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Repressed !

We are proud to present a set of edits of this long-lost classic from the golden age of African music, from a figure who is still beginning to get his props internationally, Eji Oyewole.

Born to a royal lineage in Ibadan, Prince Eji Oyewole has had a career as a flautist, saxophonist and sometime bandleader spanning well over half a century. He trained both in Nigeria and then at Trinity the prestigious music school in London, and his life as an itinerant musician also saw him living for extensive periods in Geneva, Hamburg and in Lyon.

While for many years Fela Kuti (with whom Eji played) and King Sunny Adé commanded international attention to the exclusion of most other Nigerian musicians, as if there was only room for one Nigerian superstar at a time on the world stage, on the domestic scene things were very different. Eji was part of the huge craze for ‘highlife’, a generic term that in fact subsumed many different styles, united in their fusion of traditional west African forms with jazz influences and electric instruments, and in the bands’ working practices as entertainers at the nation’s numerous hotel / nightclubs. As this cracking album, recorded for EMI Nigeria at the tail end of the ‘70s and now remastered, reveals, Eji’s version of highlife was even more distinctive than most, eschewing the usual emphasis on guitars for a brasher, horn- laden sound, seemingly influenced as much by American funk as it was jazz, and of course with the heavy percussive undertow central to most African music.

This gave Eji a chance to shine, and there are some scorching solos as well as tight ensemble playing across the four lengthy (to ears accustomed to the three-minute pop song) songs. Eji also played piano on the session. The material has an element of social commentary (Oil Boom and Unity In Africa) and should help feed the seemingly insatiable appetites of the many who have been turned onto African music by the enterprising efforts of devoted collectors, labels and fellow fans.

Surely one of the few musicians who has played with Fela, Miles Davis and Bob Marley, Eji Oyewole still plays regularly in Lagos, recently had an album of new material out with his current band The Afrobars, and has been a member of Faaji Agba, a super-group that has toured internationally and been dubbed ‘the Nigerian Buena-Vista Social Club’.

From their new millennium rise to MTV superstardom through pop-punk’s modern resurgence that has introduced their iconic, multi-platinum sound to new audiences around the world, SIMPLE PLAN have been an indelible part of pop culture for more than two decades because they’ve never lost sight of what got them there in the first place: their fans.It’s this same sense of mutual respect that’s fully on display on “The Antidote,” the first single from their sixth studio album, HARDER THAN IT LOOKS., their first new music since 2016’s Taking One For The Team, and the most authentically Simple Plan album since 2004’s Still Not Getting Any. Free agents for the first time in their storied career, the band kept their circle tight during the recording process, enlisting longtime songwriting partners like We The Kings’ Travis Clark and producers Brian Howes and Jason Van Poederooyen (who worked on the band’s 2011’s album Get Your Heart On!) and Zakk Cervini (blink-182, Good Charlotte). From the skyscraping choruses of “Congratulations” and “Ruin My Life” (ft. Sum 41’s Deryck Whibley) to the unflinching poignancy of the album-closing “Two,” which instantly ranks alongside “Perfect” and “Untitled (How Could This Happen To Me?)” as one of the band’s best closers ever, HARDER THAN IT LOOKS certainly respects Simple Plan’s storied career – and the same spirit that helped the band sell 10 million albums worldwide – without being overtly reverent. The album-opening “Wake Me Up (When This Nightmare’s Over)” is a cathartic rush of familiarity and freshness – not to mention a bit lyrically prescient, as the COVID-19 pandemic hit shortly after the band wrapped the album. (“We certainly didn’t set out to write a pandemic album,” Bouvier says with a laugh. “It’s funny how some of the songs might seem like that, though.”) There are even spiritual successors to early material, like the glass-half-full skate-punk-leaning “Best Day Of My Life,” quite a 180 for a band who put a song called “The Worst Day Ever” on their genre-defining, Platinum-selling 2002 debut No Pads, No Helmets...Just Balls. But you won’t find an ounce of fat on the 10-song album, no obvious plays to recapture the radio waves they claimed in the early aughts with smash hits like “I’d Do Anything,” “I’m Just A Kid” and “Addicted.”

Low Company presents Yuta Matsumura’s Red Ribbon, a sequence of introspective, lavishly melodic dream-songs and amphibian atmospheres recorded in scattered periods over 2018-21. Having played in bands like Low Life, M.O.B. and Orion, and the duo Jay & Yuta (with Jay Cruikshank), Red Ribbon is Matsumura’s first solo outing, and represents a conscious effort to move away from guitar-based songwriting. He composed its nine tracks mostly on piano - layering vocals, bass, keyboards, flute (courtesy of Maeve Parker), violin/cello (Laurence Quinn) and clacking drumbox rhythms into dynamic, dubwise avant-pop structures which are supple and spacious but fizzing with detail and vivid inner life. The laconic 4/4 pulse, heat-warped synth-tones and haunting vaporous melodica of opener ‘Box Garden’ set the tone: its surreal psychedelic patternings barely concealing a deep sting of longing and regret. The cryptic lyrics suggest chance encounters, hidden logic, missed opportunities, fatalism, serendipity. A city submerged: everyone else paused mid-movement, while you’re allowed to swim free and fish-like through the streets, over the rooftops...‘Tangled Orchid’ is a tense night-drive through dry desert heat and into the unknown, running away from your old life, chased down by dust-devils of half-baked schemes and abandoned plans, while ‘Myth Machine’ drops the tempo and something mind-altering, guiding us on a tripped-out dub-disco scuba among alien flora and fauna, a world of impossible shapes and sensations. At which point, the mood of the album decisively shifts, firstly with ‘Sake No Otoh’, sung in Japanese by Haruka Sato: an instant-classic, breathtakingly intimate lover's lament that sounds like it got lost on its way to heaven and is now doomed to orbit the earth forever. The songs that follow continue in this more confessional, imploring mode. As if the travelling's done, the baggage has been cast off, and we’ve arrived at our destination, where the real process of rebirth and repair can begin. The music’s textures become less overtly dubby and electronic, with more of an organic, earthy, chamber-pop/avant-folk feel, at once sad and hopeful-sounding. Three songs in particular bear the influence of Eno’s 70s work (and its mutant bedsit offspring Lifetones, Flaming Tunes, etc): ‘‘E. Potential’, where baroquely chorused vocals - half-agonised, half-beatific - teeter on top of simple oscillating piano loops, and the stately, dawntreading ballads ‘Tabula Rasa’ and ‘No Sleep For Birds’. The bulk of the album was made prior to lockdowns and all of that; its themes of reset, self-examination, the need to f**k it all off and take spiritual stock, are timeless. Though they perhaps have a more bittersweet resonance now the world has returned pretty much to how it was, only worse. Track list: 1. Box Garden 2. Tangled Orchid 3. Myth Machine 4. Red Ribbon 5. Soko No Ato 6. Tabula Rasa 7. E. Potential 8. No Sleep For Birds 9. Zookeeper's Trial

The Discomfort Of Evening is the incredible and original soundtrack by prolific Belgian composer Michiel de Malsche to 2020 International Booker Prize winner The Discomfort of Evening by Marieke Lucas Rijneveld. Visceral and virtuosic, Rijneveld's novel follows Jas, a girl growing up in a devout Christian family that runs a Dutch dairy farm, whose brother dies in an accident after she wishes he would die instead of her rabbit. Lost in grief, her family falls apart as she becomes consumed by increasingly dangerous fantasies.

Michiel de Malsche has captured the atmosphere and spirit of Rijneveld's book perfectly, moving through moments of confrontation and introspection, sinking into spirals of despair, stasis and subtle hope and change. Brooding ambient basslines, driven by droning murmurs, are offset with melismatic electro-acoustic pieces that embody the novel's haunting and dissonant world, whilst also incorporating manipulated field recordings such as animal sounds and a church service, allowing for a full manifestation of Jas’s world in a completely new way.

De Malsche achieves this by rallying an unusual combination of acoustic instruments (16 in total) played by top-of-their-field musicians, creating a truly unique sound world and tonal palette, including an Ondes Martenot, a 7-stringed Chinese instrument called a guqin, a marimba, a string 6-tet, a toy piano and a bass flute.

De Malsche always confronts all emotional levels of his source material head-on, making his soundtrack into much more than just a fever dream. It is a precise description of, and accompaniment to, a devastatingly impactful book.
Michiel De Malsche is a Belgian composer, multi-instrumentalist and sound designer. He studied classical composition at the conservatories of Rotterdam and Ghent. His music has been performed all over the world and he has composed and produced dozens of soundtracks for contemporary dance, theatre, movies and documentaries.

Besides his work as a contemporary classical composer, he is active as a studio musician and producer in the world of electronic music.

When IANNIS XENAKIS (1922-2001), who had fought against the occupation as part of the communist Resistance, moved to Paris in 1947 it was the start of a highly creative and impressive career. XENAKIS not only studied composition with MESSIAEN and became one of the most innovative composers of the 20thcentury, he also worked as assistant to LE CORBUSIER and realized a.o. the Philips Pavilion for the World Exhibition in Brussels 1958. His compositions often are based on mathematical principles (in 1966 he founded the CEMAMu - Centre d'Etudes de Mathematique et Automatique Musicales), which give his music an unprecedented aesthetic and "shocking otherness" (The Guardian). The most famous works of XENAKIS, who won the Polar Music Prize (considered the unofficial Nobel Prize for music) in 1999, are his compositions for orchestra Metastasis, Pithoprakta and Terretektorh (where the 88 musicians are spread within the audience) and the electroacoustic compositions Persepolis (to be re-released later on as part of the PERIHEL series), Concret PH, Bohor and La Legende d'Eer where XENAKIS integrated his stochastic synthesis sounds for the first time. As legendary as this piece itself is the impenetrable thicket of versions and stories around La Legende d'Eer - it exists in different releases, wrong sample rates, digitized backwards ..., this now is a new version, using the 8-track-version that XENAKIS himself presented at Darmstädter Ferienkurse in august 1978. As the automatic spatialization is lost, this became the only original version of this composition and is presented here (mixed down to stereo by MARTIN WURMNEST who tried to preserve the spatial movements as perceptible as possible - mastered by RASHAD BECKER at D&M) for the very first time. La Legende d'Eer not only became a milestone of electroacoustic music but is also an important reference for noise and industrial musicians up to the present day!

