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Ampoule, doing things their own way since 1998. After repressing two classic Pub records, they now shine a light on the Lucky & Easy archives.

Lucky & Easy's take on IDM and deep techno took in influences from The Black Dog, Torsten Profock and Detroit. Rather than operating out of London, Manchester or Berlin, this stuff was coming from East Kilbride, a new town next to Glasgow thats probably best known for its roundabouts and being the home of Jesus & Mary Chain and Rubadub's very own Mother Mark. Back then it sounded like nothing else and today it still sounds just as vital.

'Cheeky' Speaker' compiles long out of print rarities taken from early Ampoule 12's and their Talent Hoover sub-label and previously unheard mixes.

All remastered and cut by D&M

Some info on the tracks from Lucky & Easy

A1. Bully Swimmer
A2. Kiss It Better
A3. Night Rainbows
B1. Wigged
These are from AMP01EP - Ampoule Records first release, only 480 copies were made never been repressed since. And that master cut was pretty terrible to be fair.

B2. Don't Play With Tractors
Taken from 'Electro Lix Sick' a limited edition 50 x 3"cd on Talent Hoover Discs.

B3. Puddle Pup
Is an exclusive mix of the original 'Puddled Up' which was released on the cd compilation on Ampoule 'Hookahs'

C1. Pimp Soul Sisters
Is an exclusive mix of 'Pimp Sole Blisters' Taken from 'Electro Lix Sick' a limited edition 50 x 3"cd on Talent Hoover Discs.

C2. Kitefinger
Remastered from the original release on the cd compilation on Ampoule's 'Hookahs'

C3. In 3 Minds
Is an exclusive mix of 'In Three Minds' Taken from 'Triple Warmer ep' on Earplug.

D1. Titswing
Titswing was recorded at Rubadub's infamous 69 party in Paisley, Scotland

D2. Pericardium Eight
Pericardium 8* Is an exclusive mix of 'Pericardium Eight' Taken from 'Triple Warmer ep' on Earplug.

Newly launched Dutch electro label LDI Records follows up their first release from T/Error with a deep and dark four track EP by French producer Franck Kartell. In a homage to masterful science fiction writer Philip K Dick - Side A of Electric Sheep EP evokes scenes from future mechanized worlds. Electric Sheep kicks the 12" off with a melancholic and contemplative moment followed by a steel cold and brooding venture in Voigt-Kampff. On the B side of this release, there is a live mix of Kartell's track Electro Music, a futuristic electro work out with kicks for the dancefloor. The EP completes with Victoria - an ode to the electronic musician Victoria Lukas who passed away in 2020 - with a beautifully poised and contemplative track steeped in synths. Franck Kartell is a French producer who has releases on Between Places, Transient Force, Ukonx Recordings, New Flesh, Bass Agenda and others. Since 2005 he has been producing well thought-out Electro music filled with dark atmospheres and driving rhythms. Specializing in moody, atmospheric electro, LDI Records (Lloyd's Dark Imperium) are an essential label to watch. Distributed worldwide by Clone Distribution, while the Dutch label's main focus is on vinyl releases, available in selected record shops across the globe, releases will also be available digitally.

Following on from their ‘Insect-Talk’ 12”, O Yuki Conjugate return to Utter for the vinyl version of their most recent album ‘Sleepwalker’.

‘Sleepwalker’ documents O Yuki Conjugate’s 2017-2019 live shows but also doubles as the soundtrack to a film of the same name by founder member Andrew Hulme. The music and images were conceived together and the resulting album comprises 10 tracks taken from 24 live performances in nine countries across Europe. ‘Sleepwalker’ captures OYC’s current musical direction, a blend of plangent keyboards, abstract guitars and electronic rhythms, presented in OYC’s inimical style.

Originally released in 2019 on CD by German label Auf Abwegen, ‘Sleepwalker’ is finally available in vinyl form complete with three additional live studio recordings from OYC’s ‘Flesh and Bones’ NTS session of the same year.

The album features a contribution from musician and actor Keeley Forsyth on ‘Eyelids Burn’ (courtesy of Leaf Records). It was mixed and mastered by Nurse With Wound’s Colin Potter and then transferred and cut by Helmut Erler at Dubplates & Mastering.

The sleeve houses a 16 page 10”x10” size booklet displaying images and text from the ‘Sleepwalker’ film, a special 12”x12” tour insert plus codes to download the album and view the film.

Be With is delighted to present Jorge López Ruiz’s El Grito (Suite Para Orquesta De Jazz), eternal Argentinian magic released on CBS in 1967 that must be one of the most sought-after South American jazz LPs.

Living in Buenos Aires in the 60s, driven by creative impulse and rage Jorge López Ruiz used music as his platform to protest the Argentine military dictatorship: “I could never stand dictatorships, to be told how you have to think, what you have to do. Nor did I endure discrimination”.

A young López Ruiz had appeared on a television panel alongside writer, politician and philosopher Arturo Jauretche, criticising the Onganía dictatorship. Jauretche told López Ruiz “Now say it with music”. This was the deep inhale that lead to El Grito, literally “The Scream”. As López Ruiz later explained “Jauretche urged me that my protests should not remain in words and acquire the consistency of a work… but it was not so much what he told me but how he told me, what prompted me to make the work take shape, first in a live concert and then in a recording”.

As the police and military began resorting to kidnapping, torture and summary executions to quiet dissent, with depressing inevitability the artist community and their work were a particular target of the increasingly brutal regime. El Grito was banned not long after it was released and the majority of original copies were unceremoniously destroyed.

The work of a genius artist living under an opressive dictatorship, erased by the government of the time, this is buried treasure in every sense and it’s been a rare record for over 50 years. But it isn’t just being hard to find that has pushed up the prices of those few original copies that survived, this is a foundational record in the development of jazz in South America.

El Grito (Suite Para Orquesta De Jazz) is a showcase for Jorge López Ruiz’s skills as a composer and arranger as he leads a virtuoso orchestra of the likes of Mario Cosentino (alto sax), Baby López Furst (piano), Pichi Mazzei (drums), Gustavo Bergalli (trumpet), Oscar López Ruiz (guitar), Arturo Schneider (flute) and Jorge López Ruiz himself plays double bass on the fourth and fifth movements.

As the album’s sub-title explains, The album is a Jazz orchestra concept suite. Five movements, to be heard as a whole, that end where they begin.

“When I wrote it there was no history of a cyclical work in jazz. But I didn't notice that, I needed to express something and I did it. At that time they told me I was crazy, that such a thing was very difficult to do. But hey, I like challenges”.

Yet this is not challenging jazz. There are certainly avant garde, free jazz flourishes, but the hard bop characteristics make this a very accessible album: easy to listen to without being easy listening. López Ruiz’s love of film brings a definite cinematic feel.

The title movement opens the album in bombastic style. “El Grito” grabs you by the lapels and refuses to let go. Raw then controlled, it’s by turns stabbing then soothing, with rage weaved in and out of the elegant styles. “M.A.B. = Amor” is our favourite here. With a tense introduction and a patient build, a gentle sax sweeps in to lift everything up to meet the serene piano and soft drums. Elegantly paced, it moves back and forth between deep contemplation and a more urgent call and response between strings and horns. A near-eight-minute, slow motion marvel.

The second side eases in with the beautifully-titled “Hasta El Cielo, Sin Nubes, Con Todas Las Estrellas” (“Up To The Sky, No Clouds, With All The Stars”) a relatively brief mid-tempo piece featuring López Ruiz’s insistent bass notes high in the mix, and again blending the sublime with the emotive with its wild horns and tight rhythm section.

It’s followed by “Tendré El Mundo” (“I Will Have The World”) which also leads with hypnotic bass, but this time swifter, driven by crashing drums, rapid horn conversations and effortlessly cool piano flourishes. Rounding out the suite, “De Nuevo El Grito” (something like “The Next Scream” or “The Scream Renewed”) is a stylish closer. Whilst López Ruiz’s bass shifts the track along, the horns and piano are more restrained, yet no less stunning.

