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You can’t keep a good thing down: 99 marks the triumphant and long overdue return of Matthew Edwards’ Rekid project. More than just Radio Slave records slowed down, his alter ego preferably ploughs the field between ambient excursions, downtempo hypnotism, sample sculptures and the general space in between raves.

Since its first appearance with the Lost Star EP for Classic in 2004 and the still breathtaking follow up Made In Menorca opus on Soul Jazz Records, Edwards firmly established himself as a producer of many, if not all trades. Thought of, produced and conceived during the first lockdown of 2020, 99 is conceptual (with the tempo firmly set at that tempo), concise (34 minutes and 34 seconds long) and content with exploring the possibilities of limitation (one track a day, live takes, no editing).

Without departing the original Rekid ethos of glacial music, it presents a modernized and contemporary version of IDM tropes, chill out topics and a capturing sound of mesmerizing materiality.

After a while, it all made sense to Edwards as one piece, was presented to Running Back, where the A& R department thought the same and is now available as a continuous cassette mix and a separated vinyl single album as well as for streaming and downloads.

Jeep music for ballet dancers.

There is a tendency within modern electronica to pigeonhole and categorise, to package music into easily digestible formulae. In direct revolt comes Dutch artist Satori and his new album Dreamin’ Colours, released globally April 22nd, 2022, on renowned imprint Crosstown Rebels. Recorded at the esteemed Sonic Vista Studios in Ibiza, the nine-track LP has been greatly anticipated off the back of its proceeding’s singles: Yellow Blue Bus ft. Laska, Lalai ft. Ariana Vafadari and most recently Gin Song.

An ethereal, swirling body of work, Dreamin’ Colours is rich in texture, colour and imagination. Satori stretches himself out through languorous, mystical explorations of both the digital and the analogue elements of music, the result a beautifully conspired collection of world music, steeped in electronic and Balkan roots, and straddling a multitude of genres from blues and indie electronic to opera, folk and beyond.

Colourful Dream begins proceedings, taking the form of a gently-building opener. From the pluck of a guitar string to hypnotic flute-like elements, we soon arrive at the enchanting world of Lalai ft. Ariana Vafadari. Recorded in a four-hundred-year-old water well, it showcases the transcendent sound with which Satori has become best known, meandering through rustling hats and tribal-like drum patterns whilst the dulcet tones of Ariana shimmer softly throughout.

Tuti ft. Kalima takes on a harder edge, with gritty drum patterns opening into melancholic chords early on. Kalima’s vocals add an emotive touch to the piece, paving the way for Moj Dilbere: a euphoric cut that feels tribal and reflective in one.

We land at a similarly ethereal soundscape on The Gin Song ft. Mybaby, as star-like synths pulse alongside punchy percussion before Yellow Blue Bus ft. Laska takes its place. It begins with real-life ambience, made up of sounds recorded live in Ibiza as a bus passes and birds chirp merrily in the background. This swiftly gives way to a guitar-flecked bassline, opening neatly into the vocal offerings of both Satori and Laska.

Troublemaker ft. El Mundo retains an inherent melodic quality, progressing through poignant strings and whispering kick-hat combos. Powerful and poignant, the mesmeric sounds of Ora Dea and Moshe meander subtly into Lonely Boy (Redux) ft. Hugo Oak. The closing saga brings things to a wonderfully subdued finish, rounding off the album on a wholeheartedly calming note.

Although raised in the Netherlands, where commercial electronic music is of course king, on Dreamin’ Colours it is undeniably Satori’s Balkan heritage that layers his production with dreamy, ethereal, Eastern European influences. The album’s overriding voice lies in his exultant celebration of Eastern European music, weaving vibrant threads of its earthy, melodic, rhythmic sounds into his thick musical tapestry. Written during the pandemic and driven by the ache of separated love, the album is, Satori says, his most personal yet.

From holding down an eighteen-month residency at Heart, Ibiza to having nearly four-hundred-thousand listeners on Spotify each month, Satori is a truly worldwide artist in today’s electronic music scene. Having been championed by Damian Lazarus early on in his career, he has emerged as a must-see live act for fans from all corners of the globe. November 2021 marked the start of his USA tour, where his Maktub concept adorned some of the country’s most iconic clubbing institutions, whilst his discography speaks for itself, with a plethora of acclaimed releases on labels including Crosstown Rebels, Sol Selectas and DGTL Records to name a few. As Dreamin’ Colours introduces him to an ever-growing audience, Satori remains one of the most exhilarating, untamed and truly authentic forces in music.

Extra Soul Perception is a collaboration and community music platform which started life between the UK, Kenya and Uganda, and continues to grow and connect independent musicians worldwide. In November 2019, eight artists from Kenya, Uganda and the UK spent a week in Nairobi together exploring new tangents in soul music, the result was their 2020 debut EP 'New Tangents In Kampala, London & Nairobi Vol. 1'.

The growing collective is made up of Faizal Mostrixx (UG), Hibotep (UG), K15 (UK), Karun (KE), Labdi (KE), Lex Amor (UK), Lynda Dawn (UK) and Maxwell Owen (UK). Now with the with the addition of Itsmdnyt (UG), XL Middleton (US), Xenia Menasseh (KE), Sola (UK) and Azu Tiwaline (TUN), the collective are preparing to release their album 'New Tangents in Kampala, London and Nairobi', released 25th March.

Three years in the making, work started on the album at a writing camp in Nairobi, and was completed remotely over the course of the worldwide lockdowns of 2020 and 2021. The album celebrates the potential of collaboration, both in a physical and digital sense.