Herbert Bodzin's "Revival II" is the next exciting vinyl highlight on our young label. It features completely unreleased electronic music which was recorded between 1979 and 1982. On the album we can hear the sounds of legendary analogue machines like the ARP 2600, the Korg PS-3300, the Roland System-700 Modular synthesizer, the PPG Waveterm and the PPG Wave 2.2 as well as classic synths like the Roland Jupiter-8, the Polymoog and the Prophet-5. The album additionally features Bernd Hollendiek, as well as Bodzin's two sons, Stephan and Oliver Bodzin. Most of the music they performed was completely synthesizer based while Oliver Bodzin played drums on a few tracks. The songs are a mixture of mostly ambient, deep, psychedelic, yet experimental and futuristic sounds as well as more vibrant recordings that featured the complete band. One of these vibrant tracks is "Lifting Blue" which qualifies as a unique version of space rock. On other tracks like "Voices of the Mind" we hear deep melodies topped with dreamy vocoder voices. "Against the Wall" sounds like it could be taken off of an Italian horror movie soundtrack while the mid-tempo "Orbital" pre-dates the sounds of techno and trance. As a side note, the album may also show early musical influences of Stephan Bodzin, who became world famous in the 1990s as one of the leading techno producers. Without any doubt, "Revival II" should be an exciting lost masterpiece of German electronic (rock) music and a must have for synth music lovers - revived and finally alive!

Reissue! Before the acclaimed albums "Legends Never Die" and "All My Heroes Are Dead" brought his career to new heights, R.A. The Rugged Man spent years as an underrated rap enigma, with a slew of storied records to his name that had never received a proper release.

With the 2009 compilation "Legendary Classics Vol. 1, R.A. finally unleashed many of the lost gems that earned him a reputation as one of hip-hop's most feared lyricists, showcasing his undeniable history.

An essential collection from a true hip-hop original, the album features appearances by The Notorious B.I.G., Havoc of Mobb Deep, Jedi Mind Tricks, Kool G Rap, J-Live, Hell Razah, Tragedy Khadafi, Akinyele, and Sadat X, along with track-by-track commentary from the Rugged Man himself. This "Legendary Classics Vol. 1" reissue also includes the new bonus track “The Greatest” featuring famed Italian singer Marcella Puppini, which has never before been available on vinyl.

Jan Anderzén and his partners celebrate the transcendental power of ecstatic music. Alas Rattoisaa Virtaa is the first Kemialliset Ystävät album in four years. It is the result of chance enhancing online collaboration methods, desire to get lost in the sound archives and the high art of meticulous editing. The album title is from visions of rivers running down from Heart of Darkness to the City of Joyful Noise. If contemporary music is a high speed train passing by then KY's music would be an orgy of light under a railway bridge.

A band member Lars Mattila experiences the music of Alas Rattoisaa Virtaa in spatial terms:

"There are worlds accessed only through our auditory system. I hear a Wunderkammer of freestanding sound objects. Rhythms like sequences of seemingly random stuff laid out on the forest floor: a pair of thrones, a Henry Moore sculpture, a watermelon, two thrones, a Moore sculpture, a melon... I trust the path to go on even if I can't see behind the hill. There's motion, wether it be drunk driving or super human rapid eye movement. The sheer amount of detail makes it impossible to take everything in at once. One's perception and shifting focus reshape the experience on each listen. I remember my visit to Cappella Palatina in Palermo where Normann architecture, Arabic arches and Byzantine dome form a harmonious whole. Various cultural and spiritual influences are recognized as equals. The sense of space also brings to mind the end scene of The Lawnmower Man when the dude is trying to escape the virtual world."

Shinedoe readies her fifth album ‘Freedom Riders’ on her MTM Records imprint with the release of her vinyl-focused ‘Wake Up’ EP, offering a four-track preview into the project while unveiling a selection of diverse electronic productions for home listening through to the dancefloor.

Over two decades, Dutch DJ and producer Chinedum Nwosu, aka Shinedoe, has established her presence as one of house and techno’s most loved talents, while carving a true path to her own vision. Based in Amsterdam and featuring as a key part of the city’s rich and blossoming underground scene, with performances across De Martkantine, Shelter and Thuishaven to international institutions such as Berghain to fabric, her releases on the likes of Rekids, Cocoon, Bpitch Control and her 2021 release ‘The Observer’ on Jeff Mills’ iconic Axis cemented her reputation as one of the scene’s first talents. Having launched her own label MTM Records in 2018, releasing four EPs on the label to date, October signals the arrival of the label’s first album in the form of her ten-track ‘Freedom Riders’ - an expansive and diverse project created in lockdown capturing sonics from across the spectrum - with the LP preceded by Nwosu’s four-track album sampler EP titled ‘Wake Up’.

“Freedom Riders is about living in a world where there is peace, and all our basic needs are fulfilled. Each being having the right to live in peace, be happy and to be. We are all Freedom Riders, some of us get lost and need to get back to the source.” - Shinedoe.

Opening production ‘Wake Up’ is a tension-building journey through metallic textures, warped vocals and eerie interludes, while album title cut ‘Freedom Riders’ fuses hazy atmospherics, rich chords, crisp percussion and sweeping acid lines to offer a late-night ride through smoky territories. On the flip, B1 ‘Peace’ offers an exemplary balance of light and dark with delicate yet vibrant leads guiding murky undertones and sharp percussion throughout, before closing with the hypnotic, off-kilter and mind-altering sonics of ‘Safety First’, traversing soundscapes to showcase and excellently crafted early-morning cut.

Cuts across the album continue this wide-reaching and rich variation, with the likes of ‘Shine’ and ‘Lockdown’ drawing on classic and modern house influences to offer striking additions for the dancefloor, while ‘Floor Action’ and closing track ‘See The Light’ veering into more dubby, paired back territories to offer up a sense of space and tranquillity - with the ten-track project showcasing a carefully crafted album rich in sound design showcasing one of Amsterdam’s finest talents.

DJ FEEDBACK

early support from



Laurent Garnier: Really like PEACE & SAFETY FIRST niiiiiiiiice

Marcel Dettmann: thx

Luke Slater: nice release thanks!

Ame (Innervisions): thanks

Ben Sims: safety first my fave, thx!!

Slam (Soma): Thanx

Chris Liebing (CLR): great vibe

Radio Slave (Rekids): Woah ! "Freedom Riders" is great... and just in time for the weekend ! Thankyou x

Bambounou (50 Weapons / Sound Pellegrino): There's a vibe I like it thanks

Anthony Parasole (The Corner) this is so good

Truncate: Solid cuts!

Country Girl marked a distinct sonic shift with the band, as the EP was the first group of songs written in their new home in rural Massachusetts. The novel isolation of the Northeast gave Jae and Augustus plenty of time to write and explore new sounds, while reminiscing about their time in the south. The move also put the band within driving distance of New York City which was another important factor in their progression. The band attributes partial influence on Country Girl EP to their frequent shows in Manhattan and Brooklyn. Playing parties like Nothing Changes and Lost Enterprises gave them access to a vibrant new music community. From industrial to noise table techno, the band was enamored by the raw sound and fearless attitude of the artists and crowds alike. The sound of Country Girl is defined by these two worlds that the band existed within - their quiet, modest life in small town Massachusetts and their speedfueled weekends in New York. Country Girl Uncut includes the complete track list of songs from this time period. The album is out on the band’s imprint “Nude Club” on digital, cd, tape, and vinyl formats.

Before 2020, Ocean Alley could have broken. The six-piece had spent two years touring relentlessly off-the-back of their breakthrough record Chiaroscuro, spending months on the road and away from their loved ones, on the brink of burnout. Then the world shut down. And although there was a universal experience of suffering and isolation during ex-tensive lockdowns, Ocean Alley found themselves gifted with a forced break - where time slowed down and they could be with their loved ones, while also finding space to recon-nect with themselves. This luxury of time allowed experimentation in new ways for the band, who since inception had always felt their way through the music with communal jam sessions. It was uncharted territory for the group who for the first time operated as a bedroom band - particularly frontman Baden Donegal who revealed that a number of tracks on their upcoming fourth album Low Altitude Living started as “shitty GarageBand demos” he recorded solo at the beginning of lockdown. When comparing the creative process of their three previous full-lengths - the ARIA-nominated Lonely Diamond (2020), their Gold-certified breakthrough Chiaroscuro (2018) and self-assured debut Lost Tropics (2016) - this in itself was the big-gest difference.y

B. Bravo (aka Adam Mori) returns to Bastard Jazz with the long-awaited follow-up to his 2017 debut LP, "Paradise," with a fresh full-length offering: "Vizionz." Replete with his signature future funk vibes, infectiously soulful grooves, and talkbox excursions, "Vizionz" sees the multifaceted artist take the classic West Coast into outer space. If B. Bravo's last album sought to get lost in paradise - enjoying the moment here and now - "Vizionz" looks forward, feet placed firmly in an established LA vibe, while the matured eyes of a veteran producer gaze keenly to the future.