This Be With edition of El Grito sounds sensational, if we do say so ourselves. Working with audio from the original analogue tapes, the vinyl mastering chops of Simon Francis are on full show here in what he considers to be some of his best ever work for Be With. Pete Norman’s cutting skills have made sure nothing is lost. The tortured artwork has been restored here at Be With HQ as the finishing touch to helping this revered work find a rightful place in every protest art collection.

In his tenth year with Acid Jazz, the ever-prolific Matt Berry
has crafted a psych masterpiece. Once again proving that
his artistic progression and ambition knows no bounds.
Following the acclaim of last year’s Top 30 album
‘Phantom Birds’ (★★★★ The Times), Acid Jazz release
‘Blue Elephant’, Matt Berry’s sixth studio album with the
ground breaking label.
Recorded during the summer of 2020, ‘Blue Elephant’ is
testament to Matt’s exceptional musicianship, production
skills and songwriting prowess with every instrument
played by Matt - including guitars, bass, a variety of
keyboards and synthesizers (piano, Wurlitzer, mellotron,
Moog, Hammond, Vox and Farfisa organs) - with the
exception of drums (supplied by Craig Blundell), on
arguably his best album to date.
This music soundtracks an album that explores themes
surrounding today’s close scrutiny in all its bewildering,
objectifying and unnerving experiences. Very much a
conceptual and, therefore, continuous long-player, the
album’s infectious grooves come to the fore on standout
tracks ‘Summer Sun’, heavy-psych instrumental ‘Invisible’
and the three-part ‘Blues Inside Me’, which encompasses
a psych journey through a late ‘60s and early glam filter,
mixed with the propulsive ‘Like Stone’.
‘Blue Elephant’ is available on digipack CD, blue vinyl,
black vinyl and audio cassette.

In his tenth year with Acid Jazz, the ever-prolific Matt Berry
has crafted a psych masterpiece. Once again proving that
his artistic progression and ambition knows no bounds.
Following the acclaim of last year’s Top 30 album
‘Phantom Birds’ (★★★★ The Times), Acid Jazz release
‘Blue Elephant’, Matt Berry’s sixth studio album with the
ground breaking label.
Recorded during the summer of 2020, ‘Blue Elephant’ is
testament to Matt’s exceptional musicianship, production
skills and songwriting prowess with every instrument
played by Matt - including guitars, bass, a variety of
keyboards and synthesizers (piano, Wurlitzer, mellotron,
Moog, Hammond, Vox and Farfisa organs) - with the
exception of drums (supplied by Craig Blundell), on
arguably his best album to date.
This music soundtracks an album that explores themes
surrounding today’s close scrutiny in all its bewildering,
objectifying and unnerving experiences. Very much a
conceptual and, therefore, continuous long-player, the
album’s infectious grooves come to the fore on standout
tracks ‘Summer Sun’, heavy-psych instrumental ‘Invisible’
and the three-part ‘Blues Inside Me’, which encompasses
a psych journey through a late ‘60s and early glam filter,
mixed with the propulsive ‘Like Stone’.
‘Blue Elephant’ is available on digipack CD, blue vinyl,
black vinyl and audio cassette.

Debut vinyl release from Spinning Wheel Records. Luxury g rap music. High quality lacquer cut premium 45. Anti themes throughout playfully mused through different women - heavy drums - analogue, sample led sound. All written and produced by Mosik Rhymes. MPC2000xl. Mixed and mastered by Morriachi & Mr Slipz. Graphic design by Mosik Rhymes. Cover model Lauren Leola.

‘Paths of Color’ is Nina Ryser’s sixth solo album. In
line with her past few releases, ‘Paths of Color’ is
characteristic Nina Ryser: dreamy, wonky, synthbased art-pop that’s bubbly, edgy, sweet and dark
all at once; with elements of post-punk, art rock
and free jazz. But on ‘Paths of Color’, Ryser has
honed her home recording and mixing skills and
refined her home studio set-up, making it her most
polished-sounding work yet. And, along with the
mastering skills of Angel Marcloid (Fire-Toolz), it is
intentionally clearer-sounding than anything she
has yet produced. But she’s maintained that
homemade vibe, as well as the freedom of
childhood expression that is so crucial to her
sound. Her background in contemporary classical
music serves to hold it all together in a taut,
designful balance.
Do-it-all-herself musician and artist Nina Ryser has
been home-recording since she was eight years
old on her Fisher-Price toy tape machine. She’s
also spent the past seven years in the buzzing artnoise-rock trio Palberta (as well as the projects Old
Maybe, Shimmer, Data and Fire Roast).
“As in her band, Ryser knows how to create an
emotional journey from unconventional material; in
this case, the path will leave you with a smile.” -
Fader
“One thing is for sure- Ryser’s style is something
that you will not forget.” - Impose

Distorted classical choral recordings, synths, processed guitar… The exquisitely complex human-machine interface experiments conducted by Stefano Pilia are kept in a delicate balance by John Duncan‘s lyrics and the soulful quality of his vocals, for an album of electroacoustic songs that are a unique blend for both artists. Seeds and memories from the past are re-actualized in the present through a machine electroacoustic compositional process creating a dark, gloomy and terrifying image of the future. Duncan’s lyrics offer a counterpointing liberation to the machine processes in action here, poetically revealing the dark and intimate struggle between the human soul and its rapport with the machine.

These recordings are a point of departure for Matilde Piazzi‘s inspired liner notes and photos, that take this release to another level entirely, becoming a metaphor for contemporary efforts to reach the limits of knowledge and discovery, their heroic nature and their inevitable failure.
Both artists worked on their respective sections in isolation, Pilia in an industrial area of central Bologna, Duncan in the wilderness several kilometers south of the urban sprawl. Together, their recordings developed an almost magnetic attraction that seemed to meld effortlessly.


The experience of listening quickly takes on a cinematic quality, exquisitely moving from an oceanic uplifting (Try Again) to the depths of apocalyptic, unsettling vocals (Fare Forward), constantly maintaining a lush, richly complex tapestry. The linear understanding of time is suddenly gone, dominated by a crushing machine-defined present, with Duncan’s lyrics and vocals becoming a shamanic portal to a possible future.
‘Try Again’ is released on digital/LP and was written, recorded and mixed by Stefano Pilia and John Duncan. Mastered by Ivan Pjevcevic. LP edition comes with insert, lyrics obi and text/photography by Matilde Piazzi.

Fold Unfold is the debut album by violinist Katrine Grarup Elbo from the Danish collective We like We. As a solo artist she steps out from the safety of group performance and presents a vulnerable portrait using only her classical training and analogue electronic setup.

Peaceful scenarios of natural beauty that hover like calm mist over cold streams are interrupted by spine chilling forces. Naked passages and electroacoustic electronics together create ripples in time as the pieces mold into flowers reaching for the outer edge. Elbo summons the most time stopping affairs using only the most basic of ingredients, as a true master. Clouds of uncertainty and reason echoes infinitely into the ether as she moves in and out of acoustic and manipulated sonic landscapes. Imagine Jocelyn Pook´s captivating Masked Ball piece from Kubrick´s Eyes Wide Shut with its clouds of mystery, suddenly turning unmasked and fragile, as if abruptly standing vulnerable in the shadows listening only to the reverb of the room and ones own breath.

The album was recorded and mixed at Saal 3, Funkhaus, Berlin with Antonio Pulli. In the 29 minutes runtime, we are presented with transportations through silent, almost Baroque sounding pieces towards overpowering, processed alterations of her violin that vibrates like echoes springing off the stars. A stunning debut with all its natural purity and intimacy.

