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In the past few years, Clarice Jensen has forged her own path. Recently, her focus has shifted to film scoring, successfully recording work for three feature films between 2020 and 2021. At the same time, Clarice continues to serve as artistic director of the American Contemporary Music Ensemble, while continually collaborating with an impressive array of musicians, such as Max Richter, Björk and Stars of the Lid, to name a few.

That being said, it was her 2019 tape release on Geographic North, »Drone Studies«, that initially caught the attention of a wider audience, with the work showcasing a compelling assembly of deeply immersive drones, and elegantly orchestrated compositions, in which neoclassical elements collide with electric density.

Three years later, the work has lost none of its innovative character and appeal. It also documents a turning point in Clarice's career, one where her classically trained background started to converged and overlap with her interests in improvisational electronics and drone music. As a result, the aptly titled »Drone Studies« shows Clarice at her most exploratory, introspective, and daring, channeling her areas of interest into a collage of richly textured timbers and cello movements of sublime tension.

Now for the first time, the original album can be experienced through an expanded vinyl reissue, mastered by Rafael Anton Irisarri, and carefully adjusted for vinyl by Ian Hawgood. The new reissue also features an additional track by Clarice called »Platonic Solids 2«, which was originally conceived around the same time as »Drone Studies«, and which has now been made available exclusively for the vinyl edition.

We hope that this new reissue will aid in introducing Clarice's groundbreaking »Drone Studies« to a new crowd of listeners through this expanded edition.

‘Wax Limousine’ is the third solo album from London’s Wesley Gonzalez. Set for release on 18th March via Moshi Moshi Records, the record is the follow up to last year’s critically acclaimed ‘Appalling Human’ and finds the indie stalwart delivering his most personal album to date, via a collection of 12 irresistible pop songs. The announcement arrives alongside the title track, which received its first play from Marc Riley on 6Music and its accompanying video, the second to be revealed from the record following ‘Greater Expectations’, released earlier this year. In support of the release, Gonzalez heads out on tour this November, headlining Electrowerkz on 25th and supporting Young Knives across the country (full dates below).

With its truly eclectic range of musical influences drawing on Gonzalez’s ever developing sonic palette, the album’s uplifting sound juxtaposes its themes, documenting the end of a long-term relationship and the overwhelming experience of dealing with a family member’s cancer diagnosis and subsequent treatment. ‘Wax Limousine’ navigates these hurdles with a razor-sharp wit and often brutally perceptive self-awareness, nowhere more so than on the new single. Inspired by both 'Faithless' by Scritti Politti and Aretha Franklin, it is Gonzalez’s version of an 80’s gospel song and, as he explains, written at a crucial point over the last 12 months

“This was written right after the breakup and cancer diagnosis. It was that early stage of a breakup where you can't really understand what went wrong for you or for your ex. There was resentment for the extreme change I had suddenly found myself in, and I was asking what it really was I did wrong. The title Wax Limousine came from old phrases like "as useless as an ashtray on a motorbike". I was trying to express how useless I felt within every situation that had just arrived at my doorstep.”

Wesley Gonzalez first made a name for himself as the leader of Let's Wrestle, whose tuneful and eccentric punk earned critical accolades and a devoted audience with three albums, including 2011’s Steve Albini produced ‘Nursing Home’. Gonzalez wasted little time forging his own path and quickly assembled a live band for his solo work, expanding upon the guitar-driven music of his former band, with an interesting concoction of classic 70’s pop, soul, and indie rock. Gonzalez released his debut solo record ‘Excellent Musician’ in 2017, then the follow up ‘Appalling Human’ in June 2020 through Moshi Moshi Records.

Based in Bamako for sixteen years, Philippe Sanmiguel has been the producer of albums by the famous Malian bluesman Samba Touré since his international debut. Over the years, Philippe has expanded his work with other artists such as the legendary Tuareg band Tartit, Anansy Cissé, Mariam Koné or Djimé Sissoko among others.

