Buscar:maga

Es gibt eine Dub-Serie die seit Jahren für Furore sorgt, und das seit der VÖ der "KING SIZE DUB 1" (damals in Zusammenarbeit mit dem Kult-Magazin SPEX) im Jahre 1994! In der Serie gab es immer wieder Ausflüge zu obskursen Zählweisen (Vol.69) und Specials über bestimmte Regionen (Dub In Germany), Labels (ON-U Sound Records aus London) oder Bands (Dubmatix aus Toronto)! Wunderbar, dass nun mit KSD 25 eine weitere Compilation der Reihe Dub als vielschichtige Kunst des Klangmischens darstellt. Im Rahmen dieser Ausgabe dubben sich alte und neue Freunde des Hauses Echo Beach gegenseitig oder präsentieren eigene Versionen von Pop- und Reggae-Hits von u.a. Ramones, Bob Marley, Blondie, Robert Palmer und David Bowie. Die Musik suggeriert Sonnenschein und Sound Systems, heissen Sand und coole Drinks, der Bass schlurft gelassen aber auch aufreizend rebellisch. Dub ist die Kunst des Disk Jockeys, den sie zunächst in Jamaika zum Star erhoben haben. In den Fünfzigern waren dort Musikmobile, die "Sound Systems", der Ersatz für fehlende Radiosender. Die auf Exklusivität bedachten DJs nahmen ihre Hitsingles bald selbst auf, mit instrumentalen Rückseiten für Ulk und Ansagen. Ende der Sechziger verselbständigte sich dieser Dub durch den technischen Fortschritt. King Tubby und Lee "Scratch" Perry spielten mit Hall, Echo und rückläufigen Bändern. Dub löste sich von Jamaika, ging nach New York oder London, wo er in seiner Militanz gut zum Punk passte.

Covet was founded by guitarist Yvette Young with the intention of fusing lush post rock soundscapes with the subtle technical intricacies of progressive rock, After playing numerous local shows in Northern California the band released the Currents EP in late 2015. The band toured throughout the west coast building a buzz for their dynamic live show. In 2017 Covet highlighted the year by supporting Polyphia, Jason Richardson tour and followed that up with the Chon, Tera Melos, Yvette was recently named one of the top 50 sensational female guitarists by Guitar Player Magazine, Early 2018 the group entered VuDu studios with Mike Watts (The Dear Hunter, O’Brother, Gates, Dillinger Escape Plan) to record its upcoming sophomore release effloresce.

Rock'n'Roll hits adapted and sung in Italiano to seduce an exotic and difficult music market. A tradition that saw many stars (Mick Jagger, Françoise Hardy...) test their pronounciation skills with swinging (but always very fun) results. Now its The Courettes' turn, to translate two of their newest songs for a special limited single 7'', released in time for their southern Europe tour and the Record Store Day 2022. Anzi, LE FAVOLOSE COURETTES, volevamo dire “the real deal” (Vive Le Rock, UK) “the real sound of now busting through your door” (Rolling Stone, USA)! “the world’s greatest two person rock n’ roll ensemble” (The Next Big Thing, UK) “Your new favourite band once you ve heard them!” (Louder Than War, UK) The Courettes. “A force to be reckoned with. Matching the garage rock ferocity of The Sonics to prime early 60s girl group, the band’s output is utterly feral in the most addictive possible way. Reminiscent of The Ronettes given a Ramones style overhaul, their evil charms arrive covered in blood-soaked glamour. Twanging guitar and raucous percussion, a wild head-long charge into the unknown.” (The Clash Magazine, UK) The Courettes is an explosive rock duo from Denmark and Brazil who found the perfect blend between garage rock, 60s Girl Group, Wall of Sound, surf music and doo wop. Like The Ronettes meet The Ramones at a wild party at Gold Star Studios echo chamber. Praised by the biggest music magazines around the world, in 2020 the band signed with legendary British label Damaged Goods, putting them on the same roster as top international rock icons like Buzzcocks, Manic Street Preaches, Atari Teenage Riot, New Bomb Turks, Amyl and the Sniffers, Billy Childish, Captain Sensible and many others. Their last and third album, “Back in Mono” was released in the Fall 2021 and is a truly milestone in the career. The album brings the band in top form, showing great songwriting skills and with broader nuances, influences and sound qualities to their garage rock recipe. Their last singles, “Want You! Like a Cigarette”, “Hop The Twig” and “R.I.N.G.O.” all got airplay at BBC 6 Radio in England and radio stations in Europe and the USA. “Back in Mono” got top reviews in the main music magazines like Mojo, Classic Rock and Shindig and was featured in countless Best Albums of 2021 lists: “Exuberant third release, a giddying rush of noise” (MOJO, UK) 4 out of 5 stars “Seems like the best record you’ve ever heard. A rock n’ roll sacrament from your new favourite band.” (Classic Rock Magazine, UK) 9 out 10 stars “Sensational good album!” (Ox Magazine, Germany) 9 out of 10 stars “Just keeps getting better and better” (Shindig!, UK) 4 out of 5 stars “Fantastic album” (Louder Than War, UK) 4,5 out of 5 stars “A complete riot” (The Arts Desk, UK) 4 out of 5 stars “14 new original tracks–all killer” (Add to want list, UK) “The whole album is one long highlight” (UK Rock n’ Roll) “Exciting combination of Wall of Sound and Fuzz” (El Periodico, Spain) 4 out of 5 “A collection of perfect songs, full-blown instant classic” (Triste Sunset, Italy)

A unique talent with a remarkable voice, the German singer, composer
and lyricist Alma Naidu is an artist such as one rarely fnds, Jazzthing
magazine praised her "delicate, wonderfully clear voice with absolutely perfect intonation".

Renowned drummer and producer Wolfgang Haffner recognised her talent immediately; he discovered Alma for himself in 2019 and featured the Munich native on his album 'Kind of Tango'. "When I heard Alma for the first time at a jam session in early 2019, I was immediately inspired by her musicality and her way of performing on stage," says Haffner. " Alma is a very special talent with a strong
musical voice of her own."

With Alma now comes the promising debut on the Leopard Records label.
Recorded in Bonn during the pandemic (November 2020, March and April 2021) and produced by Haffner with guests Dominic Miller, Nils Landgren, Simon Oslender and others, this debut work of the 25-year old Naidu could just as well bear the title: A Star Is Born.

Joona Toivanen Trio makes their We Jazz Records debut with their new album "Both Only", out 25 Feb 2022. A landmark work for the long standing group, the album showcases a new sound for the band, trekking deep into new ideas for an acoustic jazz piano trio. Since their formation as teenagers in mid-1990's, the trio of pianist Joona Toivanen, bassist Tapani Toivanen and drummer Olavi Louhivuori (of Superposition, Ilmiliekki Quartet and Linda Fredriksson "Juniper") has developed their remarkably coherent band sound step by step, touring the world over. Nowadays, the trio is geographically split between Gothenburg, Sweden (Joona), Copenhagen, Denmark (Tapani), and Helsinki, Finland (Olavi), but the unit has never sounded so together as one, and as adventurous as on "Both Only".

"Both Only" by Joona Toivanen Trio is a cocoon, a welcoming shelter of sound that opens up naturally for the listener to inhabit. The album is moody and introspective, even dark at times, but by the time you get to the closing track, "This and This", you'll likely notice something hopeful brewing up. This is not music dealing with nostalgia or a world lost. Instead, it's a body of work with delicate dynamics, taking a minute just to listen and to look inwards to learn something, to move forward.

The first single "Enlightened" is perhaps the most traditional piece on the album, yet it flows like a vessel beyond genre, conveying a mood, a feeling and an idea. Listen to how the piano, bass and drums discuss, how the groove moves with the instruments having their clear roles but also supporting each other and documenting a musical aging process exactly as that of a quality bottle of red wine. As a song like "Direction" proves, the melody is there all the way, yet there is nothing obvious about how it's carried by the trio. Things remain surprising, fresh and moving at all times. "Except For" keeps its intensity, while nearly erupting into a full on 4-to-the-floor banger. Nearly! The key here is how the energy sustains itself, building the intensity within the music.

"Both Only" is a powerful statement from a band ready to renew itself time and again, and one willing to do it slowly, outside of the hype. This process makes the impact enduring, nuanced and lovely.

WJLP37 Joona Toivanen Trio "Both Only" is available on vinyl as a black vinyl edition and as a LP+7" bundle also including WJ0716 "Except For (7" Edit)" / "Keyboard Study No. 2".

“More excellent poetic soundscapes from We Jazz! Love the flow through the tracks here – textural pieces moving into more rhythmic jazz abstractions. Beautifully recorded too.”
Quinton Scott — Worldwide FM

“Following on from the excellent Linda Fredriksson album We Jazz extend the journey with this innovative Joona Toivanen Trio set.”
Paul Bradshaw — Straight No Chaser

“You’ll look in vain here for extravagant splashes of color or bright swathes of sound, but what you will discover are a finely-chiselled set of compositions that make the most of the trio’s limited palette: flint-sharp melodies hewn from the ice, crisp and crackling rhythms.”
Cal Gibson — Ban Ban Ton Ton

“Incredible album from Joona Toivanen Trio and a strong start to the new year from We Jazz.”
Kerem Gokmen — Dubmission

“Encapsulating a new movement in jazz.”
Jay Scarlett — Sounds Supreme

“Interesting listen on the shortest day of the year. They have a very definite and saturated style.”
John Chacona — All About Jazz

“Airplayed the track”
Tom Ravenscroft — BBC6 Music

“Jazz album of the year released already in February?”
Ralf Sandell — Hufvudstadsbladet

“★★★★★”
Iida Simes — Voima Magazine

Born out of an underground Buenos Aires party and first launched in 2008, ZZK Records has spent more than a decade at the forefront of Latin American music, carving out space for artists putting a futuristic (and often electronic) spin on classic rhythms and folklore traditions. Along the way, the label spread across the globe and helped launch a few stars-Nicola Cruz, Chancha Vía Circuito, La Yegros and Son Rompe Pera among them-but ZZK's search for new artists, sounds and perspectives is never complete. ZZK Sound Vol. 4 brings together a fresh crop of talent from across Latin America, along with a pair of choice selections from veteran acts Maga Bo (Brazil) and Tremor (Argentina). Compiled by ZZK co-founder DJ Nim-the label's original A&R (and Chancha Vía Circuito's older brother), he'd actually taken a five-year hiatus from the project prior to 2020-the compilation's origins can be traced back to the early days of the pandemic. As the world went into lockdown, he put out a call for submissions, and within three months, he'd received more than 1000 tracks. Nim literally listened to them all, whittling the pile down to his 11 favorites, and after hearing his selections, Grant C. Dull-another ZZK co-founder, who runs the label's day-to-day operations-couldn't believe his ears. Nim had done it again. There were no notes, and no changes to the tracklist. ZZK Sound Vol. 4 was quickly put into production. At this point, few music fans need to be sold on the appeal of Latin music, but ZZK, which has been operating in this sphere long before the genre became the "next big thing," is dedicated to the idea that the potency of these sounds extends well beyond the pop charts. Hopping between continents and recontextualizing rhythmic lineages that date back centuries, ZZK Sound Vol. 4 is both an arresting snapshot of Latin America's electronic avant garde and a thrilling preview of its next wave.

Four years in making, Voyeurs In the Dark is Toronto artist Barzin’s fifth studio album. That the album is more cinematic in its scope and conceptual in feel than his previous studio albums can be attributed to the time he spent over the past several years composing the soundtrack for the independent film, Viewfinder. Voyeurs In the Dark retains that cinematic quality, and at the same time infuses the music with elements taken from Jazz, electronica, rock and pop. Having primarily explored the quiet side pop and folk in his previous four albums, Barzin has expanded his musical palate, broadening his sound towards a more an experimental direction, while still retaining his preoccupation with exploring the internal landscape. The uniformity of sound that characterized the previous albums has been abandoned for the expression of differing aspects of the self that at times hold opposing views and desires. This is best represented in the image chosen for the cover of the album, which depicts three figures in one body. The album seems to be the expression of not one unified self, but the various aspects of the self. Voyeurs In the Dark sees the artist plot a seductive, contemplative route through city haze, shuttling between graceful glimmering interludes, with wonderfully atmospheric songs at every stop. From opener Voyeurs In the Dark’s first guitar strums and the fizz of its drum machine, the record envelopes itself in a glorious shadow, as shown in the slow waltz of I Don’t Want To Sober Up, dancing around its own swirling guitar chords. On Watching, Barzin plunges himself deeper into a wash of cyclic bass, guitar and synth riffs, as the gloom grooves into light. It’s Never Too Late To Lose Your Life has a much more affirming and urgent tone, shade turning into shapes and motion, while To Be Missed In the End builds its own smoke in a cloud of saxophone and sparse guitar notes, closing out a record full to the brim with scatterbrain beauty and eclectic dusk. Voyeurs In the Dark will be released worldwide on Monotreme Records on May 6th on CD and limited edition180 g black vinyl LP with printed inner discobag and digital download card. Press highlights so far: Video premiere and feature interview on Rumore.IT. Airplay on BBC 6Music, Amazing Radio (UK and US), Glastonbury FM, Shoreditch Radio, Indie Music Discovery, Listen to Discover, Norfolk Radio. Press coverage in V13, Skope, Whisperin and Hollerin, Fame Magazine, High Violet, Indie Midlands, Beehive Candy, Music Won’t Save you. Feature confirmed for Wonderland Magazine. PUBLICITY - UK and North America press and radio Cannonball PR. Europe Five Roses Press

* In 1980 Gerald Moore - of G.T. Moore and the Reggae Guitars and Heron fame - was in Kingston, Jamaica working with Lee Perry on the `Return of Pipecock Jackxon' LP. Gerald went into Harry J's studio with James Lascelles (Global Village Trucking Company, The Breakfast Band) and Bud Beadle (Ginger Baker & Salt) alongside members of Zap Pow: Don Grant, Cornell Marshall and Dwight Pinkney.
* Of the four tracks recorded (two vocal and two instrumental) only `Utopia' was ever released (on the Black Star Liner label in 1980 and then reissued by Partial in 2014).
* The tapes sat around gathering dust for the best part of 40 years and are now finally unearthed. * Mixed directly from the masters by Dougie Wardrop are `Jerusalem', `Working For The Dollar' and `Constant Spring'. Also `Utopia' gets a fresh mix.
* A cuts followed by their respective dub mixes.
* Review confirmed in February's edition of The Wire magazine.