Innovators in their own fields, each artist brings unique knowledge and musical culture to the project, collectively they represent a broad spectrum of sound. The album reflects this via an inspiring mixture of beautiful soul, glitchy beats, spoken word and bumping instrumentals. Embracing the same values of the writing camp but through virtual collaborations, seeing 'soul' as much in the spiritual sense as the musical one, expanding the sound into new territories.

Note vinyl rel date is later. 10 Year Anniversary Reissue. 2LP / 2CD featuring the album proper & demos of each song + rarities. Colored clear vinyl, includes digital download. Recommended If You Like: The original ‘151a’ release, of Montreal, Regina Spektor, Andrew Bird. They say that you spend your entire life writing your first album, piecing every formative moment, scribbled turn of phrase, and thematic epiphany into a fantastical collage. Multi-instrumentalist K. Ishibashi (aka Kishi Bashi) disproves that old adage. The title of Kishi Bashi’s 2011 debut album,‑151a, is a riff on the Japanese phrase‑“ichi-go ichi-e,” roughly translating to “one time, one place.” That’s exactly what this debut is: A singular time, an inimitable place, a launchpad for bigger and better things to come. “It’s a play on words that translates as a performance aesthetic of having a unique performance in time, with imperfections, and enjoying it while you can,” Ishibashi‑told NPR at the time of the album’s release. “The saying reminds me to embrace my mistakes and move forward.” From the deconstructed Beach Boys-esque doo-wop of “Wonder Woman” to the menacing marriage of Eastern Hues and Western operatics of “Beat the Bright out of Me,”‑151a‑is a mediation between opposing drives, offering possible reconciliation but never promising it. The album’s emotional wellspring, “I Am The Antichrist To You” was reimagined in 2021 when it was featured on the animated sci-fi sitcom‑Rick and Morty, introducing Kishi Bashi to a new generation of awestruck fans. Kishi Bashi uses‑151a‑as a vehicle to explore his cultural background. Using Japanese refrains as a compositional and textural device (the polyrhythmic grandeur of “Bright Whites”; the gleeful surrealism of “It All Began With a Burst”), Kishi Bashi celebrates his heritage with earnestness. Japanese phrases and couplets are sung as the response to Kishi Bashi’s resplendent calls, offering listeners a conversation that dovetails with the album’s themes of love, sentimentality, and self-discovery. Today, the “one time” and “one place” that­151a‑inhabited seems further than ever, almost broaching celestial realms of time and space. But, rest assured, with each listen, the world that Kishi Bashi built springs back to life. The world of‑151a‑never left—it was just waiting to be rediscovered.

After the impact of Exist in Ramallah festival back in 2019, and how relationships between the artists got established and the attendees contribution that helped to shape the identity and the vision of the project itself. Exist decided to take the next step and expand the project with a label that is runned between Amman based and festival founder Odai Masri and Amsterdam based and label co-founder Chafik Chennouf with the same ethics that the festival is standing for. Some of the main principles Exist upholds include resistance to homophobia, and the ongoing colonization of various parts of the world by state actors or multi-national oligarchs. In turn, we think that this colonization leaves no one free, and that it especially targets communities (human and non-human) that are most marginalized by capital and historical racial and ethnic structures. The first release 'Marks of Existence' is a collection of mind-melds with some of the scene's most continuously exciting and refreshing artists: Drew McDowall, Muqata'a, CASKO, Adel Poursamadi & Tegh. The Scottish, NYC-based experimental musician, Drew McDowall, has been subverting the formula for many years now, having clocked up storied work with Coil and Psychic TV back in the day. His track 'Conceal the Wound' is a stunning, exquisitely chiselled piece of synth music. It's like waking from a dream, only to return to its febrile clutches. Ramallah's Muqata'a came through flawless with his cut 'Administrative Detention', a blast of chaotic chopped breaks and lurching neo-beat tape MPC programming. The breakcore influence in combination with referencing crimes against humanity makes the tune an intense headmelter. The ideal soundtrack for unorganized resistance from a firsthand perspective. ‘The Price You Pay To Be Unattached Flesh’ sees CASKO push the hi-tech dirt of his Opal Tapes, Leyla Records and Voidance releases down darker ginnels to claustrophobic, anxiety-raising effect in a collection of brilliantly neon explosions of colour and exuberance floating on a sleazy and slow beat with bags of North-African swagger. Experimental electronic musicians from Iran have marked their prints on the face of the universal experimental music scene for some time now, though the manner in which their status went from "non-existent" to "present" and from "silent" to "noisy" might somehow seem "unpredictable" to the naked eye. Tegh, known for his work on Opal Tapes joined forces with Adel Poursamadi to come up with a beautifully bittersweet synthetic orchestration in a staggering fashion to close this EP with.

One record which has lately come to prominence is the brilliant "After Hours" by Charlie Mitchell aka Vic Marcel on an absolutely gorgeous slice of mellow Rare-Groove which recalls the Leon Ware vibe perfectly. Produced and arranged by seasoned veterans Tony Silvester and Bert DeCoteaux this incredibly hypnotic song was also written by top writers J.R. Bailey and Ken Williams. "After Hours" has grown in popularity particularly over the last few years with original copies now reaching the £200-£250 valuation.

The flip-side is another slice of beautiful mid-tempo soul from the same production stable. Only one copy currently available the last time we checked, such has been the demand over the last two years especially. Quite why this record has been underground for so long is open to debate. Vic Marcel was under contract to RCA at the time hence the Charlie Mitchell pseudonym. Janus were also suffering distribution problems at the time which explains why the original is so rare. We're proud to finally make this available again on the original Janus imprint. Another double-sided beauty.

