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Sounds like supergroup. Rarely have outstanding figures of such a variety of musical styles collaborated on one album to pay homage to a nearly forgotten artist, one of the few black Beatnik poets, Bob Kaufman.

"All Those Streets I Must Find Cities For" by The Plastik Beatniks is an attempt to acoustically reanimate Bob Kaufman, to return the Beat to him in a transatlantic collaboration. It is a shimmering psychedelic, at times jazzy concept album, sometimes reminiscent of Krautrock or hip hop, about a Beat-era poet who was as great as he was forgotten. It takes spoken word to a new level, as a transatlantic showcase of musical avant-gardes and a joyful "sound archaeology" of modernity, in which the tracks of the "Plastik Beatniks" meet the best voices of America.

The 12 wildly different songs and audi collages, on the transatlantically-produced album, "All the Streets I Must Find Cities For," is based on lyrics by Beat author Bob Kaufman. They were originally part of the radio play "Thank God for Beatniks," for which author Andreas Ammer ("Ammer & Einheit"), Notwist‘s Markus Acher and Micha Acher and loop maker Leo Hopfinger ("LeRoy") formed "The Plastik Beatniks." On the eastern side of the Atlantic they composed music and crafted soundscapes. On the west side of the ocean, they asked three of the most renowned singers, activists and producers in the U.S. to recite or sing Bob Kaufman's poetry.

Punk-pop icon Patti Smith immediately signed on to read Kaufman's poem "Ginsberg (For Allen)". Free jazz vocalist Moor Mother passionately performed Bob Kaufman's "War Memoir". American jazz clarinetist, composer, singer and “International Anthem” labelmate Angel Bat Dawid, a legitimate successor to Sun Ra, polyphonically read and sang such poems as "The Sun is a Negroe" and "West Coast Sound 1956" and included some clarinet solos on top. Also on the album, Bob Kaufman himself recites his previously unknown poems "Hollywood Beat", "Would You Wear My Eyes", and the "Jail Poem" "All Those Streets I Must Find Cities For". Beat chronicler Raymond Foye, who still lives at the Chelsea Hotel in New York, contributed an interview he conducted with late beatnik Allen Ginsberg about Bob Kaufman. Completing the circle was hip-hop artist Adam "DoseOne" ("13&God"), who once gave Markus Acher a well-thumbed volume of Bob Kaufman, whom he admired. He contributed some raps. Thus 12 tracks emerged, as diverse as the artists, poets and musicians who contributed to it. More than an album. An epitaph. A work for the eternity of Beat.

Regarding Bob Kaufman - of course the FBI kept a file on him – first as a sailor, then a communist, and finally a Beat poet. As one of the mainstays of the movement, he edited the literary magazine "Beatitude" in San Francisco and defined "Beatnik" to Allen Ginsberg: half rhythm, half sputnik. Bob recited his poetry loudly on the streets (when he wasn't sunk into years of silence in protest of the Vietnam War) and in the bars and bagel shops of North Beach. Once, he almost landed a pop hit ("Green Green Rocky Road"), which then made Dylan's companion Dave van Ronk famous. That Kaufman is today less known than his friend Allen Ginsberg may be because he was a black Beat poet, and also a Jew. This was not compatible with fame in the US of the 1950s. Though Kaufman had the same publisher, City Lights, as Ginsberg, he was frequently arrested and jailed, and was treated with electric shocks until he developed serious mental heath issues. There he wrote his "Jail Poems". The seventh of these lent this album its name:

"Someone whom I am is no one / Something I have done is nothing Someplace I have been is nowhere / I am not me What of the answers / I must find questions for? All these strange streets I must find cities for, Thank god for beatniks."

*Gatefold sleeve - black vinyl**

In many ways Kumoyo Island represents the culmination of a journey for Kikagaku Moyo. While their decade-long career can be summarized as a series of kaleidoscopic explorations through lands and dimensions far and near, there’s a strong intention in each of their works to take the listener to a particular place, however real or abstract they may be. In that sense, the title and cover art for the band’s fifth and final album draws you into a magical mass of land surrounded by water—but the couch suggests that Kumoyo Island may not be a fleeting stop, but rather a place of respite, where one could pause and take it all in.

Reconvening at Tsubame Studios in Asakusabashi, Tokyo, where their earliest material had been recorded, the five members of Kikagaku Moyo found new inspiration in a familiar and comfortable environment. With their adopted homebase of Amsterdam under lockdown and their touring activities halted due to the pandemic, the band felt a renewed sense of freedom being back in shitamachi, or the old downtown area of their hometown. With unrestricted time in the studio, they began to build upon the demos and song fragments they’d amassed since their last tour. In the 1.5 months spent in Tokyo, everything started to come together.

“Monaka”, its name taken from a type of Japanese wafer sweets, takes melodic inspiration from traditional minyo folk styles, while “Yayoi Iyayoi” is a rare instance of the band singing in their native tongue, its evocative lyrics utilizing archaic words taken from old poetry and nature books found in one of the many secondhand bookstores of Tokyo. For “Meu Mar”, an Erasmos Carlos cover, the original Portuguese lyrics were translated into English, then to Japanese. Strangely enough, the words seem to conjure an image of the protagonist floating among the clouds, looking down upon Tokyo Bay.

In fact, it may be possible to draw a parallel between the topography of the band’s home country—an island nation, surrounded by bodies of water—and the mysterious isle of Kumoyo. Are they one and the same? Has the band finally made it back home? It’s up to the listener to decide.

Dewa Alit, Bali’s master of contemporary Gamelan composition, returns to Black Truffle with Chasing the Phantom, presenting two recent works played by the composer’s Gamelan Salukat, a large ensemble that performs on instruments specially built to his designs, using a unique tuning system that combines notes from two traditional Balinese Gamelan scales. Alit explains that the ensemble’s name suggests “a place to fuse creative ideas to generate new, innovative works” and both compositions demonstrate the composer’s ability to wring stunning new possibilities from variations on the traditional Gamelan ensemble. While using familiar elements of Balinese Gamelan music, such as unison scalar melodies and stop-start dynamics, Alit’s music is overflowing with harmonic, rhythmic, and timbral inventions, the latter often facilitated by unorthodox playing techniques.

“Ngejuk Memedi”, an English translation of which gives the LP its title, results from Alit’s reflection on the complex relationship between tradition and modernity in Balinese culture, particularly in the way that belief in the phantoms or spirits known as ‘memedi’ are shared through social media using digital technologies. Embodying this uncanny co-existence, the opening passages of the piece are at once immediately recognisable in their use of the metallophones of the Gamelan ensemble and strikingly reminiscent of electronics in their timbre and movement. At points, what we hear seems to have been fragmented with digital tools, or even to originate in some incessantly glitching DX7. Short melodic figures loop irregularly, with the ensemble splintering into polyrhythmic shards before unexpectedly recombining for intricate unison passages. After several minutes of this manically tinkling metallic sound world, the metallophones are joined by drums for a meditative passage of lower dynamics, as the uniformly high pitch range explored in the opening sections gradually opens up to include resonant low gong hits. Recovering some of the manic energy of the opening, but now enhanced with the full range of percussion, the piece weaves through a series of tempo changes to a stunning passage of rapid-fire melodies and ringing chords that sweep across the metallophones, their unorthodox tuning creating complex clouds of wavering harmonies.

“Likad”, written during Covid-19 lockdowns, channels anxiety and uncertainty into musical form, resulting in a piece that, even by Alit’s standards, is stunning in its complexity and the virtuosity it demands of Gamelan Salukat. Its opening section is perhaps most remarkable for its mastery of texture, with rapid transitions between dry, muted strikes and metallic shimmers calling to mind the use of filters in electronic music. At points, the complex irregular repetitions of short melodic patterns, where the music seems to get stuck or be suddenly interrupted by a skip, recall the mad sampler works of Alvin Curran or the skittering surface of prime period Oval more than anything familiar from acoustic percussion music. Moving through a dizzying series of twists and turns, the piece ends with a majestic sequence of chords possessing an almost hieratic power. A major statement from a radical contemporary composer, one cannot help but agree with Alit when he sees Chasing the Phantom as an answer to the “question of the future of Gamelan music”.

Two years after the release of their last album "Wolves Among The Ashes", Svart Crown comes back with a sixth and new opus. The EP, called "Les Terres Brûlées" will be released as a coproduction between the band's label Nova Lux Production and Les Acteurs de l'Ombre Productions.

Just like a return to the basics, the five tracks that compose this EP form up a sulfuric halo between rage and transcendance. Recorded in several Southern France places and once again mixed by Francis Caste at Saint-Marthe studio, the organic, made for live production gives a suffocating warmth to the album's five pieces. Like a kind of epitaph, "Les Terres Brûlées" is a true abstract of
the band's 18 years of experience.

The first track to be revealed, "Digitalis Purpurea" is an astral journey through the inconscience limbo. A chaotic vision of its own death warrant, between dream and reality, where fire, opiates and sulfur smell coexist.

Available on color vinyl for the first time on limited edition opaque blue packaged with download code. Isotope 217 is made up of Dan Bitney, John Herndon, and Jeff Parker from Tortoise along with Rob Mazurek (Chicago Underground, Exploding Star Orchestra), and Matt Lux (Iron & Wine). The music of Isotope 217 is as complex and varied as the influences of it's members. Isotope 217 on Isotope 217: "It is hard to state exactly what this band is because of the diverse influences of the participants. One might say an eclectic avant funk ensemble dedicated to the Phonometric * system of universal thought. One might also say a freewheeling trans-moleculer unit dedicated to the betterment of all worlds." *Note phonometrics are, as described by Satie, the Science of measuring sound.

Forgiveness is the brand new full-length Girlpool album, which finds the duo embracing weirdo-pop decadence without sacrificing the poetic curiosity that has always made their music so absorbing. Just like they did for What Chaos Is Imaginary, Harmony and Avery each wrote their Forgiveness songs separately, then came together to decide how to present them in a style that felt representative of what excites and inspires them now. This time, the process resulted in their slickest and most ambitious music to date, filled with idiosyncratic and provocative gestures that simultaneously support and complicate the emotionally intricate material. With its unique blend of introspective earworms and surreal party music, Forgiveness reaches beyond the loosely sketched parameters of "indie rock," challenging any preconceived notions of what a Girlpool album can or should be. "Faultline" the albums first single, is an effective introduction to the world of Forgiveness; the notion of straddling a fault line feels somewhat indicative of Forgiveness on the whole. These songs investigate the always-shifting boundaries between a number of elementally human concepts: pain and pleasure, sex and love, reality and delusion, insecurity and confidence, grief and growth.To support their vision of a sound at the intersection of Hollywood futurism and post-grunge sincerity, Girlpool enlisted help from producer Yves Rothman (Yves Tumor, Miya Folick).

Forgiveness is the brand new full-length Girlpool album, which finds the duo embracing weirdo-pop decadence without sacrificing the poetic curiosity that has always made their music so absorbing. Just like they did for What Chaos Is Imaginary, Harmony and Avery each wrote their Forgiveness songs separately, then came together to decide how to present them in a style that felt representative of what excites and inspires them now. This time, the process resulted in their slickest and most ambitious music to date, filled with idiosyncratic and provocative gestures that simultaneously support and complicate the emotionally intricate material. With its unique blend of introspective earworms and surreal party music, Forgiveness reaches beyond the loosely sketched parameters of "indie rock," challenging any preconceived notions of what a Girlpool album can or should be. "Faultline" the albums first single, is an effective introduction to the world of Forgiveness; the notion of straddling a fault line feels somewhat indicative of Forgiveness on the whole. These songs investigate the always-shifting boundaries between a number of elementally human concepts: pain and pleasure, sex and love, reality and delusion, insecurity and confidence, grief and growth.To support their vision of a sound at the intersection of Hollywood futurism and post-grunge sincerity, Girlpool enlisted help from producer Yves Rothman (Yves Tumor, Miya Folick).

The subterranean slumber of Nile mastermind Karl Sanders’ Eastern-ambient Saurian series finally ceases with the third chapter of his darkly hypnotizing saga, Saurian Apocalypse! The album’s musical and lyrical themes detail the vexing fictional journey of Dr. Eduardo Lucciani, one of very few survivors of mankind’s self-destruction, who descends into madness after discovering the violent horrors occurring at the hands of the Saurian Masters. Emphasized by unique instruments like the baglama saz (Turkish lute), Ancient Egyptian Anubis Sistrum, Dumbek (Middle Eastern goblet drum), glissentar and gongs, the album’s score weaves cinematic auras and deep grooves, accented by the tribal percussive stylings of original Nile drummer Pete Hammoura and returning Saurian vocalist Mike Breazeale. Whispering atop the ominous sands of opener “The Sun Has Set on the Age of Man” are resonant flutes, forewarning percussion, and an exquisitely tasteful and contextual acoustic guest solo by guitar virtuoso Rusty Cooley – kicking in the massive doors of Saurian Apocalypse. Immediately, the album’s impactful production and crystal clarity versus its predecessors is apparent

Canada’s WAKE have never been a band interested in repeating themselves, this abundantly apparent from their discography, having evolved with every release. 2020’s Devouring Ruin made this more clear than ever, hammering the point home with the Confluence EP in the same year, and now they return with Thought Form Descent, their most dynamic, diverse and emotional release to date. “I’d describe the record as a place to reconsider what ‘extreme’ means. The words ‘brutal’, ‘crushing’, ‘devastating’ are overused adjectives for extreme music. We wanted to force people to confront the idea that ‘brutal’ or ‘extreme’ ideas aren’t just blastbeats or angular tritones, or, more importantly, ‘brutal’ elements alongside pointedly passive elements can create their own experience that can channel both and neither.” The result is eight nuanced tracks that run the gamut from relentlessly heavy to exquisitely beautiful, often simultaneously, and instantly grab hold of the listener, demanding their full attention. However, at the same time, they are lushly textured and densely layered, and offer more with every subsequent exposure, unfurling to show hidden depths, and taking WAKE to a whole new level.

Am 22. Juli veröffentlicht Paul Weller ”22 Dreams”, sein 9. Studioalbum, zum ersten Mal auf Vinyl!

Auf dem Album sind die Oasis-Stars Noel Gallagher und Gem Archer sowie Steve Cradock (Ocean Colour Scene) und Blur-Gitarrist Graham Coxon zu hören. Erstmals veröffentlicht im Jahr 2008 stieg das Album
direkt auf Platz 1 der britischen Albumcharts ein.