While working on the albums of these artists, he often had the inspiration to add influences from his original rock culture but in small measures. That's how Black Mango was born, to gather his favorite musical collaborators around his own compositions and expand the vision. It started with an EP released on Glitterbeat Records in 2014 from which the idea for a full-length album was born.

Black Mango's Quicksand album was recorded in Bamako over a period of several years, in various recording sessions, giving each musician free range to play on a rhythmic and melodic basis prepared in advance. The alchemy was immediate in all cases, often from the first takes.

Philippe originally met producer and musician Hugo Race with Chris Eckman during their stay in Bamako for the recording sessions of Dirtmusic's Troubles & Lion City albums. Hugo loved the raw feeling of the tracks and offered to remix the album in his Melbourne studio, bringing his own unique touch.

The fruit is ripe!

Recorded at Akan Studio & Funhouse Studio in Bamako, Mali by Konan Kouassi & Philippe Sanmiguel
Produced, mixed and mastered by Hugo Race at Helixed Studio

A few words about the main " stars " :

- Samba Touré is Samba Touré.
- Anansy Cissé is a young songhoy artist for whom Sanmiguel has produced two albums, including the recent and acclaimed "Anoura".
- Mariam Koné is one of the most beautiful voices of Mali, who has a self-produced album and teaches music at the conservatory of Bamako.
- Singer Bocar Sana Coulibaly & Ali Traoré are singer and guitarist from Niafunké, nephews of the great Ali Farka Touré and have a band called Espoirs de Niafunké

Best known for his work with CL Smooth, and his remixes for Public Enemy, House of Pain, Mary J Blige and Mick Jagger to mention a few. Hailing from the little town of Mt. Vernon, NY, right next to the Bronx, Pete Rock & CL Smooth pretty much got together in their local high school when Pete noticed CLs dope and unique voice. After high school, Pete hooked up a weekend hip-hop show on WBLS-FM and was considered one of NYs premier DJs during his four year stint on the show. All Souled Out was Pete & CLs debut EP, it was the phenomenal production by Pete Rock which really drew people to this EP. If the legendary DJ Mark The 45 King was the first producer to incorporate horns, Pete Rock was the first to really perfect this new style of production with his trademark echoing horns laced throughout his music. This was done very nicely on two of the cuts off the EP, Creator and Mecca & The Soul Brother, and people were taking notice in a big way.
After the solid Mecca/Creator 12 inch, the duo unleashed one of those all-time classic LPs every MC dreams of having, Mecca & The Soul Brother featuring the monumental: They Reminisce Over You, Straighten It Out, Ghettos Of The Mind, and Lots Of Lovin. Songs to make you cry - damn, they were playing TROY at funerals everywhere. One of the greatest hip hop records ever made ...it never leads my box man...- (Tim Westwood)

Pete Rock on hip hop: Hip hop to me today is still important but we are going through a phase right now. Hip Hop as been injected by a virus, and right now weve got to find a cure to this. Which brings along myself. (Frank 151)

The Press ...from downtempo, funkdified sounds to hypnotic hip-hop beats, this is a wonderfully crafted album - (BPM July 2001)
This hypnotic ... album represents hip hops incredible ability to morph and manipulate a hodgepodge of sounds to create something unique...although the sound is now industrial, electronic and everything but natural Pete's version of hip hop will remain a classy affair that merges the elements of an orchestra, the roots of black music and the cacophony of the streets. - (Mass Appeal July 2001)