Originally written by João Bosco and Aldir Blanc and released on Bosco's 1976 album Galos De Briga, "O Ronco da Cuica" is a samba/MPB masterpiece. In the song, the cuíca roars: roars in anger, roars from hunger and is told to stop, but it cannot - "it's a man thing" explains Bosco in the lyrics. Personifying the instrument in this way, "O Ronco da Cuica" points to something quite profound about the nature of human suffering and our primitive need for expression. On this brilliant reimagining, renowned bassist Dudu Lima teamed up with Joao Bosco himself, as well as Azymuth drummer Ivan 'Mamão' Conti, pianist Dudu Viana and percussionist Marcos Suzano. Ironically, this version contains no cuíca, instead it takes a more stripped back instrumentation, exploring the deep jazz potential of this roaring samba classic, to stunning effect. On the B-side is a beautiful duet between Dudu Lima and João Bosco: acoustic guitar and vocals, and fretless bass - together they take on "Imcompatibilidade De Gênios", also from Bosco's 1976 Galos De Briga album.

One of the more idiosyncratic U.S. independent labels must be the Hep’ Me imprint from New Orleans run by veteran Soulman Senator Jones. Very few of Hep’ Me's numerous releases made it out of New Orleans and the ones that did, tended to go into collections and nowhere else. Las Vegas Connection's ‘Running Back To You’ surfaced some time in the mid 1970s but there were never enough copies for it to take off. Hopefully that will change with this re-release on the original label.

Also, a lovely piece of mid-tempo soul on the flip with the stunning ‘Can't Nobody Love Me Like You Do’. Original copies are few and far between and the current price benchmark for this superior slab of New Orleans vinyl is hovering around the £250 mark. As with most of our reissues this will appeal to across-the-board scenes.

The JB's 45' seem to be a RSD occasion now, with this third instalment seeing ‘Jimbroski’ and ‘On the Run’ from the Straight Out the Jungle getting an airing together on 7" for the first time, marking the 35th anniversary of their release. DJ Red Alert and Tony D produced gems from the golden era of Hip Hop, of which the Babe Ruth and Jimmy Castor Bunch sampling ‘On the Run’ is seen to be a formative track in the dawn of the Native Tongue scene. Black Vinyl in a Picture Sleeve Limited edition for RSD.

One of the plus points of being in the reissue business, is that some records are easier to license then to try and find a copy of! Sky's The Limit's incredible "Don't Be Afraid" is a case in point.

Released on the tiny J.M.J. label in 1976, this was essentially a private pressing by the group and was more likely to have been given away at gigs rather than sold through record shops. It's incredibly rare - an original these days is around the £750-£800 mark and that's if you're lucky enough to see one. All for good reason though. "Don't Be Afraid" is a prime slice of vintage Jazz-Funk. The vocal side shows off Sky's The Limit's vocal prowess with gorgeous harmonies over an insistent groove.

However, the big attraction on this double-sider, is the incredibly hypnotic instrumental workout with a fantastic Patrick Adam's like free-form synth making the instrumental almost another song. One of the dreamiest Jazz-Funk instrumentals you'll ever hear. As per usual, this will be a very in-demand release from the word go. This can be played on progressive dancefloors everywhere and will almost certainly appeal to different crowds and audiences.

- 180 GRAM AUDIOPHILE VINYL
- LIMITED EDITION OF 1000 INDIVIDUALLY NUMBERED COPIES ON ORANGE COLOURED VINYL

The Jamaican reggae and dub musician Linval Thompson's career began around the age of 20. He has done much work to shape the reggae music during the last centuries. He collaborated with many of the greats of Jamaican music recording. I Love Marijuana was his first self-produced LP in 1978 and featuring some of his well-known tracks, like the title song, the funky 'Dread are the Controller' and 'Just Another Girl.' One of the nation's best bands, The Revolutionaries, is backing him up. It's one of the finest recordings by Linval, before he moved on to become a prominent record producer.

I Love Marijuana is available as a limited edition of 1000 individually numbered copies on orange coloured vinyl.

Acclaimed saxophonist, producer and composer Yasuaki Shimizu will release Kiren, his unreleased album from 1984, on the Palto Flats record label on February 25, 2022.

Liner notes by music historian Chee Shimizu, and credits in both Japanese and English.

By the early 1980s Yasuaki Shimizu had established himself on the Japanese new wave scene, producing many important experimental pop records and releasing several albums as the bandleader of
Mariah. Following the release of his widely regarded solo classic Kakashi, from 1982, and the otherworldly Utakata No Hibi, by Mariah in 1983, he went into the studio the following year with frequent
collaborators, producer Aki Ikuta and Morio Watanabe (bassist of Mariah), to record a mystifying collection of experimental dance music. Utilizing cutting-edge technology and studio trickery, Kiren
showcases Shimizu's trademark playfulness, marrying richly layered production techniques to off-kilter, sometimes traditional sounding rhythms and melodies. Portending his work with the Saxophonettes as well as forecasting trends in techno, new wave, and futuristic rhythmic music, this formerly lost album represents an important period of Shimizu's artistic expression, an artist at his peak, while successfully exploring the intersections of fusion, synthpop, new wave, and jazz.

As Chee Shimizu (no relation) writes in the liner notes, Kiren, and his concurrent release Latin were “born out of a free environment of collaboration that existed between Yasuaki and Aki Ikuta ... (exemplifying) his most energetic works.” In listening to Kiren, we might share with Yasuaki Shimizu the joy and excitement of experimentalism and movement that went into the making of this album, now released for the first time many years later.

