

With over 30 years of studio experience under his belt, pivotal British techno producer Kirk Degiorgio once again lands on De:tuned with the mesmerizing eight-track album Requiem. The trademark As One sonic signature shines through and beautifully expands with a more melodic touch as Catherine Siofra Prendergast joins the As One line-up. Nourishing your body and soul, the progressed As One soundscapes result in a coherent production of the highest order. Stay tuned!

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops. Stay tuned!

Jabu return with ‘A Soft and Gatherable Star’, an LP that sees the Bristol-based trio evolve from a uniquely spectral take on trip hop to proffer a singular vision between cloudy, downered dream-pop, off-kilter ambient, and the warm, low-end throb of sound system culture. This development is aligned with contemporaries like HTRK, Dean Blunt, Tarquin Manek, YL Hooi and Rat Heart Ensemble, whilst also harkening back to the likes of AR Kane (with whom they are set to play shows and release a collaborative single), the languorous drift of 'Victorialand' era Cocteau Twins or The Cure circa ‘Disintegration’. Comprising Jasmine Butt (vocals, guitar), Alex Rendall (vocals, keys) and Amos Childs (production, bass guitar), the trio’s method may have shifted but the feel remains consistent - slow, spatial, sensuous and gently melancholic. With a career arc unlike almost any other current guitar outfit, Jabu sit within a strong lineage of off-centre Bristolian music, and a very British strain of home-spun DIY bands. Self-recorded between Jas and Amos’ home in South Bristol and Amos’ mum’s house in rural North Somerset, the album came together via a process of trial and error - learning to play on borrowed instruments, using the equipment “wrong”, staying up late recording and slipping into strange, semi-conscious sleep deprived/inebriated headspaces. Having captured over 50 tracks, they honed in on those they liked most, shaping them further, whilst carving out space to allow input from people they love and admire - Daniela Dyson’s voice and Will Memotone's clarinet on ‘Ashes Over Shute Shelve’, Birthmark's synth on ‘Gently Fade’ and ‘Sea Mills’, Rakhi Singh (Manchester Collective) and Sebastian Gainsborough (Vessel)’s strings and arrangements on ‘All Night’, Josh Horsley’s cello on ‘If I Asked You, You'd Tell Me’, and Lorenzo Prati’s sax, again on ‘Sea Mills’. The album was mastered by Amir Shoat (HTRK, ML Buch, Dean Blunt, Carla Dal Forno). Influence-wise, the guitar-based material recalls the bands Amos listened to when younger, and Jas’ more folk-leaning inspirations. Deep-lying dub, hip hop and soul influences are also evident in both the way the LP was mixed, and the space ingrained in their subconscious. Tinged with melancholy, the songs cohere as a set of soliloquies and ruminations on love and tenderness. The album’s title comes from a poem by Amos’ late father which hangs on his wall and seeped into the record. ‘Ashes Over Shute Shelve’ is formed of lines from another poem of his. Recited by longtime collaborator Daniela Dyson and with Will Yates (Memotone) playing his mother’s clarinet, the track was imagined as a conversation between his parents. Geography and location also play a big part in the record, with several significant places name-checked in songs. Shute Shelve itself is a hill near Amos’ mum’s house, who explains “There’s a tree at the top with a 360° view of the Mendips, where my dad’s ashes were scattered. We used to go up there when we could first buy booze from the petrol station down the road, get drunk, light a fire, listen to music from my little battery powered CD player and sleep out without tents.” Titled after a Bristol suburb near where Amos’ grandparents lived and where Jas would spend time as a teenager, ‘Sea Mills’ references her being abandoned by friends on the Downs while high on mushrooms, stranded and missing the bus back. ‘Kosiše Flower’ references the city in Slovakia where Amos and Jas holidayed shortly after getting together and a flower he gave her, which she pressed in a book after an argument. ‘Oceanside Spider House’ is a location in Nintendo 64 game The Legend of Zelda: Majora’s Mask, where someone seeks shelter from the falling moon. Genre: Electronic / Ambient / Dream-pop

"We’ve taken a selection of the most in-demand and asked-for titles in our Brazil 45’s catalogue and given them a loving repress. Marking the third release in our now signature series, we shone the light on two sought-after tracks from Noriel Vilela and Juca Chaves.

On the A side, originally released in 1971 on Copacabana Records, Noriel Vilela's 1971 cover of Tennessee Ernice Ford's '16 Tons'. Ford’s 1955 original was a classic American pop-country-folk song, that Noriel masterfully flipped it into a low-slung, deeply toned samba groover.

On the B side Juca Chaves classic 'Take Me Back To Piaui' was released on 7"" by RGE In 1970 and features on his album 'Muito Vivo' from 1972. Sublime orchestration, velvety vocals and the instantly uplifting cuica tones, make this a must-have Brazilian cut. Chaves was an active critic of the Brazilian military dictatorship, and like Veloso and Gil, was exiled in the early 1970s, to Portugal and later Italy."