Many will know Bernie Marsden for being a founder member of Whitesnake, one of the biggest rock bands of all time, and writing the iconic global smash, “Here I Go Again”.Since leaving Whitesnake almost 40 years ago, Bernie has forged an impressive solo career. He is acclaimed as one of the premier British blues guitarists. He has written and recorded with some of the biggest names in the industry, composed music for film & TV, forged a successful career as an author, and amassed a priceless collection of guitars. Most recently, Bernie partnered with Joe Bonamassa to write half of his hit album, Royal Tea. Rewind to Summer 2018… Bernie was invited to join Billy Gibbons on stage, when he said “Bernie, wouldn’t it be great if we could all record the songs we grew up with as we learned to play the guitar?” Rather than suffer the usual fate of great ideas that are left to litter the dressing room floor, Bernie immediately set about making a list, and the “Inspirations” Series was born. KINGS” is the first album of Bernie Marsden’s “Inspirations”. Featuring 10 songs that were originally recorded by Albert, B.B. & Freddie King, and recorded in a studio in Oxfordshire with a band that just locked into a groove, “KINGS” is chock full of blues and soul. Two Bernie Marsden penned instrumentals inspired by The Kings appear as the final two tracks on the album. Features appeared / appearing in Blues Matters, Classic Rock, Fireworks, Rock Hard (Germany), Sweden Rock, Rock N Reel magazines, with great reviews given by most of the premier UK Rock, Blues and Guitar publications around the release of “KINGS”. Radio support at Planet Rock, The Max, Radio Caroline and was IBBA’s #4 most played album in 2021.

Bernie Marsden was a founder member of Whitesnake, and wrote the global smash, “Here I Go Again”. Since leaving Whitesnake almost 40 years ago, Bernie has forged an impressive career. He has written and recorded with numerous music legends, composed music for film & TV, become a best selling author, amassed a priceless collection of guitars and of course continued to release outstanding albums as a solo artist. Most recently, the critically acclaimed #1 Blues album, KINGS. “CHESS” was the second album of Bernie Marsden’s “Inspirations Series”, representing his interpretation of tracks and artists which were instrumental in shaping his musical taste and guitar style. Featuring 10 songs that were originally issued by the legendary Chicago label, CHESS, this is another labour of love for Bernie. Releases by giants such as Howling Wolf, Chuck Berry, Bo Diddley and Elmore James, have all been given a new lease of life in these remarkably fresh recordings. Once again, two Bernie Marsden penned instrumentals inspired by Chess artists appear as bonus tracks on the album. Radio support from Radio Caroline, Planet Rock and blues specialist DJs regionally and online globally. Adverts booked in Blues Matters & Blues in Britain to promote the LP release. Features appeared / appearing in Blues Matters, Classic Rock, Fireworks, Rock Hard (Germany), Sweden Rock, Rock N Reel magazines, with great reviews given by most of the premier UK Rock, Blues and Guitar publications around the release of “CHESS”. Radio support at Planet Rock, The Max, Radio Caroline and the IBBA

"A high-octane pop with a glam coat"

When listening to Hey You! - mastered at Air Studios by John Webber -, the energy the band exudes on every track is palpable, and live, they're simply something else, giving it their all on every number and completely winning over the audience. Visually, the band are are eye-catching as their music, looking straight like they've stepped out of the '80s. Fronted by the Debbie Harry-esque Rebecca Bex, BeXatron make as much of a statement visually as they do musically, and it's an extremely welcome breath of fresh punk air to see a band that is obviously so incredibly passionate about what they do, and that has the talent to back it up.

Since the release of the album, we have been played worldwide on various shows ranging from mainstream such as:

BBC Radio 6, BBC Introducing, Total Rock, Planet Rock, Soho Radio

but also had tremendous support from local community radio stations:

Insanity Radio, Resonance Radio - Spizz FM, Hunter's Bay Radio, Ontario Canada, Foxy Radio, Deal Radio - Low Life in High Heels, The Chuff Bus, Dark Hearts of Camden, Premium Blend Radio Show, Punk & Preppy Radio Show, Pennsylvania

Perfect for summer clubbing... or any season. Highly recommended. - MIKE NICHOLLS from Ghostwriter books

Sonic Party Sounds, and the packaging looks as good as the band - MARK TAYLOR from Metal Talk/RecorD Collector Magazine

This is the kind of music that is sure to thrive in inner city suburban surroundings - MUSIC NEWS 2 DAY

Cracking. Catchy stuff - SONIC NEWS

2020 erschien mit "KiCk i" der Grammy nominierte Auftakt zur Serie; auch nominiert bei den Latin Grammy Awards als "Best Alternative Music Album". 2021 setzt Arca mit "KICK ii" bis "IIIII" nun die "KiCk"-Serie auf XL Recordings fort. Jetzt erscheinen diese auch physisch auf CD und Vinyl! Als Künstlerin war Arca schon immer eine Gestaltenwandlerin - äußerlich wie musikalisch. Sie produzierte Musik für Lady Gaga, Frank Ocean, Björk, Kanye West und FKA twigs, komponierte Musik für das MoMA, trat 2020 mit den Labèque Schwestern, zwei fantastischen Pianistinnen, bei der Burberry Fashion-Show auf, schrieb einen Soundtrack-Beitrag für die HBO-Serie "Euphoria", erschuf gewaltige Noise-Skulpturen oder gab sich auf Partys als exaltierte Diva. Arca wurde für einen GLAAD Media Award nominiert und ist die erste nicht-binäre Künstlerin, die schließlich für einen GRAMMY nominiert wurde. Sie hat ihr eigenes Album-Artwork entworfen und gemalt, für Bottega Venetta, Calvin Klein und Loewe gemodelt, Musikinstrumente der nächsten Generation mitentwickelt und auch mit KI experimentiert. Alejandra Ghersi Rodriguez, wie Arca eigentlich heißt, wurde erst vor kurzem von Publikationen wie dem Time Magazine, Guardian, DAZED, Billboard, Pitchfork, Stereogum und der Los Angeles Times zur einer der innovativsten Künstlerinnen des 21. Jahrhundert ernannt. Als nonbinäre Latinx-Transfrau will Doña Arca die Rolle des Popstars für kommende Generation neu definieren - mit "KICK ii bis IIIII" entführt sie uns in diese Zukunft und öffnet die Tür in eine neue und nonbinäre Soundwelt.

2020 erschien mit "KiCk i" der Grammy nominierte Auftakt zur Serie; auch nominiert bei den Latin Grammy Awards als "Best Alternative Music Album". 2021 setzt Arca mit "KICK ii" bis "IIIII" nun die "KiCk"-Serie auf XL Recordings fort. Jetzt erscheinen diese auch physisch auf CD und Vinyl! Als Künstlerin war Arca schon immer eine Gestaltenwandlerin - äußerlich wie musikalisch. Sie produzierte Musik für Lady Gaga, Frank Ocean, Björk, Kanye West und FKA twigs, komponierte Musik für das MoMA, trat 2020 mit den Labèque Schwestern, zwei fantastischen Pianistinnen, bei der Burberry Fashion-Show auf, schrieb einen Soundtrack-Beitrag für die HBO-Serie "Euphoria", erschuf gewaltige Noise-Skulpturen oder gab sich auf Partys als exaltierte Diva. Arca wurde für einen GLAAD Media Award nominiert und ist die erste nicht-binäre Künstlerin, die schließlich für einen GRAMMY nominiert wurde. Sie hat ihr eigenes Album-Artwork entworfen und gemalt, für Bottega Venetta, Calvin Klein und Loewe gemodelt, Musikinstrumente der nächsten Generation mitentwickelt und auch mit KI experimentiert. Alejandra Ghersi Rodriguez, wie Arca eigentlich heißt, wurde erst vor kurzem von Publikationen wie dem Time Magazine, Guardian, DAZED, Billboard, Pitchfork, Stereogum und der Los Angeles Times zur einer der innovativsten Künstlerinnen des 21. Jahrhundert ernannt. Als nonbinäre Latinx-Transfrau will Doña Arca die Rolle des Popstars für kommende Generation neu definieren - mit "KICK ii bis IIIII" entführt sie uns in diese Zukunft und öffnet die Tür in eine neue und nonbinäre Soundwelt.

2020 erschien mit "KiCk i" der Grammy nominierte Auftakt zur Serie; auch nominiert bei den Latin Grammy Awards als "Best Alternative Music Album". 2021 setzt Arca mit "KICK ii" bis "IIIII" nun die "KiCk"-Serie auf XL Recordings fort. Jetzt erscheinen diese auch physisch auf CD und Vinyl! Als Künstlerin war Arca schon immer eine Gestaltenwandlerin - äußerlich wie musikalisch. Sie produzierte Musik für Lady Gaga, Frank Ocean, Björk, Kanye West und FKA twigs, komponierte Musik für das MoMA, trat 2020 mit den Labèque Schwestern, zwei fantastischen Pianistinnen, bei der Burberry Fashion-Show auf, schrieb einen Soundtrack-Beitrag für die HBO-Serie "Euphoria", erschuf gewaltige Noise-Skulpturen oder gab sich auf Partys als exaltierte Diva. Arca wurde für einen GLAAD Media Award nominiert und ist die erste nicht-binäre Künstlerin, die schließlich für einen GRAMMY nominiert wurde. Sie hat ihr eigenes Album-Artwork entworfen und gemalt, für Bottega Venetta, Calvin Klein und Loewe gemodelt, Musikinstrumente der nächsten Generation mitentwickelt und auch mit KI experimentiert. Alejandra Ghersi Rodriguez, wie Arca eigentlich heißt, wurde erst vor kurzem von Publikationen wie dem Time Magazine, Guardian, DAZED, Billboard, Pitchfork, Stereogum und der Los Angeles Times zur einer der innovativsten Künstlerinnen des 21. Jahrhundert ernannt. Als nonbinäre Latinx-Transfrau will Doña Arca die Rolle des Popstars für kommende Generation neu definieren - mit "KICK ii bis IIIII" entführt sie uns in diese Zukunft und öffnet die Tür in eine neue und nonbinäre Soundwelt.

After the Bend is the second album from Louisville based Flanger Magazine, and the follow up to FM’s 2018 debut, Breslin. Whereas Breslin was the solo creation of Christopher Bush, an album noted for “an astute synthesis of ‘library music’ and solo acoustic guitar,” and “a seamless blend into the uncluttered and airier side of classic 1970’s giallo,” After the Bend is an ensemble affair. An ecosystem, a perfect mutualism bodies forth—of strings, outdoor recordings, electronics, reeds, and percussion—featuring new FM players Anna Krippenstapel (Frekons (Freakwater + Mekons), The Other Years), Jim Marlowe (Equipment Pointed Ankh, Tropical Trash, Sapat), Eric Lanham and Benjamin Zoeller (both from Caboladies). The various combos perform with both a distinguished efficacy and unhurried Sunday drift—charged and beautiful, pulsating and pleasing. The production is subtle and tasteful. Mutating past the old saws of bounded individualism, a strange form of tentacular life accrues, cyborgian-fungral-tangles of the more-than-human variety.

Robert Beatty’s cover art of otherworldly and interconnected river-scape gradients, coupled with song titles like “Reservoir,” “Falls Fountain Removed,” and “Sympathies for the River,” cue and clue the listener toward a river as a singular multitude analogue for the album. Interstitial gaps, clearings and openings give rise and merge into an accumulated flow from the tributaries of spirited improvisational performance, palimpsestic song cycles, and high fidelity studio production. The composite sound-image of After the Bend refuses to put both oars down into any one of the eddies of the folk, sound, chamber, electronic, or jazz idioms, and instead glides along the currents found within the slipstreams between.

Gathering samples, a River Doctor Limnologist inspecting the properties of After the Bend might note the specter of Leroy Jenkin’s free-violin heat-light deepin the water’s thermal stratification. Or mortgage the late-Maestro’s time with Gruppo di Improvvisazione Nuova Consonanza to pay down the growing river heat budget. Or take one’s dirty buckets to the banks of the 19th laundromat where Walt Dickerson plays his vibraphone parts from Divine Gemini with dowsing rods. Or excavate the bedrock in the drainage basin, noting skeletal remains of a Shostakovich string quartet attempting to tune up a Kentucky Fiddle’s subsequent influence on the chemical composition of the water. Or consult the historical revisionist reenactment troupe’s episode of Fishing with John (Fahey) in which Codona, The Sea Ensemble and Nuno Canavarro guest host as their fleet of paddle boats churn river water into a regal lager, and all the fish get drunk in their quest for the leaner enamel Hosianna Mantra GPS coordinates of the Fattened Herb.