”22 Dreams” erscheint als 2LP Gatefold Sleeve und enthält ein 12ff x 36ff s/w-Poster mit gedruckten Lyrics, Tracklist und Credits auf der Rückseite, sowie ein 8-seitiges Booklet mit dem Titel ”The Missing Dream AKA Dream # 22” von Simon Armitage.

MISADVENTURES OF DOOMSCROLLER wurde von Jonathan Wilson (Billy Strings, Father John Misty, Angel Olsen) produziert und stellt eine neue, abenteuerliche Richtung für Dawes dar, die einen ehrgeizigeren und experimentelleren Ansatz bei den Aufnahmen zeigt als je zuvor.

”Wir waren schon immer stolz darauf, Minimalisten zu sein. Mit dieser Platte haben wir uns vorgenommen, MAXIMALISTEN zu sein”, sagt Goldsmith. ”Immer noch ein Quartett. Die Songs sollen sich nicht
hinter irgendwelchen Tricks oder Effekten verstecken. Aber wir lassen die Songs wirklich atmen und sich ausdehnen und leben, wie sie es wollen. Wir haben beschlossen, keine Rücksicht mehr auf kurze Aufmerksamkeitsspannen zu nehmen. Unsere Ambitionen gehen dabei über das Musikalische hinaus. ”Wir wollten auch die traditionelle Länge einer Schallplatte - 40-45 Minuten - respektieren, aber keine Rücksicht auf die Anzahl der Tracks nehmen. So wie es Miles oder Herbie oft getan haben. Die Songs zu dokumentieren ist nur die eine Hälfte des Bildes. Für diese Platte sind sie auch die Plattform, von der aus wir abspringen und uns darin verlieren können. Ich glaube, ich kann es am besten so ausdrücken: Wir wollten, dass diese Platte weniger eine Sammlung von Songs als vielmehr eine Sammlung von Musik ist.”

Bringing together some of the most incredibly spellbinding songs from a masterclass in song writing and one of R&B's biggest forces in the development of
black music. More than any other artist on the planet, Stevie Wonder's music has crossed the divides and cemented different races and generations with
million-selling records that offer both depth and jubilation. Greatest Hits Live celebrates the journey to worldwide success with a sublime collection of live
performances that not only capture his most iconic hits, but also the soul of the man who made them.
Get Yer Vinyl Out invites you to experience the legendary Stevie Wonder, performing hit after hit, live on stage, in a sensational and exclusive collection.
Superb, professionally remastered original broadcasts, presented with background liners and timeline photos.
Tracks recorded at ‘Wonderlove’, Soul! TV, New York City, NY, 19th November 1972 (WNET 13); Masonic Temple Theatre, Detroit, MI 14th April 1984 (WRIFFM); ‘NYC Song Competition Awards’, Madison Square Garden, New York, NY 27th September 1986 (WNEW-FM) and Fox Theatre, Atlanta, GA, 28th
November 1988 (WREK-FM).
A 180g Eco mixed vinyl release, pressed on randomly mixed colour compound and presented in a deluxe gatefold sleeve.

Gilbert O’Sullivan, one of the greatest singer-songwriters of his generation will return in 2022 with his new studio album, following the release of his Ethan Johns-produced, self-titled 2018 album which was awarded four-stars in MOJO and Q Magazine as well as rave notices in Uncut and the Sunday Times.
Gilbert’s twentieth studio album finds him working with a new producer, the revered Andy Wright (Simple Minds, Simply Red, Eurythmics and Jeff Beck) recording with a full band at London’s famous RAK Studios. The direction of the album is an organic and raw affair, featuring a mix of ballads as well as upbeat songs, all written by an inimitable master craftsman. In a unique addition to this new album, Gilbert O’Sullivan has collaborated on duets with Mick Hucknall (Simply Red) and KT Tunstall.
Gilbert O’Sullivan’s unique blend of melodic craftsmanship, witty wordplay, topical acuity and surrealist humour has given him an enduring and endearing career. His song writing knack has outlived and transcended fashion, global million-sellers, critical acclaim, and an occasional tendency to reclusiveness. Now recognised as one of our great singer-songwriters, he’s been championed in recent years by everyone from Paul Weller, Nina Simone, Mick Hucknall, Squeeze’s Difford & Tilbrook, Neil Diamond to Gary Barlow (whose Crooner Sessions Gilbert duetted on earlier this year), Empire Of The Sun, Boy George and The Charlatans’ Tim Burgess whose acclaimed The Listening Party recently featured Gilbert’s Himself and Back To Front albums.
Gilbert O’Sullivan’s career has spanned 50 years. His first single success Nothing Rhymed was released in 1970 and almost overnight it achieved Top 10 status In the UK and Europe charts.
His debut album Himself was littered with the most perfect examples of his art and craftsmanship. His second 1972 “Back To Front” firmly cemented Gilbert amongst the world’s best. Top 10 singles and no. 1’s around the world including the classic “Alone Again (Naturally)” which topped the US charts for six weeks and earned him three Grammy nominations.
British recognition soon followed with the songs Clair and Get Down reaching the summit of the UK singles charts and his LP Back To Front topping the album charts. In the same year at the 18th Ivor Novello Awards Gilbert was named ‘Song Writer of the Year’. To date he has won three Ivor’s and in recent times performed alongside other artists at BBC Proms in the Park. He has also made three appearances at Glastonbury including the main stage, and toured extensively throughout the UK, Ireland, Europe, Japan and Australia.

Gilbert O’Sullivan, one of the greatest singer-songwriters of his generation will return in 2022 with his new studio album, following the release of his Ethan Johns-produced, self-titled 2018 album which was awarded four-stars in MOJO and Q Magazine as well as rave notices in Uncut and the Sunday Times.
Gilbert’s twentieth studio album finds him working with a new producer, the revered Andy Wright (Simple Minds, Simply Red, Eurythmics and Jeff Beck) recording with a full band at London’s famous RAK Studios. The direction of the album is an organic and raw affair, featuring a mix of ballads as well as upbeat songs, all written by an inimitable master craftsman. In a unique addition to this new album, Gilbert O’Sullivan has collaborated on duets with Mick Hucknall (Simply Red) and KT Tunstall.
Gilbert O’Sullivan’s unique blend of melodic craftsmanship, witty wordplay, topical acuity and surrealist humour has given him an enduring and endearing career. His song writing knack has outlived and transcended fashion, global million-sellers, critical acclaim, and an occasional tendency to reclusiveness. Now recognised as one of our great singer-songwriters, he’s been championed in recent years by everyone from Paul Weller, Nina Simone, Mick Hucknall, Squeeze’s Difford & Tilbrook, Neil Diamond to Gary Barlow (whose Crooner Sessions Gilbert duetted on earlier this year), Empire Of The Sun, Boy George and The Charlatans’ Tim Burgess whose acclaimed The Listening Party recently featured Gilbert’s Himself and Back To Front albums.
Gilbert O’Sullivan’s career has spanned 50 years. His first single success Nothing Rhymed was released in 1970 and almost overnight it achieved Top 10 status In the UK and Europe charts.
His debut album Himself was littered with the most perfect examples of his art and craftsmanship. His second 1972 “Back To Front” firmly cemented Gilbert amongst the world’s best. Top 10 singles and no. 1’s around the world including the classic “Alone Again (Naturally)” which topped the US charts for six weeks and earned him three Grammy nominations.
British recognition soon followed with the songs Clair and Get Down reaching the summit of the UK singles charts and his LP Back To Front topping the album charts. In the same year at the 18th Ivor Novello Awards Gilbert was named ‘Song Writer of the Year’. To date he has won three Ivor’s and in recent times performed alongside other artists at BBC Proms in the Park. He has also made three appearances at Glastonbury including the main stage, and toured extensively throughout the UK, Ireland, Europe, Japan and Australia.

Necessary vinyl edition of the first Little Skull long player which was originally released as a micro-edition CD-R in 2009. Written, performed and recorded by Dean Brown on borrowed and home made instruments during a year spent living in a cold colonial era house across the street from Len Lye's childhood home in Aro Valley, Wellington. Untitled is a raw and vital document, cognate with later Little Skull offerings as it teases elemental folk, noise, rock and chamber music from the barest of tools. Presented on clear smoke effect vinyl with a printed inner sleeve and handmade semi-opaque outer cover.

In recent years Swedish musician Linnéa Talp has grown interested in
minimal spaces of sound, increasingly searching for her breath deep
within passages of a song when instruments gently and patiently bridge
the verses
In 2020 she released COCHLEA, a brooding pop- rock record made under the
name DEEREST. "I've been trying to work with my body, my breath and my
listening," she says of her work since finishing that release. "I wanted to integrate
a sense of slow and simple movement into the music — push/ release, forward/
backward, inhale/ exhale — everything centered around being present, translated
into sounding." That transformation is evidenced on her remarkable new album
Arch of Motion, a recording marked by exquisite patience and space.

After almost a decade-long hiatus, cult 6-piece MFMB announced their
return with the long-awaited album "Sugar"
The followup to 2012's critically- acclaimed "Colossus", "Sugar" revives the dark
and driven alt- rock the Swedes made their name with - equal parts rigor and
finesse, wracked with nervous tension. This time around, however, a democratic
approach to the writing process was decided on, with each member contributing
equally to the sound and feel of the record. The result is unmistakably the sound
of MFMB, but reinvented for these tempestuous times. The making of the album
is a story in itself. "Sugar" is seven years in the making. It has been a bumpy ride.
They were not always the best of friends. Priorities changed. Members quit, then
joined again. It was never easy. We believe you can hear it on the album, how
every song is a result of differing opinions fighting it out until they landed. In the
end, it's MFMB, but ringing purer than ever before. MFMB have remained prolific
throughout their hiatus, which includes Joakim Lindberg becoming one of the
underground scene's most in- demand producers, working with the likes of Hey
Elbow, Spunsugar, This Is Head, and many more.

Repress

‘Bad Neighbor’ is a collaborative studio album by rappers MED and Blu and producer Madlib. Originally released on October 30, 2015, the 13 track LP features guest appearances from the likes of the late MF DOOM, Aloe Blacc, Mayer Hawthorne, Jimetta Rose, Dâm-Funk, and Oh No. The album is undoubtedly an extension of all three artists’ signature sounds, but it simultaneously defies all precedents to reaffirm each individual’s position at the forefront of LA’s legendary hip-hop landscape.

For the first since it’s original release date, the album is set to be rereleased on vinyl in a special edition red and black color-in-color configuration equipped with two new mixes of the focus tracks, “The Strip (feat. Anderson .Paak)” and “Knock Knock (feat. MF DOOM).”

"Bad Neighbor is as if the Ruff Ryders albums were reimagined by this trio and all the avant heads get to party, but it is also worth mentioning that the often slept-on MED and Blu seem to steer this beast as much as the beloved Madlib." -AllMusic

Billed as 'controversial' in its press materials for its open spiritual message, this jazz inspired record was Prince’s first fully independent release, issued without any major label backing. One of its songs 'The Work, Pt. 1' was released by Prince as a free download on the file sharing service Napster - this move, along with direct to consumer stream and download options on the NPG Music Club, made Prince a digital music pioneer. This record is a favourite among Prince’s most fervent admirers due to its complex musical narrative, its use of live drums/full horn section and the striking album art by artist Cbabi Bayoc, which still hangs in the hallowed halls of Paisley Park today. The CD has long been out of print and the original vinyl pressing was incredibly limited.

What is probably the weirdest U-TRAX release ever, is now available again on original heavy weight vinyl and has been remastered for digital download and streaming.

Jo-I is Johan Sagel and nine of the drumtracks he made in the 90s with his quite un-hip Roland R-70 drumcomputer ended up on this heavyweight vinyl EP. Label boss DJ White Delight also abused Johan's R-70 together with DJ Zero One, adding a trancey acid re-interpretation of the Jo-I tracks to the EP.

Back in 1995, Johan was a young advertising professional, originating from the far Northern part of Holland, where only potatoes grow and very few people live. He later moved to the city of Groningen and became very active in the scene there, that included Thee J Johanz, of Bally Hoo fame. Johan teamed up with Reyer Caderius van Veen, who released a 12" as Lynx on the U-TRAX sublabel Phoq U Phonogrammen. Together they performed and recorded as Live Acid Performance (L.A.P.) 01 in the 90s.

Original release date: March 1995.
Available again on original 220 grams vinyl

Joining the dots between Brazilian musical culture and the sonic melting pot that is New York City, Saidera are a trio on the rise. They’ve already released a pair of critically acclaimed, carnival-ready singles on Brooklyn’s Let’s Play House label and are now ready to make their debut on Leng Records.

The band’s roots can be traced back to a trip that Lemonade band member Alex Pasternak made to Brazil in 2014. While DJing at a house party in the bohemian Rio de Janeiro neighbourhood of Sta Teresa, Pasternak was left gobsmacked when a mysterious local singer/sambista Vadinho Freire, grabbed the mic and started freestyling lyrics and melodies over his set. Realising their instinctive musical connection, Pasternak and Freire decided to work together on some music, with New Yorker Le Chev joining them to complete the Saidera trio.

Now based in Rio and California, the group’s sun-soaked sound – which they describe as “samba disco-Afro melody” – is a cross-cultural stew in which infectious Brazilian percussion, colourful synth sounds, glistening guitars and celebratory vocals combine to create magical, life-affirming musical moments.

‘Luzes Da Cidade’, their first outing on Leng, encapsulates all that’s good about the Saidera sound and the trio’s approach to music. The song is about identity and connection and in its original form is languid, loved-up and joyous, with acoustic and electric guitars, Portuguese vocals and Korey Riker’s gently breezy flute solos rising above a squelchy synth bassline and energetic, sweat-soaked samba drums.

The song’s main mix comes accompanied by a wonderful instrumental pass featuring more extensive solos by Riker, and Saidera’s own remix of ‘Luzes Da Cidade’ – an extra-percussive, breakbeat-tinged fusion of hazy deep house, energetic samba and sunset-ready synth-disco that will delight DJs and dancers alike.

To round off the EP, Saidera has delivered a brand new “Uprockin Dub” of debut single ‘Deixa Tudo Fluir’, this time with female vocals from Irina Bertolucci taking the lead. Brilliantly kaleidoscopic sonically, with dub delay-laden vocals, guitars and flutes, it’s a superb, life-affirming Balearic reggae interpretation of a now familiar favourite. If you’re not singing along with the chorus after your first listen, we’d be very surprised.

