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With "Morir en otra habitación", Wild Honey delivers a wonderful record full of emotion and warmth. Beautiful pop music that travels through an intimate moment with an unusual and touching naturalness.

It has been just over three years since Guillermo Farré, the singer and multi-instrumentalist behind Wild Honey, released "Ruinas futuras" (2021). Hailed as one of the best albums of that year, that record reflected his recent fatherhood and the exceptional circumstances of the first stage of the pandemic. Now, his new songs are the echo of a difficult and convulsive time after the death of his father.

The result is a mini-album of five songs that swing between fragility, the unexpected and the everyday. It is a snapshot that captures, as Guillermo describes in one of his lyrics, "slow motion avalanches". These are pieces charged with great emotional intensity but also full of light, driven by the expansion and openness of their exquisite arrangements.

"When I try to remember when something happened, I always think of historical events or personal milestones like moving houses, the birth of my children or the records I've made over the years. Recording an album is sort of like taking a photograph of a particular life moment and I've got used to records helping me sort out the time in my head."

"Morir en otra habitación" is the deliberate effort to document the strange and surprising feelings of that period, knowing that over the years these songs will be the easiest way to remember those months. A feverish exercise of describing in songs that journey of extremes where making breakfast for my children, explaining to them what a person's ashes are or playing the game of making a wish upon seeing a shooting star all come together."

In its vinyl edition, the album will include instrumental versions that, without the presence of Guillermo's voice, are close to the soundtracks he has recorded in recent years for film and TV.

Although Wild Honey is a project with a marked personal character, "Morir en otra habitación" has the support of collaborators close to Guillermo. Co-produced with Remate, the album includes contributions from Clara Viñals (Renaldo & Clara), Anna María Biffi, Javier Lorente and José María Rubio. In addition, Sean O'Hagan (The High Llamas) is responsible for the exquisite string arrangements, which recall Scott Walker, Belle & Sebastian or the most delicate Colin Blunstone, and Ali Chant (Aldous Harding, M. Ward, Katy J Pearson) has been in charge of the mixing.

Taken from the ultra-rare Japanese promo mix CD released in 2004 by madlib himself on his Mind Fusion label. Now on multi -coloured splater viny for the first time. Taking a selection of the best tracks, grooves and breaks from the legendary Mind Fusion Volume 2 mix CD here on vinyl for the first time ever are the entirety full length unmixed original versions. An amazing collection of extremely rare Jazz, Funk , Brazilian and Soul music from Madlibs eclectic and uber diverse record collection. The sleeve design is also a wonderful piece of contemporary art as first displayed on the Japanese mix CD now fully blown up to album cover size making this a must have for all rare art and music lovers.

Kannon is an album which was composed in the aftershadow of SUNN O)))’s most recent successes in immersive collaboration (the group worked with Scott Walker on Soused, Ulver on Terrestrials in 2013 and 2014) and also from the broad and influential wake of their epitimous Monolith’s & Dimensions . Kannon emerged both independently as a conceptual entity and with roots in the legacies of those projects, yet was fully realised years later, in 2015. The album is 36 minutes in length and consists of three pieces of a triadic whole : Kannon 1, 2 and 3.

The album celebrates many SUNN O))) traditions ; Kannon was recorded and mixed with SUNN O)))’s close colleague and coproducer Randall Dunn in Seattle, in Studio Litho, Aleph and Avast! ; and the LP includes performances by long term allies and collaborators Attila Csihar, Oren Ambarchi, Rex Ritter, Steve Moore and others. And at the core the composition centers around the dynamic and intense guitar and bass interplay of SUNN O)))’s founders : Stephen O’Malley & Greg Anderson.

It’s possibly the most figurative album SUNN O))) has created, which is unusual as they usually dwell in layers of abstraction and subjectivity. On the other hand the album is the most outright “metal” in years, drawing personal associations and memories of cherished albums like Panzerfaust and Twilight of the Gods again to the forefront of consciousness. At the third time it is very close to the cyclical character of mantra which the band has evolved into as a living creature, the enormity of intense sensate detail and manifestation of the live in concert face of SUNN O))), the organism that has flourished, metamorphosed and transcended tremendously over the past ten years.