Highly sought-after British Jazz-Rock with some vocals thrown in by NormaWinstone. Love Songs was recorded at Tangerine Studios, 1970, and it is sorefreshing, choral and utterly distinctive with a staggeringly good group ofmusicians led by Westbrook and Surman. A mix of the melodic and the wistful,backed by a groovy beat, reissue now available for this classic masterpiece.

Punk Dancehall fusion .. A Collision between African Headcharge and CRASS.. Born from the ashes of an early 1980’s Northampton based anarcho collective of musicians & artists – with a shared love of reggae and a punk neo industrial ethos – came REDUCER – We had to do things with an edge – to cut through the shit – that post punk new wave safe pop with a renewed knife of Joy & Righteous Anger – love & hate – life & death – banged out in a massive industrial reggae punk soundscape – our gigs were audio visual shock & awe – total commitment to the moment and the creativity – video projection,, incence & pyrotechnics, covering the venue walls with backdrops – it was a fully immersive experience. We never sought music business recognition- we weren’t in the music business! We were in the experience business! We recorded about 30 odd tracks in all, in order to try & catch the passion, energy & raw power of when we played live, the tracks were recorded over a period of 7 years. Each one unique, unrehearsed, spontaneous & improvised – one take, one mix onto cassette and a vershun if wanted & were done – capturing the raw passion & life energy that was pouring through us. About 5 years ago years we decided to set up a website & release what felt at that point may have been our 1st, last & only chance to get something on vinyl, & set up a website in order to tell the remarkable story of what happened in that little town in the Midlands 40 years ago and after we decided to digitize our archive of recordings and put them on the site and other platforms just as a “We were here & We did this” statement of public record – incredibly a Reducer Renaissance was born – the website mushroomed & we got US Radio airplay, we suddenly sold out our 1st vinyl release – Product & 35 years on a new audience got to hear & see what the myths & legends are about and they want more so, here it is, 5 tracks 5 videos. 35 Years old – Sounds like it was Recorded Yesterday. Think you’ve heard everything? You haven’t heard Reducer.

It is with extreme pleasure that we, Basement Boys Records proudly announce our 100th single release and 30th year in the music business as an active recording label!

Holding down our 100th release is the legendary multi-faceted singer/songwriter/producer Byron Stingily. As one third of the Chicago-bred, world renown trio, Ten City and as its primary lead vocalist, Byron’s velvety falsetto graced such House Music staples as “Devotion”, “That’s the Way Love Is”, “My Piece of Heaven” along with scores of other classic House music favourites. As a solo artist, Byron went on to create such memorable House jewels as “Get Up” & “It’s Over” a classic collaboration with the Basement Boys for his project on Nervous Records.

“We Belong Together” contains four mixes. The Monday Night Vocal Dub and Instrumental are up first, with percolating congas and swinging violins that accentuate the well-paced drums and percussion of this delectable mix. The brassy horns sing in tandem with Byron as he tugs on the heartstrings with his romantic, chromatic vocal adlibs and signature riffs. The sugar-laden strings and sparkling pianos brings to mind the 90's Ten City production of Marshall Jefferson.

DJ/songwriter/musician/producer, Maurice Fulton is one of House music’s true originals, back where he started. Maurice had the first release on Basement Boys Records with Sticky People "Kong". A man with a mind-blowing complexity behind all that is deep, dark and funky.

Fulton’s mix takes a more soulful tech approach employing a host of electro sounds. A fervent polyrhythmic vortex of percussive wind chime effects, married with classic snares, tom toms & hi-hats, deep sub bass and a meaty kick all define this masterful alignment of electro and acoustic elements. At the midway point, Maurice turns the suspense-filled symphonic intro from the previous mixes into this electro breakdown groove fest sure to drive dancers into a frenzy complete with Byron’s heartfelt lyric.

Closing it out the Main Mix in all its glory, hi-powered, dense bottoms and percussive elements, sweet R&B “boogie” style chords, neatly placed horn accents with Byron slaying the lyric as he always does in his exquisite, soulful pleading falsetto telling the object of his affection, “We Belong Together”.

If some of these titles look familiar, it’s because they’re among the most majestic roots and culture songs ever recorded, and by singers whose credentials are beyond question. All tracks feature the original artists and even the actual seventies’ vocal in some cases, but the rhythms have been recreated with today’s sound-systems in mind and are heard at their very best when roaring out of giant speaker boxes, greeted by a forest of raisedhands and with a deejay at the mic.

Producers Mafia & Fluxy include reggae legends Bunny “Striker” Lee and Fat Man among their mentors, and their mastery both in the studio and on stage is unrivalled outside of Jamaica. The way these two brothers play dub will make the hairs on the back of your neck stand up whilst the messages in songs like Every Tongue Shall Tell, Declaration Of Rights, No Peace and Fittest Of The Fittest are relevant as ever but then the music on this album isn’t dated, and is reggae, roots and culture for the ages.

Ryley Walker currently resides in New York City. But his latest LP is a Chicago record in spirit. The masterful Course In Fable, the songwriter’s fi@h solo effort,
draws from the deep well of that city’s ferCle 1990s scene, when bands like Tortoise, The Sea and Cake and Gastr del Sol were reshaping the underground,
mixing and matching indie rock, jazz, prog and beyond.
Walker spent his formaCve years in Chicago, absorbing those heady sounds and finding ways to make them his own. Even though he emerged at first in folkrock
troubadour mode, it makes sense that he’s arrived at this point; each LP has grown more intricate and assured, his influences disClling into something
original and unusual. To put it simply: Course In Fable is Walker’s best record yet, full of acCve imaginaCon and endless possibiliCes.
Last October, Ryley went straight to one of the primary architects of the Chicago sound to make the LP. John McEn:re, Course In Fable’s producer/engineer/
mixer, can rightly be called a legend for his work with Tortoise, Stereolab, The Red Krayola, Jim O’Rourke and countless others over a prolific career that now
spans more than three decades. Seeing his name in an album’s liners is preVy much a trademark of quality.
Another Windy City exile, McEnCre is based on the west coast these days, working out of the Portland, OR studio he’s dubbed Soma West. On the seven songs
here, he delivers the signature shimmering and prisCne sonics he’s become known for over the years. But McEnCre was also inCmately involved with Course
In Fable’s overall creaCve process. “I told him to take the mixes and have at it,” Walker says.
The result is a rich, immersive affair — a headphones record if ever there was one. Course In Fable’s songs are twisty, labyrinthine things, stuffed full of ideas
(Walker half-jokingly calls it his “prog record”). But no maVer how complex it gets, the album is never overwhelmingly busy. Wiry guitars melt into gorgeous
string secCons (arranged by Douglas Jenkins of the Portland Cello Project). Tricky Cme signatures abound but feel as natural as can be. Melodies o@en dri@ in
unexpected direcCons but remain downright hummable. Like Walker’s beloved Genesis, the pop element is never too far from the surface even when shit
gets weird. (And speaking of weird, Ryley says that in addiCon to Genesis, much of the album’s inspiraCon comes from “Australian extreme scooter riders on
YouTube and balding gear heads on Craigslist.” Go figure.)
To help put together these various puzzle pieces, Ryley assembled a band made up of several longCme collaborators. Bill MacKay (another Chicago mainstay)
and Walker have made two excellent instrumental duo records of interlocking guitars and warm give-and-take — a rapport very much in evidence
throughout Course In Fable. The freakishly talented drummer Ryan Jewell has performed with Walker for years now in a variety of seangs, from
straighborward song-centric sets to blown-out improv extravaganzas. Bassist Andrew ScoJ Young (Tiger Hatchery, Health&Beauty) has logged many miles on
tour with Walker; he and Jewell are frequently astonishing, a buoyant-but-always-locked-in rhythm secCon, able to navigate someCmes dizzying turnarounds
with apparent ease. Listening to the interplay between Walker and these musicians and you might be fooled into thinking they’d spent a year roadtesCng
Course In Fable’s songs. But it all came together relaCvely fast, thanks to demos, rehearsals and the kind of musical empathy that comes from years of
playing together.
Beneath the wondrous interplay, you’ll find some of Walker’s most personal – if sCll typically crypCc — lyrics, hinCng at some of the trials the songwriter has
been dealing with in recent years. Balanced with necessary doses of dark humor and oddball poetry, Course In Fable feels most of all like a life-affirming
record, fresh air in the lungs, sun on your skin. “Fuck me, I’m alive,” Ryley sings at one point, a moment of both disbelief and pure joy.
Walker has released his albums on a who’s-who of independent labels over the past decade — Tompkins Square, Dead Oceans, Thrill Jockey and Drag City
among them. This Cme around, he’s doing it DIY-style, puang Course In Fable out on his own Husky Pants imprint. You’re in good hands. This is an album that
sounds great (mastered by Greg Calbi), looks great (artwork by Jenny Nelson and design by Michael Vallera). It probably even smells great. Whether you’ve
been onboard since the beginning or are new to the Ryley Walker universe, you’re in for a treat.