Diving once more into the forgotten corners of the electronic Spanish music scene from the 80’s and early 90’s, Soundway reissue Scan Man’s full single Arabian. Bringing together a Furious Five retro styled bounce & rhyme and a bite of UK street soul, the track is taken from Soundway’s hugely popular compilation Ritmo Fantasía. Expect soulful American expat rap layered over sitarlike sounds, and a tumbling, rattling, 808 pattern. Along with the original track and instrumental, DJs Trujillo and Ray Mang serve a souped up instrumental primed for modern dancefloors.

Recorded at the CEV Studios in Madrid, Arabian was the first composition and production of Marcos Manzanares to get an official release. Using an Ensoniq Mirage Sampler (one of the early, affordable synth samplers), and with Stephen Sutton providing the vocals for the track, he first made his entry into the Spanish music scene. A short while later he would go onto make a career for him self under the name of Tension808.

Pye Corner Audio releases a new album, Let’s Emerge!, for Sonic Cathedral. It’s his first studio outing for the label following the acclaimed live recording Social Dissonance, which came out earlier this year, and it features Ride guitarist Andy Bell playing on five of its ten tracks. From the first glimpse of the artwork to the first note of the music it’s a marked deviation from Pye Corner Audio’s more traditional shadowy sounds. Whereas his last outing for Ghost Box (2021’s Entangled Routes) was inspired by the underground fungal pathways through which plants communicate, this one is very much above ground, bathed in sunlight and acid-bright psychedelia.

“This is a departure to sunnier climes, but a departure nonetheless,” says Pye Corner Audio, aka Martin Jenkins. “It’s something that I’d been thinking about for a while. I try to tailor my work slightly differently for the various labels that I work with, and this seems to fit nicely with Sonic Cathedral’s ethos.” Designer Marc Jones’ bold and ultra vivid artwork consciously references the likes of LFO, Spacemen 3 and the early output of Stereolab. “I think it mixes together many of my earliest influences,” explains Martin. “I’ve been a long-time fan of Spacemen 3 and Stereolab.

Their moments of repetition and drone have always seeped into what I’ve tried to create.

“I was living in a small apartment and I’d stripped down my studio set-up when I was recording this album. This enabled me to focus on a few key pieces of equipment and explore them fully.” The recordings were fleshed out by Andy Bell, who Martin first met at the Sonic Cathedral 15th birthday party at The Social in London back in 2019 – the same show that became the live album Social Dissonance.

“New alliances were formed and friendships made in that basement in Little Portland Street,” recalls Martin. “When I met Andy, we agreed that we needed to work together in some way. After I’d remixed a few tracks from his album The View From Halfway Down, he kindly repaid the favour.” The end results – mastered in New York by acclaimed engineer Heba Kadry – are incredible, from the first stirrings of opener ‘De-Hibernate’, via the glorious ‘Haze Loops’ and ‘Saturation Point’, the album slowly but surely awakens, blinking and feeling its way into the light. It all culminates in the epic closing track ‘Warmth Of The Sun’ which, with its vocal harmonies and acid breakdown, is seven and a half minutes of pure release.

“That one’s about life’s simple pleasures,” concludes Martin. “The Beach Boys, tremolo guitars, infinite drones, Spacemen 3. Let’s emerge from this darkened era and feel the ‘Warmth Of The Sun’. “The last few years have seen huge changes, both personally and in a wider perspective. The album title is a reaction to this, a collective (tentative) sigh of relief. Here’s to new beginnings and a sense of hope.”

DARYL HELMS AKA SPACE & HOWARD STEVENS OFFER THEIR NEW GROUP EFFORT.
DNH A HYDRA WORLD.
THE LP SEES THE NATURE SOUNDS RECORDING ARTIST DROPPING HIS ABSTRACT
NEW YORK LYRICISM OVER HYPNOTIC PRODUCTIONS BY THE LONDON BASED PRODUCER.
THE LP SHOWCASES DNH’S FUNK PUNK REGGAE & SOUL INFLUENCES & STANDS PROUD IN THEIR
REVOLUTIONARY THOUGHT & MULTICULTURALISM.
DNH FIRST RECORDED TOGETHER ON THE FIRST WEATHERMEN PROJECT “PARANOID ANDROID”
WITH CAGE & MASAI BEY.
SPACE WOULD GO ON TO FEATURE ON LP’S WITH CAGE, VAST AIRE, CAMUTAO,
CANNIBAL OX….
HOWARD STEVENS WOULD PRODUCE FOR THE LIKES OF MF DOOM, MF GRIMM,
LEWIS PARKER ETC….
THE LP WAS MIXED & MASTERED BY JUICE, ALSO PRODUCING “HYDRA WORLD TRANSMISSION”.
IT ALSO FEATURES A CO-PRODUCTION WITH HIS GREEDY FINGERS BRETHREN SMIMOOZ ON
“MADE IN AMERICA”
THE ALBUM IS AVAILABLE AS SHRINK WRAPPED LP VINYL & DIGITALLY.
THE SINGLE “ANGELS OF GOD” IS AVAILABLE TO DOWNLOAD & THE VIDEO BY TRYPTA MEDIA
THERE WILL ALSO BE A SUPPORTING VIDEO AFTER RELEASE FOR “ROUND THE WORLD”

Fatal Mistakes made No 5 in the UK national album chart which is the 6th top 10 for Del Amitri and the highest charting album since Twisted in 1995. The album also made No 2 on the Independent album chart and No 5 on the vinyl album chart. Fatal Mistakes also achieved the band's highest chart position in Germany to date.

THE NOW LEGENDARY 1985 UK TV SPECIAL CELEBRATING THE 30TH
ANNIVERSARY OF THEWORLD-RENOWNED TRACK IS BACK ON VINYL.
Written in October 1955 & released in January 1956, ‘Blue Suede Shoes’
was an instant classic earning a place in the history books when it
became the first million-seller to crossover from the Country chart to the
Pop & R&B listings
Swiftly covered by Elvis Presley & later The Beatles, the song remains a
Rock’n’Roll anthem. Fitting then that Carl Perkins, the man who wrote & first
performed ‘Blue Suede Shoes’, should be accorded a television special to
celebrate its 30th anniversary. On 21st October 1985 at London’s Limehouse
Studios a superstar cast of friends & fans joined Carl Perkins to record a TV
special celebrating his career & the classic songs that he had recorded during it.
Perkins was joined on stage by George Harrison & Eric Clapton along with other
stars including Dave Edmunds, Slim Jim Phantom & Lee (Stray Cats) Rocker plus
Earl Slick & singer Rosanne Cash, daughter of the legendary Johnny Cash.
George Harrison struck up a lasting friendship with Perkins & much of the
continued interest in the programme lies in the prominent role played by Harrison.
The former Beatle takes lead vocal on several tracks as well as playing guitar &
having a great time. The Beatles connection is even stronger in that Harrison is
joined by former colleague Ringo Starr with the show representing their first
reunion gig since the mid-1970’s.
This album captures the concert & the All- Star band performing Perkins’ finest
songs including ‘Blue Suede Shoes’, ‘That’s Alright Mama’ & ‘Whole Lotta Shakin’
Going On’. CARL PERKINS & FRIENDS FEATURING GEORGE HARRISON, ERIC
CLAPTON & MORE AVAILABLE VIA MADFISH.

Decomposed recalls classic American hardcore like Bad Brains, Poison Idea and Jerry’s Kids or Japanese ragers like Paintbox, The Comes, Eiefits and Skizophrenia. But there’s also a healthy slug of classic UK and US punk and even a bit of Krautrock, psychedelia and Black Sabbath in there too. Nottingham has always been a melting pot for heavy music. For a small city, it has boasted more than its fair share of genre defining bands and artists, not to mention record labels. Bands cross-pollinate, form projects and offshoots and play one-off gigs that would result in lengthy careers and world tours if they had happened across the Atlantic. It has always been like that there. No big deal (but yet, a really big deal if you know). One such band/project/offshoot were Endless Grinning Skulls. Formed by guitarist Andy Morgan (also from Bloody Head, Army Of Flying Robots, Nadir and countless more), drummer Steve Charlesworth (Heresy, Wolves Of Greece, Meatfly, Geriatric Unit) and bassist Gords (Hard To Swallow, John Holmes, Geriatric Unit) in the early twenty-teens, they re-set the bar for the 3-piece hardcore band before (perhaps inevitably) burning out in 2018. Morgan and Charlesworth weren’t done though. They’d forged a bond in EGS and wanted to carry on playing together so - in a familiar Nottingham storyline - they recruited former Pitchshifter guitarist Stu Toolin on bass and Anmarie Spaziano (who you might know from running a famous burger joint) on vocals and formed Blind Eye. They knew Toolin was about to relocate to Portland, Oregon so they wrote and recorded an EP (released on Morgan’s own Viral Age Records). Quick-sharp. No messing about. And that – by rights – should have been that: over and out. New band please. However, the demo captured a rare intensity and vitality that more considered projects often fail to achieve. This was a band let loose, free from previous shackles and loving the noise they made. It seemed a shame to stop there. Recruiting Matt Grundy (a former bandmate of Morgan’s in both Nadir and Dead In The Woods) to the bass vacancy they went back to Stuck On A Name Studios in 2021 with Ian “Boulty” Boult at the helm again and delivered the album Decomposed.
Decomposed genuinely rocks out without losing one iota of the effervescent anger that made the demo such an essential listen. From the insistent, minimal opener Ready To Go Now via the unhinged thrash of Straw Man and the menace of the stomping Pero No Quieres, to the measured chugging and epic crescendo of closer Broken Star, this record is a fucking blast. Needle off, flip it back over, play it again. Your neighbours are loving it so much they’re banging on the walls to tell you. “I suppose the intention was to write high energy, catchy hardcore, with a nod to what has come before, but also to do our own thing,” explains Andy. “Lyrically, the album was written during the pandemic, and although it’s not ‘a pandemic album’, I think it deals with a lot of the feelings of loss, separation and isolation

sferic cruise the best coast with Jake Muir's solo debut, arriving in pursuit of the immersive ambient-architextural themes which also influenced Space Afrika's warmly received 'Somewhere Decent To Live' LP and Echium's lush 'Synthetic Space' side.
Jake Muir is a sound designer and artist from Los Angeles, California, where he's previously recorded and released albums under the Monadh moniker for Further Recordsand Dragon's Eye Recordings, the latter of which recently lead to his inclusion on the Touch compilation 'Live At Human Resources', where he took part in a beautiful group tribute to Jóhann Jóhannsson along with a number of solo contributions.
On 'Lady's Mantle' Muir unfurls a poignant sound image crafted from samples of a well loved American pop group and later smudged with field recordings made everywhere from Iceland to California. In nine succinct scenes, the results loosely limn a wide sense of space and place with its fading harmonic auroras and glinting, half-heard surf rock melodies rendered in an abstract impressionist manner that suggests a fine tracing of in-between-spaces, perhaps describing metropolitan sprawl giving way to vast mountain ranges and oceanic scales.
In effect the album recalls the intoxicated airs of Pinkcourtesyphone (a.k.a L.A. resident Richard Chartier) as much as Andrew Pekler's sensorial soundscapes and even the
plangent production techniques of Phil Spector. But for all its implied sense of space, ultimately there's a paradoxically close intimacy to proceedings which feels like you're the passenger in Muir's ride, and he patently knows the scenic route.

EAT is the brand new album from your favourite rapper trumpeter, Pan Amsterdam. Made with fans of both food and hip hop in mind, the LP opens up a new pocket in the Pan Am dimension: the rapper-producer album. The whole thing’s a collaboration with underground legend and Def Pressé family Damu The Fudgemunk.

EAT lands in the wake of the success of Pan Am’s second album, HA Chu. Food, of course, was a vital component in the culture of that work, with GUTS-produced single Carrot Cake receiving plaudits from the likes of BBC 6 Music, and interludes taking place over Chinese food. HA Chu was named his ‘hostile industry diss record’ by Bandcamp and ‘a jazz musician’s vision of what hip-hop can be’ by The Times.

Whereas HA Chu was conceptualised while Pan Am’s real life alter ego Leron Thomas was on tour as Iggy Pop’s bandleader (Iggy had loved Pan Am’s debut LP, The Pocket Watch, leading to him asking him to write and produce his 2019 album Free), and saw guests such as Sleaford Mods’ Jason Williamson and Doves’ Jimmy Goodwin in his El Diablo guise, EAT’s genesis was slightly different.

About to fly on tour in Europe last year, Pan Am was in need of a DJ. Up steps Damu The Fudgemunk, fresh from creating his KPM library-sampling opus Conversation Peace (on Def Pressé Editions). Tour life led to a mutual musical respect, Damu creating soundscapes in his head as he got to know Pan Am’s intricacies whilst performing together.

‘We had some good hangs and talks,’ recalls Pan Am. ‘In those hangs and talks, it seems Damu was taking musical notes because the music he would give me was fitting like a glove. It reminded me that artists be observant and it pays off in the end. Damn fun making this project.’

Perceiving the world in terms of taste, EAT is musically wistfully joyous and lyrically playful, a full menu with Pan Am your maître d' and Damu the chef du cuisine. Damu’s beats are deep, warm, melodic and progressive, a perfect playground for the duality of Pan Am’s beat poetry and Leron’s caressing trumpet, which as always is a persona in itself.

It’s the desire to celebrate their sonic bounty that first got Oberst and the band excited about
the idea of comprehensive reissues. But this wouldn’t be a Bright Eyes project if a moment
devoted to appreciating the past weren’t turned into an opportunity to connect with the future.
That’s where the companion EPs (on Opaque Gold vinyl) come in. Or as Oberst puts it, “the
supplemental reading” for the primary reissues: one six-track EP per reissued album, each
featuring five reworked songs from that album. “My thing was they had to sound different from
the originals, we had to mess with them in a substantial way.” Plus one cover that felt “of the
era” in which that particular albums was made - a song that meant something to the band at
the time. To help the EPs come alive in the fullest way, Bright Eyes called in lots of old friends,
like Bridgers, M. Ward, and Welch and Rawlings, as well as new ones like Katie Crutchfield of
Waxahatchee.
‘Fevers And Mirrors’ is pressed on Merlot Wave coloured double vinyl.