The literal representation of Kannon is as an aspect of Buddha : specifically “goddess of mercy” or “Perceiving the Sounds (or Cries) of the World”. She is also sometimes commonly known as the Guanyin Bodhisattva (Chinese: 觀音菩薩) amongst a plurality of other forms. There is a rich lineage behind this idea tracing back through many asian belief systems, with as many names and cultural personifications of the idea .

SUNN O))) commissioned critical theorist Aliza Shvartz to write a text / liner notes around these ideas and topics. She also explores the relations and perceptions to their approach to these ideas via the metonym of music and SUNN O)))’s place/approach within the framework of music and metal overall.

SUNN O))) also commissioned Swiss designer/artist Angela LaFont Bollinger to create the cover artwork, an abstracted sculpture of vision of Kannon, and the French photographer Estelle Hanania to capture portraits of the core trio (Csihar, Anderson, O’Malley) in the impressive and obscurant Emanuel Vingeland mausoleum in Oslo.

The LP is packaged in immaculate tip on gatefold sleeve by our long time comrades Stoughton Printing, and pressed at Cascade in Portland, Oregon. CD, download and coloured vinyl versions are also available

Gorgeous pop covers of Taylor Swift & Loreen, from Jeff Goldblum and the voice of Haley Reinhart on brand new 7 inch die-cut vinyl product. Stunning versions of these popular tracks with a classic Jeff twist!

Simple Symmetry are back on Calypso for a second offering but this time around it's in a different format. They've enlisted remixes of tracks from their Sorry We Did Something Wrong album which first landed back in 2021 as a self-released project, which won over many fans with a sound that went way beyond the club and now gets repurposed for the dancefloor with extended and club versions. The Horsemen Of Housing & Commercial Services rework of 'Che Che' is a dark disco classic, Smaghhe & Cross rework 'Rounded With A Sleep' into something taught and trippy and INigo Vontier layers in plenty of darkness, grit and grime to his take on 'I Must Not Fear'.

"15 sizzlin’ surf guitar cuts recorded at the crest of the genre! Brothers Richard and Thomas Frost, more known for their work as Powder, shred through these surf-rockin’ standards – all tucked away until now!

Turning in a smoking rendition of studio guitarist Jan Davis’ “The Fugitive,” later covered by the Ventures (and much later, Laika & the Cosmonauts), they also lay down a hot version of “Opus Twist” – also by way of the Ventures, written by Tommy Allsup and J.I. Allison of the Crickets. Three other instrumentals came from the Let’s Hide Away & Dance Away With Freddy King album: “San-Ho-Zay,” “Just Pickin’,” and “Sen-Sa-Shun.” He delivers a lovely “Sleep Walk” sans Santo & Johnny’s steel guitar, and converts pianist Floyd Cramer’s “Last Date” to guitar.

Balancing out the program are live tracks from Big Al’s Gas House in neighboring Belmont, showing the emergence of British Invasion along with credible renditions of R&B warhorses “Linda Lu” and “Come On.” “Route 66” is obviously the Stones version, with Rich playing the Keith Richards guitar solo – “and ‘Roll Over Beethoven,’ you could tell it was the Beatles’ version because my guitar licks are George Harrison.”

Vividly illustrating the band’s meld of R&B and surf are the two versions of “San-Ho-Zay” – the relaxed groove in the bedroom versus the furious live rave. Lord knows what’s going on in “The Fight” – a typical set-opening/closing riff breaking up a brawl?

Though they never released even a 45, these live cuts and “Bedroom Tapes” prove without a doubt that they’d have been up to the task had the opportunity presented itself."

The Diggin' in the Crates Crew, commonly abbreviated as D.I.T.C., is a hip hop collective from New York City. It was founded by Diamond D and Showbiz and its name is from the art of digging for records to sample for production. The members have achieved substantial and consistent recognition in the music industry and Hip Hop circles.