"Vizionz" arrives following a slew of diverse singles, which highlight B. Bravo's stunning versatility as a songwriter, producer, and collaborator. Last year's "Lifted (What U Waiting 4)" came first, at the end of May, 2020, pairing g-funk talk-box verses and synth lines with rich vocal harmonies and a dance-floor-ready beat. Frequent collaborator Reva DeVito (Miami Horror, Kaytranada) makes a standout vocal appearance on "Fly Bye," the second single. Here, Adam surrounds Reva's vocals with ambient pads, a Dilla-inspired beat, and an irresistible bassline, while Reva's dreamily sings about getting away from it all. The final single, "Believe," sees Chuck Inglish (of the famed duo The Cool Kids) rhyme in his distinctive baritone over a bass-heavy instrumental meant to rattle some car stereos.

The singles offer a view into the rest of the album: Solo B. Bravo joints include "Moon Bounce," a talk-box boogie jam begging for late-night drives with the top down; the largely-instrumental synth improvisation, "Midnight Rider;" the upbeat "Penelope," which showcases Adam's vocal and harmonic prowess; a bumping g-funk interlude, with "Flip Out;" as well as the laid back album opener, "Da Essence."

Further vocal assists come by way of Sally Green on the flirty "10/10," and Rojai on the slow jam ""No Regrets" . Both singers have worked on B. Bravo projects in the past, with Rojai additionally joining forces with Adam to form the duo Kool Customer, whose self-titled debut album was released on Bastard Jazz in 2018. Two more hip-hop-leaning tracks are aided by Def Sound ("Back Times Two") and Nico Fasho ("Ms. Stardust"); leaning heavy into outerspace G-Funk Hip-Hop vibes.

Taken as a whole, "Vizionz" is a much needed boost of serotonin: Uncompromisingly positive, sometimes nostalgic, sometimes aspirational, but always funky. The range of styles is a testament to Adam's indelible production chops, songwriting skill, and ability to collaborate. While it has been a long 5 years since "Paradise," "Vizionz" proves more than worth the wait.

Born and raised in California, with roots in Japan, B. Bravo's signature style of Cosmic Funk and late night synth grooves have made him a favorite among DJ's, dancers, and music lovers worldwide. A tasteful producer, sought after remixer, party rocking DJ, master of the talkbox, band leader, and alumnus of the Red Bull Music Academy, Mr. Bravo is an accomplished performer both at home and abroad.

Heavily inspired by the synthesizer-enhanced R&B grooves of the late '70s and early '80s, B. Bravo debuted in 2009 with the seven-track "Analog Starship" EP. A deeper impression was made the following year with a shorter extended play, "Computa Love," the title track of which was supported by BBC DJ Benji B months prior to release. Additional strides were made with a batch of singles and EPs that followed throughout the next few years, as Bravo toured and performed at numerous festivals around the world.

His relationship with the Brooklyn tastemaker label, Bastard Jazz Recordings, began in 2016 with the 7" single "I'm For Real / Stay The Night' (which notably featured a Mr. Carmack remix of the latter). Bravo's debut solo LP quickly followed with 2017's critically acclaimed "Paradise" - which shone a light on vocalists and frequent collaborators Reva DeVito, Trailer Limon, Kissey, and Lauren Faith - with a remix album appearing six months later.

Additional solo releases have found a home on Gilles Peterson's Brownswood Recordings and Frite Nite, while production credits have appeared on releases from the legendary Blue Note Records, HW&W, All City, Friends of Friends, and Tokyo Dawn. B. Bravo has worked on projects with the likes of Salva, Mr. Carmack, Teeko, DJ Lean Rock, Reva DeVito, Lauren Faith, and Kate Stewart.

Having toured throughout the US, Latin America, Europe and Asia, he's shared the stage with performers like Erykah Badu, Flying Lotus, DāM-FunK, Hudson Mohawke, at a world-spanning range of festivals such as Detroit Electronic Music Fest, HARD LA, Northern Nights, Laneway Singapore, Sonar in Barcelona, Snowglobe, SXSW, Basscoast, Do-Over, Low End Theory, Boiler Room, and Soulection.

B. Bravo's "Vizionz" LP is out on Brooklyn's Bastard Jazz Recordings Spring, 2022.

First released in the summer of 1966, ‘Yardbirds’ (or ‘Roger The Engineer’ as it became known’) showcases the
Yardbirds at the peak of their powers. Featuring the classic line-up of Jeff Beck, Keith Relf, Jim McCarty, Chris Dreja,
and Paul Samwell-Smith, the group explored explosive new sonic territories, pushing their blues-rock sound into the
realms of the avant-garde, psychedelia and Indian music.
• This new edition has been expertly cut from the original stereo tapes using precision half-speed mastering by
Cicely Balston at AIR Mastering.
• Half-speed mastering is a vinyl cutting technique that improves groove accuracy and transient information creating
an incredibly detailed stereo image with a natural high frequency response.
• Pressed on 180g heavyweight vinyl, featuring an obi strip and housed in a poly-lined inner sleeve. Also includes a
4-page booklet with extensive liner notes by David French based on interviews with Jimmy Page, Paul SamwellSmith, Jim McCarty and Simon Napier-Bell.

‘Complex and dangerously catchy, lyrically sophisticated and provocative, noisy and somehow serene… Yankee Hotel Foxtrot… is simply a masterpiece.’ – Pitchfork, 10/10, April 2002

‘The looped chaos and plangent melodies... effectively heralded the birth of a new band, as Jeff Tweedy overhauled his compositional modus operandi. So tender was the emotional core of songs like ‘Jesus, Etc.’ that the record became wrapped up in America’s post-9/11 cultural discourse... Yankee Hotel Foxtrot embedded Wilco’s great American songwriter status.’
– Mojo

‘It's as if the Flying Burrito Brothers suddenly decided to cover Pavement songs. There is a gentle, rootsy beauty here that Wilco has buried in a box of vulnerability and covered with a handful of dirt.’ – New York Times

‘Born out of turmoil, Wilco’s fourth album was a stone-cold classic.’ – Uncut

Nonesuch releases seven special editions of Wilco’s landmark 2002 album Yankee Hotel Foxtrot. The now-classic record has been remastered and will be available as part of each set. The Super Deluxe version comprises eleven vinyl LPs and one CD – including demos, drafts, and instrumentals, charting the making of Yankee Hotel Foxtrot – plus a live 2002 concert recording and a September 2001 radio performance and interview. That box set includes eighty-two previously unreleased music tracks as well as a new book featuring an interview with singer/songwriter/guitarist Jeff Tweedy, drummer Glenn Kotche, and Jim O’Rourke, who mixed the acclaimed 2002 album; an in-depth essay by journalist/author Bob Mehr; and previously unseen photos of the band making the album in their Chicago studio, The Loft. For the Yankee Hotel Foxtrot recording, Wilco was Jeff Tweedy, John Stirratt, Leroy Bach, Glenn Kotche, and Jay Bennett with Craig Christiansen, Ken Coomer, Jessy Greene, Fred Lonberg-Holm, and Jim O’Rourke.

A live version of ‘Reservations’ from a legendary concert contained on Snoozin’ at The Pageant – Live 7/23/02 at The Pageant, St. Louis, MO – a recording that is part of the Super Deluxe LP and CD sets as well as the Deluxe LP and digital sets – is now available. A limited-edition vinyl 7” with versions of ‘I’m the Man Who Loves You’ and ‘War on War’, from the Super Deluxe box set, is available now from wilcostore.

Wilco marked the anniversary of Yankee Hotel Foxtrot – which was released commercially on April 23, 2002, after a circuitous and storied gestation, including a period of streaming for free on the band’s website – with a performance of the album’s ‘Poor Places’ on April 18’s Late Show with Stephen Colbert, which may be seen here. The band is currently performing Yankee Hotel Foxtrot in its entirety (plus a mix of concert favourites and rarities) in two limited runs at New York City’s United Palace and Chicago’s Auditorium Theatre. The Chicago show on April 23 will be available as a live stream here.

Yankee Hotel Foxtrot was widely acclaimed as one of 2002’s best albums, appearing in year-end lists of Mojo, NME, Q, Rolling Stone, and Uncut, among many others. Yankee Hotel Foxtrot also was featured in multiple decade-end lists, with Rolling Stone naming it #3 Album of the 2000s, as well as many Greatest Albums of All Time lists, including in the NME.

Among Yankee’s inspirations was a recording Tweedy bought at Tower Records in the late 1990s, The Conet Project: Recordings of Shortwave Numbers Stations. As Bob Mehr points out in his new album note, the record got “deep under Tweedy’s skin.” Tweedy said in his 2017 memoir, Let’s Go (So We Can Get Back), “It was as fascinating to me as anything being made by actual musicians using actual instruments… I wanted to know why it was so hypnotic to me. Why could I listen to hours of this stuff, even though I had no clue what any of them were saying. That question became the foundation for Yankee Hotel Foxtrot… the way people communicated or ultimately failed to communicate.” The album takes its title from a haunting recording of a woman repeating those words that is included in The Conet Project; that recording is sampled in the penultimate song on Yankee Hotel Foxtrot, ‘Poor Places’.

“Conceptually, Tweedy had decided to focus on a big idea for the next album: the state of America. His lyrics – often distilled from scribbled pages of free verse or poetry – became a form of inquiry,” Mehr continues. Tweedy said, in 2004, “I wanted to write about the stuff right in front of my eyes, microscopically looking at America and asking questions about each little thing… How can there be all these good things and things that I love about America, alongside all of these things that I’m ashamed of? And that was an internal question, too; I think I felt that way about myself.”

Mehr says, “Exploring those questions, while weaving in strands of Eastern philosophy and bits of autobiography – Yankee lyrics would be loaded with the pained imagery of someone suffering from migraines and mental health issues – Tweedy would conjure a deep examination of both country and self.”