Until recently, it was thought that we had heard all there was to hear from Saâda Bonaire. The German studio project's 1980s recordings had been compiled on the now cult-classic double LP Saâda Bonaire, released by Captured Tracks in 2013. Though the group had continued working until 1994, founder Ralph "von" Richtoven had firmly stated that all of their post-1986 work was lost. Released now for the first time ever, 1992 compiles the band's long-lost early nineties material. Produced between Bremen and New York City, the 12 songs presented here capture the group's attempts at steering their trademark fusion sound (reggae, afro-funk, Eastern music, and sultry German female vocals) into uncharted nu jazz, trip-hop, and house territories. It's no surprise, given both the time lapse and the fluid nature of the project, that these recordings differ sonically from the 1980s material. 1992 finds Saâda Bonaire folding new influences from the time (house, hip-hop, rap) into their eclectic sonic universe. Vocalist Andrea Ebert's soulful voice -the result of a church choir background and an early love of American soul and jazz music- offset Stephanie Lange's laid-back, more German-sounding vocals. This unique interplay bolstered the band's new direction - evident in their inspired takes on James Brown's "Woman" and Syreeta Wright and Stevie Wonder's "To Know You Is To Love You". The American influence was also made literal via contributions by renowned DJ Matthias Heillbronn and rapper Jimmy Lee Patterson, both of whom lent some stardust to the tracks at François Kevorkian's Axis Studios in NYC. Unfortunately, the demo recordings were considered too bizarre for 1990s record label standards, and as a result were never published. As with all things Saâda Bonaire, the discovery of these discarded recordings feels like a sort of magical impossibility. It's been nearly ten years since the release of the last compilation, and thirty since the recordings were originally captured. That they still manage to sound fresh and avant garde is a testament to Saâda Bonaire's flair for creating pop music for past, present, and future outsiders.

Praised for his genuine originality, the American-Canadian Rufus Wainwright has established himself as one of the great male vocalists and songwriters of his generation. In 2004 he released Want Two, his fourth studio album. According to Wainwright himself, it is the darker sibling of 2003’s Want One - its subject matter concerned with “the world we live in” after Want One focus on the intensely personal. Wainwright produced the album in collaboration with Grammy Award winning British producer Marius de Vries, who is best known for work with U2, Madonna and Björk.

His mother Kate McGarrigle and aunt Anna McGarrigle both sing on the track “Hometown Waltz”. The album also features Wainwright’s popular tracks “The One You Love”, “Agnes Dei” and “Old Whore’s Diet”. The latter features Anohni from Antony and the Johnsons.

Want Two includes an insert with lyrics.

First time reissue of the holy grail of Colombian garage music, originally released in 1967. Includes two wonderful covers of the Californian band Count Five: 'Psychotic Reaction' and 'They're Gonna Get You', as well as the stellar original 'Cosmos 901'. DESCRIPTION In the mid-sixties, when the temperature of modern youth music was at its highest, Colombian label Codiscos placed its bet on some of the emerging figures of Colombian pop and two exciting wild bands: Los Flippers and Los Streaks. After the fleeting brilliance of the so-called "new wave", the 4-song EPs released by the label -mainly for promotional use- lay forgotten on the shelves of radio stations or stored in the musty trunks of the fans who managed to buy the few copies that were distributed by the record label. Today it's incredibly difficult to find any of these EPs released by Codiscos between 1965 and 1967 in mint condition, with the original sleeve. Los Streaks didn't just come out of nowhere, it was the brainchild of the radio DJ, manager and promoter Édgar Restrepo Caro. Towards the end of 1966, while working as the manager of Los Flippers, Caro became fascinated with the idea of creating a group made up of some of the most talented musicians on the Bogota rock circuit. On January 20, 1967, Los Streaks made their debut at the discotheque El Diábolo as a warm-up act. The following weeks were crazy: they appeared on national television, starred at matinee sessions at two major venues in Bogota, and headlined at the concert organized by the music magazine Juventud a Go 67. During this short period, they established a powerful stage presence, combining exquisite musicianship and a sharp sense of humor. Their repertoire was also bold, encompassing Giuseppe Verdi, The Beatles, Pérez Prado, The Ventures or Mitch Ryder and The Detroit Wheels. The band's solid sound was perfectly aligned to Codiscos' interests. After some enthusiastic promotion by their manager, Humberto Moreno met them, and they signed a contract to release two LPs. In mid-1967 they traveled to Medellín and recorded eleven tracks that would shape the first of these albums. One of these songs was kept back for "El disco de oro a Go-Go" (LDZ-20331), while the rest were included in "OPERAción A Go-Go" (LDZ-20343), released on August 12 of the same year. It included four songs that the label had released on an EP, which decades later has become the holy grail of Colombian garage music. The stunning "Reacción sicótica" EP includes the stellar 'Cosmos 901' composed by Manuel Jiménez, the sparkling 'Escápate mi amor' (a cover of the classic 'Get Away' by Georgie Fame that they most probably heard in the version recorded by the Spanish band Los Angeles) and two wonderful covers of the Californian garage band Count Five: 'Psychotic Reaction' and 'They're Gonna Get You': 'Reacción sicótica' and 'Soy así_ y qué?'. Four hits that shook things up memorably.