They have collaborated with underground and commercial artists from around the world. All of the members are from the Bronx, with the exception of the late Big L from Harlem, and O.C. from Brooklyn. D.I.T.C., “The Official” Version is an alternative version of D.I.T.C.'s self-titled album D.I.T.C. which was not officially available on vinyl upon its initial release via Tommy Boy when it became apparent that group maintained vinyl rights of the album.

The Official Version has a different track listing with many of the songs being totally different versions than the ones appearing on the first album and also 2 tracks that weren't on D.I.T.C. at all - "All Love" and "We Known For That" (which is actually a remix of the 12" single "Internationally Known"). The album is executively produced by Show and re-released on D.I.T.C. Records with distribution by Fat Beats Distribution -20 years after its initial limited pressing.

Many of the songs appear in remixed forms that had yet to be released, some remixes and some original versions. Highlights include "Where Ya At"; the Big Pun/Milano collaboration but here, instead set over a slamming DJ Premier remix. Likewise, the "Way Of Life" features a totally different Buckwild beat, that is actually the original version of the track, that stands in stark contrast to the B-Boy anthem heard on the Tommy Boy album.

a A1. Thick Rockwilder Mix
b A2. Way Of Life Buckwild's OG Mix (Ft. additional Lord Finesse verse]
[c] A3. Get Yours [Show Remix]
[d] A4. Where Ya At [DJ Premier Remix] (w. Big Pun & Milano)
[e] A5. We Known For That (Internationally Known) [Show Remix]


[h] B1. Ebonics [DJ Premier Remix]

Featuring four of Peaceville’s current death metal artists, ‘Peace Till Death’ presents eight tracks of brutality from Autopsy, Cancer, Morta Skuld and Static Abyss.

With Autopsy’s latest masterwork ‘Ashes, Organs, Blood & Crypts’ just released to rave reviews, the legendary lords of gore supply two alternate versions of album tracks prepared especially for this limited release. This is followed by original UK greats Cancer presenting a brand new and exclusive track in the form of ‘Enter the Gates’, a malicious dose of old school metal in Cancer’s distinguishable fashion, leading on to a brand new 2023 “re-dip” cover version of the classic ‘Into the Acid’ from the band’s debut, ‘To the Gory End’.

Next up is long-standing US death masters Morta Skuld, presenting a new track taster in demo form from their upcoming album due for release March 2024 plus, highlighting 30 years since the release of debut ‘Dying Remains’, this release also includes a new rendition of the title track itself. Rounding out the release is Static Abyss, the recently formed act from Greg Wilkinson and Chris Reifert of Autopsy, with two exclusive alternate versions of tracks from their recently released second opus of eerie & monumental death, ‘Aborted from Reality’.

This CD edition of ‘Peace Till Death’ also includes a bonus disc featuring an expansive look at Peaceville’s close association with the genre spanning over three decades, including early masters of the scene such as Paradise Lost, Autopsy, Cancer and Darkthrone, through other influential acts such as At the Gates, Vital Remains plus more progressive death from Opeth and Barren Earth, as well as a whole selection of masters of darkness such as Bloodbath, Behemoth and Napalm Death. Artwork appears courtesy of Mark Riddick, and includes a 20 page booklet.

Live in Brooklyn was recorded at the iconic Brooklyn Bowl in New York on December 22nd 2022 at Matisyahu’s annual Festival of Light. The release features live versions of his hits such as “One Day” and “King Without A Crown”. As well as cover tracks, written by his son Laivy, that they perform together. The first single, “One Day” will be released on June 2nd. The album will be released on June 30th, which is Matisyahu’s birthday. This show was also recorded visually. We will have individual clips of each track to post to socials ahead of the release. This release also takes place at the end of a 15 stop tour, and one week prior to his opening slot for 311 at Red Rocks.

Joni Mitchell Archives, Vol. 3: The Asylum Years (1972-1975) is the latest entry in Rhino’s ongoing, GRAMMY-winning series exploring the vast untapped archives of rare Joni Mitchell recordings — a project guided inti-mately by Mitchell’s own vision and personal touch. Joni Mitchell Archives, Vol. 3: The Asylum Years (1972-1975) will be available as a 4 LP with an accompanying book featuring photos and a conversation about this period between Joni Mitchell and longtime friend Cameron Crowe.