It’s the desire to celebrate their sonic bounty that first got Oberst and the band excited about
the idea of comprehensive reissues. But this wouldn’t be a Bright Eyes project if a moment
devoted to appreciating the past weren’t turned into an opportunity to connect with the future.
That’s where the companion EPs (on Opaque Gold vinyl) come in. Or as Oberst puts it, “the
supplemental reading” for the primary reissues: one six-track EP per reissued album, each
featuring five reworked songs from that album. “My thing was they had to sound different from
the originals, we had to mess with them in a substantial way.” Plus one cover that felt “of the
era” in which that particular albums was made - a song that meant something to the band at
the time. To help the EPs come alive in the fullest way, Bright Eyes called in lots of old friends,
like Bridgers, M. Ward, and Welch and Rawlings, as well as new ones like Katie Crutchfield of
Waxahatchee.
 ‘Fevers And Mirrors’ is pressed on Merlot Wave coloured double vinyl

It’s the desire to celebrate their sonic bounty that first got Oberst and the band excited about
the idea of comprehensive reissues. But this wouldn’t be a Bright Eyes project if a moment
devoted to appreciating the past weren’t turned into an opportunity to connect with the future.
That’s where the companion EPs (on Opaque Gold vinyl) come in. Or as Oberst puts it, “the
supplemental reading” for the primary reissues: one six-track EP per reissued album, each
featuring five reworked songs from that album. “My thing was they had to sound different from
the originals, we had to mess with them in a substantial way.” Plus one cover that felt “of the
era” in which that particular albums was made - a song that meant something to the band at
the time. To help the EPs come alive in the fullest way, Bright Eyes called in lots of old friends,
like Bridgers, M. Ward, and Welch and Rawlings, as well as new ones like Katie Crutchfield of
Waxahatchee.
‘Fevers And Mirrors’ is pressed on Merlot Wave coloured double vinyl.

SATURATED! the various artist series on vinyl has proven to be the epitome of curation in bass music since its inception.
The whole package is curated such that each track perfectly flows into the next.
Each volume is carefully hand-picked and serves as a snapshot of bass music at that moment,
SATURATE! has earned its spot as the first choice for those seeking fresh sounds from established and emerging artists.
and has been leading the way in all thing's bass heavy, breakbeat, experimental, glitch, hip-hop, psychedelic and trap for years now. They have a track record of propelling artists to the next level. Their roster includes some of the scenes biggest names. These compilations present
A weird, wonky and wonderful journey through the raw attitude of the blistering beat driven electronic music scene.
Get it now!

* Comes with the original 1985 artworks & obi strip. * All-star line-up featuring Herbie Hancock, Mory Kante & Bernie Worrell. * 180g blue Vinyl repress. Manu Dibango needs little introduction, born in Cameroon in 1933, Manu developed a musical style fusing jazz, funk, and traditional Cameroonian music. He's definitely among the best known African artists outside of Africa. Collaborations were numerous and include top acts like Fela Kuti, Herbie Hancock, Bill Laswell, Sly & Robbie, Don Cherry and Bernie Worrell. In addition to selling hundreds of thousands of copies of the albums he recorded, he played such huge venues as Yankee Stadium and Madison Square Garden. In 1972, at 40 years of age, Manu Dibango did something almost unheard of for an African artist - he had a pop hit. His song "Soul Makossa" became an enormous hit which influenced popular music for decades to follow. First picked up by David Mancuso (The Loft), "Soul Makossa" took New York dance floors by storm & in July 1973 it became the first disco record to enter the Billboard Top 40_an early instance of Western pop experiencing a paradigm shift thanks to Africa. The song's chant of "ma-mako ma-ma-sa mako-mako sa" echoes through the greatest-selling pop album of all-time, Michael Jackson's Thriller, and it's in the DNA of the music of Kanye West, Rihanna, A Tribe Called Quest, Akon and The Fugees. By 1985, Dibango was back in Paris, one of the most successful African artists in the world, to start on the recordings for the Electric Africa album. This album hooked Manu and the Soul Makossa Gang up with New York avant garde producer Bill Laswell, jazz pianist Herbie Hancock, Parliament-Funkadelic keyboard player Bernie Worrell, Pan African synthesist Wally Badarou, New York guitarist Nicky Scopelitis, African drummer Aiyb Dieng and Malian kora virtuoso Mory Kante. This means of working gave Manu and Laswell license to fuse synthesizers and kora, talking drums and samples, ngoni and electric guitar. What it all boils down to is world beat in its truest sense. Electric Africa remains one of Manu's strongest albums. His deep growl of a honey and sandpaper voice and the energetic honk of his saxophone merge with the seamless samples and the myriad hand percussion and overt funkiness of his band. Herbie Hancock plays on three tracks, contributing an amazing electric piano solo on the title track and interacting with Manu's sax while weaving to the warp of Mory Kante's kora during "L'arbre a Palabres." Similarly but more subtly, Laswell, Badarou and Worrell play dueling synthesizers in and around the band throughout "Pata Piya." All of this makes the album an hypnotic & upbeat Afro-Funk classic that will rock every part your body (and mind). Now finally back available as a limited vinyl edition (Blue vinyl, limited to 500 copies) for the first time since 1985.

EAT is the brand new album from your favourite rapper trumpeter, Pan Amsterdam. Made with fans of both food and hip hop in mind, the LP opens up a new pocket in the Pan Am dimension: the rapper-producer album. The whole thing’s a collaboration with underground legend and Def Pressé family Damu The Fudgemunk.

EAT lands in the wake of the success of Pan Am’s second album, HA Chu. Food, of course, was a vital component in the culture of that work, with GUTS-produced single Carrot Cake receiving plaudits from the likes of BBC 6 Music, and interludes taking place over Chinese food. HA Chu was named his ‘hostile industry diss record’ by Bandcamp and ‘a jazz musician’s vision of what hip-hop can be’ by The Times.

Whereas HA Chu was conceptualised while Pan Am’s real life alter ego Leron Thomas was on tour as Iggy Pop’s bandleader (Iggy had loved Pan Am’s debut LP, The Pocket Watch, leading to him asking him to write and produce his 2019 album Free), and saw guests such as Sleaford Mods’ Jason Williamson and Doves’ Jimmy Goodwin in his El Diablo guise, EAT’s genesis was slightly different.

About to fly on tour in Europe last year, Pan Am was in need of a DJ. Up steps Damu The Fudgemunk, fresh from creating his KPM library-sampling opus Conversation Peace (on Def Pressé Editions). Tour life led to a mutual musical respect, Damu creating soundscapes in his head as he got to know Pan Am’s intricacies whilst performing together.

‘We had some good hangs and talks,’ recalls Pan Am. ‘In those hangs and talks, it seems Damu was taking musical notes because the music he would give me was fitting like a glove. It reminded me that artists be observant and it pays off in the end. Damn fun making this project.’

Perceiving the world in terms of taste, EAT is musically wistfully joyous and lyrically playful, a full menu with Pan Am your maître d' and Damu the chef du cuisine. Damu’s beats are deep, warm, melodic and progressive, a perfect playground for the duality of Pan Am’s beat poetry and Leron’s caressing trumpet, which as always is a persona in itself.

James Last gehört zu einem der bekanntesten und erfolgreichsten Bandleader der Welt. Über 70 Jahre hat er mit einzigartigen Arrangements, unvergleichlichen Melodien und tollen Kompositionen, die Musikwelt begeisterte. Im Laufe seiner Karriere wurden von seinen etwa 190 Plattenproduktionen über 80 Millionen Tonträger verkauft – dafür regnete es mehr als 200 Goldene Schallplatten. Ob in Deutschland oder Kanada, in Australien oder Südafrika, in China, Holland oder Großbritannien: Der swingende Happy Sound
des Orchesters wurde zu einem internationalen Markenzeichen.
Anlässlich seines 90. Geburtstags wurde im April 2019 eine „The Very Best Of“ mit den größten Hits und Klassikern, zahlreichen Eigenkompositionen sowie den bedeutendsten Tracks aus „Music Around the World“ veröffentlicht.

Ein Auszug aus der „The Very Best Of“ erscheint am 15.07.2022 in ganz besonderem Gewand - als exklusives, limitiertes 2LP Set in blauer Vinyl. Ein wahres Schmankerl für seine zahlreichen Fans All Over The
World.

Évariste is one of the rare specimens of artist-cum-scientists. Among his kind stand others like Pierre Schaeffer, a Polytechnique graduate (an engineer but also the father of musique concrète) and the eccentric Boby Lapointe (graduate of the École centrale and inventor of the Bibi-binaire system, patented in 1968). Évariste's songwriting, joyful and full of energy (albeit extremely critical), shrouds an original tragedy: born in 1943 among résistants, Joël Sternheimer (aka Évariste) grew up without a father, lost to Auschwitz. Although he makes little reference to Jewish culture in his music, his origins leave their mark: in 1974, he sings a Hebrew song on television. In 1966, the young Joël sports Princeton's colourful paraphernalia - that's because he's freshly returning from the US, where he was sent to pursue his research on "particle mass and the interpretation of observed regularities, such as the effects of a wave" (will understand who may). When he gets there the country's in the midst of the Vietnam War. With McNamara keen to find an alternative to the nuclear weapon and calling upon the country's biggest brains to undertake the task, there's a "fund shift" within the university - a diplomatic way to give notice to whoever may not be disposed to follow the government's scheme. Joël, who's under the supervision of a rebellious physician, is dismissed. He regardless keeps following the prestigious seminaries of the Institute for Advanced Study, chaired by Oppenheimer, inventor of the atomic bomb. Likely inspired by the hippie movement and music, Joël buys a guitar and starts playing in Washington Square - after all, Bob Dylan himself started there. He blithely skips Oppenheimer and receives a warm (though surprised) welcome from a crowd thoroughly unfamiliar with French. When the ageing physicist questions him about his decreasing attendance, Joël explains how drawn he is to music, and how he thinks it could help him in self-financing his research. Évariste recalls seeing the sickened man, his face torn by remorse, lighten up to his words and say: "What's keeping you - go for it! If I was still young that's exactly what I'd do." The student takes these words as a testimony from his professor - and it's enough to convince him . And so he takes the leap during the Christmas vacations he spends in Paris. A journalist friend he often sees around the Sorbonne introduces him to the artistic director of Disques AZ. The latter passes the tapes on to the label's boss, Lucien Morisse, also program manager on Europe N°1. Morisse is blown away - and signs him onto the label right away. Michel Colombier, arranger for Serge Gainsbourg and co-author of "Psyché Rock", with Pierre Henry, contributes some of his original ideas to the 7 inch "E=mc2": Évariste's preoccupation with the percussion sound on the track "Le calcul intégral" is that it goes "poom poom" and not "tock tock" - Colombier is aware of the issue and records Évariste's guitar like a percussion in an isolated booth. The organist Eddy Louis, who is to participate, in 1969, to the success of Claude Nougaro's "Paris mai", also appears on the record. It's 1966 and the Antoine phenomenon (signed on Vogue) storms through France. The two singers share similarities: Antoine is an engineer of the École centrale, gifted with a great originality in his song-writing. A godsend for the two labels who turn this resemblance into a commercial strategy, setting them out as rivals. To this day though, Évariste still denies what was little more than slushy tabloïd gossip. Success comes around swiftly and in 1967 Évariste launches into a second 7 inch, "Wo I nee", again arranged by Michel Colombier. Quantum mechanics fans finally get their anthem with "La Chasse Au Boson Intermédiaire" (or the "Intermediary Boson Pursuit"). To sum up what's a boson, say he's a close pal of the meson, photon and other gluons. A few months later, it's May 68 and everything's turned upside down. Évariste writes a series of songs inspired by the events, which he immediately submits to Lucien Morisse. When the man behind "Salut les copains", once married to Dalida, hears the song "La révolution" - a father and son dialogue - he can't take any more: AZ simply cannot release this. But there and then Lucien Morisse makes a gesture which will remain engraved in French music's history: sorry to be unable to officially stand by the singer, he encourages him to self-produce the record, but with his tacit support. He calls the pressing factory and asks they apply the same rate for Évariste as they would for AZ. The singer and his musicians use the same studio as for the previous record, all of them playing for free awaiting a return on investment. Évariste keeps singing at the Sorbonne with "Jussieu's gang" and "the young Renaud" he nicknames "le p'tit gavroche" (or "street urchin"). Renaud volunteers to type the lyrics of the song "La révolution" so that the chorus can be sung and recorded. A boy in the group is related to Wolinski and introduces them. The two get along so well that Wolinski ends up drawing the cover for the record "La révolution", for free. The self-released 7 inch "La révolution / La faute à Nanterre" is sold under the table and door-to-door for half the price of a standard record, on and around the boulevard Saint-Michel; and it runs out fast. In the end, there will be 6 releases of the record, and 25000 copies sold. When the theatre director Claude Confortès decides to adapt Wolinski's drawing series titled "Je ne veux pas mourir idiot" ("I don't want to die a fool"), he asks Évariste to write the original soundtrack. His friend, now cartoonist for Hara-Kiri Hebdo, often promotes him in accordance with a principle dear to him by virtue of which he gives a special place to his friends. Dominique Grange (writer of the song "Nous sommes les nouveaux partisans") soon joins the team. After 150 performances, Évariste leaves his place to Dominique Maurin (brother of Patrick Dewaere). Évariste composes the songs for Claude Confortès' next play, "Je ne pense qu'à ça" ("That's all I think about"), co-wrote with Wolinski in 1969. The comedians of the play record the songs on a 7 inch, with a cover signed, again, by Wolinski. In 1971, French television produces the documentary "Évariste et les 7 dimensions", but doesn't air it. Indeed, the scientific sub-comity of the programming comity (sic) censors the show. The given justification is that "Évariste dangerously mixed science with science-fiction, numerology and other non-scientific disciplines". The underlying motive might have been a will to censor the singer-mathematician's political discourse. In the documentary and among other things, Évariste discusses hierarchy, alienation and revolution. Half a century later the documentary remains invisible, though some excerpts resurfaced in 1992 in the cult show "L'oeil du cyclone", on Canal +. Though flourishing, Évariste's career is nearing its end. 1970 is the beginning of a decade in the course of which he is to make a decisive discovery in the musical and scientific domains. Following this breakthrough, he moves away from self-produced music and gaucho magazines to focus on science. He keeps Oppenheimer's encouraging words in mind, now freely pursuing his research thanks to the sales of his records. Joël realises that when decoding protein sequences, one finds musical sequences recognisable to humans. He names them "proteodies". If, when listening to a proteody, one responds by being so sensitive as to finding it beautiful, then it reveals a deficiency of the related protein - and this peculiar music may be the cure. We could trace back the music history in light of proteins lacking in a given artist, or within a public's majority. You always thought these hysterical groupies who'd throw their underwear with passion and faint in the pit had miraculously appeared because they had never heard anything as wonderful as the Beatles? Make no mistake! For Évariste, it all boils down to an intro's protein content. Indeed, the beginning of their first hit "Love Me Do" corresponds to dopamine, the neurotransmitter linked to compulsive buying. An intro like this could only unleash the fervour of groupies, victims of fashion and biology. Évariste's success is such that the income from his sales gives him the autonomy to which he had aspired when confiding to Oppenheimer. It made it possible for him to pursue his research without any institutional constraints. He now devotes himself to his proteodies, sat in the offices of the European University for Research, just around the corner from the Sorbonne he knew so well. Évariste is no more. Joël regained control of this strange and comical beast.