Jack Nitzsche, a close collaborator of master producer Phil Spector, was an American musician, arranger and film music composer who worked extensively as keyboard player with high caliber rock stars like the Rolling Stones and Neil Young, among others. "The Lonely Surfer" originally released on Reprise records in 1963 was the first album under his own name. An all instrumental mix of Surf aesthetic and
eclectic orchestral arrangements featuring great West Coast based studio musicians such as guitarist Tommy Tedesco, drummer Hal Blaine and pianist Leon Russell. A golden summer classic full of surfing
sounds and vibes that can be easily summed up in one word: Timeless.

Few bands in the UK's heavy underground have quite managed to reach the dizzying technical heights of progressive death metal quartet LUNA'S CALL. The Lincolnshire based band are now ready to surpass their own high watermark they set with 2015's debut record Divinity, with their long-awaited sophomore album 'Void' being set for release on Listenable records. 'Void' is a highly ambitious opus crafted from extreme technical wizardry and an eclectic sound palette that reaches from progressive rock, technical death metal and neo-classical. The album has been mixed and mastered by legendary producer Russ Russell (Napalm Death, At The Gates, Amorphis). Listeners will stand in awe of the complexity and dynamic ebb and flow that Luna's Call conjure, pushing their sound and scope further forward with an even grander and more epic statement. 'Void' is a delightful showcase of pummeling drums, shredding riffs, spacey synths and varied vocal styles, across a record that explores themes of observing the Earth's environmental destruction from the vastness of outer space. LUNA'S CALL have become a vital staple-piece of the UK's vibrant metal scene with performances at Bloodstock Open Air Festival 2018 and Badgerfest 2019. LUNA'S CALL have performed with acclaimed acts including Hundred Year Old Man, Moloch, zhOra and more. With 'Void', Luna's Call aim to take themselves further forward with the potential to tour and play large festivals in the future.

ltd and numered 200 copies
Mastered by La Foudre - No-tek
Artwork and Mix by Xepsurah

Dark or/and Doom Hardcore. A warrior progressive way, with some double speed high time on the Blyzzard Side and a more industrial way on the flip suported by a melodious hip hop instrumental... before the kick come back to kick your (dancefloor) ass !!

CLAMM could not have come from anywhere other than Melbourne, Australia. Theirs is a city that bleeds music. Iconic bands such as Eddy Current Suppression Ring and Total Control have built on the city's history of open-hearted, fist-in-throat, fiercely independent music. Scenes centring around labels like Antifade, Flightless and Cool Death have held the torch for countless groups as good as any in the world. However, CLAMM arrived completely apart from any established scene or sound. They began playing shows in 2019, sharing bills with virtually anyone who would have them. Jack Summers (vocals/guitar) and Miles Harding (drums) had been friends and musical collaborators since early childhood. Under various banners, they performed for years with friends and siblings across Melbourne's underground landscape. It wasn't until they found Maisie Everett (vocals/bass) that the CLAMM picture was complete. Debut album Beseech Me was recorded with Nao Anzai (Rolling Blackouts, Floodlights, NO ZU) and mixed and mastered by Total Control's Mikey Young.

New York Hip Hop revolutionaries Ced-Gee, Kool Keith, Moe Luv and T.R. Love, known as Ultramagnetic Mc’s dropped their seminal debut album Critical Beatdown in 1988. Immediately grabbing the attention and pushing the boundaries of hip hop into new horizons, it was hailed as a masterpiece by the underground. Influential hip hop magazines The Source and Hip Hop Connection both listed Critical Beatdown in their Top 100 charts, naming it one of the best 100 hip hop albums ever. The 1986 single “Ego Trippin” is one of the first tracks to use the SP1200 drum machine (programmed by producer Ced-Gee), and the SP1200 would later become the golden standard for many hip hop producers. This expanded edition features not only the original album with the 15 tracks, it also includes 6 bonus tracks: the original 12” versions of “Funky”, “Bait”, “A Chorus Line” featuring Tim Dog, “Mentally Mad” plus “Traveling At The Speed Of Thought (Hip House Club Mix)” and “Ego Trippin (Bonus Beats)” coupled for the first time ever on vinyl. It also contains a 4 page booklet with interviews, rare photos and liner notes written by Angus Batey, the author of Rhyming and Stealing: A History Of The Beastie Boys and a writer for Hip Hop Connection and Mojo magazine.
This first pressing also comes with an exclusive photograph of Ultramagnetic Mc’s on thick cardboard. The timeless classic Critical Beatdown is available as a limited edition of 2000 individually numbered copies on yellow vinyl.

Rich in musical associations yet utterly singular in its voice, joyous with an inner tranquility, the music of Natural Information Society is unlike any other being made today. Their sixth album in eleven years for eremite records, descension (Out of Our Constrictions) is the first to be recorded live, featuring a set from London’s Cafe OTO with veteran English free-improv great Evan Parker, & the first to feature just one extended composition. The 75-minute performance, inspired by the galvanizing presence of Parker, is a sustained bacchanalia of collective ecstasy. You could call it their party album.

This was the second time Parker played with NIS. Joshua Abrams: “Both times we played compositions with Evan in mind. I don’t tell Evan anything. He’s a free agent.”

The music is focused & malleable, energized & even-keeled, drawing on concepts of ensemble playing common to musics from many locations & eras without any one specific aesthetic realization completely defining it.

“The rhythms that Mikel plays are not an exact reference to Chicago house, but that’s in there,” Abrams says. “I like to take a cyclic view of music history, can we take that four-on-the-floor, & consider how it connects to swing-era music? Can we articulate a through line? I dee-jayed for years in Chicago & lessons I learned from playing records for dancing inform how I think about the group’s music. The listener can make connections to aspects of soul music, electronic music, minimalism, traditional folk musics, & other musics of the diaspora as well. It’s about these aspects coming together. I don’t need to mimic something, I need to embody it to get to the spirit, to get to the living thing.”

For jazz fans, the sound of Parker’s soprano & Jason Stein’s bass clarinet might evoke Coltrane & Dolphy, even though they didn’t necessarily set out to do that & they play with complete individuality. Abrams sees a bridge to the historical precedent, too. “Since we first met in the 1990s, one of the things that Evan and I connected on was Coltrane’s music,” he says. “I hoped that we would tap into that sound world intuitively. In this case, I think that level of evocation adds another layer of depth, versus a layer of reference.”

Indeed, this is a performance in which the connections among the ensemble & the creative tension between improvisation and composition build into a complex mesh of associations & interactions. While the band confines itself to the territory mapped out by Abrams’ composition, they are remarkably attentive & responsive, making adjustments to Parker’s improvisations. When Parker’s intricate patterns of notes interweave with the band, the parts reinforce one another & the music rockets upward. Sometimes, Parker’s lines are cradled by the group’s gentle pulse & an unearthly lyrical balance is struck.