The collection begins with an early cut of “Cold Blue Steel And Sweet Fire,” one of two songs (along with “For The Roses”) test-driven during a visit to a Graham Nash David Crosby recording session at Wally Heider’s in Hol-lywood.

From there, listeners are treated to early demos and alternate versions from sessions from For The Roses, Court & Spark, and The Hissing Of Summer Lawns; historic live show recordings, including the entirety of Mitch-ell’s triumphant 1972 return to Carnegie Hall and a definitive gig with her Court And Spark backing band Tom Scott & the L.A. Express; and tracks from sessions cut alongside James Taylor, Graham Nash, and Neil Young.


















q 5. Sunrise Raga [3:41]

Carole King’s The Legendary Demos will be released April 24th, 2012 via Hear Music / Concord Music Group. A previously unreleased collection of 13 history-making Carole King recordings of some of her most celebrated songs, The Legendary Demos traces King's journey from her days as an Aldon staff writer in the 1960's, where she crafted hit after hit for other artists, to the dawn of her own triumphant solo career in the 1970's, and contains her original recordings of future standards like "(You Make Me Feel Like) A Natural Woman," "It's Too Late," and "You've Got A Friend." Featuring liner notes by acclaimed author and Rolling Stone contributing editor David Browne, the collection brings to light a heretofore missing link in the chain of King's career. Fittingly, The Legendary Demos serves as a companion to King’s long-awaited memoir, A Natural Woman, which is being released April 10th, 2012 via Grand Central Publishing.

Aldon Music used these demos—short for “demonstration records”—to pitch King's material to other artists, from Gene Pitney and Bobby Vee to Aretha Franklin and the Monkees. While the recordings have long been coveted and collected within the industry, they have never before been released to the public.

Whether it was a potential single for the Monkees or a solo performer like Pitney, King’s demos were remarkable in their completeness. “When she sat down to the piano and played a demo of one of her songs, the whole arrangement appeared right in front of your eyes magically,” recalls Brooks Arthur, who engineered a number of these efficient sessions for King at one of several midtown Manhattan studios. “A lot of the smarter producers would adhere to Carole’s demos. If you stuck to that, you’d come home a winner.”

King and then-husband / songwriting partner Gerry Goffin signed with Aldon Music in 1959, and anyone who listened to the radio during the first half of the ‘60s will recognize the songs of teen passion and devastating heartbreak heard in King’s original recordings. “Take Good Care of My Baby” was a No. 1 hit for Bobby Vee in 1961. Goffin’s gift for tapping into teen anguish—in this case, hiding behind a stoic public face—was never conveyed better than in “Crying in the Rain,” which the Everly Brothers took into the top 10 in early 1962. “Just Once in My Life” was the Righteous Brothers’ follow-up to their still-spine-tingling “You’ve Lost That Lovin’ Feelin’,” and King’s demo reveals how she and Goffin were instantly able to tap into the duo’s (and producer Phil Spector’s) dramatic, impassioned sound.

Like many of their fellow songwriters at the time, King and Goffin wrote songs for Don Kirshner’s TV show about a fictional, Beatles-derived pop band that debuted in September 1966. The Monkees turned out to be more credible singers (and musicians) than anyone initially expected, as their high-charting 1967 version of King and Goffin's “Pleasant Valley Sunday” revealed. The Monkees also cut “So Goes Love,” a dreamier ballad heard here, but the track didn’t make their first album and wasn’t released until long after they’d disbanded.

The Legendary Demos includes early takes of six tracks that formed the basis for King’s world-wide solo breakthrough Tapestry. King and lyricist Toni Stern’s ever-poignant “It’s Too Late” is here, along with King’s own “Way Over Yonder,” “Beautiful” and “Tapestry,” all three bursting with the artistic and spiritual renewal infusing King’s life during this period.