Describing the uncanny, strangely prescient feeling of the album, which Wilco began offering as a free stream on its website in 2001, Mehr notes: “In the wake of 9/11, Yankee Hotel Foxtrot would be burdened with unintended meaning. The disc had originally been scheduled for a September 11 release. Its cover – a Sam Jones-shot image of Chicago’s twin Marina Towers angled in looming fashion – bore an eerie resemblance to the felled World Trade Center towers. And the songs – with titles like ‘Ashes of American Flags’ and ‘War on War,’ and lyrics about how ‘tall buildings shake, sad voices escape’ – took on a terrible new resonance.”

Yankee Hotel Foxtrot was the first Wilco release on Nonesuch Records following the band’s infamous split with Reprise (both labels are part of Warner Music Group). It was also the first release featuring the line-up of drummer Glenn Kotche and multi-instrumentalist Leroy Bach joining founding members Jeff Tweedy and John Stirratt. The 2002 Sam Jones film I Am Trying to Break Your Heart documented the fraught recording and mixing process, personnel changes, and label issues.

The relationship with Nonesuch would last nearly a decade and include three more studio albums – the Grammy Award-winning A ghost is born, Sky Blue Sky, and Wilco (the album) – along with a live album and a live DVD, plus reissues of earlier records, before Wilco began its own label, dBpm. The band’s current lineup of Jeff Tweedy, John Stirratt, Glenn Kotche, Mikael Jorgensen, Patrick Sansone, and Nels Cline has been together for nearly twenty years.


DISC 5: HERE COMES EVERYBODY – BUILDING YANKEE HOTEL FOXTROT (PART 2)
Side I: (TRAIN)
1. Radio Cure (Here Comes Everybody Version) *
2. War on War (Here Comes Everybody Version) *
3. Venus Stopped the Train (Here Comes Everybody Version) * #
4. I'm the Man Who Loves You (Here Comes Everybody Version) *
5. The Good Part (Here Comes Everybody Version) * #
Side J: (KETTLE)
1. Pot Kettle Black (Here Comes Everybody Version) *
2. Ashes of American Flags (Here Comes Everybody Version) *
3. Poor Places (Here Comes Everybody Version) *
4. Shakin' Sugar (Here Comes Everybody Version) *
5. Reservations (Here Comes Everybody Version) *

DISC 6: HERE COMES EVERYBODY – BUILDING YANKEE HOTEL FOXTROT (PART 2) / THE UNIFIED THEORY OF EVERYTHING – BUILDING YANKEE HOTEL FOXTROT (PART 3)
Side K: (ESCAPE)
1. Cars Can't Escape (Here Comes Everybody Version) * #
2. A Magazine Called Sunset (The Unified Theory of Everything Version) ** #
3. Remember to Remember (Hummingbird) The Unified Theory of Everything Version ** #
4. I Am Trying to Break Your Heart (The Unified Theory of Everything Version) ** #
Side L: (WAR)
1. Kamera (The Unified Theory of Everything Version) ** #
2. Radio Cure (The Unified Theory of Everything Version) ** #
3. War on War (The Unified Theory of Everything Version) ** #
4. Jesus, Etc. (The Unified Theory of Everything Version) ** #

DISC 7: THE UNIFIED THEORY OF EVERYTHING – BUILDING YANKEE HOTEL FOXTROT (PART 3) / LONELY IN THE DEEP END – DEMOS, DRAFTS, ETC.
Side M: (DRUMMER)
1. Ashes of American Flags (Stravinsky Mix) ** #
2. Heavy Metal Drummer (The Unified Theory of Everything Version) ** #
3. I'm The Man Who Loves You (The Unified Theory of Everything Version) **
4. Pot Kettle Black (The Unified Theory of Everything Version) ** #
5. Poor Places (The Unified Theory of Everything Version) ** #
Side N: (RESERVATIONS)
1. Reservations (The Unified Theory of Everything Version) ** #
2. Love Will (Let You Down) Lonely in the Deep End Version *
3. Lost Poem Demo (Lonely in the Deep End Version) *
4. I’m The Only One Who Lets Her Down (Lonely in the Deep End Version) *
5. Has Anybody Seen My Pencil? (Lonely in the Deep End Version) *














[l] E1. Anniversary (Nothing Up My Sleeve) [American Aquarium Version] *









[v] G2. Not for the Season (Laminated Cat) [American Aquarium Version] *


[y] H2. Not for the Season (Laminated Cat) [Here Comes Everybody Version] * #





[xe] K3. Remember to Remember (Hummingbird) [The Unified Theory of Everything Version] ** #











[xq] N2. Love Will (Let You Down) [Lonely in the Deep End Version] *

Lee Baggett began a new chapter of his eclectic and varied songwriting career with the 2021 release of Just A Minute, and he’s continuing his experimental streak with his latest full length, Anyway. The seasoned musician is changing his stripes again with this 10-song collection by leaning into a more rollicking sound at times, as evidenced by the brisker feeling “Fruit Dog,” the album’s lead single, and the bustling and twangy penultimate track, “Highway Roll.” By embracing more country-tinged sonic elements like banjo, organ-sounding keys, and harmonica, Baggett is able to weave through winding narratives that poignantly parse through the challenging nature of change and evolution. On “Highway Roll,” he confronts how landscapes and settings he once knew are now unrecognizable, and takes that motif a step further on “Earlier Than The World” by achingly and vividly describing “concrete and rubble” amongst a sea of delicate, yet biting guitar riffs. Escape seems to be a viable option for Baggett with “Sink In My Dreams” and “Dust In The Wind” serving as the album’s soothing remedies, inviting the listener to sit back and get lost in Baggett’s mesmerizing guitar playing. His nimble guitar work is a prominent fixture on Anyway, acting as a crux at several key points. It resonates forcefully and feels emotionally charged. Just take the meandering bridge on “Earlier Than The World” as a prime example of how Baggett can aptly convey feeling through riffs.



Delving deeper into Anyway finds some familiar sounds, with songs like “Oh Well” and “Anyway” evoking the seaside melancholy of Baggett’s prior works. But there’s decidedly more intimacy hidden in the crevices of his words and hooks. Throughout, Baggett uses his refined storytelling skills to share his relatable fears and coping mechanisms, his river-like path to unexpectedly finding love, and his musings on an ever-changing world, amongst other experiences. His conversational disposition, folk-styled lyricism, and emotive sonic backdrops make for an immersive listening experience. - Tom Gallo

While so many follow the status quo, Mat Zo has always danced to the beat of his own drum. From his days topping both the drum & bass and trance charts simultaneously (releasing on Hospital Records as MRSA), to his current status as a big room innovator, collaborating with Public Enemy's Chuck D and dropping genre-blurring 70-track contributions to BBC Radio 1's Essential Mix, the precocious talent is destined to play by his own rules.

Supported by DJs as diverse as Skrillex, Madeon, Pete Tong, Above & Beyond, Steve Aoki and A-Trak, the LA-living producer's much anticipated debut LP 'Damage Control' is a bold, brilliantly diverse statement of intent from one of the scene's most unique talents. In a world of EDM sound a likes, this is electronic dance music with integrity and ambition. The release of the album will coincide with an extensive upcoming world headline tour, which sees Zo playing renowned dance music hubs such as Ministry of Sound in London, Light in Las Vegas, Create/Avalon in Los Angeles, Miami's LIV nightclub, Toronto's Guvernment and New York City's famed Pacha. (See full list of dates below).

The product of nearly three years dedicated work, 'Damage Control' represents a star of the future coming of age. Including his Beatport No.1 smash 'Easy' (feat. Porter Robinson) and recent hook-up with hip-hop legend Chuck D (Public Enemy) on 'Pyramid Scheme', Zo's 14-track LP also features the sun-soaked melodies of his innovative future single 'Lucid Dreams' - another track that perfectly embodies his uniquely quirky take on big room sounds.

What really sets the album apart from the pack are its diversions away from the dancefloor. 'Damage Control' takes in everything from electro-charged French house ('Only For You' feat. Rachel K. Collier), classy trance vibes ('The Sky' feat. Linnea Schossow) and big room progressive, through to wonky, trap-styled beats ('Caller ID' and 'Little Damage'), UK garage updates ('EZ') and hip-hop ('Moderate Stimulation').

Retaining a cohesive thread throughout thanks to Zo's unmistakable sense of fun and infectious grasp of melody, 'Damage Control' is tipped as one of the most forward-thinking debut artist albums of 2013.

After the release of their highly successful self-titled album in summer 2021 (#1 in Germany and Spain etc.), HELLOWEEN -- one of the most respectable German metal exports and pioneers of German melodic speed metal -- are finally bringing their new anthems to the packed arenas, leading them all around the globe with their »United Forces« tour. The creators of the albums »Keeper Of The Seven Keys, Pt. I & II« (87‘/88‘), which are considered to be among the most successful German metal records of all time and are reckoned internationally as absolute milestones of power metal, haven’t only cemented but even expanded their status as giants of the scene. Caused by the pumpkinheads‘ aforementioned triumphant wave of success, the group’s back catalogue albums are also more in demand than ever which is why Atomic Fire are now set to release a series of brand new vinyl editions including the following hot HELLOWEEN records: »The Dark Ride« (2000), »Rabbit Don’t Come Easy« (2003), »Keeper Of The Seven Keys - The Legacy« (2005), »Gambling With The Devil« (2007), »Straight Out Of Hell« (2013), »My God-Given Right« (2015), and last but not least their latest offering »Helloween« (2021).