Martin Matiske's superb new six-track EP Circle Of Enlightenment on LDI Records is based around the concept of one-mindedness and togetherness. This German artist was fascinated with mixing records as early as his 10th birthday and had his first release on the legendary International Deejay Gigolo Records aged just 15. In the 20 years since he has released a selection of records on labels like Moustache Records and Bordello A Parigi. His timeless sound comes with a vintage touch and always fuses electro, italo and techno in fresh new ways. This new EP aims to describe the direct connection between human beings and the universe. Martin says: "Human beings are aliens always looking for answers to questions like why are we here and what life is about? We know the answer but won't accept it. We are made up of the elements of space and are directly connected to the universe. Each person contains the energy of the universe and is connected with everything that surrounds it. We are one! We are here because we are here! Our mission is to be!" The EP opens with 'Memory', and Martin explains that "Remembering is the ability to do things right but most of the time it causes pain." The track is a slick and icy electro workout with gorgeous retro-future pads bringing a cosmic sense of soul while the corrugated bass keeps busy below. 'Breakout' describes breaking out of normal thought and reaching a state of "no-mind." It is a playful and dynamic electro cut with characterful bass and synth stabs like shooting stars as shimmering arps ride up and down the scale. 'Lost In Space' deals with the idea that human beings on earth are just as lost in space as aliens. It's an interplanetary electro trip with glistening synths shining bright next to more twisted, tortured bass. 'Microbot' is about miniature robots that make our lives easier and ride on a punchy bassline, with neck-snapping snares and pads that circle around like spacecraft during battle. It is another lush electro workout that leads into 'Stars' and pays homage to the importance of these twinkling rays of light. It's a widescreen track with withering leads, cyborg vocals, and a real sense of hope as the snappy drums march into an unknown future. Last of all, 'Solaris' pays tribute to the life-giving force of the sun with another super crisp electro groove, slithering arps and conversational pads that make both a physical and emotional impact. Circle Of Enlightenment is a brilliantly adventurous and storytelling new EP from the ever-excellent Martin Matiske.

Storming into 2022 with a flurry of high-octane remixed from a stellar array of artists, Anfisa Letyago continues to solidify her position as one of techno's most talked about names. An intrepid selector with a positive attitude regarding all things art and dancefloor related, she's been making seismic waves within the industry for a few years. Letyago launched her own imprint - N:S:DA last year, originally a celebration of her own dark-brooding style of techno, the label has entered a metamorphosis of sorts, welcoming in a host of established producers to remix the labels first two remix EP's.

Kompakt head-honcho and German techno extraordinaire Michael Mayer opens up the floodgates of this remix project with an alluring interpretation of "Nisida". Decades of industry experience have finely tuned Mayer's taste making to an impeccable standard, his extensive knowledge of dancefloors and deep cuts serves as an excellent explanation for his undeniable ability in the studio. Ethereal vocal snapshots from the original mix are weaved intricately amongst the machine-orchestra of arpeggiated synths and stalwart drum loops. "My aim for this remix was to crystallize this yearning sentiment in Anfisa's whispers by adding more warmth and drama to the track" adds Michael.