Bush and Marlowe recorded and produced the album at End of an Ear Studios, located in the Portland neighborhood, in the west end of the city of Louisville, bordering the Ohio River, between Kentucky’s Upper South and the Indiana’s Midwest, during the first year of the global pandemic, amidst the planet’s sixth great extinction event. As good a time to be alive as any other. (by Kris Abplanalp)

LNDFK (aka Linda Feki) presents her ground-breaking debut album, "Kuni" on Brooklyn-based Bastard Jazz Recordings. Undeniably on the rise after her 2019 breakout performance at Primavera Sound, LNDFK has already caught the attention of Pitchfork, Rolling Stone, Clash Magazine, Noisey, and Brooklyn Vegan (among many others) while being championed by the likes of Gilles Peterson, Tom Ravenscroft, and Jamz Supernova & landing spots on tastemaker playlists like Spotify's "Pollen" and "Fresh Finds."

"Kuni" is a spellbinding exploration of dichotomies: Love & Death (Eros & Thanatos), Flower & Fire, Delicacy & Violence, Poetry & Realism, Purification & Destruction. These opposites are reified in the 10-track LPs multifarious and multifaceted sounds, elegantly meandering through a variety of styles and genres, spearheaded by Linda and features the production wizardry of Darrio Bassolino who co-wrote the album.

"Kuni" opens with "Hana-bi," an ambient instrumental piece that sets the tone for the album. Inspired by the Takeshi Kitano 1997 film of the same name – particularly Joe Hisaishi's stunning soundtrack, as well as Kitano's paintings which appear in the film. "Hana-bi" expresses the dialoguing opposites of flowers and fire, the first of many dichotomous representations throughout the album. "Takeshi" acts as an extension and to "Hana-bi," albeit one of opposing sound, with its driving, highly syncopated drums (which reappear throughout "Kuni") – à la Karriem Riggins, Questlove, or Yussef Dayes – frenetic bass line, and jazz chords. Linda's sultry voice is interspersed, initially jumping around in scat fashion, being triggered as if a sample, before her lyrics come in; her vocals are used like an additional instrument, adding to the song's rich texture. "Kuni" truly hits its stride with the next song, "Smoke – a moon or a button" (its title lifted from the 1959 book by Ruth Krauss and Remy Charlip), which is structured like a jazz standard yet flows into neo-soul territory sonically with those prodigious drums a highlight once again.

LNDFK touches on experimental hip hop in two songs on the record (both of which were released as singles in 2021): "Don't Know I'm Dead or Not (feat. Chester Watson)" – track #4 – and "How Do We Know We're Alive (feat. Pink Siifu)" – track #9. Although they embrace a more hip hop-leaning sound, these songs by no means shy away from the exploratory theme, and feature two of the alt-rap scenes rising stars with Chester Watson and Pink Siifu who offer provocatively impressing verses, combining dense word play with unconventional flows. While these tracks may first appear to be outliers on the album, they are undeniably in tune with "Kuni's" message and sonic palette, acting as testaments to LNDFK's willingness to explore and experiment.

Meanwhile, "Ku" – the third and last single before the album release – furthers the pre-established future soul sound while meandering through nu jazz and left-field electronic. Inspired by the graphic novel and film, "Sin City," and its female assassin protagonist Miho, "Ku" is a musical interpretation of Miho's story, incorporating both her beauty – the first half of the song – and murderous tendencies – the second half – to create a stunning juxtaposition, culminating in an ambient finale that suggests the character's vulnerability and inner peace. The song gracefully bridges the gap between Hiatus Kaiyote-esque songwriting, Dilla's rhythmic syncopation, and Thundercat's instrumental prowess (LNDFK has shared a stage Brainfeeder labelmate Kamasi Washington).

Mixed in throughout "Kuni" are a series of instrumental pieces that function as something akin to an interlude. The aforementioned intro, "Hana-bi," and the album closer "se mi stacco da te, mi strappo tutto:" act as bookends, while "Om" indicates the half-way mark, and "Ktm" sees Jason Lindner add his sound the album. These tracks are the ambient foundation of "Kuni," representing the thematic duality of the work. Clocking in at only 24 minutes, "Kuni" packs an astonishingly diverse array of sounds, styles, and themes, all while showcasing virtuosic musicianship and instrumental prowess.

Appearing on "Hana-bi" and "Ktm," renowned international artists Asa-Chang and Jason Lindner add an additional perspective to "Kuni": Asa-Chang on "Hana-bi," and Jason Lindner on "Ktm." Asa-Chang - famously of the Japanese avant-garde group Asa-Chang & Junray - provides vocals and percussion to an alternate version of the instrumental opener, while the acclaimed keyboardist Jason Lindner offers his synth expertise on "Ktm." These features highlight the spirit of collaboration found in LNDFK's music, always willing to try out new ways of working.

LNDFK is a singer and songwriter, born of two cultures – an Italian mother and Arab father. She grew up in Naples, away from her father, the Sahara, her homeland and traditions, which has helped nourish the desire to rediscover – through art – an engagement to her roots. Her music melts with jazz, neo-soul and hip-hop influences, filtered through her experiences and sensibility.

Her first EP, "Lust Blue," was composed with the artistic production of Dario Bass and released by Feelin' Music; after that she released several singles that saw international radio support (BBC, NTS, Wordwide FM) and gained a massive audience on digital platforms. Together with her band, she toured around Europe, performing alongside such notable artists as Kamasi Washington and Mndsgn, among others. Most recently she toured Italy, and performed at Primavera Sound Festival 2019 in Barcelona.

"Kuni," is due out on NYC label Bastard Jazz Recordings in February, 2022, while the vinyl LP will follow shortly after.

Famed free jazz concert registration of an early New Direction for the Art performance. Recorded in 1971. Old-style Gatefold LP, with rare photographs & extensive liner notes by Alan Cummings.

The performance by Takayanagi Masayuki New Direction for the Art at the Gen’yasai festival on August 14, 1971 was an intense, bruising collision between the radical, anti-establishment politics of the period in Japan and the febrile avant-garde music that had begun to emerge a few years before. The ferocious performance that you can hear here was received with outright hostility by the audience, who responded first with catcalls and later with showers of debris that were hurled at the performers. Takayanagi though described the group’s performance to jazz magazine Swing Journal as a success, “an authentic and realistic depiction of the situation”.

In 1962, Takayanagi, bassist Kanai Hideto and painter Kageyama Isamu went on to form an AACM-style musicians’ collective called the New Century Music Research Institute. Every Friday, members gathered at Gin-Paris, a chanson bar in the fashionable Ginza district of Tokyo, to push the outer limits of jazz creativity.

But the pivotal moment for his music was the creation a new trio version of his New Directions group in August 1969, with the free bassist Yoshizawa Motoharu and a young drummer Toyozumi (Sabu) Yoshisaburō. Experiments eventually led to the creation of two basic frameworks for improvisation that Takayagi referred to as Mass Projection and Gradually Projection.

“La Grima” (tears), the piece that was played at the Gen’yasai festival, is a mass projection and listening to it, you can get a clear sense of what Takayanagi was aiming at. Mass projection involves a dense, speedy and chaotic colouring in of space that destroys the listener’s perception of time, and thus of musical development.

The ferocity of the performance of “La Grima” at the Gen’yasai Festival in Sanrizuka on August 14, 1971 was consciously grounded by Takayanagi in a particular historical moment, ripe with conflict and violence. A month after the festival, on September 16, three policemen would die during struggles at the site. This was the context that the three-day Gen’yasai Festival existed within. The line-up reflected the radical politics of the movement, with leading free jazz musicians like Takayanagi, Abe Kaoru, and Takagi Mototeru appearing alongside radical ur-punkers Zuno Keisatsu, heavy electric blues bands like Blues Creation, and Haino Keiji’s scream-jazz unit Lost Aaraaff.

New Direction for the Arts trio topped the bill on the opening day, playing an aggressive, uncompromising “mass projection” set of polyphonic improvisation. Alongside drummer Hiroshi Yamazaki and saxophonist Kenji Mori, Takayanagi soloed hard and continuously for forty minutes. This was performance as precisely calibrated metaphor: three musicians responding to the demands of the moment with instinctive force and fury, untethered by rules, leaderless yet not rudderless (the direction part of the group’s name was no accident). The piece was entitled La Grima – tears - and the fusion between the palpable anger of the performance and hopeless sadness of its title were also perfectly apt for the situation. This was a fight that the state was always going to win. Yet, by all accounts, the band’s set went down like a fart at a funeral. The band were showered with catcalls and debris throughout, and by chants of “go home” when the music finally came to an end.

However, looking back at the event in the year-end issue of Japan’s leading jazz magazine, Swing Journal, Takayanagi was surprisingly upbeat: New Directions brought a solid political consciousness to our performance and succeeded in an authentic and realistic depiction of the situation. But journalism revealed its superficiality in its inability to penetrate the core of the music. I don’t know much about anyone else, but we at least left behind a competent record.

It’s a fascinating statement in many ways. Perhaps on one-hand it can be read as stubborn, solipsistic and self-justifying, yet in conjunction with his statement in 1971 there are points that guide us towards an understanding of just what Takayanagi intended with his performance at the festival. As Kitazato Yoshiyuki has argued, it becomes an almost religious act, directed at the earth deities of the land. A union of anger, sorrow and malevolence that can be placed nowhere effective, all it can do is find expression and channeling. The forcible land seizures at Narita, the eviction of farmers from land that had been in families for generations, the destruction of communities: none of this can be prevented, not least by an artistic action. All that can be done is an attempt to mark the land itself, to soak it with the combined force of emotions and the volume of the performances, to bury something there that cannot be drowned out, even by the coming roar of jet engines.

Nach einer ersten BBC-Livesession für Marc Riley veröffentlicht das Indie-Pop-Trio PEANESS aus Chester sein Debütalbum 'World Full Of Worry' über das bandeigene Label Totally Snick Records. PEANESS haben sich mit ihrem zuckersüssen, melancholischen Indie-Pop in den letzten sechs Jahre eine fanatische Anhängerschaft im Untergrund und bei der Musikpresse aufgebaut und sind mit BC Camplight und Maximo Park auf Tour gegangen.

- 'Sunshine-laden indie-pop to brighten the short autumn days and darker nights.' - Louder Than War
- 'A deliriously fun piece of guitar pop racket…addictive, funny, and charming as hell.' – CLASH
- 'Whip-smart songwriting…kick-ass indie punk.' – Kerrang! Magazine

Nach einer ersten BBC-Livesession für Marc Riley veröffentlicht das Indie-Pop-Trio PEANESS aus Chester sein Debütalbum 'World Full Of Worry' über das bandeigene Label Totally Snick Records. PEANESS haben sich mit ihrem zuckersüssen, melancholischen Indie-Pop in den letzten sechs Jahre eine fanatische Anhängerschaft im Untergrund und bei der Musikpresse aufgebaut und sind mit BC Camplight und Maximo Park auf Tour gegangen.

- 'Sunshine-laden indie-pop to brighten the short autumn days and darker nights.' - Louder Than War
- 'A deliriously fun piece of guitar pop racket…addictive, funny, and charming as hell.' – CLASH
- 'Whip-smart songwriting…kick-ass indie punk.' – Kerrang! Magazine

The new 7" features the single, 'Romantic' which is a song about struggling to fit in, feeling down and finding comfort in romance. Connecting with someone because you both feel like you don't belong. "I gravitate towards things that bring me down, I always have, at least I know that now. Never forward, I thought all I had was the past. I used to think each birthday would be my last." "I sat inside on the brightest, warmest days. Everything I loved would always run away. Misery taught me everything I knew and then there was you." The B-Side is a cover of the Wedding Present song 'Octopussy" from their 1991 album Seamonsters. David Gedge himself said about the cover "Thanks... nice. Always interesting to hear different interpretations!" "God knows I've always had to fear the worst, but not that time. You brought me home and then you kissed me first. You were all mine." "A celebration of personal freedom" - DIY Magazine "Hekt's solo debut is part self-interrogation and part community offering, serving up tiny bursts of joy and doubt as refuge for anyone navigating a similar path." - Pitchfork "A first-person directness and grunge-schooled contrasting of melody" - Mojo

The Yorkshire songwriter's stirring sophomore release 'if only it was
alright now' acted as an impressive bookend for the Beech era landing
him a feature on Atwood Magazine's 'Artists to Watch for 2021' citing him
as "uniquely visceral and vulnerable"
The track also received appraisal from the likes of BBC Introducing, landed a spot
on Spotify's 'Fresh Finds' editorial playlist and the wordsmith's latest single
'something', released February 2021, has quickly become his greatest success yet
with Radio X's John Kennedy declaring the track "absolutely fantastic".

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

(Remastered Edition)

Described by TIME Magazine as “gloomy and sexual yet lively and introspective”, Garbage’s second studio album Version 2.0, released in 1998, was heralded as a bold progression from their self-titled debut album and went on to sell over four million copies worldwide, matching the success of its predecessor. Formed in 1993 comprising of members Duke Erikson, Steve Marker, Butch Vig and Shirley Manson, Garbage have gone onto sell over 17 million albums worldwide over a 28 year career.

This 2LP Gatefold & 2CD Digipack release, alongside the repress of their debut album Garbage (1995), is the first time the newly remastered album has been made available via BMG, ahead of their new studio album No Gods No Masters, to be released on Infectious Records in June 2021.

"Off-kilter melodies, dense instrumentation and lyrical explorations of the darkest side of the human condition" -- The Guardian

With B FLAT A this much acclaimed quartet from Gdansk, Poland have
produced their most epic and visceral statement to date.

A universe where echoes of Can, Syd Barrett and Fugazi lovingly collide. Cryptic and possessing of a great moral force, Trupa Trupa is a band for these times, whether we are ready for them or not.
The frst single "Twitch" is already out and is receiving strong airplay from BBC6 Music. Clash magazine wrote "Polish art-rock group Trupa Trupa return with the storming 'Twitch.' The band's imposing physicality is matched to some truly ground-breaking artistry - imagine a kind of Eastern European answer to Swans and you'd be close. With their intense live shows and crunching studio output,
Trupa Trupa have built an imposing catalogue, one with an international reach."