Among the collection’s numerous gems is the original 1967 demo for Goffin, King, and producer Jerry Wexler’s “(You Make Me Feel Like) A Natural Woman,” a song that would later appear on Tapestry and of course be famously cut by Aretha Franklin later that same year. King’s version offers several different takes from the Franklin and Tapestry versions. Her delivery in the opening lines is looser (check out the way she stretches out “Lord” in “Lord, it made me feel so tired”), and the bridge is even more imbued with palpable romantic and sexual heat.

And finally, there’s King’s initial take on “You’ve Got a Friend,” a classic entry in the Great American Rock Songbook. Milling around in the Troubadour balcony during soundcheck, her friend James Taylor heard King perform the song on a bare stage and was immediately taken with it; his own version, a massive hit, would arrive the following year.

Following on from the standout second Ciao Italia compilation, the mighty Rebirth bring together another collection of tracks that surf between the past, present and future, highlighting the importance and continued influence of the Italo dream house world. Alternate versions, unheard gems, certified classics and pure class as you’d expect from the likes of Nikita Warren, Alex Neri, Marco Baroni, Deseo, Lorenzo Morresi, Anxious and Spinapsys.

1970s/80s San Francisco art-punk band 14-track collection includes
remixed tracks and previously unreleased recordings
It's hard to let go of a good thing
More than four decades after The Mutants first appeared on the San Francisco
underground music scene, four of the original members are still playing shows
together under that name in 2022. After all, mutants are known to mutate, and
that's what this colourful, energetic musical collective has been doing off and on
since 1977.
Perhaps even more surprisingly, the sessions for their lone album, 1982's ‘Fun
Terminal’, continue to bring forth lost nuggets. In punk and new wave lore, ‘Fun
Terminal’ is considered a troubled project. Prior to the album's appearance, The
Mutants had released only one 7-inch single -- 1980s' ‘The Mutants EP’ -- and the
band also had songs featured on two local compilations. Both the EP and one of
the compilations were issued by 415 Records, the legendary Bay Area indie that
made the jump from the new wave trenches to the majors when they signed a
deal with Columbia Records in 1981. Many scenesters felt that The Mutants
should have begun album sessions for 415 immediately after the EP, but that
didn't happen.
Each of the 14 tracks on the new collection, ‘Curse Of The Easily Amused’ has
either been remixed, or sourced from previously unreleased tapes. Eight songs
have never been officially released on vinyl or CD in any form. The versions of
'Think, Think, Think' and 'Tribute to Russ Meyer' feature radically different
approaches than what was heard on the ‘Fun Terminal’ reissue.<