The Italian-born, multi-faceted DJ Tennis steps into the arena with his unique take on the original mix of "Nisida". Elegant pads flourish through the mix, carrying listeners weightlessly into warping basslines and razor-sharp drum work. The droning synths seem to induce hypnosis, circling and swaying around the driving kick and scattered hi-hats. A production powerhouse since the early nineties, DJ Tennis continues to juggle event promotion, running a label and booking agency. A hugely talented all-rounder.

1979 draws the EP to a close with a swirling techno edit of "Orizzonte", tastefully minimal and precisely crafted with compelling sound design from the analog synth wizard. Classically trained with a deep penchant for attending illegal raves in his youth, 1979 has been making waves with a flurry of breakout hits in recent years. The arrangement climbs through cycles of high-pitched tones and rolling mid-range bass, taking listeners on a sonic journey steeped in warmth with classic drum machine hits. "'Orizzonte' caught me in many ways, and I decided to use the beautiful space-arpeggios and the shoegaze pads made by Anfisa to create my own version of the track" he adds. The perfect track for highway driving and rocking dancefloors.

»Tides« marked a radical change in direction for Arovane. After Uwe Zahn had made a name for himself with cutting-edge IDM rhythms and slick ambient textures on a slew of releases, his sophomore album saw the prolific producer opt for a sample-based approach that resulted in a more organic sound and laid-back downbeat grooves. Having reissued Arovane’s seminal »Atol-Scrap« as a double LP in 2021, the Berlin-based Keplar label now makes »Tides« available on vinyl for the first time since its original release in 2000 through the legendary City Centre Offices. The new version has been remastered by Kassian Troyer at Dubplates & Mastering and comes with a brand new cover artwork. It shines a new light on a release for which Zahn quite literally ventured into previously unknown territory — »Tides« is an album that emits a timeless, quiet calm and nonetheless stays constantly in motion.

»The idea for the album came to me after a vacation in France«, says Zahn. Inspired by the landscape, especially the coastline and the sea, he made field recordings throughout his trip that were also used on the record, giving it its sensual feel. The foundation of the album however, the loose yet gripping grooves at the heart of every track, result from Zahn working extensively with samples. »I wanted to make use of drum sounds and small excerpts from old jazz vinyl records«, he explains. He maintained the unique sound signatures and rhythmic flutter of the source material while building intricate beats with them. Most of the material was culled from the record collection of Christian Kleine, whose spontaneous guitar improvisations over the first musical sketches were recorded and edited by Zahn and can be heard on four tracks. Also employing the occasional cembalo or spinet sound, he worked with a hardware sequencer and a delay to integrate the different, discrete elements into nine tracks that feel both dense and light at once.

What’s astonishing still 22 years later is how spacious »Tides« sounds. This is due to the fact that Zahn not only paid close attention to the sonic idiosyncrasies of his source material, but also to what happened in between those sounds. »Mark Hollis’s solo album was a huge inspiration at that time«, says Zahn. »What I find fascinating about it until this day is how silence and the subtle hiss of the mixing boards were being used on that record.« Silence was also an important stylistic element on »Tides« and adds greatly to the overall atmosphere of an album that with the appropriately named »Theme« immediately sets the mood with intricate spinet melodies: Zahn opens a door for his listeners and invites them to follow him to see a specific part of the world through his very own lens.

As a whole, the album mirrors Zahn’s trip that took him along the steep cliffs on a foggy day (»Seaside«), to an abandoned house in which he found old maps (»A Secret«), along the coastline during a long car ride (»Deauville«), to a sleepy village and the slowly moving sea (»Tides«) and finally back home to his native Germany where he started reflecting upon his experiences, ultimately deciding to translate them into music (»Epilogue«). »Whenever I listen to this album now, the images and memories it evokes are incredibly vivid and vibrant«, he says. It’s not hard to see — or rather hear — why. »Tides« may have been a deeply personal project, but it effortlessly evokes universal feelings by (re-)building an entire world in the course of only a few pieces of music.