UK GIGS
19.02.2022 – UK – London – Lexington
21.02.2022 – UK – Brighton – Green Door Store

Red Vinyl pressing
Goldie – “These guys are at the top of their game”
Break – “One of the best labels in dnb, very happy to be involved”

Our next venture into the world of Utopia comes with new momentum gained from Elliot Garvey aka Quartz, who has delivered the incredible “Thorns” EP.

Rolling with the punches from his immense Resident Advisor podcast and the successful releases on Metalheadz, Samurai and Rupture, we’re proud to put his next body of work out into the world. This brilliant four-tracker has it all: deep soundscapes, crunchy breakbeats, hypnotic grooves, haunting samples and an intense dose of powerful sub bass weight. Support from: Break, DLR, Djinn, Doc Scott, Double O, Flight, Goldie, Hydro, Loxy, Mantra, Noisia and many more.

Mako: "Quartz is one of those rare producers who can make any genre of music incredibly well. He chose drum and bass and I am thankful he did. I don't hear much I like these days but every tune he sends me I rate in one way or another. These 4 tunes are special though and I’m very lucky to call him a peer, a brother and a Utopia artist."

• Press / Promotion: In house campaign from Utopia. Editorial sought in all UK music and dance titles (Mixmag (single of the month), DJ Mag review, Faye Magazine, Bassrush, Your EDM Resident Advisor) as well as national, online and regional daily and weekly press titles for review. Third party uploads on Youtube channels of over 100k subscribers (Drum & Bass Arena, District Bass, Most Addictive)

• Radio / Internet: Utopia Podcast - Award-winning podcast with over 10,000 subscribers, 15k+ individual downloads, YouTube - Utopia YouTube channel, Social Networking - Facebook: Mako/Utopia Music = 12k+, Soundcloud 9k+. Rene LaVice radio premiere on BBC Radio 1; Bassdrive – world’s largest internet drum & bass radio station.

‘Emotional Eternal’, out on Domino, is a glorious consolidation
of the lessons learned along the way, seen through the eyes of
someone who has taken a step back, and who can see clearly
as a result.

 As with her previous acclaimed 2018 album ‘Bon Voyage’, this
album was initially recorded in the outskirts of Stockholm, with
Reine Fiske, the multi-instrumentalist member of Swedish rockband Dungen, who has worked with the likes of Travis Scott and
Anna Järvinen, and Fredrik Swahn, the musician, producer and
engineer best known for his work with Swedish indie-rock band
The Amazing.

 A deeply human collection of songs full of prolonged moments
of sonic transcendency, ‘Emotional Eternal’ is a record rooted in
adulthood, but one that still regards the world with a childlike
wonder. It includes ‘Alma_The Voyage’, a beautiful paean to
motherhood concluding with resounding violins and EBow;
‘Personal Message’ featuring a giddily assured vocal
performance from Melody, vertiginous and breathy and the
ornate and catchy, ‘Where The Water Clears the Illusion’.

 Listening to the album feels like coming across an abundant
treasure chest; strap in and get ready to be transported to
another heavenly, mediative and groove-filled world.

 CD in printed inner wallet with 18-page poster booklet.

 LP with 2-page insert plus 12” circular ‘optical effect’ card platter
disc with digital download code.

 Press - Reviews in Uncut, MOJO, Loud and Quiet, Record Collector,
Reader’s Digest, Shindig, Electronic Sound, The Skinny, NARC,
Aesthetica, Spin, All Music. Features in Clash, Shindig Magazine,
Pitchfork, The Eagle, The Line of Best Fit, Far Out Magazine.

 Radio - 6 Music Lauren Laverne, Craig Charles, Amy Lame, Radcliffe
& Maconie, BBC Radio 1 Jack Saunders, Radio X John Kennedy.

Toro y Moi’s seventh studio album, ‘MAHAL’, is the boldest and most fascinating journey yet
from musical mastermind Chaz Bear. The record spans genre and sound - encompassing the
shaggy psychedelic rock of the 1960s and ‘70s, and the airy sounds of 1990s mod-post-rock -
taking listeners on an auditory expedition, as if they’re riding in the back of Bear’s Filipino
jeepney that adorns the album’s cover. But ‘MAHAL’ is also an unmistakably Toro y Moi
experience, calling back to previous works while charting a new path forward in a way that only
Bear can do.
 ‘MAHAL’ is the latest in an accomplished career for Bear, who’s undoubtedly one of the
decade’s most influential musicians. Since the release of the electronic pop landmark ‘Causers
of This’ in 2009, subsequent records as Toro y Moi have repeatedly shifted the idea of what his
sound can be. But there’s little in Bear’s catalogue that will prepare you for the deep-groove
excursions on ‘MAHAL’, his most eclectic record to date.
 The second the album begins we’re immediately transported into the passenger seat, jeep
sounds and all, ready for the ride Chaz and company have concocted for us. Seeds of some of
‘MAHAL’s 13 songs date back to the more explicitly rock-oriented ‘What For?’ from 2015.
 ‘MAHAL’ was mostly completed last year in Bear’s Oakland studio with the involvement of a
host of collaborators, Sofie Royer and Unknown Mortal Orchestra’s Ruban Neilson to Neon
Indian’s Alan Palomo and the Mattson 2.
 “I wanted to make a record that featured more musicians on it than any other record of mine,”
he explains. “To have them live on that record feels grounded, bringing a communal
perspective to the table.” As a result, ‘MAHAL’ is lush and surprising at every turn, from the
cool-handed ‘The Loop’, which recalls Sly and the Family Stone, to the elastic psych rock of
‘Foreplay’ and the dizzying Mulatu Astatke-recalling of ‘Last Year’.
 Lyrically, the album zooms in on generational concerns, picking up where the ‘Outer Peace’
standout ‘Freelance’ effectively left off. Bear seems to be surveying the ways in which we
connect with technology, media, each other, and what disappears as a result. Cuts like the
squishy ‘Postman’ and ‘Magazine’ take a deep dive into our relationship with media in a
changing digital world. “It’s interesting to see how we adapt to this new age. We’re so
connected, but we’re still missing out on things,” Bear ruminates while discussing the album’s
themes.
 It’s not all introspection. Bear cools things down near the album’s end with the Mattson 2-
featuring ‘Millennium’, a laid-back jam with tricky guitar licks about ringing in new times even
when everything else seems upside down. “It’s about enjoying the new year, even when it’s
been shitty,” Bear explains. “There’s nothing else to do.”
 Finding a sense of joy in the face of adversity is embedded in ‘MAHAL’s DNA, right down to the
jeepney that literally and figuratively brings the music out into the community. “We know that
touring is messed up for now, and large gatherings are a fluke,” he explains. “It’s about the
notion of us going out to the people and bringing the record to them.” And with the wide-open
atmosphere of ‘MAHAL’, Toro y Moi stands to connect with more listeners than ever before.

Toro y Moi siebtes Studioalbum MAHAL ist die bisher wohl kühnste und faszinierendste Reise des musikalischen Masterminds Chaz Bear. Mit einer weiten Spannbreite zwischen Genres und Sounds - vom zotteligen Psychedelic Rock der 1960er & 1970er hin zum luftigen Sound des Mod-Post-Punks der 90er-Jahre - nimmt das Album die Hörer*innen mit auf eine musikalische Expedition, in der sie im Rücksitz von Bears philippinischen Jeepney, der auch das Albumcover ziert, Platz nehmen können. So ist MAHAL ein unverwechselbares Toro y Moi-Erlebnis, welches in Verbindung zu seinen vorigen Werken steht und dennoch einen ganz neuen Weg einschlägt, wie es nur Bear tun kann. Seit der Veröffentlichung des bahnbrechenden Electronic Pop-Albums Causers Of This 2009, hat Toro y Mois Alben stets die Idee, was sein Sound sein könnte, weiterentwickelt. Dennoch findet sich in Bears Backkatalog nur wenig, das einen auf die Deep Groove-Exkursion auf seinem bisher vielfältigsten Album MAHAL vorbereiten könnte. Mit den ersten Tönen des Albums werden wir direkt in den Beifahrersitz gesetzt, umgeben von den Motorengeräuschen des Jeeps und bereit für die Fahrt, die Chaz und seine Gefährten für uns geplant haben. Einige der 13 Tracks auf MAHAL - das Wort für Liebe in der auf den Philippinen gesprochenen Sprache Tagalog - finden ihre Anfänge in der Zeit um das deutlich rockigere What For? aus dem Jahr 2015. So liefert das neue Album eine ganz klare Antwort und spannt den Bogen: What For? - For Love. MAHAL wurde größtenteils letztes Jahr in Bears Studio in Oakland in Kollaboration mit Künstler*innen wie Sofie Royer, Unknown Mortal Orchestras Ruban Neilson, Alan Palomeo von Neon Indian sowie The Mattson 2 fertiggestellt. "I wanted to make a record that featured more musicians on it than any other record of mine," erklärt Bear. "To have them live on that record feels grounded, bringing a communal perspective to the table." Im Resultat ist MAHAL üppig und voller Überraschungen - sei es durch das locker lässige "The Loop", das an Sly and The Family Stones erinnern lässt oder dem elastischen Psych-Rock bei "Foreplay" sowie der schwindelerregenden Mulatu Astatke-Anlehnung bei "Last Year".

Toro y Moi siebtes Studioalbum MAHAL ist die bisher wohl kühnste und faszinierendste Reise des musikalischen Masterminds Chaz Bear. Mit einer weiten Spannbreite zwischen Genres und Sounds - vom zotteligen Psychedelic Rock der 1960er & 1970er hin zum luftigen Sound des Mod-Post-Punks der 90er-Jahre - nimmt das Album die Hörer*innen mit auf eine musikalische Expedition, in der sie im Rücksitz von Bears philippinischen Jeepney, der auch das Albumcover ziert, Platz nehmen können. So ist MAHAL ein unverwechselbares Toro y Moi-Erlebnis, welches in Verbindung zu seinen vorigen Werken steht und dennoch einen ganz neuen Weg einschlägt, wie es nur Bear tun kann. Seit der Veröffentlichung des bahnbrechenden Electronic Pop-Albums Causers Of This 2009, hat Toro y Mois Alben stets die Idee, was sein Sound sein könnte, weiterentwickelt. Dennoch findet sich in Bears Backkatalog nur wenig, das einen auf die Deep Groove-Exkursion auf seinem bisher vielfältigsten Album MAHAL vorbereiten könnte. Mit den ersten Tönen des Albums werden wir direkt in den Beifahrersitz gesetzt, umgeben von den Motorengeräuschen des Jeeps und bereit für die Fahrt, die Chaz und seine Gefährten für uns geplant haben. Einige der 13 Tracks auf MAHAL - das Wort für Liebe in der auf den Philippinen gesprochenen Sprache Tagalog - finden ihre Anfänge in der Zeit um das deutlich rockigere What For? aus dem Jahr 2015. So liefert das neue Album eine ganz klare Antwort und spannt den Bogen: What For? - For Love. MAHAL wurde größtenteils letztes Jahr in Bears Studio in Oakland in Kollaboration mit Künstler*innen wie Sofie Royer, Unknown Mortal Orchestras Ruban Neilson, Alan Palomeo von Neon Indian sowie The Mattson 2 fertiggestellt. "I wanted to make a record that featured more musicians on it than any other record of mine," erklärt Bear. "To have them live on that record feels grounded, bringing a communal perspective to the table." Im Resultat ist MAHAL üppig und voller Überraschungen - sei es durch das locker lässige "The Loop", das an Sly and The Family Stones erinnern lässt oder dem elastischen Psych-Rock bei "Foreplay" sowie der schwindelerregenden Mulatu Astatke-Anlehnung bei "Last Year".

Trombone Shorty is back with his first album in 5 years and the eagerly awaited follow-up to his 2017 Blue Note debut Parking Lot Symphony, which the esteemed New Orleans music magazine OffBeat said continued his tradition of “stunningly good musicianship, crowd-pleasing good material, and just plain good fun.” The new album captures the explosive energy of his legendary live shows, and combines classic New Orleans sounds (funk, gospel, street rhythms, Mardi Gras Indian chants, and second lines) with modern lyrics, melody, and beats to create something fresh and unique. The album features special guests including vocalist Lauren Daigle & guitarist Gary Clark Jr.

Recorded at a show in February 1992, Ann Pebbles and the Hi Rhythm Section on a bill with Otis Clay called an Evening of Classic Soul. The show was spectacular as the Hi Rhythm Section locked in as they did when they recorded her albums. joining her that night was a crack horn section and her background singers including the equally soulful David J. Hudson. They cruise through hit after hit with Ann showing why she was one of the all time great female vocalist.

The Hi Rhythm Section is Leroy Hodge (bass), Charles Hodges (keyboards), Howard Grimes (drums), Thomas Bingham (guitar).
As you listen to Ann and the amazing supporting cast it's clear that this was An Evening Of Classic Soul.