Repressed

It's been four-years since La Coka Nostra released their sophomore album, Masters Of The Dark Arts, (the groups first project without Everlast was also their most critically acclaimed project - featured collaborations with Vinnie Paz, Sean Price & production from DJ Premier and Statik Selektah) and the music industry has changed considerably in that time. However, a few things still remain constant; La Coka Nostra will always be as their aptly-titled 2009 debut verified, A Brand You Can Trust, and the group will continue to dazzle their rapid fan-base with sold out shows around the globe with their rau-cous live performances. Always known for tackling controversial topic matter, the group’s new album, To Thine Own Self Be True, finds them once again in torchbearing mode, addressing subjects that most artists shy away from.“This album was created during a time of unique and individual transformation for each member of the group” ILL Bill stated. “Speaking for myself, it’s been a heavy last couple of years.It’s definitely the most personal record we’ve made under the La Coka banner and while we’re still making music that’s hard as fuck, there’s a maturity to this latest batch of songs that makes it different from a lot of the older stuff. I notice the biggest reactions come from the songs our listeners can personally relate to and we needed to make a record like this right now, not only for the fans, but for ourselves. I got alot off my chest on this one. Making music can be extremely therapeutic and making To Thine Own Self Be True was a rebirth and a re-ignition for me.” Slaine had a similar take on the projects thera-peutic manifestation “You don’t put as many years in the game as we have without having ups and downs. We all have gone through struggle and adversity—personally and professionally”Slaine la-mented. “This album was recorded as I walked out of a very dark time toward a place of truth and understanding. Music has been how I feed my family, my plane ticket around the world and a place I’ve built real friendships; but at the very core it’s a tool I use to get through life.This album is a moment in time. It is visceral and real.” While DJ Lethal continues to oversee the production end ofToThine Own Self Be True, the group also enlisted Statik Selektah, Marco Polo, Salam Wreck (D-12, Obie Trice, Proof, B-Real, Tha Dogg Pound) & ChumZilla (from the Demigodz) and get vocal contributions from extended family members such as Vinnie Paz, Apathy, Q-Unique, Sick Jacken, SKAM2? & Rite Hook.

Red Vinyl

That we live in a world changed is beyond question. Since 2015's Zenith, Berlin-based songwriter Molly Nilsson has surrendered to the world, traveling from Mexico to Glasgow, observing the changing socio-political landscape and imagining a better world. For an artist who has so successfully created her own environment and gradually let others in, her 8th studio album Imaginations sees Nilsson directly engaging with her surroundings, engendering change and allowing love in. Imaginations dreams big, recasting storming, stadium-sized pop into the internal language of the solo auteur. Imaginations is not escapism, it's a kaleidoscope and an alternative view, an agent of change.Opener Tender Surrender encapsulates Imaginations, a tango on the ruins of the past, like many of Nilsson's best songs a collision between the political and personal. Though potentially a love song, there's a glowing anger in the lines I want your ruin, I want destruction, I won't be through until we mend this...' this is rapturous transformation, order and chaos. Molly has built an almost 10 year career on perfectly summing up how we feel and this is no different... Who else could write a song about privilege (Let's Talk About Privileges) and make a heart-rending chorus of It's never being afraid of the police, it's expecting every thank you, every please.' The artist's vision on this album is perhaps more forceful than the emotionally fragile moments of previous album Zenith, at times exemplified on songs like Memory Foam, a bright, driving pop song that belies themes of nostalgia and the past, reminding us that Molly alone can make us feel so welcome in loneliness. If there's overt anger in songs like Money Never Sleeps, an anthem for a post-capitalist utopia if ever there was one, there's also seams of optimism sewn into the album's genetic code. Any revolutionary will tell you that anger alone achieves nothing - Nilsson's mission on Imaginations is to offer some alternatives we can hold close. Not Today Satan is a song about accepting love as the agent of change, Don't be sad, but do get mad at all the small men who act so tall, in the end they always fall, there ain't no sin in giving in to love, that's just how we're winning the fight.' Love can be visceral, a weapon with which to fight the power.On Imaginations Molly is recasting her interior monologue as a prism through which to see the world, a means to live differently and to reject the status quo. We can Think Pink, change our destiny together. This is an optimism about the future when we need it the most. New boys, new girls.. give me your smile and I'll give you mine' Clearly, we are living through a transformation but with alchemists like Molly Nilsson, we're never alone in the process.

Come Play With Me continue their journey to support emerging artists
After featuring Sunflower Thieves in their 7” singles club, Come Play WIth Me are
working with them on the release of their debut EP. The band are an indie-folk duo
made up of lifelong friends Amy + Lily.Sunflower Thieves have had two tracks
featured on the BBC One series 'Syndicate'. Released on cream and black splatter
vinylBonus track, Birthday, is exclusive to vinyl

The exemplary and well-travelled cornetist Kirk Knuffke presents a bold
new trio, with bassist Michael Bisio and pianist Matthew Shipp, on an
intimate and expansive double album
'Gravity Without Airs features' the three world- class musicians on Knuffke
compositions and in open form, creating a tour-de-force of poetry and verve. It's
available as a 2CD in deluxe 8-panel digipak and a 2LP in deluxe gatefold sleeve
with download card, the liner notes are by Francis Davis.
This is Knuffke's debut as a leader for TAO Forms. Accolades for the cornetist's
recent work as leader include NPR's Jazz Album of the Year laurel for 2017's
Cherryco, his homage to Don Cherry, a prime influence. DownBeat praised the
way that album showcased Knuffke's "nonchalant versatility and ebullient
melodic gifts," while esteemed critic Francis Davis called it "nothing short of
spectacular." Davis also wrote the liner notes for Gravity...noting the allure of
Knuffke's instrumental aplomb: "Kirk plays as if his cornet is a part of him - he
plays with it, not just on it."
On his guiding artistic impulse, Kirk Knuffke says: "I'm concerned with making
beautiful music. Beauty is always first, though not in a precious way. It can be in a
rough way, too." A prolific, lauded record- maker, 'Gravity Without Airs' fulfils his
poetic aims as well as any recording he has made. This work finds Knuffke in the
rare, even unique, trio format of cornet, piano and double-bass. His partners are
two ever- estimable pillars of creative music, and the work they've created
together here brims with melody and mystery, intimacy and dynamism.
"Rhythmically precise, New Orleans funky and full of grace, Kirk Knuffke's music is
a reflection of his multifaceted personality: part musical sage, part jazz
philosopher, a self-taught musician with wide interests, endless curiosity and an
abundance of good humour." - DownBeat

Limited edition classic LP, reissued on 180g vinyl, audiophile pressing
Tenor saxophonist John Coltrane's 1957 studio session in Hackensack, New
Jersey produced all the material for the legendary album, Blue Train. The album
marked the first time that Trane was given the opportunity to select his own
sidemen for a date. He made effective use of his newfound freedom, enlisting the
support of trumpeter Lee Morgan, trombonist Curtis Fuller, pianist Kenny Drew,
bassist Paul Chambers and drummer Philly Joe Jones. When asked in a 1960
radio interview which was his favourite of all the albums he recorded up to that
point, Coltrane was quick to reply, Blue Train.

High Focus Records are excited to share a new full length offering from prolific Brighton based producer Mr Slipz, this time with a fresh label signing, Australian rapper Nelson Dialect. A landmark release and signing for High Focus with Nelson being the first international signing on the label. UK listeners might have first heard Nelson collaborating with Verbz & Mr Slipz on the song ‘Hope’ from their acclaimed LP ‘Radio Waves’ released on High Focus in 2020. Nelson has a cult following in his own right in Australia, and previously released music on the legendary U.S label Fat Beats to great acclaim. Now teaming up with one of the most exciting and respected UK producers, Nelson & Mr Slipz deliver ‘Ever Since’. A statement piece by two artists with well over a decade spent on their craft which sounds as urgent and refreshing as if it were their first time releasing music. The album’s title is a reference to the endless quest for a timeless sound, reflecting the creative partnerships which spark from a seemingly forever existing thread of music. The two artists crossed paths whilst Nelson was on tour in Brighton, and a chance introduction to Slipz made this album a reality. As fate would have it, due to a cancellation of plans and changing of schedules during Nelson’s tour, the pair ended up in the studio for 8 days straight together which is when the bulk of the album was created. They each saw this as a cosmic alignment and thus played into the albums astrological artwork themes and overarching concept. Striving to capture the lightning in a bottle moment, what resulted musically on this album was an inspired surge of energy and intense creative output that is felt across the entire LP. Equal parts personal and lyrically dextrous, Nelson explores a multitude of concepts over the hard hitting drums and jazzy samples producer Mr Slipz is renowned for through his previous work with artists including Verbz, Kofi Stone, Vitamin G & Datkid among many more. The album features a slew of impressive guest verses including label mates Vitamin G & Verbz on the emphatic ‘Oxford Scholars’. Two legends Jehst & Confucius MC combine on ‘Smooth Ride’. Bronx pioneer & D.I.T.C legend A.G delivers a show stopping verse on ‘Trembling the Marrow’. There are hypnotic singing performances by Indira May on ‘First Date’ & ‘Open Book’ as well as Hiatus Kaiyote back up vocalist Jace XL on the soul stirring anthem “Figure Out What’s Right”. U.S rappers SickInTheHead & Cazeaux O.S.L.O round out the impressive guest list on the album with their inspired verses. Listeners caught their first glimpse of the duo with their debut single ‘Only Just Begun’. A whirlwind 3 verse tune showcasing the relentless wordplay and imagery Nelson is regarded for over a moody, hard hitting Slipz production. With a buzz already around what Nelson Dialect & Mr Slipz are brewing, the duo have just released their second single ‘Oxford Scholars’ featuring label mates Vitamin G & Verbz

Tartelet are proud to introduce the blissful, psychedelic electronic soul sound of ABUNAI on his sophomore album Chrysalis out May

20th. Across 11 songs the Oakland, CA-based multi- instrumentalist lays down a dreamlike style which should chimewith fans of Tame Impala, Khruangbin and James Blake alike. As well as the sun-soaked surrounding of his Californian home, ABUNAI’s family connection to Hawaii casts its influence over an album which has all the makings of a crossover success. Look no further than early support from the likes of Gilles Peterson, Don Letts, and Wayne Snow for further proof this album is set to blow up.

“My sound is definitely influenced by the live music I grew up with in the Bay Area,” says ABUNAI. “There's plenty of musical legacy here, including the '60s psychedelic and counterculture movements, the '90s rave scene, and the hyphy movement. "I'm always trying to connect the dots and blend all of my influences.

Chrysalis was, like so many recent albums, a project made largely in isolation during the pandemic, although ABUNAI did reach out to close collaborators Gravity and Raquel Marie to contribute some guest vocals, Kevin Farzad from Sure Sure for the acoustic drum parts and a few additional production touches from Tartelet regulars Glenn Astro and Max Graef. He bills the songs as an exercise in therapeutic self-care through lockdown as much as a balm for others. “It's music for healing,” ABUNAI explains, “for the listener to be able to marinate in the slow tempos, the dreamy textures, the swirling vocals, and the lush synthesizers. It’s very much about growth, re-emergence, and dreaming of a better future.”

As well as dealing in ear-catching pop melodies and sweet vocals, there’s an underlying theme of the ocean, which stems from his coastal surroundings and his family roots in the Pacific. “I think the album is aquatic,” he reflects, “and it feels like a voyage to me, or like a long shower, being reborn in the water. I played the album for my grandpa, who's a veteran sailor and pilot from Hawaii, and he said it was the perfect music to play when you're sailing on the open ocean at sunset.” Cast in nostalgic, soft-focus tones and endlessly soothing for the soul, Chrysalis is your new favourite record for tender moments, hazy days and starry-eyed reveries alike.

CYPRESS HILL - 30th ANNIVERSARY CASE BOOK
To commemorate the 30 year Anniversary of Cypress Hill’s debut album Get On Down is proud to present the complete album on 7 inch vinyl singles for the rst time ever housed in a deluxe casebook. LIMITED TO 2000 UNITS WORLDWIDE! The debut album is presented as a set of six 7-Inch vinyl records presented in a Hardcover Casebook which holds all six records in built-in sleeves Full-color 80 page booklet with liner notes by journalist Chris Faraone, complete with photos and lyrics, and more Housed in a premium outer slipcase, debossed with the iconic Cypress Hill logo in metallic red foil. When Cypress Hill came with their debut self-titled album 30 years ago, they made an immediate spark that captivated the Hip Hop audience, critics, and then the world. Led by B-Real with his nasal, singsong delivery, and Sen Dog to play the perfect hypeman, Cypress’ debut fueled tales of revenge, revolution, recreational drug use, gangbanging, and cultural pride. Like Public Enemy before them, the production was also a key factor in what made this debut so groundbreaking. DJ Muggs was able to craft a blueprint that would change Hip Hop production with his innovative stoned-out beats. Records like "How I Could Just Kill a Man", "Pigs", "Stoned is the Way of the Walk" and "Hand on the Pump" made this album an instant classic. Since its release, the album has won acclaim as one of Rolling Stone's Essential Recordings of the 90s and Top 100 Best Rap Albums by The Source Magazine. Journalist and author Chris Faraone highlights the group's relationship in the reissue's liner notes saying, "By the late 80s the undisputed Cypress unit finally formed. B and Sen realized that their diametric styles - the latter's deep wrangle, the formers inimitable high notes - complemented one another righteously. By then Muggs had bangers in the bag, as well as industry experience from a jaunt with the New York duo 7A3. B and Sen waited while Muggs messed with 7A3, and in that time began to build the blueprint for their raucous and weeded no-holds-barred style. Besides getting schooled on industry pitfalls, Muggs had also grown into hip-hop's most formidable young producer, while straddling the bi-coastal gap." Faraone was able to dive in deep with the band for the liner notes, hearing story after story, including the particularly interesting tale of their unlikely 91 radio hit, "How I Could Just Kill A Man". In the B Side wins again story, the group recalls receiving resistance from the label in regards to which single should hit radio first. Initially, the label thought "How I Could Just Kill A Man" was too risky, and even though the single initially "The Phuncky Feel One", one of the album's strongest cuts, as the A-Side, college and commercial mix-show radio couldn't resist the dusted, heavy groove of Kill A Man. The song – which included a catchy, LA drive-by-inspired chorus – ended up as an unlikely, but powerful double A-sided single that even topped the Billboard Rap charts. More singles would follow, including "Hand On The Pump"; "Pigs"; and "Latin Lingo". And by the fall of 1991, the album was a full-blown critics darling. If you are a Cypress Hill fan and 45 collector this limited edition 30 year Anniversary 7” boxset is a must have!