“Grinding, old industrial influenced, no wave techno for outsiders…”
JK FLESH is the industrial techno alter ego of JUSTIN K BROADRICK (NAPALM DEATH, GODFLESH, JESU, TECHNO-ANIMAL, ETC). It is techno made by an extreme music pioneer, so expect techno that is heavy, brutal and psychedelic. ‘NEW RELIGIONS OLD RULES’ is the latest JK FLESH album, made up of 8 fierce dancefloor destroyers. ‘NEW RELIGIONS OLD RULES’ thematically explores mankind’s persistent obsession with indoctrination. Limited 500 copies worldwide only on double vinyl!

arbitrary presents the first in a series of remix collaborations and releases by Mads Emil Nielsen and Chromacolor, a project from the German sound artist and producer Hanno Leichtmann.

Mads Emil Nielsen’s Constellation (side A) was created by combining several granulations and textures based on a single short recording, extracted from improvisations made with the Buchla synthesizer at EMS, Stockholm – combined with randomly looping orchestral samples, edited and produced in his studio in Copenhagen.

After having heard Nielsen’s live performance in Berlin in 2017, Hanno Leichtmann suggested remixing various of his tracks including Constellation (Remix – side B). For this rework, Leichtmann provides an ambient feel by working with various sources, all of which generate sound using vibrating metal plates in different sizes – including a Premier Vibraphone, a Fender Rhodes and a Hohner Guitaret.

Constellation written & produced by Mads Emil Nielsen at EMS Elektronmusikstudion, Stockholm and in Copenhagen. Constellation Chromacolor Remix written & produced by Hanno Leichtmann at Static Music, Berlin. Mastered and cut by Kassian Troyer at D&M, Berlin. Artwork by Karel Martens.

The long-awaited reissue of this rare Eastern and psychedelic Jazz LP by the famous Hungarian guitarist, originally
released in 1968. For the first time and as extended Edition with four bonus tracks: radio version from 1968/69 7”
singles 7”. Deluxe 6-sided Digipak CD with 20 page booklet and Gatefold Vinyl comes with long, exclusively written
inner notes by the famous researcher and biographer Douglas Payne.
“The performances on this LP have a restrained, introspective quality. Szabo’s work is lyrical, rather economical, and
somewhat angular, and his tone is warm and glowing.” – Harvey Pekar, DownBeat
“Gabor Szabo is at the musical zenith of his career. This album could rank as his best to date.” - Billboard
“But for sheer lyrical beauty, few players are in Szabo’s class. His startling use of dissonance is a delight, too, and
time and again he will alter a final phrase just slightly, totally reorienting a familiar tune.” – Alan Heineman, DownBeat
“This is definitely one of my ‘go to’ Gabor albums.” Mike Stax, Ugly Things
"Gabor Szabo’s Bacchanal documents one of the earliest and finest examples of what was then known as “jazz rock.”
Years before this new jazz style evolved – or devolved, according to some – into “fusion,” jazz rock was mostly
fashioned by younger jazz players whose ears were open to the emerging sounds coming out of rock and roll,
especially those of the Beatles and, later, Jimi Hendrix. " - Douglas Payne
After recording four albums for Impulse in 1967, the distinctive guitarist Gabor Szabo cut three strongest records for
the Skye label in 1968-1969: "1969", "Dreams" and "Bacchanal" all of them became a legendary classic. This time
EBALUNGA!!! are rediscovers "Bacchanal". Szabo's regular group of the era is heard on record for the last time:
guitarist Jimmy Stewart, bassist Louis Kabok, drummer Jim Keltner and percussionist Hal Gordon. With the exception
of two Szabo originals, the material is comprised of current pop tunes including two songs by Donovan, "Love Is Blue,"
"The Look of Love" and "Theme from the Valley of the Dolls."
Gabor Szabo was one of the most original guitarists to emerge in the 1960s, mixing his Hungarian folk music heritage
with a deep love of jazz and creating a distinctive, largely self-taught sound.
Born in Budapest, on March 8, 1936, Szabo was inspired by a Roy Rogers cowboy movie to begin playing guitar when
he was 14 and often played in dinner clubs and covert jam sessions while still living in his hometown. He escaped
from his country at age 20 on the eve of the Communist uprising and eventually made his way to America, settling
with his family in California.
He attended Berklee College (1958-1960) and in 1961 joined Chico Hamilton's innovative quintet featuring Charles
Lloyd. Urged by Hamilton, Szabo crafted a most distinctive sound; as agile on intricate, nearly-free runs as he was
able to sound inspired during melodic passages. Szabo left the Hamilton group in 1965 to leave his mark on the popjazz of the Gary McFarland quintet and the energy music of Charles Lloyd's fiery and underrated quartet featuring Ron
Carter and Tony Williams.Szabo initiated a solo career in 1966, recording the exceptional album, Spellbinder, which yielded many inspired
moments and "Gypsy Queen," the song Santana turned into a huge hit in 1970. Szabo formed an innovative quintet
(1967-1969) featuring the brilliant, classically trained guitarist Jimmy Stewart and recorded many notable albums
during the late '60s. The emergence of rock music (especially George Harrison, Eric Clapton, and Jimi Hendrix) found
Szabo experimenting with feedback and more commercially oriented forms of jazz.
During the '70s, Szabo regularly performed along the West Coast, hypnotizing audiences with his enchanting,
spellbinding style. From 1970, he locked into a commercial groove, even though records like Mizrab occasionally
revealed his seamless jazz, pop, Gypsy, Indian, and Asian fusions. Szabo had revisited his homeland several times
during the '70s, finding opportunities to perform brilliantly with native talents. He was hospitalized during his final visit
and died in 1982, just short of his 46th birthday.