"Every now and then, a singer comes along with a heart of gold who seems to contain the entire world's sorrow and can express it in just a couple of lines of a song."- Far Out Magazine

Contemporary pianist and composer James Heather announces his
second album, ‘Invisible Forces’, via Ahead of Our Time, Ninja Tune
founders Coldcut’s first record label.
 An album influenced by the sensibility of electronic, ambient, orchestral
and post-rock music but channelled through solo piano and Heather’s
classical and jazz grounding.
 With regards to his “superb” (Crack Magazine) and “masterful”
(Electronic Sound, Dummy) debut, ‘Stories From Far Away On Piano’,
the songs are grander, deeper and broader in emotional range and are
developed through a series of improvisation techniques. Heather
describes it as ‘pulse music’, with each track performed in a single take
and with their roots in this live improvisation, often honed on the road
where he moves between tender to more propulsive, trance-inducing
dynamics.
 For fans of Jean-Michel Blais, Sarah Davachi, John Carroll Kirby, Otto A.
Totland, Ólafur Arnalds, Nils Frahm, The Cinematic Orchestra.
 CD in slipcase with printed inner.
 140g violet vinyl with holofoil detail sleeve.
 “The sound Heather makes is captivating.” - Electronic Sound
 “Masterful contemporary piano.” - Dummy
 “A remarkable piece of music that yields more secrets the more it’s
played” - Clash
 Featured in Coldcut’s ambient compilation ‘@0’ alongside Suzanne
Ciani, Ryuichi Sakamoto, Kaitlyn Aurelia Smith, Helena Hauff, Skee
Mask, Julianna Barwick, Steve Roach, Laraaji and Mira Calix.
 Notable supporters of Heather’s music include James Lavelle (UNKLE),
Nils Frahm, Cillian Murphy, Flying Lotus’ Brainfeeder (via the live
session he did for them in 2021), The Cinematic Orchestra, The Bug,
Leandro Taub, Actress, Bicep, Martyn and Tim Noakes (Dazed).
 James has collaborated with the likes of Dawn Richard, Coldcut,
Mumdance and Roger Robinson (King Midas Sound).

‘Social Graces’ is the debut album from Australian
post-punk outfit Loose Fit. Made up of Kaylene Miller,
Anna Langdon, Max edgar and Richard Martin.
 Kaylene and Anna met in fashion school and instantly
bonded through their love of experimental music.
 After toying with lo-fi bedroom recordings, the pair
recruited Max edgar on guitar and Richard Martin on
bass and started making some actual noise.
 Kaylene is also behind the cult knitwear brand WAHWAH Australia, with items worn by Noel Fielding,
Courtney Barnett and Kim Gordon.
 The band’s rhythm-heavy sound contains echoes of
UK post-punk titans such as PiL and A Certain Ratio.
 “Their post-punk indebted sound is barbed, wiry, and
overwhelmingly infectious.” - Clash
 “This is music to truly let loose to” - So Young
Magazine
 “If you thought they were going to make a quiet
entrance, you thought wrong.” - DIY
 “Loose Fit have ever been producers of the most
kinetic percussive tracks that have a restless and
visceral energy about them.” - Backseat Mafia
 For fans of Shopping, The Slits, Delta 5, Dry Cleaning,
Amyl & The Sniffers, Sonic Youth, A Certain Ratio

Artist/composer/producer and Algebra Records head Casually Here's ambitious second solo album Possible Worlds will be released on the 1st of April on vinyl and digital distributed by Kudos.

Casually Here (Nic Nell) is a multidisciplinary artist, composer, sound designer & record producer with a background in art & mathematics. Recent projects include producing, co-writing & mixing Orlando Weeks' acclaimed 'A Quickening' album (PIAS) with playlisting and 200+ plays across BBC radio and fantastic reviews "Nothing short of stunning" DIY. And a collaborative electronic art/dance album 'Many Worlds' w/ Lawrence Hart (Hotflush Recordings) released as a series of EPs with wide DJ/radio support in the dance world from DJs like George Fitzgerald, Sasha and The Blessed Madonna, and featured in two Radio 1 Essential Mixes.

His music has been featured by The Guardian, Pitchfork, FACT Magazine, The Fader, Dummy, The Sunday Times, Dazed etc. Other projects include being half of both Young Colossus & art pop duo Rainer. His music & productions have been streamed over 15 million times & released on labels such as XL Recordings, Play It Again Sam, Hotflush Recordings & Bella Union.

Nic founded and runs Algebra Records with a focus on supporting emerging artists practically, technically and collegiately to help foster artistic community and context. Recent Algebra releases included the two debut EPs from Heavenly Stems, artist/composer/architect Emma-Kate Matthews' 'Far Flung EP', Liam Hutton's Trials EP, ELY's debut album 'Are You Invested In The Economy Of Love?', Lake Turner's Prime Mover EP and Sunplus' debut album 'More Colour'.

Artist/composer/producer and Algebra Records head Casually Here's ambitious second solo album Possible Worlds will be released on the 1st of April on vinyl and digital distributed by Kudos.

Casually Here (Nic Nell) is a multidisciplinary artist, composer, sound designer & record producer with a background in art & mathematics. Recent projects include producing, co-writing & mixing Orlando Weeks' acclaimed 'A Quickening' album (PIAS) with playlisting and 200+ plays across BBC radio and fantastic reviews "Nothing short of stunning" DIY. And a collaborative electronic art/dance album 'Many Worlds' w/ Lawrence Hart (Hotflush Recordings) released as a series of EPs with wide DJ/radio support in the dance world from DJs like George Fitzgerald, Sasha and The Blessed Madonna, and featured in two Radio 1 Essential Mixes.

His music has been featured by The Guardian, Pitchfork, FACT Magazine, The Fader, Dummy, The Sunday Times, Dazed etc. Other projects include being half of both Young Colossus & art pop duo Rainer. His music & productions have been streamed over 15 million times & released on labels such as XL Recordings, Play It Again Sam, Hotflush Recordings & Bella Union.

Nic founded and runs Algebra Records with a focus on supporting emerging artists practically, technically and collegiately to help foster artistic community and context. Recent Algebra releases included the two debut EPs from Heavenly Stems, artist/composer/architect Emma-Kate Matthews' 'Far Flung EP', Liam Hutton's Trials EP, ELY's debut album 'Are You Invested In The Economy Of Love?', Lake Turner's Prime Mover EP and Sunplus' debut album 'More Colour'.

2020 erschien mit "KiCk i" der Grammy nominierte Auftakt zur Serie; auch nominiert bei den Latin Grammy Awards als "Best Alternative Music Album". 2021 setzt Arca mit "KICK ii" bis "IIIII" nun die "KiCk"-Serie auf XL Recordings fort. Jetzt erscheinen diese auch physisch auf CD und Vinyl! Als Künstlerin war Arca schon immer eine Gestaltenwandlerin - äußerlich wie musikalisch. Sie produzierte Musik für Lady Gaga, Frank Ocean, Björk, Kanye West und FKA twigs, komponierte Musik für das MoMA, trat 2020 mit den Labèque Schwestern, zwei fantastischen Pianistinnen, bei der Burberry Fashion-Show auf, schrieb einen Soundtrack-Beitrag für die HBO-Serie "Euphoria", erschuf gewaltige Noise-Skulpturen oder gab sich auf Partys als exaltierte Diva. Arca wurde für einen GLAAD Media Award nominiert und ist die erste nicht-binäre Künstlerin, die schließlich für einen GRAMMY nominiert wurde. Sie hat ihr eigenes Album-Artwork entworfen und gemalt, für Bottega Venetta, Calvin Klein und Loewe gemodelt, Musikinstrumente der nächsten Generation mitentwickelt und auch mit KI experimentiert. Alejandra Ghersi Rodriguez, wie Arca eigentlich heißt, wurde erst vor kurzem von Publikationen wie dem Time Magazine, Guardian, DAZED, Billboard, Pitchfork, Stereogum und der Los Angeles Times zur einer der innovativsten Künstlerinnen des 21. Jahrhundert ernannt. Als nonbinäre Latinx-Transfrau will Doña Arca die Rolle des Popstars für kommende Generation neu definieren - mit "KICK ii bis IIIII" entführt sie uns in diese Zukunft und öffnet die Tür in eine neue und nonbinäre Soundwelt.

Das Album ist eine skurrile Jazz/Hip-Hop-Fusion (Miles Davis' On The Corner meets J Dilla's Donuts) und enthält eine Reihe hochtalentierter Gesangsgäste wie Saba, Phoelix, Braxton Cook, Femdot und Malaya. Cisco Swank ist ein 21-jähriger Multi-Instrumentalist, Sänger und Produzent aus Brooklyn, NY, der sich schnell zu einer festen Größe in der R&B-, Jazz- und Hip-Hop-Szene seiner Stadt entwickelt hat. Cisco hat mit Künstlern wie Brasstracks, Maurice Brown, Kenneth Whalum, Malaya, Julius Rodriguez und CARRTOONS zusammengearbeitet. Luke Titus ist ein 24-jähriger Multi-Instrumentalist, Sänger und Produzent aus Chicago, der derzeit in LA lebt. Er ist der jüngste Musiker der Blue Man Group (Schlagzeug) und hat für Noname (Room 25), Ravyn Lenae, KAINA, SMINO, SABA und viele andere produziert. Das Magazin FADER hat Titus als einen "brillanten" Schlagzeuger und Produzenten tituliert.

Afrociberdelia is the second studio album Brazilian of manguebeat Chico Science & Zombie Nation, released on May 15 of 1996. It was ranked 18th in the list of 100 best records of Brazilian music by Rolling Stone Brasil magazine and 2nd in the election of the best national records of the years dev 1990, carried out by the website “Scream & Yell”. The album was produced by Eduardo BiD and recorded at Nas Nuvens studio, in Rio de Janeiro. With a stronger presence of elements of electronic music and hip hop than its predecessor, Da Lama ao Chaos, he would reach the gold record in April 1997. In interviews, members of the band stated that they preferred the timbre of the drums in Afrociberdelia, which would finally have approached the sound that the group made on stage.

Donny Hathaway (arr, voc, keyb, b); Johnny Board (ts); Clifford Davis (as); Robert A. Lewis (tp); King Curtis, Phil Upchurch (g, b); Louis Satterfield (b) Ric Powell (perc, dr); Morris Jennings (dr) & The Vashonettes (voc) u. a.

Von den vielen Kirchenchor-Karrieren der schwarzen Musik ist die von Donny Hathaway eine der steilsten. Dabei mag der Rang 49 von 100 der besten Stimmen aller Zeiten, die ihm das Lauscherteam des Rolling-Stone-Magazins bescherte, zahlenmäßig abstrakt wirken. Doch bereits die ersten Takte des Starters »Voices Inside« versprechen ein Programm, in dem instrumentale wie menschliche Stimmen gleichberechtigt zu Wort kommen: So beeindrucken satt klingende und durchsichtig gestaffelte Bläsersätze, die sich von dezent bis brassy in Szene setzen.

Mit pfeffrigen Clavinet-Salven gewürzt bricht sich Hathaways Seelensound harmonisch frisch geschlagene Blues-Bahnen (»I Believe To My Soul«), erhebt sich in leidenschaftlichen Tönen (»Misty«) und ackert sich durch perkussiv trockenes und fröhliches Durcheinander im Titel »Sugar Lee«. Jedes Arrangement schöpft aus dem Vollen des exzellenten Musikerpersonals und bleibt für sich einzigartig. Weich abgefedertes und wohlklingendes Miteinander (»Tryin' Times«) wirkt ebenso natürlich wie gebetartiger Gospel (»Thank You Master For My Soul«), der zum Gotteslob Höhenflüge in freie Jazzharmonien wagt.

Zum guten Schluss wieder Hathaways bis ins hohe Register geschmeidig schwebender Solo-Gesang, dessen kurzer Titel »A Dream« treffend für das gesamte Album steht.

Diese Speakers Corner Produktion wurde unter Verwendung von analogem Masterband und Mastering 100% rein analog gefertigt. Alle Lizenzen und GEMA-Beiträge wurden abgeführt.

White vinyl, gatefold cover, silver stamped, spotgloss-printed On Epiphanies, the first-ever "concept-compilation" to be released by Hallow Ground, artists such as Maria W Horn, FUJI||||||||||TA, Lawrence English, Siavash Amini and Norman Westberg, who all have previously released music on the Swiss label, were commissioned to pursue a non-rational creative process in approaching the phenomenon of epiphany through sound. In very different ways, all of the compositions on the compilation draw on the unique emotional powers of certain acoustic instruments, obfuscating the borders between physicality and abstraction. The results, whether long-form, short vignettes, profane and concrete sounds or spiritual and abstract pieces, perfectly encapsulate what Hallow Ground as a label has stood for since its inception in the year 2013: challenging not only conventional notions of what music is supposed to sound like but also the listeners' perception through the power of sound. On Epiphanies, Hallow Ground also welcomes artists including Magda Drozd, Akira Sileas and Valentina Magaletti to make their first ever contributions to the label. For those who greet this compilation with open ears and minds, these 81 minutes will deliver on its title.

Originally released by Victory Music in 1991, Tin Machine II is the second and final studio album by Tin Machine. After this album and the supporting tour, frontman David Bowie resumed his solo career.

Tin Machine II’s reputation has only increased over the years. Uncut magazine placed the album on their list of 50 Great Lost Albums (their list of great albums not currently available for purchase), calling the album “extraordinary”.

As with all Bowie albums, there are plenty of strong tracks here to make this a must have. Opening track “Baby Universal” is pure Bowie. He re-recorded this track in 1996 for his 1997 album Earthling, but the track was not released on the album. It was eventually released in 2020 on the Bowie EP Is it Any Wonder?. The first single “You Belong in Rock n’ Roll” was released ahead of the album and peaked at No. 33 in the UK. The second single “Baby Universal” achieved success on the Modern Rock chart in the USA, where it reached No. 21, and the third and last single “One Shot” became an even bigger hit, reaching No. 3.





RELEASE: 17-7-2020




• 180 GRAM AUDIOPHILE VINYL
• INSERT
• SPECIAL SPOT VARNISHED SLEEVE
• SECOND AND FINAL STUDIO ALBUM BY THE SUPERGROUP TIN MACHINE, ORIGINALLY
RELEASED IN 1991
• TIN MACHINE = DAVID BOWIE, REEVES GABRELS, TONY SALES & HUNT SALES
• LIMITED EDITION OF 5000 INDIVIDUALLY
NUMBERED COPIES ON SILVER COLOURED VINYL

SIDE A
1. Baby Universal
2. One Shot
3. You Belong In Rock N’ Roll
4. If There Is Something
5. Amlapura
6. Betty Wrong

The album’s cover (which was censored for its original USA release!) was created by Edward Bell, who had previously worked with Bowie in making artwork for Scary Monsters. The MOV cover features a spot varnish finish.