After the release of their highly successful self-titled album in summer 2021 (#1 in Germany and Spain etc.), HELLOWEEN -- one of the most respectable German metal exports and pioneers of German melodic speed metal -- are finally bringing their new anthems to the packed arenas, leading them all around the globe with their »United Forces« tour. The creators of the albums »Keeper Of The Seven Keys, Pt. I & II« (87‘/88‘), which are considered to be among the most successful German metal records of all time and are reckoned internationally as absolute milestones of power metal, haven’t only cemented but even expanded their status as giants of the scene. Caused by the pumpkinheads‘ aforementioned triumphant wave of success, the group’s back catalogue albums are also more in demand than ever which is why Atomic Fire are now set to release a series of brand new vinyl editions including the following hot HELLOWEEN records: »The Dark Ride« (2000), »Rabbit Don’t Come Easy« (2003), »Keeper Of The Seven Keys - The Legacy« (2005), »Gambling With The Devil« (2007), »Straight Out Of Hell« (2013), »My God-Given Right« (2015), and last but not least their latest offering »Helloween« (2021).

Debut solo album from Julia Kugel (The Coathangers). Limited edition first LP pressing on heartbeat pink color vinyl, includes DL (1500 copies). If you can’t trust yourself, who can you trust? This is the crucial question at the core of Julia, Julia, the moniker for Julia Kugel, founding member of garage punk icons The Coathangers and the dream pop duo Soft Palms. On her first solo full-length album Derealization, Kugel shifts her focus from collaboration and band dynamics towards a singular artistic vision and private self-discovery. Steeped in the beguiling pop elements of her past work, Derealization is a meditative deep dive into the mind of a person struggling to understand a crumbling internal and external world. The album traverses a landscape of ethereal folk, atmospheric deconstructed pop, and dubbed-out country ballads, all centered around straight forward and direct lyrics. This juxtaposition of nebulousness and lucidity gives the album a sense of clarity emerging from the haze, an apt refection of Kugel's personal growth and journey toward self-acceptance. Derealization is based on weaving the unreal, unsaid, and unknown into an undulating sonic fabric. Vocal layering and abstract instrumentation convey a blurred desperation to connect to an emotional and psychological focal point. Moody, dark, and sumptuous, the record is a flow chart of Julia Kugel coming into herself as an artist and songwriter. The album finds Julia playing almost all the instruments and taking her first stab at engineering at COMA, her and her husband's home recording studio in Long Beach, CA. “You know how touring musicians often speak of whether home is real or tour is real? Well, it can lead you to lose grasp on ‘reality,’ especially when touring is taken away and you are left to wonder if anything was ever real, including yourself. Like you we're just playing a character,” Kugel says of her headspace leading up to the creation of Derealization. “Honestly, I kinda lost it, and through making this record I made peace with it and reconciled myself as a real person. I forgave myself and in turn forgave those around me. The song ‘Forgive Me’ is the apology I wanted to say and to hear. I wrote every song from that place and gained the confidence I was pretending to possess.” This raw and personal approach to the lyrics is present throughout Derealization. On the opening track "I Want You," Kugel creates a woozy sense of space with reverb-soaked drums and spaghetti western guitars while she lists off her desires for a mysterious “you.” Is she actually listing off her desires for herself? For the people around her? As she repeats "do you feel it?" in the song’s chorus, it feels as if she’s conjuring a magical thread by which we are all connected, showing us how our desires are all the same. On "Fever In My Heart" the listener is treated to a lush, acoustic techno track detailing the exhilarating madness of an emotional breakdown. Simple truths percolate to the surface on "Words Don't Mean Much,” as if clearing away the murk of platitudes and empty gestures. The journey continues on the detached and conflicted "Do It Or Don't,” an alluring walk through the winding road of lonely choices. The name for the project Julia, Julia is a look in the mirror, a reflection of what is hidden and unanswered, of what is real and what is transient. The experience of living life not as you planned it but as it unfolded, and the mysterious, magical pain that creates meaning.

Tracklisting 1. I Want You 2. Forgive Me 3. Impromptu 4. Fever In My Heart 5. Words Don’t Mean Much 6. Do It Or Don't 7. No Hard Feelings 8. Big Talkin' 9. Paper Cutout 10. Where Did You Go 11. Corner Town

Los Cotopla Boyz: Millennial Cumbia For The End Of The World. The newest psychedelic space ranger Cumbia band from Bogotá's infamous DIY scene have been sent to earth to save the party! Los Cotopla Boyz make the walls sweat, they set fire to your feet on the dance floor. It all started in Bogotá, which you might say is the tropicanibal venue par excellence, a place that has brought life to acts like Frente Cumbiero, Los Meridian Brothers, Romperayo, Chúpame el dedo, Dub de Gaita, Los Pirañas, Onda trópica and León Pardo, among other eccentricities that have taken the world and stand out not only for their virtuosity but also the connection that lives between that salvaging of traditional folklore and lysergic futurism that expands hypnotically around the world. From this musical hotbed that emerged in the second decade of the new millennium, there is now a new generation to continue the tropicanibal scene, with groups such as La Sonora Mazurén, La Tromba Bacalao, Los Yoryis, El Conjunto Media Luna and, of course, Los Cotopla Boyz, a five-piece that formed in Bogotá in 2018 but inhabit a post-pandemic dystopian multiverse where their mission is to save the party. So their live performances have that illusion of frantic Power Rangers singing about their adventures, as if these were epic chants, except instead of heroic feats they sing with humor about their everyday lives, like the drama “N’sync” about that chat where they leave you on read, or “Me Malviajé con las Ganlletas” about the hallucinogenic experimentation of ingesting cannabis and flipping out. These experiences also lead to songs like the clumsy love lost of “Dama tu Wasap,” the cathartic “Tren de Cotopla” and the ode to excess that is “Raspafiestas,” that moment in your life when the night seems eternal and you only want to go from one party to the next until the world ends. These songs, together with “Plankton (Abanico Sanyo)” and “El Peruanito” are part of Mamarron, Vol. 1, a compilation of seven millennial cannon shots inspired by Los Mirlos, Los Hechizeros Band, Anan, Wendy Sulca, La Sonora Cordobesa, Bad Bunny, Yandel and Los Corraleros de Majagual, tracks laid down on their debut record that saw the light in 2020 in the middle of the pandemic and will be re-released in 2022 by AYA records (ZZK Records imprint.) As well as being pressed on vinyl the album will include the bonus track “El Peruanito” remixed by Colombian producer Santiago Navas and taken from Mamarrón, Vol. 2, their album of remixes by figures such as Frente Cumbiero, Cerrero, Prendida, Sonido Confirmación, DJ Rata Piano and Felipe Orjuela, local producers and musicians with a global scope and vision who expand the raspafiesta universe to the limits of the world. Los Cotopla Boyz are a sweaty, schizophrenic cumbia experience that has been witnessed by emerging Bogotá clubs like Matik-Matik, Boogaloop, El Chamán, Tejo Turmequé, Videoclub and the festival Hermoso Ruido, providing nights of wild abandon to the beat of an outrageous big cumbia sound, a ritual of release giving those present a maximum catharsis that has no compare, not even the most animalistic moves of any metaller shaking his powerful mane. Los Cotopla make the walls sweat, they set fire to your feet on the dancefloor, drawing amorphous moves from their fans on exquisite nights. Tracks SIDE A: 1. Plankton (Abanico Sanyo) 2. El Peruanito 3. Dame tu Wasap 4. N’sync SIDE B: 1. Tren de Cotopla 2. Me Malviaje con Ganlletas 3. Raspafiestas 4. El Peruanito (Santiago Navas Remix)

Bolam is back on Space Dust with the 'Lost In Time' EP, a continuation of the journey started with the widely acclaimed 'Suspended Animation'. Another well-rounded and diverse record dives into the wormhole with ’Moving Lights’, a high-energy affair propelled by filtering resonators and a haunting vocal. ’Ozone’ breaks through the stratosphere of a new world, a huge track with electro-inspired groove, booming kicks and a razor-sharp lead melody, creating a feeling of uncertainty and delirium with swelling pads and arpeggiators.

The B-side begins with the mysterious and epic, genre-defying anthem ’Air Tension’, enticing the listener into the strange new world with a chugging rhythm, tantalising textures and an indescribable melody that keeps you on the line between paranoia and euphoria. ’Bioluminescence’ descends into an alien jungle, with a hypnotic, dreamy, downtempo beat and iridescent synths and chords. Finally, as you lay down in the otherworldly glade, the record wraps up with the ethereal, ambient finisher, ‘2 Parsecs From Home’.