Honeyglaze are the South London-based, Haiku-loving trio comprised of vocalist and guitarist Anouska Sokolow, bassist Tim Curtis and Yuri Shibuichi on drums.

 Born out of lead songwriter Sokolow’s un-desire to be a solo act, the group met officially at their first ever rehearsal - just three days ahead of what was to become a near-residency, at their favoured Windmill in Brixton. Forming a mere eighteen-months ahead of a subsequent eighteen-months of mandatory solitude, a parallel that’s both aligned and universally un-timely, Honeyglaze, at first appearance, are a group who play with chance, time, and synergetic fate, in mannerisms few others are able to do.

 Pricking the ears of seminal producer Dan Carey and his team of merry tastemakers, the Speedy Wunderground / Honeyglaze partnership would manifest into a dynamic that, despite not having met prior, quite simply just worked.

 Much like the eponymously debuted statements of contemporary folk-singer Bedouine’s ‘Bedouine’, ‘Crosby, Stills and Nash’, or, dare we suggest Madonna’s ‘Madonna’, ‘Honeyglaze’ the album presents to the world an audibly picturesque documentation of soul-searching, in all its figment’s of reality; a proclamation of cultivated intent which in turn creates a subliminal safe-space between relatability and self-projection, and creative-comradery paired with introspective artistry.

 A self-described “opposite to a concept album” that sonically encapsulates the who, what, where and how of their individual circumstances coming together as one, Honeyglaze is a meticulously transformative feat of which, in their own eyes, is a “quite accurate” sonic encapsulation of who the trio believe to be.

 This is storytelling at its most soulful, and ‘Honeyglaze’ presents human instinct in a manner that accepts all of the insecurities that come from their present adolescence, whilst acknowledging the formative maturity that’s earned when we allow ourselves to embrace the unknown, of our futures ahead.

 “If someone is going to find you special - then you want to show what’s most special about yourself,” notes Curtis. “Then you can do what you want from there.”

 Mixing the personal with romanticised ideals in ways that are simultaneously heart-wrenching, and humorous to a dead pan effect, there is no one trajectory for Honeyglaze, whose greatest ability is finding ways to present what’s written in-between the lines, in moments of beautifully well-versed clarity.