Music On Vinyl gives Tin Machine II its first vinyl re-release since the 1991 original, and it’s pressed on coloured vinyl for the very first time. The initial pressing is a limited edition of 5000 individually numbered copies on silver coloured vinyl.

Die aus erfahrenen Musikern bestehende junge Band REXUL, stammt aus NRW/Deutschland und präsentiert uns hier nun ihr Debüt Album "Erebus... Virtuosus... Alpha...". Ein wahrer musikalischer Hassbrocken, satanisch, fies und brutal gibt es hier 13 Tracks (inkl. Intros/Outros) in die Gehörgänge geballert. Purer, klassisch amerikanisch geprägter, wuchtiger Death Metal für Fans von BRUTALITY, MORBID ANGEL oder DEICIDE. Definitiv ein Death Metal Highlight !!!

"Erebus... Virtuosus... Alpha..." wurde durch B. Oprea aufgenommen, gemixt und Gernhart Studio Troisdorf gemastert. Das Cover Artwork stammt von S. Milizia.

"Wer auf MORBID ANGEL, DEICIDE, MONSTROSITY oder auch NOCTURNUS steil geht und dabei seine Lauscher auf Anspruch und Qualität eingestellt hat, sollte hier zuschlagen" - Rock Hard Magazin
"Rexul vermengen auf ihrem sehr geilen und packenden Debüt "Erebus... Virtuosus... Alpha..." gekonnt verschiedene Merkmale des US-Death Metals der frühen 90er zu einem spannenden, feurigen und virtuosen Glutofen des Todes voller Killerriffs und Brutalität! Old Skull-Sickos müssen hier unbedingt reinhören!" - Hotel 666
"REXUL legen ihr erstes Album vor und huldigen dem Ami Death Metal der frühen 90er Jahre." - Twilight Magazin
"Die Burschen sind vom amerikanischen Death Metal beeinflusst und bieten sehr gute Kost für Fans von Morbid Angel, Deicide, Immolation und Brutality an." - Time For Metal
"...eine gelungene Mischung aus Melodie und eingängigem Todesblei, ohne dabei das Ziel aus den Augen zu verlieren- eine eingängige Scheibe zu präsentieren, die sich ohne Probleme schnell ins Hirn frisst." - Raben Report
"Rexul plays old-school death metal with a stronger link to genre veterans like Morbid Angel and Deceide. With this Floridian death metal inspiration in mind, Rexul combines harsh riffs, deep growls and an atmospheric vibe in a stunning way." Markus' Heavy Music Blog
"Recommended! Category: Kickass Death Metal" Voices From The Darkside

On 30th Oct 2020 Mr. Bungle released their first studio
album since 1999. ‘The Raging Wrath Of The Easter
Bunny Demo’ was a re-recording of the band's 1986 high
school thrash metal demo along with songs written then
but never recorded. The album features original
members Mike Patton, Trey Spruance and Trevor Dunn,
joined by Scott Ian of Anthrax and Dave Lombardo of
Slayer / Dead Cross.
 On 31st Oct 2020 the band celebrated the release with a
massive livestream event, ‘The Night They Came
Home’. The event featured a full live show plus an
opening set by America’s funnyman Neil Hamburger,
plus cameos from musicians and celebrities such as Eric
Andre and Josh Homme (of Queens Of The Stone Age).
 Previously available from Ipecac as a combo audio /
video release in two formats - CD plus Blu-Ray and CD
plus DVD - the event is now released on deluxe white
double vinyl.
 The band have sold millions worldwide through their
three major label releases in the 1990s and have been
inactive since 1999, with the new album debuting in the
Top 10 of many countries around the world.
 The livestream event was one of the biggest sellers for a
metal band, selling 11,000 virtual tickets and over $500K
in merch.
 In 2020 the band graced the magazine covers of
Revolver US, New Noise France, Inferno Finland and
more. Major features in Kerrang, Metal Hammer,
Visions, Guitar World, NME, Record Collector,
Discogs, Dean Delray podcast, Le Soir Belgium
and more.

Blues from Chicago to Paris pays rousing tribute to two of Chicago's
postwar blues legends, piano-pounding Memphis Slim and bass-slapping
powerhouse Willie Dixon
Focused in particular on the period when the two giants of the genre teamed up
to tour the globe during the late 1950s and early '60s, the album presents a wellrounded collection of favorite songs as well as those innovative tunes that have
inspired and influenced blues players ever since.
"Memphis Slim and Willie Dixon were a team, and their styles worked great
together," says Kenny. "Out of many other blues piano players that I've listened to,
I found a playfulness between these two men unlike the many other great blues
pianists." - Kenny Blues Boss Wayne
Legendary blues piano master Kenny "Blues Boss" Wayne was inducted into the
Boogie Woogie Piano Hall of Fame in Cincinnati, Ohio in 2017. He is recognized
by Living Blues Magazine for his six-decade career of bringing the piano back to
the front ranks of contemporary blues. This Juno Award winner, WCMA winner
and multiple Maple Blues Award winner is at the forefront of modern day blues
piano.
Advertising in Blues In Britain and RnR

Marina proudly present the first ever vinyl issues of three classic albums by Glasgow's finest, The Pearlfishers: "The Young Picnickers" (1999), "Across The Milky Way" (2001) and "Up With The Larks" (2007). They are issued in deluxe 2-LP vinyl editions in beautiful gatefold sleeves with enhanced artwork and complete lyrics. All albums feature four (!) bonus tracks each, most of them never released before and not available on any streaming platform. Three albums of masterful, classic pop music, driven by main man David Scott's exceptional songwriting which was often compared to Paul McCartney, Burt Bacharach, Jimmy Webb, Todd Rundgren and Brian Wilson. The beautifully crafted arrangements include woodwinds, trumpet, flugel horns, banjo - and real strings! "David Scott's compositions sound something like The Carpenters and Burt Bacharach - except much more poppy, upbeat, and current!" (Babysue). These albums also feature some of the finest Scottish musicians. Duglas T Stewart of BMX Bandits co-wrote two songs. Norman Blake of Teenage Fanclub contributed backing vocals on "The Young Picnickers" and co-produced four tracks on "Up With The Larks". Mick Slaven, one of the most unique guitarists ever (Jazzateers, James Kirk, Paul Quinn & The Independent Group), plays on "Across The Milky Way". So does trumpet maestro Colin Steele who later recorded an entire album of Pearlfishers songs in terrific jazz arrangements ("Diving For Pearls", 2017). "The Young Picnickers" was selected "Indie album of the month" in MOJO magazine. "Up With The Larks" was recently voted one of "Scotland's favourite albums" in The Herald.

Spain’s fastest-rising band, Belako are announcing a very specialedition of their 2020 album ‘Plastic Drama’. The new, deluxe double LP will be released on 8th April via BMG and includes exclusive remixes by the likes of Wolf Alice, The Vaccines, Hinds and Crystal Fighters.

Hailing from the small town of Mungia near Bilbao, Belako have been playing non-stop in Spain and beyond these past few years, building a dedicated fanbase in their native country, which has quickly been spilling out into other parts of Europe and the US.
2020’s ‘Plastic Drama’ was the band’s fourth record, but the first since signing a major international record deal, and certainly their most ambitious to date. Self-produced by the band, ‘Plastic Drama' searches for “the real meaning of things in a world that translates everything into assembly lines, manufacturing and the exploitation of living beings,” say the band. “It’s about the harsh reality our generation is facing and the only good use of new technology, which is the ability to spread the word and call for action. The title of the album has another message, as it also reminds us the first world issues we’ve come so keen to complain about. We can only hope for a more responsible human legacy”.

They were named best new band by Rolling Stone Magazine (ES) and ‘Plastic Drama’ picked up top UK support from the likes of 6 Music, Clash, DIY, Dork, The Line Of Best and NME who hailed the record as ‘a bold next step from a band who have never been afraid of the weird or the wonderful. Belako step up and earn their place among the major players of the scene’.

Relentless in their craft and a ferocious live act at their core, Belako were the first band to tour Europe in the summer of 2020, breathing new life into old forgotten Spanish cinema drive-ins across the country for their live shows. The ‘Belako Pandemic Tour’ documentary was premiered at the San Sebastian International Film Festival and will soon arrive on digital platforms.

Having supported the likes of DMA’s, QOTSA and Liam Gallagher at Finsbury Park, and played major international festivals such as Primavera, SXSW, Rock En Seine & Benicassim, Belako’s explosive live performances have excited crowds from small dive bars in their early days to huge international festivals. Their anything-can-happen stage attitude showcases the power, electricity and punk ethos of this exciting young band, which also lead to them being the first ever Spanish act to be booked for the main stage at Reading & Leeds Festival.

Fast forward to 2022, Belako reinvigorate ‘Plastic Drama’ with a 50-date world tour to be announced shortly, kickstarted with the release of their new deluxe edition album in April, featuring remixes by some of alternative music’s biggest names. The band will also celebrate the release with an album launch party on the rooftop of Madrid’s prestigious Riu Plaza on April 6th. Details for all UK dates this summer will be revealed in the coming weeks.

180g Coloured Vinyl Series Contains New Specially Prepared Liner Notes By Penguin Guide To Jazz Writer Brian Morton And By Paris’
Prestigious Jazz Magazine. Quincy Jones Big Band Bossa Nova + 2 Bonus Tracks (Yellow Vinyl) “Almost every track here is a small classic that you’re bound to have heard somewhere, without realising what it was. “Manha de Carnaval”, Luiz Bonf‘s peerless melody, is another that surfaces constantly in movies and behind commercials. Likewise, Jobim’s “One Note Samba”, which varies the metre and changes the pace most effectively. Jones recognised that he had something that could change the metre and flavour of almost any piece. “On the Street Where You Live” loses its slightly plonking sentimentality and turns into a celebration of community. “A Taste of Honey” acquires a new and exotic quality.” Penguin Guide to Jazz “There are few albums more enchanting than this one, which finds the perfect balance, among other things, to make everything swing, and to make us dance better. And you’ll be amazed to hear the voices of Roland Kirk, Paul Gonsalves, Jim Hall and Clark Terry. Yes, all of them are here.” Jazz Magazine Personnel: featuring Clark Terry (trumpet) Phil Woods (alto sax), Paul Gonsalves (tenor sax), Rahsaan Roland Kirk (Stritch, alto sax), Lalo Schifrin (piano), Jim Hall (guitar), Chris White (bass), Rudy Collins (drums), Jos Paula, Carlos “Bala” G
mez, Jack Del R o (percussion), Quincy Jones (conductor). Recorded in New York, August 13 & September 4-12, 1962. *BONUS TRACKS: Quincy Jones and His Orchestra. Similar personnel as Big Band Bossa Nova, also including Rahsaan Roland Kirk (flute, tenor sax, Stritch). New York, June 15, 1962. Original session produced by Quincy Jones. Originally issued in 1962 on the Mercury single 72012


b a2 | Boogie Bossa Nova Aka Boogie Stop Shuffle

Album - 3 singles - vinyl “Make all the uncertainty and adventure of growing up sound like the best days of your life” - UPSET “A ripper that channels sounds from all throughout punk history” - Brooklyn Vegan "On a take-no-prisoners assault" - Tom Robinson, BBC 6music “California compacted into three rowdy minutes” - The Rodeo “Scorching slacker pop” - CLASH Reminders approach punk rock from where they know it best: a forgotten seaside town. Formed on the Isle of Wight in 2017, the band cut their teeth writing songs about teenage lust and suburban boredom, gaining attention after they independently released Water Sports and Major Cities. Fresh-faced and excited, the then-teenagers coined their sound 'beach punk'; a tongue-in-cheek ode to their hometown that they stand by today. 
 Firmly solidifying their identity as breakneck but bubblegum, a pop-tinged punk band, Reminders work to introduce themselves to anybody willing to listen. After an unexpected hiatus during COVID which delayed the release of their album, the band are now raring and ready to go with their new label home at Venn and forthcoming tour dates. 
 Already championed at radio by BBC Radio 1, BBC 6Music and BBC Introducing, as well as landing placements on esteemed Spotify and Apple Music editorial playlists alike, they were labelled 'scorching slacker pop' by the influential CLASH Magazine, dubbed 'About to Break' by UPSET Magazine, and have already shared stages with rock legends and pop stars Liam Gallagher, The Killers, and Camila Cabello. Debut album Best Of Beach Punk released 1st April 2022

Out of This World is the fourth studio album by the Swedish rock band Europe, originally released in 1988. It included four singles, “Open Your Heart”, “Let The Good Times Rock”, “More Than Meets The Eye” and “Superstitious”. The latter is arguably one of Europe’s most popular songs. The album was produced by Ron Nevison, who has been recognized four times by Billboard Magazine’s Top-5 Producer of the Year, has been nominated for several Grammy’s and worked with iconic bands as Led Zeppelin, Kiss, Thin Lizzy and Meat Loaf amongst many others.