Belgian techno don Marco Bailey lands on Watergate with a debut that’s guaranteed to intrigue as he leans into electro territory, grabbing rerubs from Extrawelt & Biesmans while he’s at it. DJ, producer and label chief, his is a storied career that spans three decades, and it’s long been evident that Marco’s enthusiasm and passion remains resolute. He closed 2021 with the release of his sixth studio album Surreal Stage, an ambitious, introspective body of work that dropped via his booming imprint Materia. His own label aside, his discography is stacked with cuts across eminent labels Second State,
ARTS, Bedrock Records, as well as being one of the first artists to debut on Carl Cox’s seminal INTEC.
While it’s techno that he’s become firmly associated with, his adeptness in the studio isn’t limited to the nuances of one genre and this is a rare opportunity to showcase a different side to his musicality.
‘The Spirit’ floods in first, almost immediately engaging listeners as it ebbs and flows with complete abandon. If the promise of electro grabbed your attention, it’s ‘From My Mind’ that delivers and sticks in your mind - from the heavy synth bassline to the soaring ascendant melody, and distorted, robotic vocals.
‘Pulse’ slaps and packs plenty of punch power as it snakes its way through with dominating, ascendant chords.
German duo Extrawelt and Belgian export Biesmans step in with rerubs of ‘From My Mind’, and firmly grip some of the elements which make this electro excursion so memorable.

Bézier returns to Dark Entries with Valencia, a six track rumination on memory, geography, and transmutation. Multi-instrumentalist Robert Yang’s Bézier project has appeared on Dark Entries many times over the last decade, most recently with the 2018 LP Parler Musique. Says Yang, “What started as a project to investigate the love of the sound and scenery while living in San Francisco quickly developed into a passionate search for interlocking melodies and driving rhythms.”
On Valencia, Bézier invokes twinned places. The Valencia Street of San Francisco is channeled, which was the center of the city’s vibrant new wave scene in the 1980s.

But also echoed is Valencia, Spain, and La Ruta del Bakalao aka La Ruta Destroy, the Spanish clubbing scene throughout the 80s and 90s famed for its aggressive and synthetic sounds. Valencia is a darker record for Yang, exploring themes of submission and catharsis with nods to SF’s gay leather bars of the 70s and 80s. The high BPM salvos of “Valencia” and “Scrupulous” capture the frantic energy of Bakalao and Valencian wave acts like Última Emoción. Elsewhere Yang mines the dreamy space disco and Hi-NRG sounds they’re known for, like on the brooding “Past the Marshes” or the anthemic “Reservoir”, which features their partner Len.Leo on vocals. Bézier deftly navigates past and present, light and dark, pain and pleasure, the stasis of memory and the flux of time.

Valencia was mastered by Alex Michalski, with EQ for vinyl done by George Horn. Gwenaël Rattke designed the sleeve, which features an 80’s punk zine-esque geometric grid pattern mirroring San Francisco street maps. Also included is a 5x7 postcard with notes.

‘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

With her second album SODA, Belia Winnewisser continues on the path she has been following for quite some time. Few share the Swiss artist’s knack for combining a sensibility to the enthusiastic potential of pop with an interest in niche references of experimental sound design. In recent years, her feel for this fusion brought Winnewisser to the attention of the electronic club music scene. This world and the various genres related to it leave their mark on SODA: sing-along anthems like “So Real” and the densely layered drone of “They Cry of the Sirens” stand alongside the feverish dance track that gives the album its name and rave bombs like “Solen.” A year without club nights allowed Winnewisser to fully embrace her flair for pop and experimentalism, which resulted in more than a mere series of nods to different genres and acts. SODA—both as a resonant title and as a collection of music—is a direct call without hidden meanings or implicit references. It’s simply the path she’s on and the way she’s going.

White Vinyl

The Duo met on a rainy day in Tilburg (NL) while working for a dance project — they came down from very different roads. Fhunyue, a stage director–performer–musician chameleon, works alone or collaborate with Annalena Fröhlich (Robinrobin, Just Another Woman In Space), Thom Luz, Unplush, Peeping Tom, Dorit Chrysler, Ko Murobushi, Damien Jalet, The Scottish Dance Theatre, Bern Ballett, for a most colourful variety of venues in Europe. She is a member of the music association Bongo Joe (Switzerland). Sven, an established musician living between Hamburg and Nairobi, who released several records on Honest Jons and Bureau B and collaborated with several artists like Shabaka Hutchings, Ogoya Nengo, Marc Ribot, John McEntire, Sofia Jernberg, Nils Frahm, Hauschka, F.S. Blumm and Stefan Schneider.

Their encounter quickly revealed that both their musical sensitivity and their instruments (Marimbas, Drums, Percussions, Electronics, Theremin, Buchla Synthesizer, Piano) matched stunningly, and that they had to play together. After a short while of rocky life adventures and theatre projects in which they collaborated, their off rehearsal sessions would become a lively necessity. The wish to give birth to a project entirely their own, grew so strong that they locked themselves in Sven’s studio at Jaffestrasse in Hamburg, and started working on the debut of their duet. They are happy to present and share with you their labour of love, in hope that it will be good to your heart.

Philadelphia, PA's finest rock & roll up-and-comers, Big Nothing, have announced their sophomore full-length, Dog Hours, due out February 18th from Lame-O Records. Dog Hours finds the four-piece incorporating new dynamics and textures into their timeless songwriting to make ten songs of warm and welcoming guitar pop that's as comforting as it is catchy.

To mark the album's announcement Big Nothing have shared Dog Hours' lead single "A Lot of Finding Out" a slice of up tempo, alt-country tinged power-pop that's sure to please fans of Evan Dando and Tom Petty alike.