Drummer Mikel Patrick Avery is locked-in, playing with hellacious long-form discipline, feel & responsiveness. Jason Stein’s animated, vocalized bass clarinet weaves in & out with Lisa Alvarado’s harmonium to state the piece’s thematic material; the pulsing tremolo on the harmonium brings a Spacemen 3 vibe to the party. Abrams ties together melody & rhythm on guimbri, a presence that leads without seeming to. Like his bandmates, he shifts modes of playing frequently, improvising & then returning to the composed structure.

“As specific as the composition is, the goal is to internalize it & mix it up,” Abrams says. “The idea is to get so comfortable that we can make spontaneous changes, find new routes of activity, stasis & byways every gig. It’s like a web we’re spinning. If someone makes a move, we all aim to be aware of it, make room for it. Experiencing & listening is what it’s about, & Evan supercharges that.”

& “supercharged” is the word for this album. With Parker further opening up their music, descension (Out of Our Constrictions) is the sound of Natural Information Society growing both more disciplined and freer, one of the great bands of its time on a deep run.

Aguirre edition: Mastered by Helge Sten, Audio Virus, Oslo. Lacquers by Dubplates & Mastering. Liner Notes by Theaster Gates. LPs pressed on premium audiophile-quality vinyl at Pallas Records. US 2xLP edition available thru Eremite records.

HIGHLIGHTS 180g vinyl reissue of the mega rare Mexican-only Luiz Eça album from 1970 in facsimile artwork and remastered sound. The Brazilian pianist and founder member of Tamba Trio is accompanied here by a large group of top-notch Brazilian musicians including Joyce, Nana Vasdoncelos, Wilson Simonal and Claudio Roditi delivering an outstanding mix of energetic arrangements and delicate vocal harmonies. A samba jazz masterpiece. Exclusive RSD 2020 release. DESCRIPTION Tamba Trio (Helcio Milito, Bebeto Castilho and Luiz Eça) released their first LP in 1962 and quickly became one of the most popular bossa jazz combos out of Brazil. By the mid 60s the band would expand becoming Tamba 4 and Luiz Eça would record his first albums as a leader. Trained as a classical pianist, Eça's style was a mix of jazz and pop then blended into bossa resulting in a fresh and unique sound that evolved over the years towards an even more eclectic blend. "La Nueva Onda del Brasil" was recorded in 1970 by Luiz Eça accompanied here by " La Familia Sagrada", a large group of top-notch Brazilian musicians including Joyce, Nana Vasdoncelos, Zeca do Trombone, Mauricio Maestro, Claudio Roditi_ even Wilson Simonal joins the group on Jorge Ben's 'Pais Tropical'. The album was released years later on the tiny Mexican label RVV, run by Rogelio Villareal, also home to the very rare LPs by Primo Quinteto or Rozana in a similar vein. Villareal was the owner of the Camino Real hotels group and the RVV records were exclusively available for sale at the hotels premises, as souvenirs for visitors. The band spent some periods of time touring Mexico, performing at different Camino Real locations. The album distribution was very limited and never got a local release in their native Brazil (or anywhere else) making this LP a very sought-after record that has reached cult status among Brazilian music collectors Worldwide. "La Nueva Onda del Brasil" includes both standards and originals, all performed in a very free style, an outstanding mix of energetic arrangements and delicate vocal harmonies, a sort of very late and evolved bossa mixed with jazz, emphasizing the rhythmic elements with an afrosamba twist. A samba jazz masterpiece.

- 180 GRAM AUDIOPHILE VINYL
- FIRST PRESSING OF 750 NUMBERED COPIES ON
ORANGE VINYL

Fronted by ace drummer Sly Dunbar and his venerable sideman, bassist Robbie Shakespeare, The Revolutionaries were a conglomeration of many of reggae's finest studio musicians. At the time of recording Black Ash Dub, the group were in their prime, boasting a stellar line-up that included the fanes Riddim Twins
alongside such luminaries as Ansel Collins on organ, Bingy Bunny on guitar, Gladstone Anderson on piano.

The LP provides ample evidence of their talents, harnessed by leading producer Jah Thomas, with revered dub masters, Prince Jammy and Scientist, mixing the
killer selection.

Originally released in 1980 and featuring 2 major club hits in Marijuana' and Cocaine', Black Ash Dub is today widely heralded as one of the finest dub collections of the era and considered an essential addition to the collections of all serious fans of the genre.

Available in a limited first pressing on 'Trojan' orange vinyl!

The established favourite Nicolas Laugier AKA. The Reflex has been a crucial name in the fabric of electronic music, and is widely praised for his masterful production style which has gained the seal of approval of heritage artists such as Nile Rodgers, Giorgio Moroder, Nina Simon, Kid Creole, Kathy Sledge, Noel Gallagher, Bono and Paul Weller - morphing some of the world classics into contemporary; certified rave anthems. Loved by tastemakers alike including Rob Da Bank, Gilles Peterson, Craig Charles and Mistajam, The Reflex is responsible for unleashing some of the best remixes to date.

Returning off the back of his latest revision of Norman Doray and Darren Crook's 'Sweet Freedom', which has so far gained nearly 150 worldwide radio spins since it's release on 6th November, The Reflex now puts forward an incredible 2021 revision of two time Grammy award winner Nile Rogers' 'Do What You Wanna Do'. A modern disco anthem, the track has since been remixed by producers like MK, Eats Everything and Rob Da Bank. With an already established repertoire of essential remixes and re-edits, the London based producer combines his unique Disco and Soul blend with his acclaimed musical initiative to create what will be an intricate and exceptional upgrade, and a key selection of an already impressive arsenal of releases.

A percentage of the royalties from this release will be donated to Nile Rodgers' 'We Are Family Foundation' - who collaborate with forward thinking organisation who believe in youth and together, build creative programming and content, empowering young people to take humanity forward.

Far Out Recordings is delighted to present Mora!, and for the first time ever on vinyl Mora! II. Mexican-American percussionist and former member of the Sun Ra Arkestra, Francisco Mora Catlett originally recorded and released his debut solo LP as a private press in 1987, but the sequel he recorded over the course of the next few years with an expanded Detroit jazz brass section was shelved for decades to follow. A pan-American melting pot of hypnotic afro-cuban rhythms, frenetic batucadas and fiery sambas, Mora I & II are holy grails of latin jazz, masterminded by an unsung hero of the genre.

Born in Washington DC, 1947, Francisco Mora Jr is the eldest child of two highly prominent Mexican artists, Francisco Mora Sr and Elizabeth Catlett, to whom this project was dedicated. Being born into a mixed heritage bohemian family provided Mora Jr with what he called a “creative, progressive, and healthy arts environment”, building the foundations for a fascinating career journey ahead. Mora grew up in Mexico City where he began working as a session musician for Capitol Records in 1968, before moving to study at Berklee Music College in Boston, MA in 1970. Once he’d completed his studies in 1973, he very briefly returned to Mexico City with the best intentions of cultivating an avant-garde movement in the city, but when the Sun Ra Arkestra came to perform, Mora ended up leaving with the band to tour the world for the next seven years, a decent innings within a group famous for its constantly evolving line up.

Settling in Detroit after his years with the Arkestra, Francisco set to work on his self-titled debut, gathering an ensemble of musicians that included keyboardist Kenny Cox, founder of the legendary Strata Records, esteemed bassist Rodney Whitaker of the Roy Hargrove Quintet and percussionists Jerome Le Duff, Alberto Nacif, and Emile Borde. The album openly embraces and unites the broad spectrum of improvisation, rhythm, and jazz that has thrived throughout the American continents for centuries. In Mora’s own words the album intended to “manifest the African heritage presence in the American continent.” Epitomising this outlook, album opener ‘Afra Jum’ deploys a melody based on Haitian, African and Native American motifs, which is expanded upon by the soulful excellence of the Detroit veterans Cox and Whitaker, amidst a backdrop of afro-cuban inspired percussion.