Here’s artist Max Kuhn on hearing the new Ralph White recordings for the first time: “I was driving a familiar round trip across the high desert when I first put it on. It immediately spoke to me. In the lyrics there's a familiar geography for me, a familiar emotional landscape for all of us. And maybe it was driving an almost 40 year old truck on sun baked & cracked asphalt in July, but it's like you can hear his songs coming apart- the cadence, the rhymes stumbling & defying expectations, consistency but they just keep moving. You have no choice but to go with it. Probably a good lesson for how to live in this era we're in, cracking up but keeping it all running somehow, trying to make something pretty with the time.” Recorded in Austin, Texas in March of 2020, just days before the city and the rest of the world shut down, Ralph White spent two days with producer, Jerry David DeCicca (Will Beeley, Ed Askew) and recording engineer, Don Cento, capturing a raw and wild set of performances. Ralph, having recently converted his van into a mobile living and touring quarters equipped with a wood-burning stove, left Austin, the city where he was born 70 years ago, and retreated to an Arizona commune where he began building a new house in the desert hills to escape the virus and insanity of daily living. Ralph takes us on a journey through his myriad of travels: from Dock Boggs to Syd Barrett to William Faulkner to Stella Chiweshe to Blind Uncle Gaspard…scratching banjo, rasping train whistle hollers, rolling kalimba, rousing accordion, taut shimmers of guitar, caustic fiddle and lyrics - that could have been hidden amongst the dusty inner groove of a lost Harry Smith 78 - weaving in and out of streams of consciousness, time and place. In addition to his solo work, White has recorded or performed with a diverse group of folk and avant-garde musicians: Thurston Moore of Sonic Youth, Jandek, Jack Rose, Eugene Chadbourne, Michelle Shocked, Sir Richard Bishop, and Michael Hurley. “This is what Ralph White really sounds like. It’s what time passing really sounds like. It’s what a look really feels like. This record is someone touching you all over!” --Bill Callahan “Striking, electrifying acoustic music from an underappreciated legend of the American Southwest. Here, tight song structures meet open, unadorned instrumentation: guitar, banjo, kalimba, accordion, fiddle, and White's elastic voice, unspooling pitches and syllables. White draws listeners in on his terms. Lyrics wind and twist and pull back: "Motel 6, Motel 6, Altoona, Altoona; missing you, missing you so, great big hole in my--..." Brave, beautiful, a high point in White's long career. And this is just Volume 1!” - Eli Winter. "What Ralph White puts on albums and onstage is so mind-boggling and vast, it forces those of us in the description business down a treacherous path." --Darcie Stevens, Austin Chronicle. “White was a member of well-loved punk bluegrass outfit Bad Livers, but his solo work is possessed of a much more lonesome spark, exaggerating the implied drone at the heart of the music of Dock Boggs and The Stanley Brothers…White plays wooden six-string banjo, violin, button accordion and kalimba and his voice has a high, eerie quality to it…extremely psychedelic.” --David Keenan, The Wire Tracklisting: 1. Gun Barrel Polka 2. Misinformation Shuffle 3. El Golfo 4. Something About Dreaming 5. Rye Straw 6. The Stovepipe Blues 7. No Stranger 8. Morning Sickness 9. Lord Franklin

Egyptian artist Hassan Abou Alam debuts on Nehza Records. On Ice, the producer and DJ delivers a 4-track collection of unusual textures that glide through multiple soundscapes, including techno, breaks, bass and unclassifiable noise.

The opener "Shmoolaire" starts with a skittery drum pattern before descending into a squelchy bassline while squeaky vocal clips snake through the track. It's weird, wonky and the perfect dancefloor curveball. Dominated by massive drums, the title track blends a sultry vocal with bleepy percussion, conjuring a sticky atmosphere. Things get spooky on "Hollow In C#" as Hassan pairs a voice saturated in reverb with chugging drums and eerie pads. Freaky but fierce. The closing track "Lost In A Jar Of Thyme" ends on a distinct note. A warbling bassline slithers throughout the track as siren-like sound FX and hyperactive drums evoke tension. A true artist aligned with the vibe of Nehza Records.

Hassan Abou Alam has spent the last decade exploring several sound palettes and genres, from breaks to techno to bass. Today, his curiosity is unwavering. Hassan produces music with a hybrid setup of analog and digital instruments, conveying organised but compelling chaos that's won him legions of fans worldwide.

Billy & The Loins reunite for a tribute 7” to founding Loins member Chris Broderick. Billy recorded the first two Singing Loins LPs with Chris Broderick and Arf' Alan in his bathroom at May Road, Rochester in 1991 and 1993. The lads then decided to record an LP of folk variations of Billy’s own tunes, called At The Bridge. The Singing Loins then went their own way recording many LPs. Fast forward to late 2021 and the singer Chris was diagnosed with blood cancer. Before his passing in January 2022, he let Arf (and later Loin Rob), know that he wished them to carry on the group. That said Billy proposed a memorial 45 (and an LP to follow). The tracks: ‘The Song of the Medway’ is about their hometowns of Rochester, Chatham, Strood and Gillingham, all on the banks of the River Medway. Chatham's ancient Dockyard was where Nelson’s Victory was built. The Broken and the Lost of the Old Long Bar celebrates a drinking hole on Chatham High Street (which once boasted more pubs and brothels in a single mile than anywhere in the world). Especially written by Billy for this return of The Singing Loins, the songs are at once brand new and ancient. TRACKLISTING 1 - Song of The Medway 2 - The Broken and the Lost of the Old Long Bar

Uruguayan music that sheds light on a new path, guarded by candombe & hip hop. An hypnotic, contemporary and ancestral record. To listen from beggining to end, in a trance. Include contributions of Hugo Fattoruso y Ruben Rada. Txt: Martín Buscaglia . DESCRIPTION Sankofa is the debut album by Avr (Alvaro Silva), a work that takes form through the research and fusion of Candombe and other Afro rhythms from Río de la Plata region with Hip Hop and Black American Music. Avr, the great-grandson of Juan Julio Arrascaeta (one of the first afrodescendant poets to be published in Latin America) writes throughout the album, using several "africanisms" and lost words that date back from colonial and slavery times, giving the lyrics a connection with his great-grandfather's work, introducing himself as a skilfull MC who travels through past, present and future while using several Candombe rhythms in his flow. Highlighting several personalities from the Afrouruguayan culture and from across the American continent, it also presents itself as a valuable work for those interested in researching cultural figures of Black America, especially, Uruguayan. Under the production of Felipe Fuentes, an album knitted with tons of messages, some direct, some to be discovered, came to life. Sankofa means "to look back, to go forward" which is exactly from the beggining what this musical journey is, from a very heavy and dense, ancestral, drum presence, to complex harmonic compositions and arrangments, a work that counts with important contributions of some of the main afrouruguayan artists. A musical "Guiso" (South American stew) Sankofa is the vision of the world of a young black male, his way of feeling and interpreting the past, present and future; and how to transform it in order to generate something new.

Glenn Fallows and Mark Treffel released their first album, ‘The Globeflower Master Vol. 1’, on Mr Bongo in September 2021. With its lush, warm and timeless productions paying homage to classic 60s and 70s soundtrack composers, it was very well received and struck a chord with the scene’s connoisseurs. Louder Than War emphatically stated, "It’s impossible not to like The Globeflower Masters Vol. 1.”, with Gigwise echoing that praise “slickly compelling retro vibes”.

The Globeflower Master Vol. 2 is the slightly edgier and more grown-up sequel to Mark and Glenn's 2021 debut album. For this excursion, the Brighton-based duo wanted to lean a little further into their European film soundtrack influences, with particular inspiration mined from the works of Stefano Torossi, David Shire, and Roger Webb. This expansion of their sound builds upon the rich tapestry of cinematic funk à la David Axelrod, Serge Gainsbourg and Morricone that fashioned Vol. 1. Here the arrangements, melodies, and harmonies have been refined; only what is needed is left. Pulled into its vortex for the ride. This record doesn’t pull any punches.

The recordings are drenched in visual imagery; they stimulate the senses and invite the imagination to roam. Ethereal, hazy memories of lost summers are triggered; the beauty of listening to music when driving along a deserted road in the Italian countryside lined with cypress trees heading towards the sun, and beyond. As the musical journey progresses, we even take a voyage to another planet. Whether these memories are real or constructed recollections of scenes from film and television, the tracks evoke a feeling of nostalgia and comfort. Like all the best music, 'The Globeflower Masters Vol. 2' takes us out of ourselves even if it's only temporarily.

To consolidate the shape of the sound, drummers Timmy Rickard and Ollie Boorman (who also featured on Vol. 1) and John Maiden (Tricky collaborator) sprinkled their magic and forged their stamps onto the recordings. Collaborating with other talented musicians contributed to the picture Mark and Glenn wanted to paint. The ‘Globeflower Master Vol. 2’ is a fitting tribute to the music they love and care deeply about and a glorious addition to their musical world.

Deluxe audiophile 2LP pressing of 'Bucharest 1994', the first joint
performance of Romanian-German jazz pianist Eugen Cicero and
Romanian bassist Decebal Badila, a congenial duo that worked together
successfully until Cicero's early death in 1997
Eugen Cicero - critics reverently called him the man with the "golden hands". For
over 30 years, his name stood for pianistic virtuosity, phenomenal sense of
rhythm and imaginative ingenuity. He masterfully connected works from the
Baroque, Classical and Romantic periods with sophisticated harmonic sequences
from jazz and an infectious rhythm - no one who had attempted such symbioses
before him achieved a similarly inspired and technically accomplished result.
With 'Bucharest 1994', In+Out Records now presents a very special live event by
this man who has created something unique in his mediation between classical
music and jazz standards. This is the first concert with exceptional bassist
Decebal Badila, which laid under lock and key for 28 years. Already at a young
age, Badila adored the music of his older compatriot and was already very
familiar with Cicero's repertoire before their first meeting, which can impressively
be heard on the recordings.
'Bucharest 1994' contains both entertaining, technically demanding and
documentarily indispensable material from the early work of a rising virtuoso
musician and the late work of an exceptional artist whom the jazz world lost far
too early.

This is about remembering our humanity, which perhaps we lost a little bit over the last couple of years - maybe we can get a bit of it back in the dark, under some strobe lights." There's a considered and conscientious edge to every record that comes from the studio of Graeme Shepherd, a.k.a. Grum. Strip away the club exterior and you will find a nuanced, sometimes provocative, message that asks us to challenge our outlook on the world. 'Unreality', Grum's fourth studio album, is his most reflective work to date, putting human connection in the digital age under the microscope. "Based near Glasgow, Scotland where I had to spend a lot of time by myself. I watched, alone, as world events unfolded and I think that has funnelled itself into the music somewhat." The visceral nature of Graeme's work has been present since his debut LP 'Heartbeats'. A feel good, get up and dance record championed by Annie Mac and Pete Tong in the early 2010s, Grum was a product of the blog era, riding the heights of Hype Machine with his synth heavy sound.