Big Nothing (guitarist/vocalist Matt Quinn, bassist/vocalist Liz Parsons, guitarist/vocalist Pat Graham, and drummer Chris Jordan) have a sound that's rooted in big guitars and big hooks, but unexpected circumstances forced them to try a different approach making Dog Hours. “With the pandemic, we were all writing separately and stuck playing quietly in our apartments,” Quinn explains. “And so it was pretty natural that we started making more stripped-back music.” The result is a more intimate version of Big Nothing that brings the acoustic guitar and layered harmonies to the forefront without sacrificing the palpable camaraderie that makes their music so endearing. It's an album that explores all of the uncertainties and existential dread of adulthood, but counters it with a Westerberg-esque sense of humanity and warmth.

Legendary privately pressed 1979 LP from Scotland. This illusive, super rare and sublimely wonderful percussion album is like no other. Hypnotic, celestial, even cosmic and ambient in parts and totally unique in all ways, it was played by a group of 11 girls with an average age of 14. The group included Evelyn Glennie, who was destined to become one of the world’s greatest percussionists. This is her first ever record.

The Cults Percussion Ensemble was a group formed by percussion teaching legend Ron Forbes in the mid 1970s. The ensemble must have one of the best group names of all time. To many it will immediately come across as something sinister, a touch spooky and possibly a bit dramatic too. They are certainly two of those but the use of the word “Cults” here is easily misinterpreted. Cults, in this case, is the suburb of Aberdeen.

The average age of the students was just 14. They came from a few of the schools in the area, including the Cults Academy, Ellon Academy, Aboyne Academy, Inverurie Academy and Powis.

My original copy of the album came from Spitalfields market in London. I loved the music the second it started, because it reminded me of Carl Orff and peculiar library. So I started to investigate it further, and eventually, thanks to the highly tuned world of percussion, was given the address of Ron Forbes. I got in touch with him and now we have this, a formal release of something quite lovely that was only previously available very briefly in 1979 at concerts when the young girls performed.

The music here is really quite unique, with a celestial swirling hypnotic quality. The blend of glockenspiels, xylophones, vibraphones, marimba and timpani drums is quite intoxicating and can recall the shimmering warmth of the desert sun one minute (“Baia”) or freezing glacial ice caps the next (“Circles”). The Ensemble perform with an effortless tightness and deftness of touch, building textured layers with recurring percussive motives which appear simultaneously dense and yet sparse, almost sounding like modern sampling. In fact, while struggling to find a musical comparison, during the pulsating introduction to "Percussion Suite" I found myself recalling "Gamma Player", a piece of soulful Detroit techno minimalism from Jeff Mills (Millsart - “Humana” EP 1995) with its rhythmic percussion layered with complex emotion. Weirdly enough, other tracks on that EP also prominently feature xylophone and tuned percussion, although obviously synthesised and programmed, a good 20 years after the CPE first recorded.

Sleevenotes also include a letter from Ron Forbes:
“I decided to form a percussion group to provide an outlet for my percussion pupils to play music specially written for them. The group soon became well known in the region and as a result of winning the outstanding award at the National Festival of Music for youth on three occasions, they were invited to play at other festivals within Europe, one being in Erlangen in Germany - hence the Erlangen Polka - and Autun in France - hence the Autun Carillon. During these visits we were often asked if we had any recordings and so it was decided to make an LP”.

Thanks to Ron Forbes and Trunk Records, more people can now enjoy the simple hypnotic musical charms of the Cults Percussion Ensemble

"Stormborn" ist das Re-Release des sechsten Studio-Album der Power Metal-Macht BLOODBOUND aus Schweden. Aufgrund der hohen Nachfrage ist es endlich wieder als Vinyl erhältlich!
Auf dem Album zelebriert die Band die Klischees des Genres; theatralische Arrangements, treibende Riffs und eingängige Refrains, ohne dabei kitschig zu wirken.
Das Coverartwork stammt von Tom Thiel (Brainstorm, Age Of Pirates, Die Siedler, Wildlife Park), Album-Mix und Mastering von Jonas Kjellgren (u.a. Sonic Syndicate, Steel Attack, Scar Symmetry).
Das Album erscheint als farbige Gtf. Vinyl (clear yellow) und als limitierte Gtf. Vinyl (orange/ black marbled, 300 Einheiten).

The Duo met on a rainy day in Tilburg (NL) while working for a dance project — they came down from very different roads. Fhunyue, a stage director–performer–musician chameleon, works alone or collaborate with Annalena Fröhlich (Robinrobin, Just Another Woman In Space), Thom Luz, Unplush, Peeping Tom, Dorit Chrysler, Ko Murobushi, Damien Jalet, The Scottish Dance Theatre, Bern Ballett, for a most colourful variety of venues in Europe. She is a member of the music association Bongo Joe (Switzerland). Sven, an established musician living between Hamburg and Nairobi, who released several records on Honest Jons and Bureau B and collaborated with several artists like Shabaka Hutchings, Ogoya Nengo, Marc Ribot, John McEntire, Sofia Jernberg, Nils Frahm, Hauschka, F.S. Blumm and Stefan Schneider.

Their encounter quickly revealed that both their musical sensitivity and their instruments (Marimbas, Drums, Percussions, Electronics, Theremin, Buchla Synthesizer, Piano) matched stunningly, and that they had to play together. After a short while of rocky life adventures and theatre projects in which they collaborated, their off rehearsal sessions would become a lively necessity. The wish to give birth to a project entirely their own, grew so strong that they locked themselves in Sven’s studio at Jaffestrasse in Hamburg, and started working on the debut of their duet. They are happy to present and share with you their labour of love, in hope that it will be good to your heart.