Very limited double black vinyl, Download Card Included. No returns. This is for Indies Only. Seminal post–hardcore band Girls Against Boys are celebrating the 25th anniversary of the 1996 release of their critically acclaimed album House of GVSB with a double vinyl reissue of the album. Packaged in a full-color gatefold jacket, side A and B are the original album remastered by Bob Weston (Shellac). Side C and D feature odds and ends from the band’s 90s era work including sought-after b-sides, singles, compilation tracks, and one previously unreleased recording. Beginning February 4, 2022, GvsB will embark on their first tour since 2013. The band will be playing songs from across their entire catalog with stops in Chicago, Los Angeles, Washington, DC, and Seattle, among other cities. European dates to be announced soon. “the great ’90s post-hardcore thud-masters” Stereogum // “A pathbreaking hard-rock opus that plays like one long money shot” SPIN #5 Top Album of the Year

Big Joe Williams is seen by many as the ultimate incarnation of the Delta Country Blues player, and several of his songs have become standards in the Blues canon. Known for being rough on his guitars, it's one of the reasons for the ongoing tinkering that led to the construction of his first nine string instrument. This fine studio album was released in 1962 on the Folkways Label after being recorded the year before. It contains King Highway Blues, a slow and at times almost spoken track. Where as Somebody's Been Foolin' is fairly driven along by Ransom Knowling's Bass. In 1968 Downbeat Magazine, simply stated that "Big Joe Williams' Blues is a beautiful experience". Listen to this album and you'll agree.

Straight from the melting pot of Berlin, Luca Musto serves up a solid and fresh house dish in his first album on Moodfamily.

The songs stretch the imagination and touch the borders of hip hop and electronic beats. He intertwines his own musical journey with the sounds of his hometown. It is also the attempt at a new genre by blending hip hop elements with electronic music to create something unique.

This funky fusion expresses itself in three original tracks. “What We Witness” introduces us into the rhythmic exploration of the record. It adds some spicy P-Funk vibes and blurs your senses with drowsy horns, served on a velvet platter. "Toledo" - the first single of the EP - gives a thrilling continuation to the EP. This one is sure to cause a ruckus on the dance floor. Finally, “Keep Rollin” further defines the genre-blending character of this project, and gives a slight nod to the West coast of the US.


Xinobi (Lisbon, Portugal / Discotexas) and Mosley Jr. (Gent, Belgium / Moodfamily) deliver some exciting remixes to the EP, both with their unique signature spin.

- “This shit’s gonna break the rules.



Early support from Support Super Flu, Audiofly, Acid Pauli, Florian Rietze, Maxim Lany, Be Svendsen, Maga, Iorie, Stavroz, Paco Osuna, …

Limited Edition 3-panel digipak CD compilation of 26 of Juliette Gréco's most famous recordings, including the complete contents of her legendary LP Nº7 (Philips B 76 515 R), which was selected by MOJO Magazine as her best album.

An emblematic figure of French song with a career spanning seven decades, Juliette Gréco (1927-2020) is famous for having given the most celebrated performances of songs by authors such as Raymond Queneau, Jacques Prévert, Léo Ferré, Boris Vian and Serge Gainsbourg.
"Resistance activist, fashion trendsetter, singer, beatnik, talent scout, actress, lover and, as she said, 'famous before she had done anything', Juliette Greco will be remembered as the first and the last of her kind, and among the most influential people of the 20th century, even for those unable to name a single song to which her name would be linked." - David Hutcheon, MOJO Magazine, 2020

[a] 1 Sous Le Ciel De Paris [1959 Version]










[l] Sous Le Ciel De Paris [1951 Version]

"Stand In The Fire" - Warren Zevon (voc, g, p); Zeke Zirngiebel (g, voc); David Landau (g); Bob Harris (synth, p, voc); Roberto Piñón (b, voc); Marty Stinger (dr)

Warren Zevon had toured for quite some time as a songwriter in the rock scene, released a few singles and landed a flop with his debut LP in 1969 before the tide finally turned. Roughly ten years later, his live album – put together from a five-day residency at the Roxy Theater in West Hollywood – entered the annals of vinyl history as one of the best live albums of all time and was awarded four stars by the magazine Rolling Stone. Ambiguously entitled by the comprehensively educated Zevon, who had been confronted with the tough side of show business, "Stand In The Fire" delivers genial simple pure and straightforward rock right from the start, which hit the public with a vengeance. Full of vim and elation, the band pours out the significant, biting verses with fire ("Jeannie Needs A Shooter") and fuels the emotional inferno with high-speed bursts of rock ("Excitable Boy"). Zevon proves his skills as a singer and songwriter in the ballad-like yet powerful "Mohammed’s Radio". In a direct comparison to this number we have the forthright, no-nonsense hit "Werewolves Of London" with its close harmonies. Just how Zevon manages to succeed in getting his delicate voice and lyrics over to the public is shown in the powerful mix of heavy and honky-tonk ("I’ll Sleep When I’m Dead") and finally in the thunderous final number – "Bo Didley’s A Gunslinger" – with its percussive and metrically complicated antiphony.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under pure-analogue

All royalties and mechanical rights have been paid.

Recording: August 1980 live at The Roxy Theatre in West Hollywood, CA., by Billy Youdelman and Greg Ladanyi

Production: Greg Ladanyi & Warren Zevon

"The follow up to Self Esteem’s acclaimed 2019 debut album Compliments Please, Prioritise Pleasure is a record that reminds us all of the importance of being our unapologetic selves, putting your insecurities out there in the hope that it can be the first step towards healing them. Honest disclosure has always been Self Esteem’s forte, and so each track on Prioritise Pleasure handles difficult themes with nuanced perspective, comforted and counter-balanced with an array of rhythmic flourishes that speak to the eclecticism of her experience and influence. Self Esteem has moved on considerably since that her acclaimed debut. With NME DIY and Source magazine front covers, 6 Music A list's andTune of the week on Radio 1 with both Annie Mac and Greg James, things are really moving now. TV appearances include Channel 4 - Sunday Brunch - live performance, interview & show guest
19.10.21: TX Sky - Never Mind The Buzzcocks – guest panellist 21.10.21: TX – BBC 1 - Match of the Day – guest and performance. The album is released on a CD Mintpack, Black LP."

Reissue des Debütalbums 'Press On' (2007) des Multiinstrumentalisten, Produzenten und DJs Adam Gibbons (aka Lack of Afro). Gibbons ist ein Koloss der UK Retro-Soul/Funk-Szene, war jahrelang auf Freestyle Records gesignt und betreibt nun sein eigenes Label Bastion Music Group. Sein glorreiches Debüt 'Press On' wurde von iDJ als 'eines der wichtigsten Alben der modernen Funk-Ära' beschrieben und kürzlich vom Future Music Magazine als 'Klassiker' bezeichnet. Transparent-gelbes 180g Vinyl im Gatefold mit farbigem 12x12" Booklet.

Kaum eine andere Band hat die mitteleuropäische Jazzszene in den letzten Jahren derart auf den Kopf gestellt wie Shake Stew. Während die ZEIT sie als "Österreichs Jazzband der Stunde" bezeichnete und sie der NDR schon früh in den Status einer "Kultband" erhob, ist spätestens seit der Verleihung des Deutschen Jazzpreises 2021 in der Kategorie "Band des Jahres International" klar: Hier ist etwas ins Rollen gekommen, das es in dieser Form noch nicht gegeben hat. Und es macht keine Anstalten langsamer zu werden! Von Beginn an umgibt die vom Bassisten und Komponisten Lukas Kranzelbinder ins Leben gerufene Formation etwas Mystisches, das im Live-Konzert eine ungemein soghafte Wirkung entfacht, der sich die wenigsten entziehen können: "Die unausgesprochenen Zauberworte heißen Magie und Energie - Shake Stew bringt etwas Kultisches in den aktuellen Jazz, eine Bereicherung!" schreibt die Jury der deutschen Schallplattenkritik in ihrer Begründung für die Aufnahme in die Bestenliste 2020 und das britische Magazin MOJO wird sogar noch eine Spur körperlicher: "Able to blind you into a trance and make you dance to your knees, Shake Stew twists, blisters and burns like a fevered dream!"……..

‘American Foursquare’, Denison Witmer’s 10th - and best - album finally receives its long-awaited physical release.

Written after relocating his family to his hometown of Lancaster, PA, it’s a response to these major life changes - a meditation on empathy, on love and on the meaning of home.


“An album of extraordinary beauty and emotional force… His Songs are like exquisite miniatures” -The Sunday Times

“American Foursquare’ is a breath-taking, humble outpouring of reflection capturing growth, change, longing, and contentment: In other words, it’s the soundtrack to a life lived.” - Atwood Magazine
Tracklisting

Iiro Rantala plays the piano with “emotional magnetism and musical intelligence.”

He has a “virtuosic prowess as an improviser capable of enormous idiomatic and emotional range.” This praise from the American magazine Downbeat’s review of the Finnish pianist’s third studio-recorded solo album for ACT, ‘My Finnish Calendar’ (2019), sums up the astonishing variety which people who know his playing well might almost start to take for granted.

The citation for the 2016 JTI Jazz Prize in Trier also does well to define the way audiences take him to their heart: “Rantala can sweep listeners off their feet, he can be clown and magician, charmer and virtuoso, maverick and humorist.”

This is the emotional and stylistic versatility which Ranta-la brings to the live solo recital. It is a form he is drawn to strongly; there can be very few pianists who have explored the art of solo playing quite as intensively and consistently as Rantala. A typical recital will contain, among other things, pieces from his previous solo albums for ACT - ‘Lost Heroes’, ‘My Working Class Hero’ and ‘My Finnish Calendar’. As he explains, “I like the form of the solo recital because of the freedom and responsibility I have. Freedom comes from the fact of being alone on stage and responsibility from the fact that I can’t really rely on anything, except myself.”

‘Potsdam’, recorded live in concert at Nikolaisaal in Potsdam on 27 November 2021 is, however, the first time that one of Rantala’s many live solo recitals has been released as an album by ACT. It is a very fine exposition indeed of the contrast and the continuity of which he is capable, not just in the shape of the recital as a whole, but also within individual tunes. After a beautiful and welcoming ‘Twentytwentyone’, Rantala launches into ‘Time for Rag’, which sounds like the accompaniment for a madcap Buster Keaton film. The central section of John Lennon’s ‘Woman’ is quite clearly inspired by the driving R&B style of Richard Tee, a pianist whom Rantala particularly admires, but this leads masterfully into an ending which is at first wistful and calm, but then troubled by the Finn leaning into the piano and creating a dark and discomforting mood by plucking a low string.

There is a beautiful inevitability about the final two tunes on the album. The exuberance and brashness which inflect Bernstein’s ‘Candide’ overture right from the first fanfare are irresistible. Rantala follows this, by way of complete contrast, with ‘Somewhere’ from ‘West Side Story’. Potsdam was recorded the day after the passing of Stephen Sondheim. Rantala explains how deeply this affected
him: “Sondheim was magical. As a writer and composer. ‘West Side Story’ is one of the greatest achievements of mankind. And he was so young, when he wrote all those lines: ‘Say it loud and there’s music playing. Say it soft and it’s almost like praying, Maria’.

2022 Catalog Vinyl Re-Pressings, mastered for VINYL by DAVE OTERO (Khemmis, Cephalic Carnage, Cattle Decapitation, Allegaeon and more). The third full length release from Cattle Decapitation, and the band's 2002 debut release. Looking back 20 years, To Serve Man was a massive priority release for Metal Blade. Exclaim! (magazine) wrote that the band "has entered the upper realm of gore-grinders," with To Serve Man. The album has gone on to sell almost 20,000 albums in the US alone and upwards of 40,000 worldwide. To Serve Man set the stage for Cattle Decapitation to become one of the most successful and respected bands in the genre.

They say the best thing for a new band to really find out who they are is to go out and play as much as possible. They see what works and what doesn’t with the crowd as well as watch their peers perform and can learn from the best. For the past 2 years, WORMWITCH, has done just that. Having toured North America with The Black Dahlia Murder, Numenorean and appeared at last year’s prestigious Psycho Las Vegas Festival with Danzig, Dimmu Borgir and many more, the Vancouver 3-piece took it all in and regrouped in the Fall of 2018 to start writing their new album. Heaven That Dwells Within is the follow up to 2016’s Decibel Magazine Year End charting, Strike Mortal Soil. The riffs are stronger, the overall feel the album darker and their love of black metal dimly shines through much more on their past release. The album was mixed and mastered by V. Santura (Triptykon, Schammasch), giving it that much of a gloomier touch. With a tour right out of the gate with Cloak and Uada followed by a European run, the future, though dark in music, can only be bright.

Legendary Italian musician Sergio Messina serves up his 13 track Sensual Musicology on Hell Yeah this March. It comes a couple of years after he first released on the label's Buena Onda compilation and takes in everything from demented waltz to grown-up jazz, groovy beach music to heart-aching melancholia with artwork by virtuoso Italian AD DeeMo.

Now based in Lombardy, Sergio was there at the birth of pirate radio in the mid-seventies and eventually produced Radio art for national broadcaster Rai. At the same time, his DJ career took off and he helped establish Hip hop in Rome before taking his own live show to the stage with a mix of PCs, samplers and tape recorders as early as 1989. Frank Zappa declared himself a fan and in the years since Sergio has done everything from radio art to producing Neapolitan reggae and hip hop band 99 Posse, producing his own solo albums and writing for monthly music magazine Rumore. On top of this, he has both written books about and delivered lectures on the digital porno revolution, as well as teaching History of Pop Culture at the Istituto Europeo di Design in Milan. All this makes him a truly original creative thinking who has long been immersed in many niche facets of popular culture.

Sensual Musicology took several years and four different locations to happen. Its release has been delayed by the pandemic, during which Sergio lost many friends and relatives close to him. As a result, the album is dedicated to all of them. It is a record that addresses many topics from economic migration to jazz piano, 60s blues motifs to corruption, pollution and racism via Michael Jackson covers, odes to West Coast guitar albums and spaced-out pieces of electronica.

Opening with the beautifully delicate Mingus melodies of 'Goodbye Porkpie Hat' the album roams through the bluesy Italo-American-Jamaican groove of 'Amara,' slow melancholy of 'Sometimes Remember' with classy vocals from chanteuse Valeria Rossi and 'The Way You Make Me Feel', an acoustic rebuild of Michael Jackson's hit song. Then comes the serenade that is 'Just Because You're Dead,' and ‘Sono Stufa di Tutto’ which is based around a protest speech recorded from the radio in the 1980s. Jon Hassell Beach Bar' is a musical hybridisation for dancing pleasure.