(incl. Franco Cinelli & Dorian Paic remixes)


The first record from keepitgoing. is finally here, a panorama from Switzerland all the way to Chile in our world with no borders. An EP from Camilo Gil & ONE+1 with 2 originals backed up by two contrasting interpretations from Dorian Paic and Franco Cinelli, is how we kick off our labels musical journey in our vinyl only series.

The opening original track "Can Soleietes" offers a minimal, dubby twist with sweeping chords and atmospheric pad work with hints of skippy percussion layered throughout. On the second original "Opera House" this is where things begin to turn around a darker, acidic corner consisting of rolling acid baselines and spooky pad-work. It features various chords and stabs working in the background, while the prominent acid bass moves around creating some dark, trippy vibes on the listener.

Franco Cinelli reworks "Can Soleietes" perfectly with a minimalist approach to the track, offering a more mellow and groovy interpretation of the original. One that will get you lost in the cosmos with an immediate listen. The second remix from Dorian Paic is a more stripped back affair than it's original. It is another minimalist one that represents his sound truly, as a classy remixer for the EP alongside fellow family member Franco.

Join us as we begin our journey from every corner of the world, all connected without any borders between us. Like this, anyone can express themselves freely, and really create the way they want to without any judgement or limitations. We are a forever growing family who share the goal of loving and living music together.

ElectronicaA Mountain Of One are set to return to the musical landscape with their brand new track “Custard’s Last Stand”, released 6th August through their new label AMORE via Above Board distribution. It is the first new piece of music the band have released in over a decade.

”Custard’s Last Stand” shows the band, made up of musical soulmates Mo Morris and Zeben Jameson, have lost nothing in the past decade. Recorded over Skype during the coronavirus pandemic, with Mo now in Bali and Zeben in west London, it is a shimmering, modern classic, experimental but accessible, melodic and adventurous. As ever, it is utterly unique, made in a musical universe all of their own.

“Custard’s Last Stand” EP is out 27th August, and will come with an incredible Dub Versions from dub pioneer Dennis Bovell MBE, as well as another new track “Stars, Planets, Dust, Me”. He has also provided a rare vocal performance.

The forthcoming album will be released this autumn. The whole project has been mastered then remixed for a forthcoming album by the legendary Ricardo Villalobos.

When A Mountain Of One AMO1first started performing, they quickly became one of the most-acclaimed bands out there, with the likes of i-D, Sunday Times Culture, Pitchfork, NME and more raving about them and their inspired and original approach, led by Mo and Zeben’s almost telepathic understanding.

Sold-out shows and awesome reviews followed with “Collected Works” and “Institute of Joy”, two phenomenal records that have stood the test of time, criss-crossing Balearic, folk, jazz, dance, rock and psychedelia.

A Mountain Of One have collaborated to create a coming together of music and virtual reality. With NYX VX, the band have developed a virtual world, one that will help provide inspired opportunities for artists looking to identify, connect and engage with audiences on multiple levels. This is the first stage of a new world that people will be building out and inhabiting, as venue for performances, home for musical and visual archives, space for play and exploration. Welcome to 'Stars, Planets, Dust, Me'.

Watch the teaser, soundtracked by new single “Custard’s Last Stand” HERE

The band also supplied the music for the stunning short film from acclaimed director Daniel Lindegren, filmed in London over lockdown. Check that out HERE

A legendary indie audio artist blurring his lifelong attachments, from spontaneous composition (in the late 70's with John Zorn) to experimental rock (with Bongwater and other bands in the 80's) alongside his recent inquiries into the intricacies of ambient-folk songcraft (with his most recent solo LP, "And The Wind Blew It All Away"), Kramer continues to explore the possibilities of shaping naturally occuring aural landscapes into intoxicatingly affecting music. Sound and language - not just melody and ambient textures - has been his raw material for decades. He nowjuggles them more deftly than ever on his newest ambient opus. In the ten compositions that comprise this new LP, mournful at times yet mysteriouslylife-affirming and generous in their scope, Kramer sees films where there arenone, and composes his accompanying ambient soundtracks in a state of interrupted grace. Words, text, complete screenplays, character arcs, shooting scripts and storyboards swirl through his head as he puts his imagery to sound, and the results evoke a world in which moths, drawn to the bright flickering lightsof Cinema and the low humming lights of Dreams, in Kramer's own words, "...might never die". The LP's nature reveals an interior dialogue between musician and choice. Each piece represents Kramer's encounter with the blank canvas of silence that greets him as a composer. Embracing sounds as objects and instruments of Truth, the end result of his process is as much about what is absent and what has been removed or edited away than what is left in its wake as artifacts of emotion. These pieces are the Spring frost of lost imaginings, vanitas to broken connections, visions nearly unrecordable by the human eye. Kramer envisions a music that functions to stoptime, as an event that always plays in the present and never needs a past to give it a reference point. It is music that communicates in the most intimate way possible, as intricately and as deeply as the way it blossoms and shifts and evades categorizationwhen exposed to thin air. Drawn toward the light of a multitude of influences, we hear echoes of the feverishly frozen dreams of composers Morton Feldman, Terry Riley, Brian Eno and Arvo Part, melting alongside the surreal cinemas of David Lynch and The Brothers Quay, all parts converging to evoke a time and place that does not exist outside of the mind's eye of the listener. These ten works are fluid adventures in fathomless landscapes, emotions distilled and offered as a paintless painting without a physical home. Each individual composition is an offering to a future memory, a chalice to be filled with the listener's own reactions to them. As a whole, the ten pieces form an image of ten circling planets in an expanding galaxy that colors itself anew with each subsequent listen. Movement, grace, and Peace.

Primetime Entertainment’ is PET NEEDS’ second studio album and is produced by friend and fan Frank Turner. Simultaneously loud and quiet, raucous party anthems sit alongside thought-provoking personal songs; it’s the sound of a band stepping up a gear to match their catapult on the big stages across the world. Having already toured Europe supporting Frank Turner in the first half of 2022, including Germany, Netherlands, France and more – the touring continues joining Frank on his mammoth 50 States in 50 Days tour of the US throughout June and July and then finally across the UK in September and October. ‘Primetime Entertainment’ is released on 9th September and will be available on CD, LP, digital and cassette. Timeline: Track 1 – ‘Get On The Roof’ – released as a single on 24th June ‘22 "After a gruelling 8 hour drive from a gig in South Devon back to Essex, I was reunited with my wonderful partner Lorna. We threw an old mattress out of our bedroom window onto our roof and clambered out, armed with a rucksack full of the remainder of last night's rider. We listened to cinematic theme tunes as the sun set over the chimneys on the horizon. Come early morning, we rolled back into the house. I grabbed my acoustic guitar, pressed "record" on my phone and sung a dizzy, euphoric stream of consciousness to my voice notes. It felt good, but they always do at that time of night, haha. On second listen in the morning, I felt excited about the tune and started to refine it. As soon as it hit the practice room we turned it into a party banger!"

There is a moment on Sides, the new album from Richmond, Virginia-based duo Lean Year, in which a hospital room floor is filled with white chrysanthemums. This imagery, based on an opiate-induced hallucination experienced by vocalist Emilie Rex's mother as she recovered from surgery, is a perfect encapsulation of the band's second album: dreamlike and beautiful, yet burdened with cold, stark reality. Sides is a harrowing journey through realms of grief and memory, a meditation woven into a tapestry of synth pads, woodwinds, and Rex's instantly recognizable voice. The duo of Rex and Rick Alverson - who also works as a film director (The Mountain, Entertainment, The Comedy) - originally set out to write an album about conflict, but during the writing and recording process, they were confronted with a number of personal tragedies. Alverson lost both of his parents in rapid succession, Rex's mother received a cancer diagnosis, and the couple's beloved family dog, Orca, died. These events transformed the album into an exploration of loss - an attempt at processing the painful, complex, and private emotions that bubble to the surface when confronted with death. "We thought we'd do a concept album called Sides where we could reflect on all of the division in the world, and some in our own families, but then COVID transformed everything / everyone, and we suffered our own specific losses. The record became about loss and grief," Rex explains. "In this way, the title Sides was still appropriate: our individual grief and collective grief, the margins of before and after, the act and feeling of during and enduring. It felt like straddling a threshold between two opposing sides - the moment before conflict and the moment after it passes, life and death, the act of living and the memory of the act. Grief feels like a contention between what you knew and what you now know, and often both feel real and unreal at once." Sides - produced by Alverson alongside Erik Hall (In Tall Buildings) and featuring contributions from Elliot Bergman (Nomo, Wild Belle) and Joseph Shabason (Destroyer, The War on Drugs) - as a distinctly cinematic quality, perhaps due in part to Alverson's other career. Moments of jazz, slowcore, and dirgelike R&B find their way into the sorrowful, ambient suite, lulling the listener into a state of calm while the lyrics speak of ghosts, childhood, and mortality. Despite the gravity of the subject matter, Sides succeeds in mastering a balancing act between pathos and pop. Each song is indelible and haunting, with melodies that have the kind of broad appeal reminiscent of Karen Dalton, Aldous Harding, and FKA twigs.

This previously unreleased album by the Horace Tapscott Quintet was unearthed from master tapes in the Flying Dutchman archives. Recorded in 1969 and was intended to be a follow-up album to the classic 'The Giant Is Awakened' which was released that year.

The iconic pianist and composer Horace Tapscott was one of the most unique and important figures in LA’s jazz world. This lost recording was produced by one of the pivotal figures in jazz, Bob Thiele, a leading behind-the-scenes star who worked with many of the greats in jazz, such as Quincy Jones, Duke Ellington, John Coltrane, Della Reese, Shirley Scott, Gil Scott-Heron, the list goes on. His name can be seen gracing, arguably the best, Impulse! releases and those released on his own Flying Dutchman imprint set up in 1969.