You can’t keep a good thing down: 99 marks the triumphant and long overdue return of Matthew Edwards’ Rekid project. More than just Radio Slave records slowed down, his alter ego preferably ploughs the field between ambient excursions, downtempo hypnotism, sample sculptures and the general space in between raves.

Since its first appearance with the Lost Star EP for Classic in 2004 and the still breathtaking follow up Made In Menorca opus on Soul Jazz Records, Edwards firmly established himself as a producer of many, if not all trades. Thought of, produced and conceived during the first lockdown of 2020, 99 is conceptual (with the tempo firmly set at that tempo), concise (34 minutes and 34 seconds long) and content with exploring the possibilities of limitation (one track a day, live takes, no editing).

Without departing the original Rekid ethos of glacial music, it presents a modernized and contemporary version of IDM tropes, chill out topics and a capturing sound of mesmerizing materiality.

After a while, it all made sense to Edwards as one piece, was presented to Running Back, where the A& R department thought the same and is now available as a continuous cassette mix and a separated vinyl single album as well as for streaming and downloads.

Jeep music for ballet dancers.

Das brandneue Album des Songwriters, Produzenten, Multi-Instrumentalisten und langjährigem Bon Iver-Mitglieds ist sowohl persönlicher als auch kollaborativer, als er es je hätte vorhersagen können. In den vier Jahren seit seinem letzten Album "Hundred Acres" hat Sean Carey diese 10 Songs in der herausforderndsten und von Veränderungen geprägten Zeit seines Lebens geschrieben. Von der Aufnahme und Reflexion zu Hause in Eau Claire, über die Zusammenarbeit mit den Co-Produzenten Chris Messina und Zach Hanson in einem Studio-Außenposten in Gualala bis hin zu einer unvergesslichen Erleuchtung während eines ruhigen Moments beim Fliegenfischen in Montana - "Break Me Open" zeigt, wie Carey den Schmerz über das Auseinanderbrechen seiner Ehe, das Ableben seines Vaters und das Aufwachsen seiner Kinder verarbeitet, nur um mit einem überwältigenden Gefühl der Dankbarkeit und Großzügigkeit daraus hervorzugehen. Vor dem Hintergrund einer Pandemie erschütterten diese Erfahrungen von Trauer und Verlust S. Carey bis ins Mark und ließen ihn sich fragen, wer er war und wohin er gehen wollte. Doch mit dem Versprechen, präsent und verletzlich zu bleiben, ging er weiter nach vorne, fand heraus, wo die Angst schwelte, und kanalisierte diese Gefühle in die Musik. In den letzten zehn Jahren ist S. CAREY zu einem unverzichtbaren Kollaborateur innerhalb der Bon Iver-Gemeinschaft und darüber hinaus geworden. Er hat an Sufjan Stevens "Carrie & Lowell" mitgewirkt, mit Low und anderen Songs geschrieben und produziert, während er sein eigenes Werk durch Themen wie Natur und Nachhaltigkeit, Jazz-Anklänge und herzliche Lyrik vorantreibt. Auf "Break Me Open" öffnet er nicht nur sich selbst und die intime Inspirationsquelle für die meisten gemeinsam geschriebenen Songs, die er je auf einem Album hatte, sondern er heißt auch mehr Stimmen in seiner Welt willkommen als je zuvor. Bläser-Arrangements von CJ Camerieri (CARM), die Streicher kommen von dem meisterhaften Rob Moose, mit zusätzlicher Unterstützung von Ben Lester, Jeremy Boettcher, Nick Hall, John Raymond, Chris Thomson, Eli Teplin und Talyor Deupree.

Das brandneue Album des Songwriters, Produzenten, Multi-Instrumentalisten und langjährigem Bon Iver-Mitglieds ist sowohl persönlicher als auch kollaborativer, als er es je hätte vorhersagen können. In den vier Jahren seit seinem letzten Album "Hundred Acres" hat Sean Carey diese 10 Songs in der herausforderndsten und von Veränderungen geprägten Zeit seines Lebens geschrieben. Von der Aufnahme und Reflexion zu Hause in Eau Claire, über die Zusammenarbeit mit den Co-Produzenten Chris Messina und Zach Hanson in einem Studio-Außenposten in Gualala bis hin zu einer unvergesslichen Erleuchtung während eines ruhigen Moments beim Fliegenfischen in Montana - "Break Me Open" zeigt, wie Carey den Schmerz über das Auseinanderbrechen seiner Ehe, das Ableben seines Vaters und das Aufwachsen seiner Kinder verarbeitet, nur um mit einem überwältigenden Gefühl der Dankbarkeit und Großzügigkeit daraus hervorzugehen. Vor dem Hintergrund einer Pandemie erschütterten diese Erfahrungen von Trauer und Verlust S. Carey bis ins Mark und ließen ihn sich fragen, wer er war und wohin er gehen wollte. Doch mit dem Versprechen, präsent und verletzlich zu bleiben, ging er weiter nach vorne, fand heraus, wo die Angst schwelte, und kanalisierte diese Gefühle in die Musik. In den letzten zehn Jahren ist S. CAREY zu einem unverzichtbaren Kollaborateur innerhalb der Bon Iver-Gemeinschaft und darüber hinaus geworden. Er hat an Sufjan Stevens "Carrie & Lowell" mitgewirkt, mit Low und anderen Songs geschrieben und produziert, während er sein eigenes Werk durch Themen wie Natur und Nachhaltigkeit, Jazz-Anklänge und herzliche Lyrik vorantreibt. Auf "Break Me Open" öffnet er nicht nur sich selbst und die intime Inspirationsquelle für die meisten gemeinsam geschriebenen Songs, die er je auf einem Album hatte, sondern er heißt auch mehr Stimmen in seiner Welt willkommen als je zuvor. Bläser-Arrangements von CJ Camerieri (CARM), die Streicher kommen von dem meisterhaften Rob Moose, mit zusätzlicher Unterstützung von Ben Lester, Jeremy Boettcher, Nick Hall, John Raymond, Chris Thomson, Eli Teplin und Talyor Deupree.