The second part in a collection of stunning Persian-tuned piano pieces, cut from Iranian national radio broadcasts made for the Golha programmes between 1956 & 1965.

Morteza Mahjubi (1900-1965) was a Iranian pianist & composer who developed a unique tuning system for the piano which enabled the instrument to be played in all the different modes and dastgahs of traditional Persian art music. Known as Piano-ye Sonnati, this technique allowed Mahjubi to express the unique ornamental and monophonic nature of Persian classical music on this western instrument - mimicking the tar, setar & santur and extracting sounds from the piano which are still unprecedented to this day.

An active performer and composer from a young age, Mahjubi made his most notable mark as key contributor and soloist for the Golha (Flowers of Persian Song and Poetry) radio programmes. These seminal broadcasts platformed an encyclopaedic wealth of traditional Persian classical music and poetry on Iranian national radio between 1956 until the revolution in 1979.

Presented here is a collection of Morteza Mahjubi's stunningly virtuosic improvised pieces broadcast on Golha between the programme's inception until Mahjubi's death in 1965 - mostly solo, though at times peppered with tombak, violin & some segments of poetry & song.

The vast collection of Golha radio programmes was put together thanks to the incredible work of Jane Lewisohn & the Golha Project as part of the British Library's Endangered Archives programme, comprising 1,578 radio programs consisting of approximately 847 hours of broadcasts.









i 09: Improvisation & Avaz in Isfahan (Golha-ye Rangarang #254) feat. Marzieh




feat. Abdolvahab Shahidi

The French-Hong Kong DJ and producer Romain FX, founder of Fauve Radio and Fauve Records, debuts on Cracki Records !

After having made his mark on renowned labels such as Exploited, Eskimo Recordings, Novaj 新し, LAGASTA, Fantastic Voyage, Mamie's Records or Hard Fist Records, the ultra-productive artist is about to release Le Sucre d'Adam a new EP of 4 tracks and 2 remixes with the Parisian label Cracki Records.

Mixing Italian dream house, jazz, and Italo Disco, Romain FX wanted to create with this EP a timeless record and convey a message of hope for a better world.

The first track "Zeste d'Orange" is full of joyful emotions, with a feeling of unity and sharing, strongly influenced by 80-90's pop songs like "Rise Up" by The Parachute Club, and "Send Me On My Way" by Rusted Roots.

With its melancholic keyboards, "Le Sucre d'Adam" is a pure concentrate of Italo Dream House, and it's not a coincidence that Romain FX entrusted the remix of the track to the German Lauer, specialist of the genre.

"Italominati" with its powerful bass, draws him in the field of the fairy, influenced by artists like Todd Terje or Skatebård. It is the Korean producer Shubostar, new figure of the dark disco scene, who took care of the remix for a very effective cosmic version !

Last track of the EP, "Crave Cave Rave" with its Rave UK and progressive house accents was imagined as a long DJ Set closing. Intense and heavy at the beginning, the track ends with a feeling of extreme release, closing the EP in the most beautiful way.

For a prolific artist as Gerardo Frisina, almost two years without a new release from him seems like an eternity: this brand new 12" EP entitled 'Soul Drum' breaks the silence, giving us three new works composed by Gerardo, made up of four recordings if we consider the two versions of the title track.

This EP anticipates the full album already in the works, scheduled for release at the end of 2022.

Without losing his Latin trademark, Gerardo continues his research into hypnotic and pulsating rhythmic patterns in both acoustic and electronic form, which are now a fundamental stylistic element of his. As on his previous album 'Moving Ahead', the rhythmic style blends naturally with echoes of tribal voices, piano keys and wind instruments (trumpet, saxophone, flute), creating the 'Joyful Sound' (title of the forthcoming album) that reverberates on the surface. With an artist as meticulous as Gerardo Frisina, it is to be expected that even the simplest beat has been deeply thought out and chosen from a potentially infinite sound palette, and this can be heard perfectly in the depth of sound of the four tracks of this release.

"Soul Drum" is dedicated to the loving memory of bassist Enzo Frassi, who contributed to this EP - along with 'usual guests' Fabrizio Bernasconi, Gendrickson Mena, Alfonso Deidda and Ernesto Lopez.

Over the six distinctive tracks on Forbidden Islands, Madrid duo Uanamani define their broad and multi-faceted vision of techno and ambient. The two genres become one in Derk & Iterbio’s hands. Propulsive rhythms surge forward, peak and disintegrate into plumes of heady fog. Float with the weightless two openers, drill deep into dubwise territory with “Punatori,” soar with club cut “Poveglia,” then ride out the smooth descent. Written and produced by Uanamani Mastered at Enisslab Studio in Rome Designed by Natacha Mankowski

On July 1st Ploy's ascendance continues with 'Unit 18' – a new EP dedicated to his record label and club night Deaf Test's spiritual home – Venue MOT Unit 18 in Bermondsey, South London. With an already loyal following and fabled atmosphere, the parties inform Ploy's productions and vice versa. "These are three rave tracks, all influenced by sound system culture, with my take on different styles, made for various times of the early hours in our sweaty venue", he comments. Maintaining the floor-focused approach of his previous, acclaimed 'Rayhana' EP, here Ploy brings more organized chaos. Sound waves blast away cobwebs with gale-force power, and jolt you awake, like an intravenous shot from the mains. These forthright, no-nonsense workouts appear simple, but are incredibly well-made, revealing discreetly clever touches likely to provoke 'how did he do that?’ scrutiny from other producers. With ten-ton-kick-drum pressure, snares like booted dustbins and an intense build of energy, on 'Stinky' a soundclash turns into a back alley brawl... with lazers. Influenced by drill bass lines, UK bass music and soundsystem culture, the 'stink and perspiration’ lyric will be surely be apt, especially with a July release date. Imagine the scene: whilst a deranged, malfunctioning robot MC yaps and undulates, vampires chase their victim through a packed rave, before feasting on flesh. Ravey and riotous, with horror flick tropes and a touch of electro, the 138bpm wallop of 'Ninety One' is an ode to his year of birth, when magpie like, sample heavy tracks made for innocent, non-overthought, but compelling anthems. Grimey like the dance after which it's named, title track ‘Unit 18’ is a 155bpm half-time stomper, with nods to bounce, 00s hip hop, UK drill and dubstep. Combining flying congas, wookie moans and a classic DMZ stye flute line, this low slung, personality filled throbber will stand out and turn heads.

Stolen Body Records is thrilled to announce the release of Mexican Doom Metal band Terror Cósmico’s first album in 4 years - Miasma.

Miasma is the fourth album from Mexico City based duo, Terror Cósmico. The record takes a different turn in production from past albums, having a more aggressive tone, having drums and guitar recorded separately in the studio, being able to create an intense and surrounding sound.

Miasma is made up of 8 tracks which deliver a great range of emotions, going through desperation, anguish and desolation mixed with an air of nostalgic mystery.

Recorded in January of 2021 in Testa Studio in Leon, Guanajuato, Mexico. The sessions held a vibe of doubt and fear to what the pandemic could bring. The album is charged with all the emotions of a very strange moment in our timeline. The artwork was a commissioned task by Portland artist Jason Barnett.
Tracks:

This is the 3rd pressing of the standard black vinyl.

This next chapter of Timmion's talent scouting in the US will land home with the Purple Heart of Soul, and turn even the coldest of us to the love side. No prisoners taken. It's time for Jonny Benavidez to lay his falsetto over the ever smooth backing of Cold Diamond & Mink. With the sweet as candy mid-pacer "Tell Me That You Love Me" he should go the whole mile.

Those, who have an insatiable thirst for crossover soul sounds by groups such as The Commands and TSU Toronadoes, should snatch up this piece of wax without haste. Texas made and California raised, Jonny has polished his teeth for years in doo wop groups and sung backing harmonies for big names such as Archie Bell and Eugene Pitt from The Jive Five. Currently residing in Austin, Texas he's forming and coating even more sweet tracks for Timmion.

It might not break the charts, but for some with the proper ear for beauty, this will undoubtedly be the new soul record of the year. Have a listen, if you are one of those privileged people.

Stockholm post-punk band V**gra Boys (**= "ia" because spam FILTERS) are announcing a new album Cave World due out July 8th via YEAR0001 Produced by past collaborators Pelle Gunnerfeldt (The Hives, The Knife, etc.) and DJ Haydn, the album is inspired by current events, and aims to tear through the insanity and confusion the world currently finds itself in. Like sin- eaters if sins had to be ingested from a very small spoon, V**gra Boys have consumed the utterly incomprehensible chaos of our era and distilled it into the 12 immaculate tracks that make up Cave World.

As 2021’s Welfare Jazz was earning rave reviews from the likes of Pitchfork, NPR, GQ, NME, Stereogum, Fader, and more, Viagra Boys were in the midst of rerecording what would become their followup. After putting together an entire album at the legendary Silence Studio in the town of Koppom, the band decided they could push harder. "We let it marinate for a while and then rerecorded absolutely everything," Murphy explains. S

ome of the music made it through to what would become Cave World, but replacing the lyrics. In that iterative process,
Murphy found himself returning time and again to a misconception with deeper roots: the idea that humanity is moving forward. After watching a video late one evening about a theory that suggests evolution involved trading in some cognitive
abilities for others, Murphy began stewing on the fact that the result was mass shootings and science denial. "I just wrote down, 'Who is the true ape?'" he says.

"People look down at apes as primitive life forms, but we're just this horrible, lazy society killing each other and starting wars, while they’re able to love and feel.
Does that make them the true ape or us?"

Wormrot return with their most stunning work to date! Following on from
2016's critically acclaimed album 'Voices', Wormrot's 4th studio album
'Hiss' is released 24th June 2022 on Earache Records
The Singaporean trio features the same line up as 2016's Voices with Arif
(Vocals) Rasyid (Guitar) and Vijesh (Drums) and is without doubt their most
ambitious and creative work to date. Having already made their mark as one of
Grindcore's biggest names, Wormrot are intent on bringing Grindcore back to the
masses with a sonically stunning record of wildly unhinged and downright feral
noise..

"It's a wonderfully uplifting album
As invigorating as a cold, sunny, Swedish morning, Kolonien have the freshness
of The Cardigans' early albums while at the same time sounding something like a
Nordic Fleet Foxes." - SonglinesKolonien is a four- member family band from
Sweden that has been one of the leading voices of the Swedish folk revival for
over a decade. With a sound that blends acoustic roots music with anthemic,
sing- along pop, Kolonien has a fresh, appealing sound that brings multiple
musical worlds together.Kolonien's lush vocal harmonies are reminiscent of Fleet
Foxes, their Nordic folk-pop sound might remind some listeners of Of Monsters
and Men, and their hipsters with strings vibe makes them Sweden's answer to
Mumford & Sons. At the same time, Kolonien's music and inspirations are deeply
rooted in the Swedish folk tradition as well as the natural environment and
progressive philosophies of the alternative-lifestyle community where they were
raised.Kolonien is made up of brothers Erik and Arvid Rask, their cousin Anna
Möller and their childhood neighbor, and "brother from another mother," Mischa
Grind. The members of the band were raised in and around Järna, a community
south of Stockholm that is known as a back-to-the-land destination for hippies,
progressives and people seeking an alternative lifestyle. While they had been
making music together since childhood, the band formally came together during
a music festival in Tanzania in 2010. Since then, they have toured extensively
across the world and released a number of well-received albums and EPs.

Swedish progg is not to be confused with "prog" as in progressive rock music. When we are talking about progg, we are referring to the Swedish music movement influenced by the political climate of the late 60's, to some extent the hippie movement and in many cases also Swedish folk music. Music highly driven by a political agenda. Blod's Knutna Nävar, originally released in an edition of 150 copies on Förlag För Fri Musik in 2018 and later a small cassette run, is pretty much a lost progg classic from the 70's. This is not a case of copying a certain sound though, far from it, neither are ideas really rehashed nor does the album feel nostalgic in that sense. Rather it feels like if someone has read about the progg movement and all the records but never actually heard it, yet decided to do an album and somehow managed to succeed big time. Further developing the sound palette and ambience initiated with parts of the Leendet Från Helvetet recording, the music feels slightly louder and more in your face. It's like it's more of everything. The melodies are immediate and it's quite impossible to resist the brash catchiness of it all. Albeit mentioning progg music and its importance for this recording, the actual musical side of Knutna Nävar has in reality more in common with soundtrack/library music and Swedish composers like the late Björn Isfält when you attempt to break it down. The crude DIY approach and anything-goes mentality just adds an extra dimension to it all and ultimately places the music somewhere else. There's a rather blunt use of samples throughout the record (sources probably best to leave out, though you don't have to be a Einstein to figure these out), but then again this is made by the same guy that gave the world the ABBA album. Those samples has managed to become an integral part of the music through the few years that has passed and though well familiar with the records those snippets are now to me genuinely Blod and nothing else. It seems like everyone has their own favourite but Knutna Nävar is the Blod album I have returned to the most. It has that extra something that sets it apart and if I would have to pick up a few records that sums up why Gothenburg has been a pretty damn awesome place to be in the last 10 years or so, this would definitely be one of the top picks.