The sequel Mora II was recorded shortly after with an expanded line up that included trumpet legend Marcus Belgrave, famed for his work with Ray Charles, Charles Mingus, Hank Crawford, Eddie Russ and Wendell Harrison. Continuing the concept of the first album, the follow up moves deeper into South America with the samba jazz dance belter ‘Amazona’, led by the rich vocals of Francisco’s wife Teresa Mora. The ‘Afra Jum’ concept is further explored, with the original motifs beefed up by the additional horns, and interspersions of Sun Ra inspired rumbling free improvisations. This follow up album remained shelved until 2005, when Mora put it out as a now obscure CD titled River Drum, but only now has it been given the high quality vinyl treatment it so deserves, presented as the sequel to Mora! as originally intended.

Through the 90s and into the the 21st century Mora would continue his Pan-American explorations, moving toward a more electronic afro-futurist direction as part of Detroit techno pioneer Carl Craig’s Innerzone Orchestra. Mora also worked with Carl Craig, moog synth wizard Craig Taborn, and his former Arkestra colleague, the legendary Marshall Allen, to form the Innerzone Orchestra spin-off Outerzone, released in 2007 on Premier Cru Records. Mora I & II will be out as two vinyl LPs, CD and digitally 16th April 2021.

When Nkrumah Jah Thomas hit Number 1 on the
Jamaican Charts in 1976 with his debut single
‘Midnight Rock’ on Alvin Ranglin’s GG label it gave the
new DJ a theme song and an entry into the world of
music. Within three years he had launched his
Midnight Rock label and, alongside more music under
his own name, he produced a series of classics by the
likes of Tristan Palmer, Anthony Johnson, Early B and
many more.
In 1997 he signed a deal with Acid Jazz’s Roots label
and since then his career as a producer has been
developed and anthologised; the release of a series of
archive King Tubby and Scientist mixes, the use of his
masters to be sampled by Nas (on ‘The Don’), Protoje
and others, plus reissues of his classic albums.
To celebrate 40 years of Midnight Rock, Thomas went
back into his tape archive to unearth another 10
tracks, either with original vocals or guest names
brought in.
Behind original rhythms recorded at Channel 1, Tuff
Gong and others, featuring the Roots Radics and The
Midnight Rock Band and mixed in places like King
Jammy’s and Tubby’s we are presented with a line-up
of stellar talent - Linval Thompson with the plaintive ‘I
Can Be Your Man’, the forthright Super Cat on ‘Me
Glad She Gone’ and Luciano on the rare ‘Good Thing
Goin’ On’. They are joined by Courtney Melody,
Pinchers and Joesy Wales, Daville and more. Keeping
the circle complete, Thomas appears on two tracks,
including the future classic ‘Sounds A Go Dead
Tonight’ with Junior Vibes.

Second Ballet Mechanique re-issue from the Eevo Lute archives. Originally released in 1997, it was his second appearance on the legendary Eevo Lute imprint. The Borrenbergs 12 EP II marks Jeroen Borrenbergs return with three jams of 90s feeling electro and half-stepping techno that easily passed the test of time. First track 'Where's The DJ (Pissbreak Mix)' counts over 13 minutes of gritty acid electro, making a halfway transformation into a moody two-step mover. The perfect two-in-one track gives you all the time to go for a toilet break while still being in the mix ;). On the b-side the emotive side of Borrenbergs returns to the surface, with 'Vinyl Voyage' being a spooky bleep jam and 'Diamond Cut' presenting his trademark bassline energizers. Fully re-mastered 2021 edition.

The Shapeshifters’ studio mastery and dedication to his craft has resulted in singles that stand up alongside golden era disco records as much as they sound fresh on dancefloors today. His rich relationship with Glitterbox has yielded instant classics that epitomise the label’s ethos for preserving disco’s mission to uplift and empower, especially with his latest release and debut collaboration with the Grammy, Tony and Emmy Award-winning Billy Porter, ‘Finally Ready’. Now this special 2 x 12” vinyl package includes an array of remixes from some of dance’s most esteemed artists. A real record box essential, the first disc features the original, as well as previously unheard versions from The Shapeshifters and two remixes from disco master and Glitterbox regular Dimitri From Paris. The second disc features housier, club-friendly versions from long standing friend of Defected David Penn and ubiquitous Polish duo Catz ’N Dogs, as well as Dimitri’s ‘The Sound of Paris Remix’ and the Acapella, an essential DJ tool. This is a stand-out package, with remixes you will want to keep hold of, securing ‘Finally Ready’ a position as a modern-day disco essential.

For our first release of the year we present to you our fourteenth 7”, a new collaboration between Ojah and Don Fe.

The A side contains the track “Lockdown Hope”, which was written and recorded during the first lockdown of 2020. It’s an uplifting track that invites the listener to dance and dream, bringing optimism with a mix of tough yet alluring militant drums that contrast with the ethereal and inspiring melodies of Don Fe’s flute.

On the B side we find “Lockdown Dub” a stripped down dub version mixed by Ojah that we hope will give you that Sound System dance vibe that we’re all missing (we can’t wait until those days are back!)

Hand-stamped and served in a thick custom reversed kraftliner sleeve.
Produced by Ojah, recorded at Alchemy Dubs Studio, London.
Flute by Don Fe, recorded at Don Fe Studio, Murcia, Spain
Mixed & mastered by Oscar Pablos “Ojah" at Alchemy Dubs Studio, London, 2020.
Graphic design by Victor Castro.

Autumns Meets Post-Punkers Uptown. A couple of years after the Dyslexia Tracks EP, and following a volley of killer releases on labels such as iDEAL, Death & Leisure and Opal Tapes, Autumns returns to Touch Sensitive with perhaps his most complete set to date. Pitching down the BPM but maintaining the intensity of his recent recorded output and incendiary live shows, Dyslexia Sound System sees Christian Donaghey turn the edit on himself with a grip of eight dub-wave zingers. Pulling from his love of On-U Sound, The Pop Group, and Public Image Limited, Dyslexia Sound System perfectly fuses dubbed-out dynamics with the tough and unrelenting electronics that has become Autumns' signature sound. Guitars squall, clarinets skronk, vocals echo, roto-toms repeat and - as always with Autumns - rhythm is king. Dyslexia Sound System is the sickest handbrake turn in Autumns' relentless and wired journey to date. Ltd. 250 vinyl. Mastered by The Bastard. Cut by Kitaro at Schnittstelle. Artwork by Rinky. Forthcoming Press: Ransom Note Premiere The Thin Air Premiere The Quietus Review Previous Highlights Radio/Mix/DJ play: Trevor Jackson, Ruf Dug, Regis, Broken English Club Gig / Tour Highlights: Playing with Wire, Beak>, Silent Servant, Veronica Vasicka 2016 performance at Paris Fashion Week for Downwards Records w/ Samuel Kerridge Recent online performance as part of Ireland's Celtronic Festival w/ Gerd Janson, Move D, David Holmes, Space Dimension Controller Previous Releases: Downwards Records, iDeal, Opal Tapes, Death & Leisure (Broken English Club)