Green Vinyl

Föllakzoid are nearly unparalleled in the hypnotic lysergic drenched neo-psychedelic experience. On their debut it is mostly a rather bulky one, determined by the downright dirty, distorted electric guitar, which is also usually accompanied by a spacey, howling and herbaceous howling one. In addition, there is fat bass and powerful drums. During the prolific post-napster musical era dominated by myspace, the Chilean musical field opened up so that many bands could broaden their creative spectrum by taking global and timeless references as an aesthetic holy grail. This experimentation had the internet and specialized forums as a search engine, which not only provided the world parameters in trends, but also allowed to find true hidden gems, bands that were adored by a few connoisseurs of the real quality left behind by the record labels. In this context, a group of university students who have known each other from school began to rehearse in the Caracol Vip underground (Santiago, Chile), in a room owned by a local heavy-metal legend, Juanzer. Equipped with tube amplifiers, Marshall and other custom made, the members of that time: Gonzalo Laguna on vocals, Juan Pablo Rodriguez on bass, Domingo García-Huidobro on guitar, Diego Lorca on drums and Francisco Zenteno on second guitar, they began to play endless jams without a strict sense of songs or directed compositional notion. The rule was to follow the noise in a journey through valleys and peaks that allowed the spontaneous appearance of textures, lyrics, phrases and some invented chords that did not resemble anything that had been heard at that time. The rehearsals were transformed into true live performances without an audience, which were only seen by a few curious, among alcohol, smoke and deafening noise, which could only end when the owner of the room (Juanzer) entered to turn off the equipment. Over time he himself stayed as an auditor, witnessing how the musicians stripped themselves in their rehearsals. Considered at that time as play or fun, the idea of forming a band with a name came with the real live performances to which they were invited, without yet having songs made, at the end of 2006. The myth of their first live performance alludes to a numerical superstition, on July 7, 2007, in a small bar in Providencia (Santiago), which also provided the band with an upward recognition for the psychedelic-punk music they were doing, with a voracious vocalist who destroyed everything on stage and a band that stood firm on the endless songs they built. The name that was invented for that occasion was the result of a nonsense about the German word feuerzeug brought to the group by their close friend Alfredo Thiermann (who would later make the cover of the first album and become keyboardist), which the members of that time took and Spanishized at will. This neologism represents the second founding myth of the band since the interest in bands like Can, Neu! and AMON DUUL II and the characteristic motorik rhythm would soon arrive, in the form of kosmische musik. By 2008 the band had already added several live performances and some songs appeared, among which were Directo al Sol and Loop (nod to the English band), which allowed a greater deployment of ambient-noise resources, almost close to the 'concrete' music. The deconstructed rock of Spacemen 3 was also present in the form of repeated sequences on the bass and drums, as the layers of shrill guitars formed the foam of the tide bursting in the darkness of space. With the ideas and general feeling of the sound that they already had, the band made the decision to record their first album with the sound engineer and Juan Pablo's brother, Ignacio 'Nes' Rodríguez, who later together with JP would form the BYM label to make the first CDs of the forthcoming debut of Föllakzoid and other bands that Nes was recording. Sheltered that winter in the studio that Nes had built in an old house in Recoleta, the band recorded the bulk of the songs on the album with a new jam that emerged in that room composed of 1 note and moments of rising intensity: Sky Input I and II appeared to complete a set of songs that came from rock but were slowly passing to a level of trance and cacophony typical of orchestrated and atonal music. With three takes per song but only one take of the jam, the album was finished with a few extra takes and overdubs, some made in the house of Nes himself, who contributed a guitar to Loop, although it does not appear in the credits, and additional takes of "Pelao" Zenteno with delay and reverse for almost all songs. The names of the songs came from the lyrics that Laguna had worked from the live versions to the studio finals, except for Loop, Sky Input and El Humo. The cover of the album, which as mentioned was made by Thiermann, represents well the spirit of those days, when creative magma looked for an outlet through the instruments without any restriction or explicit direction from any of the members of the group. The image of the tree towards the sky speaks of the roots that rise towards the immensity, the nature projected towards the stratosphere. Ideas that the neo-psychedelia of those years seemed to capture well, echoing in the Chilean bands that at that time were gathering around the BYM label. Both the creative fluency and the lack of a musical director ensured that Föllakzoid was an original band that did not impose themselves a way of doing things or sounding, collective music took shape in the most wonderful way, without characters, without a record name, without faces. Just an instant in space. 2022 GALAXY GREEN coloured vinyl

A tumultuous selection of recordings from Black Ark, Perry's legendary studio and hotbed of creation. Rare 12" versions, unreleased mixes and featuring a stellar line-up, including:

Drums: Mikey ‘Boo’ Richards, Lowell ‘Sly’ Dunbar

Bass: Boris Gardiner, Radcliffe ‘Dougie’ Bryan

Guitar: Earl ‘Chinna’ Smith, Ernest Ranglin, Robert ‘Billy’ Johnson, Lynford ‘Hux’ Brown

Keyboards: Winston Wright, Robbie Lynn, Keith Sterling

Percussion: Noel ‘Scully’ Simms, Lee Perry

In 1994, Sator released the cover album "Barbie-Q-Killers" where the band made their own versions of "obscure" punk songs!
The album quickly became a favorite among the band's fans and the demand for a sequel have followed the band ever since.

Now, the wait is over! We proudly present the album "Return of The Barbie-Q-Killers" the long-awaited sequel, which is the band's tribute to bands like Redd, Kross, Devo, Blitzkrieg Bop, 999, The Waves, Pointed Sticks, The Undertones, The Boys, Zero boys, The Last, Unnatural Ax, White Flag, Screamers, The Go-Go's, The Young Lords, Darby Crash Band, The Normals and many more!