Lolina project emerged at a time when CDJs became standard in clubs and artists from many disciplines began exploring their possibilities. In Lolina’s records and performances, they are used as a live sampling tool allowing her to move between composition and improvisation. On “Fast Fashion”, discarded vocal takes and phone recordings made while watching videos online or walking down the street are re-sampled across long-form collages. “Mark Ronson’s TED Talk Intro (Using Computer Remix)”, restyles a lecture about sampling and constructed of samples into a track that can’t be contained by any of its elements. Relaxed beats break down into stuttering, jokes turn into abstract situations, and meaning is altered through repetition. With transitions between different parts defining the listening experience, “Fast Fashion” reveals a process by which one thing can be changed into another. “Fast Fashion” is Lolina’s fifth album and first working with Deathbomb Arc. Digital to be released on Oct 27th with vinyl to follow in early 2022 ~ both on pre-sale now. Lolina previously released music as Inga Copeland and was a member of the band Hype Williams between 2009 — 2013.

When you drop the needle on Vocal Patterns, you are entering a world that is equal parts suave, smooth, cool, nostalgic, and kitsch. With haunting and beautiful vocals, upbeat numbers, and smooth sounds made for a late 60’s summer holiday, let this cult classic transport you back to a simpler time. Originally released in 1971, Vocal Patterns features compositions by Roger Webb and vocal performances by Barbara Moore. This powerhouse duo has their own recognition outside of library music. Roger Webb worked as a musical director alongside the likes of Rex Harrison and Bette Davis and wrote songs for Shirley Bassey and Johnny Mathis. Barbara Moore, composer of the de Wolfe cult classic “Vocal Shades and Tones”, collaborated with the likes of Jimi Hendrix, Elton John, Dusty Springfield, and Tom Jones.

Obscura label head Fedele makes his long awaited return to the imprint for new EP ‘The Awake, Pt.1’, backed by remixes from Extrawelt and Midnight Operator aka Mathew Jonson and Nathan Jonson. Fedele’s penchant for synthesizer techniques and drum machines has caught the ear of global tastemakers, with projects released on the likes of Turbo, Afterlife, and Ellum receiving support from the likes of Maceo Plex, Tiga, Tale of Us, Dixon, John Digweed, Miss Kittin, and DJ Stingray. With sights set towards summer peak, the Italian returns to his Obscura Music imprint with his latest work, The Awake, Pt. 1.

Riot Dance leads the line with crisp kicks on a heady rise to set the groove before an analog-tinged synth line claims the hook. Acidic tones & ethereal stabs offer a generous dose of psychedelia, while the gritty groove ensures the cut’s ability to ignite dance floors. Modular Madness harnesses ominous flavors and a driving bassline that ebbs & flows to keep minds melting. The melodies open into swirling synthetics, with revolving reverberations and rich soundscapes capturing the ear from start to finish.

Storied German duo Extrawelt arrive on remix duty, taking the reins on ‘Riot Dance’ to twist a low- slung groover. They bring the bassline into the foreground, keeping a delightful vibe alive and welcoming a touch of light to the dark underbelly of the original, before diving back into the deep as the track unfolds. Obscura regular Mathew Jonson connects with a producer he knows well – his brother Nathan. Together, they remix ‘Modular Madness’ under their alias Midnight Operator. Picking up the pace, they maintain the acid-laced grit from the original arrangement, while adding serene melodies to the high-end. A balanced rework from two seasoned veterans.

Imperfect Stranger is the pseudonym of Glasgow based soundtrack composer and producer Kenny Inglis. “Everything Wrong is Right” is his debut solo album for Castles in Space.
Born in 1975, Kenny didn't listen to much music, unless it was the opening credits to a TV show or a film score that had caught his ear. "I loved the pre-title music on a lot of those 80's U.S. TV shows. From the family orientated stuff like The A-Team, to darker dramas such as The Equalizer. My mother would let me stay up to watch the opening sequence of the latter then send me to bed because the story would be too heavy for a kid. That left me with this hanging sense of ambiguity as to what would happen in that hour after the titles came up.”
Exposure to a work colleague’s tiny project studio in a kitchen cupboard was a lightbulb moment for him and the experience of utilising music technology as a way of writing and producing entire tracks stirred a wave of determination to chase a career in music using the opportunities that technology could offer. Kenny figured the best way to move forward was to start a small project studio and learn his craft as a recording engineer. "It was a bit of a shock to the system. I literally had no idea how to work any of the equipment. Kenny focused on learning as much about the craft as he could whilst winging his way through recording and mixing everyone from the likes of singer/songwriters to bands, to voiceovers artists and anything in between. "Eventually, I stopped writing the music I thought people would want to hear, and started writing the music I wanted to make. I didn't come from a music loving background, but I was always obsessed by the way music and film would interact - how music brings this atmosphere and tone to even the most mundane visual stuff. I wanted to capture that. I wanted to grab some of that ambiguity I felt from the TV shows of my childhood and make it into a project of some sort". That project was Spylab. A dark, downtempo project with a cinematic edge. The initial demo consisted of three tracks, with the melancholic 'This Utopia' leading the playlist.
"At the time you did demos on normal cassette tapes. I remember having this endless battle with the bias control to try and get the best sound I could on these little tapes. Ten went in the post one Monday morning, and the following Monday there were three offers from three different labels. Studio K7 were interested in a singles deal, as was Flying Rhino in London. But then there was an offer from a Chicago based label by the name of Guidance Recordings. They wanted an album, and were offering a $15,000 advance. It wasn't a difficult decision to make"
Writing and recording Spylab 'This Utopia' began in 1999. The album took a whole year to produce. The album was to catch the attention of Mary Anne Hobbs at Radio One. At the time Mary Anne was presenting The Breezeblock - a late Sunday night show with an eclectic playlist of alternative electronic music. Picking out the album's title track 'This Utopia', Mary Anne would go on to play it no less than 8 weeks in a row. A request for Spylab to DJ on the show was to follow. "I had never DJ'd before. I think I had a week to figure out how to do that and put a playlist together. I'm not entirely sure how I pulled that off.” In March 2001 the Spylab album was finally released to a hoard of excellent reviews. A North American live tour would follow. From the launch party in Los Angeles, to a sell out show at SXSW in Austin. "I then started a new project under the name Cinephile. It had some of the core elements of the Spylab sound but it was deeper, more cinematic.” Kenny received news that a track from the previous project Spylab had been requested by HBO for the first episode of a new TV drama called Six Feet Under. This was to become a major turning point in Kenny's career. The Spylab track 'Celluloid Hypnotic' dropped during a poignant party scene of the first Six Feet Under episode. Within a couple of days Kenny was getting requests for music from other music supervisors. "It was a chain reaction. The Six Feet Under sync was like the tip of an iceberg. One day I called CBS in America and they put me on to the CSI music supervisor and I managed to get on a call with him. I sent the Cinephile stuff out and within a few months I got this fax through from CBS - a quote request for one of the tracks for a potential use on CSI. It changed my life."
The tone and style of Kenny's music sat perfectly with the CSI score requirements. So much so he found himself part of a pool of incidental writers who worked on all three aspects of the franchise - CSI, CSI: NY, and CSI: Miami. This would continue until 2013, when the last of the series would come to an end.
"I was juggling a bunch of stuff for those ten years. Writing material for CSI, whilst releasing new Cinephile stuff and playing live. As Cinephile continued to gather pace, one of the tracks from Kenny's efforts on CSI was chosen for the Hollywood trailer for the Samuel L. Jackson film 'Lakeview Terrace'. Further trailers would follow, from Gangster Squad to Dead Man Down, Spike Lee's Undisputed Truth, to Fifty Shades Freed.
At the same time, Kenny picked up his first factual commissions in the UK, and this too would be the beginning of a regular run of fully scoring factuals and documentaries. By 2021, six of these had won BAFTAs. He also would find himself soundtracking adverts for the likes of Nike, Audi, and American AirlinesIn early 2020, Kenny made a return to focusing on his own music under the pseudonym Imperfect Stranger. A tweet from Colin Morrison from Castles In Space regarding a charity compilation album 'The Isolation Tapes' caught his eye. Kenny had made a start on his debut album as Imperfect Stranger and submitted the track 'Hymn To The Sun' (which would become the lead track on the album). Further discussions ensued, and the album found a home on CiS. "I had been doing TV and film stuff for almost ten years. It paid the bills and was as close to a 'real job' as I'd had, but I yearned to get back to writing for myself, so doing an album for Castles in Space was a joy.
“The music I write is like a diary. There's an authentic narrative to everything i do. I don't write tracks for the sake of writing. I write tracks to diarise and process the stuff that I've lived through, and the experiences that have come along with the passing years. That's what makes me tick. It's a very public and vulnerable way of expressing myself. If people want to know the real me, all they have to do is listen."

‘Jim, I’m Still Here’ is the second album from James Righton under his own name; produced by David & Stephen Dewaele of Soulwax and released on their label DEEWEE, the album follows The Performer released in 2020. James’ musical past is well documented; as the frontman of the genre inventing Klaxons, he helped create a revolution in British music and spawned a youth subculture. ‘Jim, I’m Still Here’ is a captivating meditation on the artists experience of the pandemic as James looks to conceptualize the myriad of emotions and events into a fascinating third person narrative. One of the album tracks features Benny Andersson from Swedish pop legendary band ABBA, with whom James has been working on putting together their new live band.

"I wrote this record during the first few months of the pandemic. At the time I wasn’t intending to make any music. I’d just released ‘The Performer’ on what turned out to be the first week of lockdown. The outside world shut down and I was busy being Dad. Then. I started making notes on my phone. Just words. In moments stolen from family life I’d head downstairs to my garage studio and put the words to music. When I was happy with a song I’d send it to Dave and Stef. Demos and Pro Tools sessions were passed back and forth between my home studio and the Deewee studio in Ghent. I was nervous about their response to the music I was making. It was personal, raw: unlike anything I’d ever written before. A conversation with the outside world during these times of isolation. For the most part my life was centred on the domestic. Getting to spend so much time with my family was a blessing. Making music was my play time. Isolation opened me to memories and allowed me to dream of the future. As the outside world tried to adapt to the pandemic I was asked more and more to promote ‘The Performer’ in live stream concerts on various platforms. As the pandemic went on, demands on production increased (more camera angles, better lighting, higher quality audio recordings). It became a one man show. I’d head downstairs to my garage, put on my Gucci suit, comb my hair and become someone else. Jim. Jim the deluded rock star, living out his fantasies from the confines of his garage. A lonely stardom. And yet, Jim was part me. He made me feel like I still existed. Jim became the centre of the new album. Dave, Stef and I worked into the sessions over the following months. It was always exciting to see where they would take my initial demos. The working method and the restrictions of making music together but in separate spaces, separate countries shaped the sound and feel of the record.
I won’t make another record like this again”.James/Jim

WRWTFWW Records and MEG Museum (Geneva) are honored to present the first new solo album by renowned Japanese percussionist Midori Takada (Through The Looking Glass) in 23 years, Cutting Branches From A Temporary Shelter, available on vinyl LP, housed in a 350gsm sleeve, with OBI, and liner notes, as well as on digipack CD.

Recorded in a live setting and played with instruments conserved in the collections of the MEG Museum, Cutting Branches For A Temporary Shelter is Midori Takada’s very own rendition of "Nhemamusasa", a traditional work emblematic of the musical repertoire for mbira of the Shona of Zimbabwe, well known worldwide, thanks notably to its version by Paul F. Berliner included on the famed 1973 album The Soul of Mbira.

The choice of this title by Midori Takada evokes the links between traditional African and contemporary music which are the foundation of this work, and it also translates the resolutely multicultural vision of the artist.

Midori Takada explains: "African music is remarkable for its polyrhythms. Not only are there simultaneously several rhythmic motifs, sometimes as many as ten, but furthermore it may be that the part played by each musician has its own starting point and its own pace, all combining to form a cycle. All the cycles progress at the same time according to a single metrical structure which functions as a reference point, but which is not played by any one person from beginning to end. The structure emerges out of the multi-level parts, all different. With the Shona, the musical system is based on the polymelody: one performs simultaneously several melodic lines which are superimposed, each having its own rhythmic organization. It is truly captivating. In Western classical music, one four-beat rhythm induces some precise temporal framework and regular reference points, which come on the strong beats 1 and 3. But in the logic of the Shona musical system, and in other African music, the melody can begin in the very middle of the cycle and be continued up to some other place in an autonomous manner, as if it had its own personality. It’s very rich."

The album comes with in-depth liner notes that include an interview by Midori Takada, a point of view by Zimbabwean scholar, musician and activist Forward Mazuruse, and background information on the project by Isabel Garcia Gomez and Madeleine Leclair from MEG Museum.

The sleeve features an artwork by celebrated Zimbabwean painter Portia Zvavahera.

Part of the budget for the album was donated to Forward Mazuruse’s Music For Development Foundation whose aim is to identify, nurture, and record young but underprivileged musicians in Zimbabwe.

The album is released in conjunction with Midori Takada and Shomyo of Koya-san's You Who Are Leaving To Nirvana, also available on LP and CD on WRWTFWW Records.

White Vinyl.
Includes postcard and poster.
Part of the Optic Sevens 3.0 Reissue Series.
Originally released on the Sub Aqua label in 1988. It appears here on 7” for the first time. This is a previously unreleased version of Back Between Places. The band were never really happy with the original single release and having discovered the master tape of a superior version, it is to be mixed and released here for the very first time.
From East Village
Both tracks were recorded at Greenhouse Studios at the same one day session in August 88 and are technically unreleased.
‘Back Between Places’ is an alternate mix made at the time and better than the one we chose to release.
‘Violin’ is a completely unreleased recording. It was planned as the original B-side but ended up being replaced by two early recordings ‘Her Fathers Son’ and ‘Precious Diamond Tears’ on the actual 12” release.
We rerecorded ‘Violin’ at few months later at Scruttocks along with ‘Freeze Out’, ‘Vibrato’ and a couple of others that have appeared on the ‘Hotrod Hotel’ LP.