Orange Vinyl


With his second contribution to the Lost Palms catalogue, Swansea-based producer Tom Vernon takes us by the hand and leads us with him on a contemplative journey through Japan's rural landscapes and their urban surroundings.

Following the success of his debut EP released on Shall Not Fade's sub-label Lost Palms, Tom Vernon returns with a blissed-out 5-tracker. Taking its name from the ancient temple district at the foot of the Japanese mountain, Minobu EP sees the emerging producer fuse field recordings with the stylistic tropes of house and broken beat, creating intricately woven tapestries imbued with memory and place.

The wistfully amorphous opening track "Onjuku" captures the stasis of a declining-population seaside town, taking its cue from the futile whine of the tsunami warning system that echoes daily through its empty streets. On "Minobu In The Train", the EP discovers its pulse, translated into the shuffle of maracas, reverberating cymbals and a hypnotic piano melody that New Zealand brothers Chaos in the CBD would be proud of. With instrumental-sounding percussion, a modest, throbbing bassline and the ambient backdrop of Tokyo station, "Unexpected Departure" takes jazz-infused broken beat as its reference point, and sees the EP at its most transportive. Bringing things to a close are the complex drum workouts and acid-tinged melody of "Route E52" and the more upbeat deep house track "Could This Be" with low pass filtered funk-infused melody that oozes sex appeal.

Minobu EP drops 22nd April via Shall Not Fade.

Blue Vinyl

After getting glimpses of Denyl Brook's production prowess in recent collaborations with the likes of Shall Not Fade family members THEOS and Romeo Louisa, we welcome him to the groove-focused, dancefloor-oriented Killer Cuts series to which he delivers 6 feel-good house bangers in his signature funk-infused style.

If groove is the word, then Denyl Brook is your man. An incredibly prolific producer, in the space of his relatively short career the Marseille-born Silver Steps Records boss has been responsible for an impressive output, released via his own imprint as well as labels such as Basement Discos and House Cookin' Records.

Leaping Tenacity EP into action is the sunshine-dipped, serotonin-saturated "Baby It's You" which comes complete with a skippy house beat and syrup-smooth vocal licks before "Take Me Higher" takes things deeper, cool oozing from its funk-infused bassline. "His Name" takes us right back to the dance floor, where we will remain firmly-footed for the next two up. Arpeggiating synth tickles and luscious pads illuminate the aptly-titled "Bliss" before "Hear Me" awakens us from our reverie with a hard-hitting pulse and low-frequency acid melody. Finally, "My Friend Barry" sees the EP at its most stripped-back - deep house in its purest form: meditative yet steeped in sex appeal.

Neuauflage des dritten und bislang reifsten Studioalbum der Band VAN HOLZEN auf schwarzem 180g Vinyl! Darauf setzt sich das Dreiergespann mit einem reflektierten und kritischen Blick „Aus der Ferne“ ihrer Heimatstadt Ulm mit den Geschehnissen und Verhältnissen der Welt und Gesellschaft auseinander. Zusammen mit kidney paradise im eigenen Studio VALACHAI produziert und aufgenommen sind insgesamt 12 Tracks entstanden, die das ganze Facettenreichtum der Band zeigen und doch ein waschechtes Rock-Album geworden ist.

Yosh returns with his fourth Time Is Now release. Following the success of UKG-focused 5-tracker, "The Warning" released at the end of last year, Modulate EP sees the London producer put his inimitable spin on breaks, translating into 4 tracks firmly rooted in the genre's antecedents yet offering something distinctly new.

"New Dawn" is a prime example of Yosh's priceless ability to create something which is at once hard-hitting and soulful with clattering breaks and luscious vocals which float blissfully above them. Next up, "Modulate" adds a thumping 4/4 beat into the equation, creating an assertive march with plenty of swing before "Snap Back" brings the ruffage with a sharp two-step rhythm and fierce bass womps. Finally, it's up to "Track 1" to close proceedings. A real heater, a syncopated triplet rhythm lends it its driving propulsion - almost resembling the club sounds native to northeastern regions of the US such as Jersey and Baltimore. Thudding assertively beneath the stylistic tropes of UKG, this makes for a truly unique sound and solidifies Yosh's status as a highly innovative and forward-facing producer.

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).

Improvisation and experimentation are at the core of Robocobra
Quartet’s DNA, almost intentionally at odds with their roots as a
post punk band.
 Including members with no musical training alongside European
music conservatoire innovators, the result is a groove-driven but
cerebral blast, invoking the likes of Fugazi, Talking Heads and
contemporaries such as Squid and Black Country, New Road.
 The eclectic free nature of their live shows allows them to
channel hop from moments of joy and playfulness to periods of
intense fury, creating a unique sound that has earned them
invitations to Montreux Jazz Festival and Latitude.
 Robocobra Quartet have a rule: No Guitars Allowed. Their
unique sound, concocted and self-produced in Belfast, Northern
Ireland, sees that ‘middle’ space filled by other instruments such
as saxophones, samplers, keyboards and sound effects,
swirling around the melodic basslines and powerful drum
rhythms which prop up the core of each of their songs.
 On top of this music sits a single vocal from behind the drum kit
amid a fury of rhythm, sometimes marrying perfectly with the
pulse of the drums and occasionally at complete odds with it.
 Live dates / tour to be announced.
 “I genuinely don’t think there is another band like ‘em, anywhere
in these islands” - Tom Robinson
 “Free-floating musical explorers” - Hannah Peel
 “Fugazi meets Mingus.” - Drowned in Sound
 “Exploratory pioneers.” - BBC Radio 3 Late Junction
 “A cunning marriage of jazz, spoken word and punk” - The
Quietus