Saturday Night pogo rules OK!

Sound Like: the nomads, wilmer x, docenterna, ksmb, dundertåget, mimikry, the scams, union carbide productions

Following the release and subsequent year of our first album, "The Hearth," we began nurturing some new compositions for a second release. This process began similar to the first album, each of working us separately on songs, then bringing the bones, veins, and skin of a track to the rest of The Creux to fully animate. We were all taking off in a lot of directions, which tends to lend greatly to our dynamic sound once harnessed, and it was a good departure after playing "The Hearth" tracks live for two years straight during tours and festivals. We ended up with around 25 or so song frames and delighted that list down to about 12 to lay into. Then, the pandemic hit. We were all separated into our own bubbles, trying to make responsible choices on how to continue writing and recording this record promptly as we had just penned a deal with our new label Freakwave; with a target of releasing sometime in 2020. It was a pretty challenging endeavor for a band that typically relies on each member to bring greatness to the sound. We began experimenting with using virtual jam sessions and shipping files to each other. Luckily, we are all decent home sonic production creators so creating and flying around edits and changes over the months leading up to our time in the studio wasn't tricky. Around the end of Summer 2020, we finally had the demo tracks prepped enough to start working with our engineer and producer, Patrick Hills of Earthtone Studios. He worked with us on our last album and is sort of a special weapon of creativity for what we can pull off. We would send in one member at a time to lay down studio versions of the finals in a separate room from Mr. Hills; mask on, the whole nine. We would fly out the takes each day and make edits, rinse, and repeat. It was tedious and was pretty trippy to make a record in that manner. "Goodbye Divine" took almost a year to finish recording and mixing. So, here we are, in the Summer of 2021, and it is complete and ready for release this October. Expect both departures and arrivals of what you might have predicted following "The Hearth." Yet, this album does, in true Creux Lies fashion, offer a complete range of emotions throughout the album; prepare to find yourself ass shaken, and watery-eyed before you raise the needle on "Goodbye Divine."

Volume 1 of the new TSF JAZZ collection dedicated to Jazz Rare Groove A Fine Selection of Rare Jazz Tracks with a Funky Flavor. Original versions entirely remastered

After an initial link up last summer, Altrimenti Records present four more remixes of cult Italian synth maestros Cabaret Du Ciel. Once again the focus is on experimentation, testing unusual crossovers between artists, eras and styles in pursuit of compelling new sounds.
The results across all four of these versions are distinct from each other, and distinct from wider trends in dance music.
First up, Benedek approaches 'Great Plains' as a low-tempo space-boogie excursion. Following in the wake of his releases on Leaving Records, L.I.E.S. and People's Potential Unlimited, the LA-based artist lays down thick slabs of Moog while retaining the ethereal swirl of the source material.
Rome's L.U.C.A. (aka Francesco De Bellis) has established his new wave-inspired sound on his own Edizioni Mondo label, not to mention working in other projects such as MAT101 and Jollymusic, and he brings a sprightly, motorik energy to 'Climatic Variation'.
Lorenzo Fortino's 'Suspacid Revisitation' version of 'Lakota' is aqueous and psychedelic, but remains elegant and understated in its execution. The emergent producer has already released on Wo-Land and most recently Miniera, and this remix ably embodies the entrancing qualities inherent in his sound.
The remix package concludes with a playful, leftfield electro diversion from elusive Montreal-based producers Sentena. Hailing from an emergent scene orbiting the Doo label and projects like SnP 500 and Fashion, their crooked take on machine music perfectly meets the adventurous aims of Altrimenti in testing out crossovers of styles and creative processes.

Folklorist Derek Piotr teams with Death is Not the End for a third outing, this time plumbing the depths of every archive from West Virginia University to the British Library in search of versions of the ballad Lamkin. Following the template set by Charlie Seeger with his seminal Barbara Allen compilation, Piotr's collection outs versions of the bloody ballad from the last ninety years; most of these renditions haven't been heard by anyone but their original recordists for decades.