The second half of the album takes in 'Ouana Di lambo' which is the Four Twenties taking you to a cocktail bar in the tropics, 'Benjamino Placido' which is a melody for a man who inspired Sergio to start writing his columns, and 'Nowhere Special' which is a tribute to West Coast guitar albums. Closer ‘Switchblade Bolero' has a Zappaesque theme.

Sensual Musicology is a rich and diverse musical world that is as thought-provoking and deep as it is emotionally rewarding.


Early DJ Support:
Leo Mas, Phat Phil Cooper, Calm, Chris Coco, Andy (We are The Sunset), Severino (Horse Meat Disco)

Forming at a Bristol club night in 2019 with a collective
appreciation for all things shoegaze, DAMEFRISØR bring bags
of driving rhythms and swirling guitars. They are Kazhi Jahfar
(vocals), Nyle Dowd (drums), Garin Curtis (guitar), Jamie Brown
(guitar) and Sam Nobbs (synth).
 Taking the typical band route, they spent their time in garages
finding a sound, until they outgrew that space and headed to
the studio. With only a handful of shows under their belts the
band enlisted Bristol producer Dom Mitchsion (Spectres, LICE,
Heavy Lungs) to record their first singles ‘Huile’ plus ‘And You
Know’.
 Taking influence from their admiration for Kevin Shield’s wall-ofsound and the dark undertones of post-punk, ‘Huile’ gave an
indication of what was to come from the band. Following a few
months later with ‘And You Know’, which gained plaudits from
So Young Magazine, DIY, Hard of Hearing and more. The track
became a key part of the energetic, captivating live set; one that
would see them invited to perform with the likes of Talk Show,
ALASKALASKA and Bull.
 Just as the band were gaining the momentum, fans and praise,
the world came to a grinding halt. Cancelled shows and
postponed studio time allowed the band to take a step back and
look for a fresh direction. With the addition of a synth in the mix
the band took on a more progressive sound, experimenting
more with their tones and techniques.
 In February the band finally got back to the basement studio of
The Louisiana with producer Will Carkeet (Robbie & Mona, Pet
Shimmers) to record their new singles. They are now proud to
present their debut 7” single, ‘Do You Think I’m Special?’,
released via Permanent Creeps Records.
 “The track is beautifully textured, drenched in trembling reverb
but basking in a bright, almost optimistic tone - as if finding a
sense of finality in the cacophonous noise washing over them.”
- So Young Magazine

'Memory Box' - the new album by Rodney Cromwell - fuses a European synthpop sensibility with a world of magical realism. It was inspired as much by the literature of Alice in Wonderland, Franz Kafka and Anna Kavan, as by its musical influences of artists such as Kraftwerk, Neu!, The Cure, Silver Apples, Oppenheimer Analysis and Polyrock. The sonic pallet of 'Memory Box' is rich, colourful, often surprising and utterly unique. Since the release of his debut 'Age of Anxiety' album in 2015, Rodney Cromwell has been featured by the likes of NME, Electronic Sound Magazine, Huffington Post, Paste, BBC6 Music and national RNE3 in Spain for whom he recorded a live session. 'Age of Anxiety' was included in a wealth of Best of Lists, not least that of Electronic Sound. He has appeared on compilations alongside Cavern of Anti-Matter, John Foxx, Devo, OMD, Katy Perry and many more. Rodney Cromwell is the project of Adam Cresswell. The first band he founded was SALOON, who were John Peel darlings, who recorded three Peel Sessions and the Festive 50 number 1 of 2002. They released three acclaimed albums on Track & Field (UK) and Darla Records (US) and played with a host of alternative acts including Stereolab, Electrelane, Quickspace, Laika, Of Montreal & Movietone. He followed Saloon with ARTHUR & MARTHA the acclaimed tweetronica duo that released the sole album 'Navigation' before vanishing. In addition to performing as Rodney Cromwell, he runs the Happy Robots record label. The Rodney Cromwell live set is a joyful mixed-media extravaganza, incorporating analogue synths, video visuals and live instrumentation, interjected by Rodney's 'offbeat wit'. His debut festival appearance at Indietracks in 2015 was described as 'like a spiritual experience". He has shared stages with acts including Pram, Marsheaux, Death & Vanilla, Rowetta and Steve Davis. His sole performance in 2020 was as part of Damo Suzuki's backing band. He will be promoting the album with a series of live-dates in 2022. Cromwell's recent singles 'Memory Box' and 'Get Me To Prague' received play on BBC 6 Music as well as national play in Spain, Finland and Japan. 'Memory Box' featured in the Official Festive 50 on Dandelion Radio. To coincide with the album we have early confirmed reviews with Electronic Sound Magazine and interviews with ElectricityClub, Pennyback Music and You haven't heard this music vodcast.

With an increasingly vibrant Norwegian Indie Rock scene on the rise, Lazy Queen - as founded by Colombian-Norwegian Henrik García Søberg (they/them) - have made their mark with a sound inspired by the rich traditions of the Brooklyn DIY scene that birthed the band, ambitious and effervescent releases, coupled with their unique ability to convey personal and relatable experiences through García Søberg's lyrics

The Oslo- based outfit effortlessly blends harmonic and discordant elements together with an instinctive ear for melody into a playful, innovative and vibrant sound, which affixes both context and contrast to lyrics that often explore life's more maladjusted corners. It's immediate. It's urgent. It impatiently demands your attention.

Previous release received widespread support and critical acclaim from renowned outlets such as Wonderland Magazine, Under The Radar, NYLON, Red Bull Music, Earmilk, Indietronica, Impose Magazine, Medium and more.

Spaceship is Mark S. Williamson, a musician, sound artist and educator based in Todmorden, West Yorkshire. His work is often made in response to his environment, working on location, combining field recordings with electronic and acoustic instrumentation, usually recorded outside, amid the landscape and weather. Mark has recorded for wiaiwya, Apollolaan, the Dark Outside and his own Forged River Recordings. His work has been reviewed by The Wire, Electronic Sound, Shindig and The Quietus and he was recently one of the fourteen artists featured in Electronic Sound Magazine’s ‘field recording special’. His collaboration with Luke Turner on series of readings from Luke’s book ‘Out of the Woods’ has seen performances at Cecil Sharp House, Port Eliot Festival, The Trades Club in Hebden Bridge, Krankenhaus Festival and the Horse Hospital and he recently collaborated with the artist Michael Powell on his Calderfolk project. A direct sequel to 2019’s Outcrops (also on wiaiwya), Ravines moves its focus from the uplands above Todmorden to the narrow, steep sided ravines, known as cloughs, that contain the streams that flow down the valley sides to feed the River Calder. These valleys, formed over hundreds, if not thousands of years can be peaceful sanctuaries, their stepped pools and waterfalls a shelter from the windswept moors. In time of heavy rainfall though, they become the conduits for the rapidly descending overland flows which reach the Calder and, in extreme circumstances, cause the floods which remain a part of valley life. These cloughs also saw the beginnings of industry in the area. Colden Clough and Jumble Hole Clough contain the ruin of small water fed mills which would evolve into the much larger steam powered facilities in Todmorden and Hebden Bridge. Mostly recorded in the field using portable equipment, these pieces are intended to reflect all three of these aspects; the peace, the violence and the beginnings of humankind’s ultimate separation from the landscape brought on by the industrial revolution. The sleeve is by Maxim Peter Griffin, an artist, illustrator and writer based in Lincolnshire. A fine art graduate and former stonemason, over the past few years he has been building a body of work that echo his experiences on foot between the North Sea and the hills. "...a luminous soundtrack to the passage of geological time." Shindig // "Williamson is building desire tunnels, churning through the layers of rock and soil to find his conclusions." The Wire // "These rumbling synth drifts and ominous drones transport you to entirely different places-like being cast adrift in a cosmic void" Electronic Sound // "...the droning synthesizer waves conjure up something spectral and eerie, stretching out like the wide horizon..." The Quietus // "Beautiful." Hannah Peel

Legendary American musician Ry Cooder played together with the world's greatest artists, such as John Lee Hooker, The Rolling Stones, Van Morrison, Neil Young, and Eric Clapton. Cooder is known for his slide guitar work, and was ranked eighth on Rolling Stone magazine's 2003 list of “The 100 Greatest Guitarists of All Time”.

Chicken Skin Music was his fifth studio album. The title serves as a direct, simple description of the album's emotional appeal. For this record, Cooder decided to ignore traditional boundaries and instigated lasting cross-cultural communication through music, which was unusual for 1976. Chicken Skin Music blends gospel, folk, blues and Hawaiian with the help of his backing band (Jim Keltner, Milt Holland, Chris Ethridge, and George Bohannon) and two eminent Hawaiian musicians, Gabby Pahinui and Atta Isaacs. In addition, to throw in some Mexican styles, Ry Cooder is assisted by Norteño musician Flaco Jimenez.

Chicken Skin Music is available on black vinyl and includes an insert.

“Coffee & Clouds” EP is the latest release from Sam Hutton and Al
Wreaves AKA South-London soul duo fika, collaborating with songwriter, vocalist and artist Bambie.

Co- produced by Berlin- based producer Fabich, the EP features previous singles “How Can I Love? (When I Can’t Get Away From You)” and “Love Like Mine” which have seen the duo garner support from the likes of Jack Saunders (BBC Radio 1), Jamz Supernova (BBC Radio 1Xtra), Jess Iszatt (BBC London Introducing), Nabihah Iqbal, El Train, Rob Da Bank (Worldwide FM), Stereofox, Mystic Sons and
IGGY Magazine. Stemming from a two-day session between fika and Bambie, the “Coffee & Clouds” EP was co-produced by Berlin-based producer Fabich. The EP expertly balances nuanced musicality with generously open song writing. fika’s ever-growing community of collaborators and irresistible releases has seen them perform at the legendary Ronnie Scott’sand garner support from BBC presenters
Phil Taggart (BBC Radio 1), Jess Iszatt and Abbie Mac (BBC Radio Kent) and from the wider radio community including Jyoty (Rinse FM) and El Train (Soho Radio).

At the end of 2021, they will be appearing at The Jazz Café alongside BBC Radio 1’s Victoria Jane, Raquel Martins, Ruby Francisand Kara Marni. The duo have also seen press and online support from the likes of TRENCH, Indie Shuffle, Notion, Acid Stag, Beautiful Buzz, Somewhere Soul and Discobelle. A project born out of collaborative joy and mutual admiration; the “Coffee & Clouds” EP is set to further
cement fika’s place as a one- to- watch in the realms of Neo- Soul, Hip Hop and Contemporary RnB.

Repress in blue vinyl !


“Sketches of Spain since its release in 1960 has been one of the most widely
distributed and popular of all jazz records. Even people who don’t collect jazz
records tend to have a copy tucked away somewhere.” - Penguin Guide To Jazz
“Sketches of Spain remains, and rightly so, one of the jewels of Miles Davis’
discography.” - Jazz Magazine (France)
“This recording is one of the most important musical triumphs that this century
has yet produced. It brings together under the same aegis two realms that in
the past have often worked against one another - the world of the heart and
the world of the mind. To Davis and Evans goes not the distinction of five or 10
or a zillion stars in a review rating, but the burden of continuing to show us the
way.” - Bill Mathieu, DownBeat

Magma is one of the most influential bands from France. Their music defies any of the standard and convenient classifications of rock, instead they operate in a realm of their own creation. Their third studio album Mëkanïk Dëstruktïẁ Kömmandöh was originally released in 1973 and showcased in particular the range of singer Klaus Blasquiz and introduced the ground-moving work of bassist Jannick Top. The French edition of Rolling Stone magazine named the album the 33rd greatest French rock album and ranked the album 24th on their list of the ’50 Greatest Prog Rock Albums of All Time’.

Mëkanïk Dëstruktïẁ Kömmandöh is available as a limited edition of 2000 individually numbered copies on copper coloured vinyl. The album is housed in a gatefold sleeve with a copper foil finish on the front of the sleeve.

Bristol based band Cousin Kula announce their debut album Double Dinners. With co-signs from the likes of BADBADNOTGOOD and newly signed to Rhythm Section, Cousin Kula have created their own musical universe of otherworldly pop serenity with vastly distinct, but complementary elements: “the possibilities of jazz, the emphatic energy of club culture, and the sonic tapestries of psychedelia” CLASH Magazine remark.

Living and recording together, nestled in the sun-drenched hills on the outskirts of Bristol, Cousin Kula are masters of their craft, and also of restraint; widely regarded by their fans for their superior live show. Having performed live in various bands for the past 10 years since their early teens, not being able to hit the stage during lockdown took its toll on these musicians. Ever resourceful, however, Cousin Kula began a series of their own home-made live sessions, which lead in turn to a Boiler Room Session and further a request from XL signees BADBADNOTGOOD to record a live adaptation of their new single.

Now, Cousin Kula flutter into the collective consciousness with a timeless slice of psychedelic soul on debut album Double Dinners. The latest band to emerge out of the buoyant Bristol music scene,
they have stripped back all excess baggage for their most accomplished recordings to date. Existing on a similar plane to contemporaries such as Connan Mockasin, Mildlife, Toro Y Moi, Mac DeMarco and HOMESHAKE, the band caught the attention of renowned tastemaker Bradley Zero with their 'Casa Kula Cassette' EP at the end of 2020, with the Rhythm Section founder swiftly taking the 5 piece under his wing, with him commenting:

“The band balance an outsider approach with more hooks than you can shake a stick at... the result being a gently beguiling sound that effortlessly draws you in, revealing more character with each listen.”