“Babygirl” is the new album by CTM out on Posh Isolation. In its composition channels a sensuous consciousness. The music is like a prism reflecting tactile perceptions, light, movements and memories. Relations between the composed structures and the undetermined of the improvisations, the cracks in the form and the digital glitches, create a poetic and open elsewhere. With a sensibility of pop, the musical landscape moves from nostalgic popballads through the austere pomp of a deconstructed baroque menuet for solo cello, to lingering piano ornamentations and distorted guitars. There is a soft and wild intimacy to the music. Common collective musical languages are weaved effortlessly into the musical canvas, while the form and perspective change and move. With a profound emotional resonance in the music, tenderness and devotion are reflected in the narrative. The sense of nostalgia comes like glimpses of pastimes revisited, when life cycles reveal themselves repeating in the now. Babygirl continues in the track of her latest album “Red dragon”, exploring feverish dreams and personal material through a digital ephemera. Digital effects splinter the intimacy and transform into something more than human, shaking the balance between the codes of the popsong and the unexpected digressions, guided by the voice of CTM that is central throughout the album. The album is produced by Holger Hartvig, Malthe Fischer and Cæcilie Trier. It features vocal and instrumental contributions by Ydegirl, Coco O., Johan S. Wieth (Iceage), ML Buch, Jakob Littauer (Yangze), Emil Elg, Claus Haxholm among others. The album, containing bits and pieces of recordings and compositions made over several years, is like a musical platform with expressions of many voices, and with relations and time weaved into the compositions. Trier is a Copenhagen based cellist, singer, and composer, with her classical training apparent across her many and varied projects and collaborations. Having received critical acclaim from the earliest moments of her career, Trier's previous album 'Suite For A Young Girl' was nominated for the prestigious Nordic Music Prize in 2017.

Eighteen sacred psychedelic suppositories from the laboratory of mad scientist and scalpel-happy pop mutilator Jean-Pierre Massiera. Includes
the rarest and most sought after fuzz funk, spooked surf and
interplanetary prog from ‘The French Joe Meek’ and all his schizoid splitpersonalities and freakish friends - The Maledictus Sound, Chico
Magnetic Band, Visitors, Human Egg, The Pirhana Sound and Jesus
himself.

 Let Finders Keepers introduce you to some old friends of theirs - Charlie Mike Sierra, Jean-Pierre Areisam, JPM and Co. Erik, The Horrific Child, Jesus, Les Maledictus Sound, Human Egg... This might sound like they’re flicking through the imaginary LP racks in the record shop from ‘A Clockwork Orange’ or perhaps congratulating the runners up in a
Halloween fancy dress competition but for the previously uninitiated you
have just been ordained into the congregation of the many split
personalities of one Mr. Jean-Pierre Bernard Massiera. Bow down to the
nine-headed monster as he mutates and shape-shifts back through time
to his humble beginnings in a Buenos Aires province ravaging and
pillaging the music of the European people for his own twisted
benediction along the way.

 This might, as intended, sound a little bit dramatic but if there is one
single ingredient that gives the eccentric Jean-Pierre Massiera his
distinct flavour it’s a large dollop of drama. Add sprinklings of
schizophrenia, shock, myth and macabre and you are on the way to a Bmovie broth with an acquired taste that has, like all the best cheese,
taken over thirty years to mature to perfection. Like all the best monsters,
his split personality is the key to his infamy and the secret of his blood
sucking success.

 This is why Jean-Pierre Massiera is (un)commonly known for two key
periods in his career which, like a worm, can be split down the middle to
thrive and flourish independently. To cut a long story short, Massiera is,
above all, a lover and purveyor of musique fantastique, and is willing and
able to hijack whichever stylistic vehicle that passes him buy in order to
do feed his lust. In the earlier part of his career he honed his sordid craft
amongst psychedelic circles in Nice and Quebec. From late 1972
onwards he moved to Antibes and started a disco revolution and
became an in demand cosmic record producer. For years, prog rock
obsessives and disco aficionados have wondered if there was two
unrelated freak merchants called Jean-Pierre Massiera but, in this rare
instance, exploito-maniacs from both sides of the cosmic coin are united
by the work of this singular, single-handed monstrous music
manufactory.

 Remastered and available once again on deluxe black vinyl since the
initial Finders Keepers limited edition 2009 pressing

Lo-fi Beats is a fine and elegant new collection made for a cosy trip in music. Relax with a jazzy sound.

Moxie’s On Loop label is back with a new release from Eternal Ocean label founder Ronan. The new EP, Interdependence, follows on from his highly acclaimed debut album ‘Reflections On Intrinsic Value’ and further contributions to labels such as Pressure Dome, Vanity Press and Jungle Gym.

Ronan’s productions are described as ‘aquatic sounds for healing’ and this release for On Loop is no different. Very much driven by percussion, the EP opens with a trippy dub-infused ‘Suderoso’, whilst the second track ‘Interdependence’ showcases a more emotional driven production, filled with blissful, ethereal pads and hypnotic vocal samples. It’s a moment of reflection before picking things up again on ‘Geodesis’ where excitable drum patterns lead the way, bringing you to the centre of the dancefloor. ‘Morning Glory’ rounds off the EP in glistening style - the perfect sunrise anthem.

Deciding to take a brief hiatus after the 2020 release of Moxie Presents Vol. 5, On Loop made its return at the end of last year with the stunning release of Matisa’s ‘Peace Building’ EP. Back for good, the label has now evolved into a new era, signifying the start of this chapter with the the brilliant On Loop 001 compilation earlier this year. The release showcased Moxie’s global impact, enlisting new tracks from the likes of Eris Drew, Nicola Cruz, Space Ghost, Olive T, Nachtbreaker and more.

100 copies only

Apron Records has been instrumental in shaping the current landscape of contemporary electronic music coming out of the U.K. since 2014. After almost a decade of pushing their unique vision has made the Apron Records imprint one of the most in-demand labels in most independent record stores. Now more than 45 releases deep in their journey, Apron Records have teamed up with Patta Soundsystem to work on their first various artists release and to celebrate this monumental milestone, both camps have collaborated to create a clothing capsule to accompany this release. After working with the artist formerly known as Funkineven on ‘The Wave’ late last year, it was only right to showcase the diverse talents behind this movement.

Sharing a drawing board with Patta for the first time with Apron Records, together they have created a Trucker Cap and a Graphic T-Shirt that echo the racing theme of the whole project. Better Together is the slogan that runs throughout the entire collaboration, stressing how unity makes us stronger as individuals. Artwork for the record has been provided by Amsterdam based artist Jim Klok. His unique Acetone printing technique has now been immortalised on this LP, juxtaposing vintage cars with checkered racing flags to create a dynamic cover that would be right at home in a picture frame as well as a record bin.

System Olympia’s ‘Passi Mai’ is a beautiful 80’s inspired driving riddim layered with her own vocals that wouldn’t be out of place in an arcade or a sticky nightclub floor. Followed up by ‘Leven’ by Brassfoot, we get a wobbler from the NTS regular. Layed with Jamaican vocal samples and audacious arpeggiated bleeps, Leven is a soulful approach to techno tropes that have been bouncing around Brassfoot’s head. Shamos’ 737363 is a cryptic masterpiece. With dreamy pads as a backdrop for shuffling drum beats, euphoric sweeps and dynamically designed synthesis, this closes off the themes explored in the first half of the record.

Side B kicks off with J M S Khosah’s contribution to the record titled ‘Lessons’ which is a dancefloor filler, adorned with glamorous percussion, vocal samples and syncopated stabs ontop of a driving 4x4 kick pattern. Kicking things into 6th gear is a club-ready production from London's most soulful selector Shy One. Groovy basslines and a 2-step riddim make ‘Candy Floss’ an ode to the grimey and the glittery sides of London nightlife. This project champions one of the people that have been pivotal in the success of the label, Steven Julien whose track E46 is an emotional journey through his synth-laden East London studio. Bookending the project are two compositions from Compton’s-own AshTreJinkins. Showcasing his abilities to approach the project from both an ambient and a pure beat-making perspective in order to hold the whole project together.

LTD 50TH ANNIVERSARY REISSUE

Originally released in 1971, during the dark days of the military dictatorship in Uruguay, this unique album made a strong and lasting impression on Juana Molina when she was a child. The present reissue on Sonamos (Juana's recently-formed owned label) is the result of a patient labor of love conducted by Juana and her associate producer Mario Agustin Gonzalez. This anniversary release comes our as a very limited-edition containing the remastered original LP, a second LP with 16 unreleased tracks, and a thick, informative booklet: Musicasión was a series of collective shows by a group of artists, mixing theatrical elements, poetry, improvised stage effects, and of course music, with a very special blend of rock (then called beat, in a dual reference to British pop bands of the sixties and to Beat Generation poetry), candombe (the percussion-driven style created in Uruguay among the descendants of liberated African slaves) tango, jazz and bossa nova. A combination which bears more than a passing resemblance with Brazilian Tropicália, which originated around the same time.

Was sold in previously in March but orders have timed out. So reselling! Art Pepper + Eleven – Modern Jazz Classics is a 1960 jazz album by saxophonist Art Pepper and a group of other musicians performing arrangements by Marty Paich who directed the ensemble. The recording is one of several dates Pepper made with Paich in 1959 and is the only one with Pepper as leader. MAY HAVE EXISTING ORDERS ON SYSTEM- PLEASE CHECK PORTAL

Matte Gold 180g. Free MP3 Download. GUM aka Jay Watson is a multiinstrumentalist, founding member of POND and touring member of Tame Impala. Gum’s 2015 album Glamorous Damage has been newly remastered by tour mate Kevin Parker. ‘Glamorous Damage,’ is a warped comb running thru the shiny blonde hair of pop and disco. Produced and mixed by GUM and mostly recorded at home, the album is at times reminiscent of the elastic robo-glam of Prince, the sci-fi waves of Chrome, early Eno experimentalism and a love of Beach Boys melody. In 2015 ‘Glamorous Damage’ was critically acclaimed by the likes of Pitchfork, NME and Stereogum and featured on the longlist of the 2015 Australian Music Prize. Glamorous Damage features lead single ‘Anesthetized Lesson.’

Following the precursor singles of 2021, Formality Jerne-Site’s unveiling is finally cast upon her already-growing fanbase. Trained classically as a composer and completing a masters at the Royal Danish Academy of Fine Arts, Jura introduces a highly-anticipated playground of carefully sculpted characters, plots and lessons - sometimes charming, sometimes nefarious, always absolute and sincere. A fictional land opens its doors and roof to us. A trio of trans kids run amok in rural suburbia. Various sorcerers of the wild future enter the scene on some songs; on others, the mind is cast to sun-drenched drives and journeys of yesteryear. At the heart is a pop sensibility: yearning, reflections, vanity, guesswork, hope. Jura is adamant about practice and precision. Dead seriously she offers, about making music: ‘Nothing should be half-hearted or an accident.’ There’s a maturity and elegance to her compositions, arrangements that - although at first sound seem abstract - lean away from experimental, somehow. She sing-speaks in English, and somehow not typically theatrically for such a play of a record. The theatrics are all real. It’s a fantasy land for sure, but it's based on hard facts. Like academia subdivided into poetry. It’s that weird-ass specificity she mentioned. Opener ‘Someone’s Lifework’ introduces less a choir of voices, than a choir of personalities. The art of storytelling is at the center of the musical expression. A protagonist relinquishes control of chaos that’s bigger than them on a perilous journey on some vessel: they comfort their co-passengers. There’s a sense that the hero - or anti-hero - might be more canny and cunning than the sweetness they first sell to fellow players. 'Is this our getaway chance?’ sings fellow Copenhagener Ydegirl amongst swelling synths and reverb that become so definitely Jerne-Site as the quest continues. The search? For intimacy, perhaps. ‘Same late Age (dIcK bIfFeReNcE)’ imbibes at once, some further disorientation, perhaps a little hallucinatory feeling which may come over the listener. Through a synthesizing of political themes that work across time ‘Same Late Age (dIcK bIfFeReNcE)’ bears reminiscences of the musical expressions of anti-capitalism in the 1980es, although in a new body and context. “I have a feeling that music reconjures societal morals and ideas from the time in which it was written when we press play or hear a live performance. From the moment at a concert when the symphonic orchestra starts tuning in, the time traveling begins. So I imagined how it would be to be trans sitting there playing the first violin, having the job of producing that first tone that all the other musicians around me tune in ona, ” Jura explains. The listener yearns for more; and subsequent tracks deliver. On ‘How Intimate It Gets,’ Jura meditates on the futility of closeness, begging the audience to enter the blood and guts of their own entanglements, the blueprints of focusing entering. Jura sings richly about fingers being lines, pointing or bending, and we’re reminded of their own wicked ways we can’t control. A history of singing in choirs informs the harmony of myriad inner voices heard across the album. At once prophetic and enigmatic, some of the songs rearrange historical events out of pop musical language. The enormously entertaining ‘Pinot-Botticelli Toast to European Users’ conjures scenes of Cold-War world leaders stuck on a cruise in the Transatlantic vacuum, and the protagonist watches a devastating heartbreaker careen on into the picture, led by his own hips on ‘The Lasceaux Associate’. Finally, on title track ‘Formality Jerne-Site’, American English rises to the occasion like a verdict around the narrative of three trans teenagers in rural Colorado: language turns into something sensual and haptic, playing with the snare and sizzle of syllables. The words twist and bend, while the music follows its own synaesthetic logic: “around us pop culture made a vow to a normative desire, drawing in like water color percussion”. Anyines is a site of play and documentation, with a canon so far quite nice. Their future is one that envisions supporting the galaxies their dear friends embody, be it music, performance, video games or beyond. Highlights from their discerning back catalogue include myriad formats: live and digital, plus releases binded to physical artefacts that enhance the live experience such as sculptures and scents. Their history also includes disappearing time-sensitive shadow-tracked material and cross-disciplinary opportunities that reflect deep professionalism and a totally non-schooled semblance of sound and drama. Recent releases include a dance-theatre soundtrack, a traditional shiny pop record, and the acclaimed ML Buch sophomore, Skinned.

Shadow Kingdom Records is proud to reissue the classic debut album of
Italy's Bulldozer,'The Day of Wrath' in half purple and half clear vinyl with
red splatter.Italy's Bulldozer should require little introduction
During the 1980s, they were the even-uglier alternative to Venom and Motorhead,
and made their name with such anthems as "Whiskey Time" and "Ilona the Very
Best." They also had an utterly wild, over- the- top presentation and visual
aesthetic, all embodied in accurately monikered frontman AC Wild. They were a
cult band before "cult bands" were such a thing in the metal scene. In short, there
was one – and only one – Bulldozer. Their debut album, 'The Day of
Wrath',released iin 1985, became something like bottled magic: Bulldozer never
again sounded as dark and depraved and raw as they did here. While their
successive albums saw the band cleaning up their act and getting thrashier and
are no less beloved, 'The Day of Wrath' is widely/ rightly considered the classic
album from Bulldozer.