Joining Horace for this three-track, deep, heavy, avant-garde session is the same stellar cast featured on 'The Giant Is Awakened'; Arthur Blythe on Alto Sax, Everett Brown Jr on Drums, with David Bryant and Walter Savage Jr. on Bass. Kicking things off we have 'World Peace’, which starts with an almost baroque-esque melody, leading to an eruption in sound, it then ends in the same manner it began. The beautiful 'Your Child' is the jewel in the crown, skirting modal, deep jazz and introducing elements of free jazz. 'For Fats' with its bow bass and piano intro takes you on a journey, dropping into, at times dark, stormy melodies and developing a driving energy as the composition progresses.

After recording this album, Horace was said to be wary of the music industry, so he retreated and distanced himself from this world, recording only for the independent labels UGMAA, Interplay Records, and Nimbus West Records. He set up The Pan-Afrikan People’s Arkestra and reintroduced the pan-African-roots sound back into the heart of jazz. He also developed and promoted the art form through performances and recordings.

Thankfully, this session from these wonderful musical pioneers was preserved and finally has its time to shine.

Featuring brand-new artwork by the illustrious artist/designer/musician Raimund Wong (Total Refreshment / Floating World Pictures)

Josh Hughes (Cub\cub) returns for his second album of a long hot summer, Radiant Crush. Following the glimmering enchantments of his previous outing, Nothing New Under The Sun, this latest chapter brings things to a dizzying climax. While Josh's palette champions the lo-fi, it's his ability to unveil rich melody, seemingly spilling through ever shifting sliding doors, that leads the listener on a merry dance of intangible delights. As Radiant Crush continues to build, we increasingly discern hazy voices coming through the divide: Through a Narrow Window resonates like a lost gem from This Mortal Coil; until Drift finally breaks through with Louisa Osborn's blissful vocal performance, pulling everything into focus to stand as the album's glorious centre piece. While Radiant Crush is very capable of speaking for itself, when pressed Josh describes his work as "music for an incurably ambiguous world", and we can see how nothing is quite what it seems when he goes on to describe this latest album in similarly evasive terms: "Radiant crush is a series of nebulous concepts designed to make the listener think about the way in which we as human beings can idealise a past that never existed. The album focuses on the fragility of the human brain and the power emotions have over recollection through tracks that leave you with a feeling of longing, for something you can’t quite put your finger on. I think more than any other work I’ve made, this album feels the most human. Vocals feature quite prominently throughout the record, most of them are distorted, veiled or fragmented in keeping with the theme of a loss of connection and meaning. Drift is the only track on the album with intelligible vocals, this was intentional as it honestly and tenderly deals with the theme of living in an incurably ambiguous world." Radiant Crush will be released on 2nd September, via digital platforms and limited edition pressed vinyl. Genre: Electronic / Ambient

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Acid bass, slow funk and cosmic energy make for a mind expanding trip in the Liquid Canoe.
Load up on edibles, make it a macro-dose and let the music lead the way.

Whether you’re hard at work on a Hamburg allotment, basking in the heat of a Balinese beach or enjoying the cool waters of the Salish Sea, remember that the same sky stretches over all of us.
And if you forget your finger for a minute and soak in the heavenly beauty instead, you might just catch the cosmic vibrations of Liquid Canoe, the latest members of the Growing Bin family.

A loose ensemble, Liquid Canoe is the brainchild of Wolfgang Matthes, a lost Angelino who’s swapped the rush and push of a mega city for the space of the Pacific Northwest - and listening to this eight track offering, you’ll realise that space is the place. Armed with an array of vintage synths and programmed rhythms, Wolfgang sketched out a slew of inter dimensional transmissions, inspired by the commune electronics and space rock of 70s Germany and inhabited by the spirit of the boogie. Inviting friends to drop by and lend their own instrumental skill, Wolfgang quickly turned Liquid Canoe into a true collaboration. Finalised in a converted stable on Galiano Island, the LP is a perfect marriage of the electronic and organic, shimmering arps and spheric synth bass intertwined with American primitive guitar, nuanced hand percussion and glassy chimes. As this mind expanding collection stretches out towards infinity, you’ll hear Floyd-ian funk, cosmic dub, tangerine daydreams and micro-dosed ambience, all imbued with the memories of New York lofts, Bay Area warehouses, skyscraping pines or the world wide web of fungi. Liquid Canoe taking you on an oarsome trip.

Note price increase and cat number change from last time around. In 1968, Don Cherry had already established himself as one of the leading voices of the avant-garde. Having pioneered free jazz as a member of Ornette Coleman's classic quartet, and with a high profile collaboration with John Coltrane under his belt, the globetrotting jazz trumpeter settled in Sweden with his partner Moki and her daughter Neneh. There, he assembled a group of Swedish musicians and led a series of weekly workshops at the ABF, or Workers' Educational Association, from February to April of 1968, with lessons on extended forms of improvisation including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales. That summer, saxophonist and recording engineer Göran Freese who later recorded Don's classic Organic Music Society and Eternal Now LPs invited Don, members of his two working bands, and a Turkish drummer to his summer house in Kummelnäs, just outside of Stockholm, for a series of rehearsals and jam sessions that put the prior months' workshops into practice. Long relegated to the status of a mysterious footnote in Don's sessionography, tapes from this session, as well as one professionally mixed tape intended for release, were recently found in the vaults of the Swedish Jazz Archive, and the lost Summer House Sessions are finally available over fifty years after they were recorded. On July 20, the musicians gathered at Freese's summer house included Bernt Rosengren (tenor saxophone, flutes, clarinet), Tommy Koverhult (tenor saxophone, flutes), Leif Wennerström (drums), and Torbjörn Hultcrantz (bass) from Don's Swedish group; Jacques Thollot (drums) and Kent Carter (bass) from his newly formed international band New York Total Music Company; Bülent Ates (hand drum, drums), who was visiting from Turkey; and Don (pocket trumpet, flutes, percussion) himself. Lacking a common language, the players used music as their common means of communication. In this way, these frenetic and freewheeling sessions anticipate Don's turn to more explicitly pan-ethnic expression, preceding his epochal Eternal Rhythm dates by four months. The octet, comprising musicians from America, France, Sweden, and Turkey, was a perfect vehicle for Don's budding pursuit of "collage music," a concept inspired in part by the shortwave radio on which Don listened to sounds from around the world. Using the collage metaphor, Don eliminated solos and the introduction of tunes, transforming a wealth of melodies, sounds, and rhythms into poetic suites of different moods and changing forms. The Summer House Sessions ensemble joyously layers manifold cultural idioms, traversing the airy peaks and serene valleys of Cherry's earthly vision. In the Swedish Jazz Archive quite a few other recordings from the same day were to be found. Some of the highlights are heard as bonus material on the CD edition of this album. The octet is augmented by producer and saxophone player Gunnar Lindqvist, who led the Swedish free jazz orchestra G.L. Unit on the album Orangutang, and drummer Sune Spångberg, who recorded with Albert Ayler in 1962. The bonus CD also includes a track without Cherry featuring Jacques Thollot joined by five Swedes including Lindqvist, Tommy Koverhult, Sune Spångberg, and others. With liner notes by Magnus Nygren and album art featuring a cover painting by Moki Cherry: Untitled, ca. 1967-68. Track list: 1. Summer House Sessions 2. Summer House Sessions.

Big Crown Records is proud to present another strong 7" offering from the legendary Sunny & The Sunliners. Pulling two very in demand tunes from Sunny's Keyloc Records catalog and making one unstoppable reissue 45 that will put these tunes back in the mix around the globe. Since we released the first Mr Brown Eyed Soul compilation in 2017 the price of Sunny's records have skyrocketed. We are sure a lot of people will be happy to be able to get their hands on these tunes and it will be great to see them getting spins in a whole world of new circles. The A side, "If I Could See You Now" is a classic dance floor burner from Mr Brown Eyed Soul. From the first note of the organ intro those in the know will be grinning ear to ear, as soon as the beat drops and Sunny starts singing anyone who never heard this tune before will be hooked. "Give Me Time" is a bit of a sleeper in Sunny's catalog. Not one of the flagship tunes that everyone knows but absolutely worthy of reissue and becoming one of the classics alongside "Should I Take You Home", "Smile Now, Cry Later", etc. The band is as sharp as the man himself on this one, running through the beautiful arrangement while Sunny pleads for time to get over his lost love.

'No Sub Reino dos Metazoários' is the first and only record by musician and poet Marconi Notaro, out of Pernambuco, Brazil. Originally released independently, however, with the support and distribution of Rozenblit, the 1973 album featuring Lula Cortes, Zé Ramalho and Robertinho de Recife is part of the holy trilogy of "Psicodelia Nordestina" amongst the equally mindblowing Paebiru (1975) and Satwa (1973). For its non-comercial a raw aesthetics, the record became a true rarity among collectors worldwide and one of the most important albums of Brazilian Psychedelia. For years it was known that the master tape of 'No Sub Reino dos Metazoários' had been lost during two floods that wrecked the Rozenblit Studios. Lots of equipment were damaged and plenty of material gone. However what no one expected was that the tapes were kept on the highest shelves in the studio where the water did not reach with the thought of "equipment can be replaced, master tapes are unique". Notaro's daughters inherited and rescued the tape and made it available so that Fatiado Discos could release the first and remastered version from the original tapes since 1973. The lysergic highest moments come with nature elements textures as water and wind mixing together with the unmistaken sound of the Tricórdio Acústico - which is a very unique instrument that Lula Côrtes brought himself from India and then adapted it with the help of a local luthier to the regional sound of the Brazilian northeast. The gatefold designed by Lula Côrtes is portrayed in this release and it also has its inner side designed by Cátia Mezel, apart from an extra insert with unpublished photos of Marconi provided by the musician's family.