VARIOUS - TERRITORIO DEL ECO:EXPERIMENTALISMOS...PER· ( HIGHLIGHTS
First compilation brings together the Peruvian experimental scene from 1975 to 1988, a period was the most prolific for a generation of Peruvian artists who, based on musical conceptions derived from modern jazz and techniques inherited from avant-garde music. Collect unpublished and loss pieces from artists such as Omar Aramayo, Manongo Mujica, Arturo Ruiz del Pozo, Miguel Flores (Ave Acústica), Douglas Tarnawiecki (Espíritus), Luis David Aguilar, Chocolate Algendones and Corina Bartra. Rescued from private archives and limited editions on cassette. DESCRIPTION First compilation brings together the Peruvian experimental scene from 1975 to 1988, a period was the most prolific for a generation of Peruvian artists who, based on musical conceptions derived from modern jazz and techniques inherited from avant-garde music, sought to integrate the sounds of Andean, Afro-Peruvian and Amazonian cultures in search of a new musical universe. Native instruments and folk melodies were used in compositions that demanded modern recording techniques and electronic sounds. This generation was articulated in Lima and was made up of musicians such as Omar Aramayo, Manongo Mujica, Arturo Ruiz del Pozo, Miguel Flores (Ave Acústica), Douglas Tarnawiecki (Espíritus), Luis David Aguilar, Chocolate Algendones and Corina Bartra. But more than a movement, it was a set of individuals from dissimilar origins, who came from rock, jazz, contemporary classical and popular music, but also from the visual arts and poetry, and who had in common the cultural climate of the late seventies and early eighties in a country marked by a series of social and economic transformations, as well as the emergence of new visions and insertions of Andean culture and folklore in the city. The appearance of a mythical substrate connected the work of these musicians and defined an aesthetic, based on the deconstruction of folklore and the exploration of the possibilities that indigenous instruments offered. From there, these musicians immersed themselves in abstract, but also symbolic and conceptual forms. In many cases, they were strongly influenced by jazz and were keen to explore the possibilities of the recording studio. Territorio del eco: experimentalismos y visiones de lo ancestral en el Perú (1975-1989) - The Land of Echo: Experimentalisms and Visions of the Ancestral in Peru (1975-1989) - is a compilation that offers an overview of what was one of the moments of greatest creative intensity for experimental music in Peru in its encounter with indigenous sounds. Collect unpublished and loss pieces, rescued from private archives and limited editions on cassette, these pieces are reissued for the first time in vinyl LP format. The album includes 8 pages booklet with extensive notes written by Luis Alvarado, author of the compilation, as well as much visual documentation. Cover art by Paloma Pizarro. Limited to 300 copies. Beneficiary project of the Economic Stimuli for Culture of the Ministry of Culture of Peru.

The English synthpop, new wave group formed in 1977 in London and was led by Tony Mansfield, who later worked as a producer for furthermore Naked Eyes, a-ha and the B-52’s. Their success already kicked off with the first single, “Straight Lines” entered the UK Singles Chart within no-time.

Their second studio album Anywhere was originally released in
1981 and contained 12 tracks. The expanded edition contains 4
bonus tracks; “The Office”, “From The Village”, “Guitars” and the
12” version of “While You Wait”.

This expanded edition of Anywhere includes the corrected D-side and is available as a limited edition of 1500 individually numbered copies on blue marbled vinyl.

Limited edition of 300 copies. Packaged in a picture sleeve

J.D’s TIME MACHINE presents SPEAK LOVE b/w YOUNG HEARTS.
Songwriter supremo James Day has consistently delivered top notch material throughout his career, amassing an amazing set of collaborations.
The All Star Mix of SPEAK LOVE from five years ago features the mouthwatering cast of Glenn Jones, Tony Terry, Tim Owens, U-Nam, Ian Martin, Lin Rountree & Kevin Flint Jackson. This is one of James Day’s most respected compositions and we are thrilled to give this a vinyl release! YOUNG HEARTS originally from 2013 features the majestic vocals of both Kevin Flint Jackson and Tim ‘Tio’ Owens. Presented here as a '2022 Vinyl Exclusive Mix' with changes in the arrangement, Tim Owen’s EW&F sensibilities really shape this track and the note he hits in the meat of the song is worth the price of the admission fee alone!

Repress

ASC work is consistent and inspiring, the artist is back in full form on our Transparent section with a full masterpiece served on yellow marbled vinyl.

The third release from Fourier Transform is coloured, marbled green/silver vinyl and with a special hand painted label to match how special the music is on this EP from Dorsets' finest, James 'ReKaB' Baker. Joined by Sound Synthesis with an amazing remix of the title track and comes with an invaluable collectible info sheet on 'How not to get caught by your partner, buying records'. This is strictly limited at this stage to under 180 copies worldwide. Deep melodic house and techno spread across this EP, inspiration looks towards Detroit vibes and makes a special nod to the recently departed Mike Huckaby.
Plays, charts and show features from Derek Carr, Moy, Placid, Sound Synthesis, G-Prod, Omid 16b, Colin Dale, Kone-R, Mark Darby, Laurent Garnier, Mr C.