 In their own words: “Hi we are Honeyglaze, and there’s no time to explain.”

Originally released by Bethlehem Records in 1959, NINA SIMONE AND HER FRIENDS was a compilation album comprised of the few remaining, unreleased tracks from the Little Girl Blue recording session plus songs recorded by two other former Bethlehem artists, the powerhouse jazz vocalist Carmen McRae and the elegant song stylist Chris Connor.

As Daphne Brooks explains in the release’s brand new essay, “Bethlehem clustered their work—tracks that had previously appeared on the label’s Girlfriends compilation—together with the younger, upstart Simone’s and essentially offered up a collection of songs that span a range of genres—folk, jazz, pop song staples, and torch song laments, plus a couple of provocative original compositions by McRae and Simone. Each track is a reminder

of the clear-eyed independence, verve, and confidence of three artists whose music, taken together, brims with the majesty and the assured talents of the late 1950s women artists who led with conviction and invention as musicians and song interpreters.”
Featuring a brand new stereo mix by four-time Grammy winner Michael Graves. Includes new essay by author of Liner Notes For The Revolution, Daphne A. Brooks.

Drawing on a diverse range of influences, Quimbie’s debut album ‘Sunday Fiction’ is a sophisticated journey through myriad grooves. From dancefloor to home listening vibes, it’s a riot of warm chords, dusty samples, booming bass and infectious rhythms. The mysterious producer has managed that difficult feat of crafting a ‘dance’ record that works outside of a club context, imbuing his tracks with a charisma and vibrancy that appeals to the mind as much as the body.

A perfect complement of analog synths and drum machines make the perfect bed for Quimbie’s magpie-like sample selection, and the overall effect is a wistful, engrossing record that you’ll want to come back to again and again.

Nightports is based on a simple but unbreakable rule of restriction: only sounds produced by the featured musician can be used. Nothing else. These sounds can be transformed, distorted, translated, processed and reprocessed, stretched, cut, ordered and reordered without limitation. Nightports w/ Tom Herbert is the third in a series of albums from musician-producers Adam Martin and Mark Slater to be released on The Leaf Label, following 2018's Nightports w/ Matthew Bourne and 2020's Nightports w/ Betamax. Tom Herbert made his name as the bass player in Mercury Music Prize-nominated bands Polar Bear and The Invisible, and has become an in-demand collaborator and session musician, including work with Adele, Lana Del Rey and most recently The Smile. Having honed his craft holding the low-end down in some of the most forward-thinking British groups of recent times, and also appearing on some the biggest tracks of the last twenty years, Nightports w/ Tom Herbert brings Herbert's command of the double bass into the spotlight.

Rare 1966 Brazilian album with a jazz/bossa nova take on songs by the Beatles, all served up with plenty of great keyboard work from the legendary Manfredo Fest who would later become member of the Sergio Mendes band. The songs are all played with imaginative scents that really take them from their roots as pop songs and open them up as groovers filled with keyboard improvisations. First time vinyl reissue. DESCRIPTION Rare 1966 Brazilian LP with a jazz/bossa nova take on songs by the Beatles performed by the very talented Manfredo Fest and his trio. It was originally released right after their classic 1965 RGE album and has a very similar jazz-based sound. Manfredo Fest was part of the gathering of Brazilian musicians of the late-'50s who were developing the bossa nova movement, and he made a number of trio recordings in that vein from 1961 to 1966. After emigrating to Minneapolis in 1967, Fest moved to Los Angeles where he served as keyboardist and arranger for Bossa Rio and toured with Sergio Mendes. This recording is all instrumental, strongly jazz-based, with piano as the main solo instrument, soaring over the top of some tight, crackling rhythms! The songs are all played with imaginative scents that really take them from their roots as pop songs and open them up as groovers filled with keyboard improvisations. A nice slice of how the bossa nova sound was evolving in its homeland as well as the international impact the Beatles were having on countries outside of the U.S., England, Japan, and Germany. First time vinyl reissue.