Real Real World is the first collaborative effort from Nantes-based Australian drummer/percussionist Will Guthrie and Australian keyboardist/composer James Rushford. Primarily recorded in a fluid, spontaneous studio session in Nantes, with overdubs added later in Melbourne and Nantes, Real Real World presents five spacious, unhurried pieces that inhabit a unique sound world characterised by wheezing, half-voiced organ chords, chiming metal percussion, and eruptions of small sounds. Beginning with the eerily beautiful, shakuhachi-esque sound of Rushford performing on detuned portative organ, the opening title track is abruptly transformed by the entry of Guthrie’s sizzling cymbals, deep gong strikes, and rustling hand percussion. On the epic ‘Lumbering’, which occupies the majority of the record’s first side, organ chords define a space in which a kaleidoscopic succession of amplified thuds, chiming bells, rustled and dragged objects, and abruptly silenced clusters advance and recede in an oneiric blur, eventually making way for a passage of Guthrie’s virtuosic polyrhythms, itself unexpectedly overtaken by waves of melting fairground organ. The record reaches an energetic climax mid-way through the second side with the stunning ‘Slakes’, where lugubrious chords in the organ’s lowest register are joined by Guthrie’s skittering rhythms, which somehow manage to call to mind both the most chaotic moments of Balinese Gamelan and the stochastic breakbeats of late-90s Autechre. On this piece, Guthrie and Rushford are joined by Melbourne saxophone maverick Scott McConnachie, who contributes an alto sax solo of burning precision, working with a single-minded palette of piercing long tones and wild intervallic leaps. Though it makes extensive use of overdubbing, Real Real World retains a strong sense of having been performed, rather than constructed: while at times the fleeting succession of events can recall electroacoustic music, its primarily acoustic nature and unhurried pace is also reminiscent of the music of AACM affiliates or Marion Brown’s classic Afternoon of a Georgia Faun. Immediately engaging while also hiding countless details in the folds of its polychrome fabric, Real Real World is a relaxed and joyous document of collaborative musical invention.

Artwork by Patrizia Bach. Layout by Lasse Marhaug. Mixed and mastered by Joe Talia at Good Mixture, Berlin.

Zwerm is a Belgian-Dutch electric guitar quartet (with a backyard rehearsal shed located in Antwerp) that operates along the borders between styles and traverses traditions that are typically not convergent. Zwerm rhymes Larry Polansky with Nadah El Shazly and are galvanized by the likes of guitars pioneers like The Velvet Underground and Sonic Youth, the microtonal DYI-er Harry Partch, Middle Eastern sonorities and the prog-madness of Kind Gizzard & the Lizard Wizard. ‘Musical adventure’ is not just a hollow cliché for this quartet, but a genuine commitment. Zwerm calls itself a ‘guitar quartet’, but that can be interpreted broadly as well as with a pinch of salt: “If we want to do something on instruments we don’t really master, we’ll just figure out a way to make it work.”
Toon Callier, Johannes Westendorp, Kobe van Cauwenberghe and Bruno Nelissen all met in 2007 while working on a project with Glenn Branca. A new guitar quartet was born and it became clear rather quickly that staying in the strictly contemporary compositions lane was not for this quartet-with-five-to-six-members (an organizational chart is available upon request).
An appetite for new and lasting collaborations has been a constant theme throughout their artistic parcours. The group has shared stages with theatrical producers like Walpurgis and Post uit Hessdalen, dancers such as Ecce and with the musicians Fred Frith, Stephen O’Malley, Shiva Feshareki, Rudy Trouvé, Mauro Pawlowski, Larry Polansky, Eric Thielemans, Yannis Kyriakides, François Sarhan, Serge Verstockt and Stefan Prins. These projects have not always translated into records, but they have been decisive in creating a unique musical approach. In 2015, when Zwerm was asked by De Handelsbeurs to collaborate with Fred Frith, they proceeded to pen a few new musical sketches over which Firth sublimely improvised. In 2018 ‘Badminton in Tehran’ was released, their first record that was made up completely of only the group’s compositions.
“a basket full of buttons here
and if you push the wrong one: fear
and if you push the right one: love
or maybe none of the above”
The route that Zwerm has taken is often defined by the question “What if... ?” - like a dart thrown at a musical map, not quite blindly, but naive enough to lead to unexpected endings.
“What if we play Renaissance pieces written by John Dowland, but instead of playing lutes we play these tunes with a Telecaster – and then jam it through effect pedals and an amplifier?”
“What if we connect one hundred guitar pedals and just leave our guitars at home?”
“What if we record a record with ten different one-page-pieces that we found on the Internet?”
In 2020 our metaphorical dart landed on “What if we tried microtonality?”.
‘Microtonality’ sounds a bit creepy, but actually there is nothing to be afraid of: there are no out-of- tune notes, just alternate notes. On the continents where Western musical theory is less stringently applied, microtonality is the rule, and has become the subject of many deep and thoughtfully written theories. However for Zwerm, this phenomenon occurs in many, often surprisingly lighthearted forms. A dilapidated piano that has settled into a beautiful microtonal tuning of its own accord, enthusiastic choral singing, a guitar whose three strings are tuned a quarter-tone higher, a saz (Turkishquarter-tone lute), a maddening guitar pedal, ...
"the dreams they were convicted for telling only lies reality came after for claiming to be wise what you don’t see is what you get just never light a spark I’m a crow in the dark”
“And… what if we work with a drummer?” Enter Karen Willems - dummer, extraordinaire, and ardent player in groups, projects and collaborations galore. One chance meeting and the deal was done. It was obvious before the start that Willems was the versatile and creative percussionist-in-a-toy-store necessary for this project. And in the studio, to our delight, she demonstrated an easy dexterity when switching quickly from one idea to the next.
At the reins behind the scenes was producer Rudy Trouvé, who – during previous sessions for ‘Badminton in Terhran’, when the classically trained guitarists went completely off the rails, staring deeply and forlornly into their scores, looking for answers – was able to pinpoint the problem and get the wagons rolling in the right direction again. Completing the team were Mark Dedecker (recording)and Joris Calluwaerts (mixing).
The results are in and it’s called ‘ Great Expectations’ – a title that, in several ways, fits perfectly with these strange times.‘Great Expectations’ goes wide! Zwerm is at its best when it can run along the borders between style and across traditions that otherwise would not necessarily intersect. The most straightforward rockers have a proggy tinge while the dreamy psychedelic songs lean more toward Richard Youngs. And if a nice melody dared come to close to becoming a ‘Kit-Katjingle’, then barbs-a-la-Pere-Ubu were trailed, tracked, found and promptly embedded. ‘Heavy Machinery’ sits neatly somewhere between Captain Beefheart and Richard Wagner, and ‘On My Way To Aguno’, set to an Iranian folk song chord progression, grew into a hyper-personal lullaby. Zwerm used the saz (Turkish lute) and the sinter (Moroccan gnawa bass instrument) without falling into pastiche psychedelia, but you can still sense the orient.

The brand new UKHC band featuring Pierre Mendivil (Knuckledust), Nick Barker (Brujeria, ex-Cradle Of Filth/Dimmu Borgir/Testament) and members of Dripback and King Of Pigs. BORSTAL are set to release their much-anticipated debut EP titled "At Her Majesty's Pleasure" via 4 Family Records on April 1st. 6 tracks of vicious hardcore/metal. The EP was recorded, mixed and mastered at Monolith Studios by Charlie "Squid Commander" Wilson in Tottenham (September 2020). The EP also features a cover version of The Last Resort's "King Of The Jungle", featuring a guest appearance by non-other than Brit Oi legend, Mr Arthur Kitchener, father of Lee Kitchener (BORSTAL guitarist). This is the gold coloured LP version

Despite the fact that we are all still hanging in there, 2021 kicks in heavy in style for CHILDHOOD with a killer 4-tracker 12" release by DON WILLIAMS. Thomas and I met a while ago on a dancefloor, however our friendship sealed for good when we met online playing endless Splatoon sessions on Nintendo Switch. Our common interest in a broad range of things and music in particular led to a deep exchange of ideas when it comes to the love for the vinyl product. Having started the label last year with DJ DEEPs VAINCRE EP, I can surely state that Thomas was kind of a mentor and of countless help when it comes to setting things up. I therefore couldn't be happier and more thankful to welcome him to the CHILDHOOD family with BLITHE SPIRIT, a true masterclass EP ranging from experimental and complex rhythms, over driving dancefloor madness to soulful early morning ecstasy cuts. The first 100 copies come in marbled red vinyl. Be sure to grab a copy and while listening to it at home, having in mind that these grooves will tear dancefloors apart in a not so distant future. WE SHALL DANCE TOGETHER! - David Muallem

From Tumaco, in the deep pacific coast of Colombia, Plu con Pla carries forward essential styles such as Bunde and Currulao, which were created by the African diaspora in response to the realities of life in this coastal jungle territory. The musical language of the South Pacific region is traditionally interpreted with a marimba handmade from the wood of the Chontaduro palm tree and resonating tubes of Guadua (similar to bamboo), a large, two-sided bass drum called the bombo, two slender, high-pitched drums called cununos, and cylindrical shaker called a guasá, along with powerful call and response vocals. Plu con Pla brings a mastery of this language and repertoire together with an urgency of exploration and growth, incorporating hard-hitting urban styles such as Hip Hop and Reggae into their expression, and bringing Bass, Drum Set, Keys, and more into the mix. True to their roots, collective process and social justice consciousness is central to both their music and their actions, with lyrics that address hard themes such as racism and civil war, and a continuing commitment to teaching, leading workshops and accompanying the peace process in Colombia.

In 2018, Sean Worsey, a successful lawyer in California, began to receive some rather surprising emails. These were not from prospective clients, or about current cases he was working on, but rather queries from record collectors. They wanted more details about a pair of obscure, largely forgotten records he’d made in the mid 1980s as part of a virtually unknown band called Passion Theatre. To say he was surprised is an understatement. “People from around the world were emailing, calling and messaging us about the music, particularly a track called ‘Vacation Day’,” he says. “Our records were rare and gaining in value, mainly because there were not many manufactured at the time. By 2019, several individuals in the music industry had emailed me about licensing tracks.”

We eventually agreed with Sean to include ‘Vacation Day’, on Charles Bals’ second compilation, Retour Au Club Meduse. Impressed with the quality of the compilation Sean approached us again to discuss whether we would be interested in reissuing both of his old EP’s in full, an idea he’d been considering for a few months already. We jumped at the idea of course and have spent the last few months putting the reissue project together. The original studio tapes were long gone but a friend of Sean’s had some mint vinyl copies which we had shipped over from California to use as the master source, restored and mastered superbly by Technology Works in London. The striking original artwork from the two EP’s has been faithfully reworked into a gatefold double vinyl LP by designer Asger Behncke Jacobsen and features extensive interview/sleeve notes by Matt Anniss.

In the words of Sean Worsey - “One of the nicest things about the renewed interest in our music is that we can now enjoy it for what it is – back then we were a bit too worried about succeeding.”

Autumns Meets Post-Punkers Uptown. A couple of years after the Dyslexia Tracks EP, and following a volley of killer releases on labels such as iDEAL, Death & Leisure and Opal Tapes, Autumns returns to Touch Sensitive with perhaps his most complete set to date. Pitching down the BPM but maintaining the intensity of his recent recorded output and incendiary live shows, Dyslexia Sound System sees Christian Donaghey turn the edit on himself with a grip of eight dub-wave zingers. Pulling from his love of On-U Sound, The Pop Group, and Public Image Limited, Dyslexia Sound System perfectly fuses dubbed-out dynamics with the tough and unrelenting electronics that has become Autumns' signature sound. Guitars squall, clarinets skronk, vocals echo, roto-toms repeat and - as always with Autumns - rhythm is king. Dyslexia Sound System is the sickest handbrake turn in Autumns' relentless and wired journey to date. Ltd. 250 vinyl. Mastered by The Bastard. Cut by Kitaro at Schnittstelle. Artwork by Rinky. Forthcoming Press: Ransom Note Premiere The Thin Air Premiere The Quietus Review Previous Highlights Radio/Mix/DJ play: Trevor Jackson, Ruf Dug, Regis, Broken English Club Gig / Tour Highlights: Playing with Wire, Beak>, Silent Servant, Veronica Vasicka 2016 performance at Paris Fashion Week for Downwards Records w/ Samuel Kerridge Recent online performance as part of Ireland's Celtronic Festival w/ Gerd Janson, Move D, David Holmes, Space Dimension Controller Previous Releases: Downwards Records, iDeal, Opal Tapes, Death & Leisure (Broken English Club)

Sam Gendel’s new album, DRM, is the follow-up to his Nonesuch debut, Satin Doll, released earlier this year. DRM features Gendel’s solo musical experiments with vintage instruments such as a forty-year-old Electro Harmonix DRM32 drum machine, antique synthesizers, and a sixty-year-old nylon-string guitar — accompanied by his voice. While Satin Doll was a futuristic homage to classic jazz, DRM includes just one cover song: Lil Nas X’s ‘Old Town Road’, which Gendel interprets as an instrumental, playing the melody on an old German analogue synthesizer. The album’s accompanying short films were directed by Marcella Cytrynowicz and filmed at various locations around Gendel’s home state of California during COVID lockdown.



“I’m imagining people listening to DRM and thinking, ‘What the hell is this?’, like they’d just encountered some sailing ship in the sky,” Gendel says of the new work. “I imagine it as if someone many years into the future listened to the popular music of today and then tried to recreate it, without any of the tools or the understanding. Stylistically, it’s not too far from so much contemporary pop-rap music that you hear on the radio. A lot of those electronic backgrounds and instrumentals you hear today are tending towards something really out-there and experimental. It’s rhythmic and pointillistic, collaging different, seemingly unfitting elements together in cool ways. The visuals aren’t necessarily dictated by the music, but they both share the same slightly surreal feel, like I’m a video game character, inhabiting all these different backgrounds,” says Gendel.



Gendel is best known as a world-class saxophonist — it’s the instrument with which he’s led most of his bands, as well as the instrument on which he’s guested with the likes of Vampire Weekend, Ry Cooder, Moses Sumney, Sam Amidon, and Louis Cole’s Knower — but DRM is saxophone-free. “There was no active effort on my part not to include it; it just wasn’t part of the equation when I started recording it,” he says. “I just found a formula, working around this DRM32 drum machine, and rolled with it. I don’t consider myself just a saxophonist, I’m just someone who works in music.”



DRM was recorded in one sixteen-hour session, and then manipulated by Gendel with electronic percussionist Philippe Melanson. It was mixed by Blake Mills, and mastered by Grammy-nominated engineer Mike Bozzi. Gendel’s previous discography includes 2018’s Music for Saxofone & Bass Guitar with bassist Sam Wilkes, 4444, and Satin Doll, which the Los Angeles Times called “a woozy, blissfully twisted album.” He also performs on two other Nonesuch releases this month: Joachim Cooder’s Over That Road I’m Bound and Sam Amidon’s new self-titled album.

"Terrific!"- Steve Lamacq, BBC 6 Music. Double header 7" from NY production duo The Still Brothers. 'Wake Up' Mixed by Skinshape. The Still Brothers are Andrew LeCoche (Ula Ruth) and Evan Heinze (The Shacks). 'Wake Up' was created in a New York winter on a cloudy day. The song's bones were sculpted in the classic Still Brothers' fashion making use of a collection of favourite sounds. It came to life when Brazilian friend and collaborator Marina B heard the track in her sleep and thought of the song's lyrics as she woke up. It might take you to that place in-between dreams and the waking life, where you are pulled in and out of a state of slumber. It incidentally speaks to the abrupt change that was about to fall upon the world in early 2020. Between the singing in Portuguese and the sounds of subway doors, the song is just alienating enough to make anyone these days to feel right at home. 'Wake Up' was mixed by Will Dorey aka Skinshape and mastered by Alex DeTurk. The cover art was designed by Sofia Ohanna. Inspired by subway preachers, jazz funerals and Hip-Hop 'The Deep' serves as an introduction to the dazzling skills of New York production duo The Still Brothers. Their debut track breaks open with a reverend crying out about the transgressions we have committed against each other. He then observes that so many of us are throwing up our hands in an act of surrendering. A poignant sentiment in these troubling times and one that will resonate throughout the world.