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"Empath Live In America", der dritte Teil der Devolution-Serie, ist ein Dokument der Tour, die Anfang 2020 abgebrochen wurde. Wie Devin erklärt: "Diese Tour markierte eine 'Freiform'-Version des Materials. Es gab keine Backing Tracks, Click Tracks oder gar eine Setlist, so dass jeder Abend einzigartig und anders war. Das Publikum rief uns Wünsche zu und wir machten einfach mit. Das Material wurde daher auf einzigartige Weise interpretiert, und das Erlebnis war ein ganz besonderer musikalischer Abend". Mit einer reduzierten Version der "Order of Magnitude"-Band fängt diese Veröffentlichung eine rohe und verrückte Performance ein.

Renowned Danish trumpeter Kasper Tranberg reforms his delicate chord-less trio with Nils Davidsen (bass & cello) and Frands Rifbjerg (drums) for the release of "Nobody"s Heart". Active on the jazz and improv scenes since the early 90s, Tranberg has been described as a player of great heart and purpose. Inspired by the iconic improvisers of our time, the album explores the connection between their instrument, their body and their soul. A collection of eight songs that Tranberg has deemed his favorites of the past few decades, the repertoire ranges from tin pan alley legends Rodgers and Hart, to visionaries like Ornette Coleman, to contemporary Danish singer/songwriter C.V. Jorgensen. On selecting the repertoire, Tranberg says "it was not about surface flash, technique or speed, but I followed my heart, my own footsteps and encounters in the previous 2 or 3 decades". Tranberg, Davidsen & Rifbjerg have been performin together since the early 1990"s, united by their passion for an exploratory and unpredictable playing style. With emphasis on stillness, melody, and texture, the record"s tone is melancholy, peaceful, and restorative. Tranberg"s intimate, warm trumpet sound soars above a bed of fluid bass and drum texture, slowly evolving from miniscule and sparse to dense and chaotic. Egoless, mature, and without flash, it is apparent the ensemble holds listening in high regard The trio seems to breathe as one, with each member aiming to make every note and sound mean something. Capturing the essence of each of the songs and making them undeniably their own, "Nobody"s Heart" is deeply personal, meditative and intricate. "Sometimes something else sings through the room and music - not often, but it"s a great feeling when it happens." - Kasper Tranberg

Opaque Purple Vinyl.

Former Mind & Matter bandmates James "Jimmy Jam" Harris and Michael Dixon teamed up for 1978's gospel-boogie banger "You're All I Need" b/w "You're Everything" on the private Mad label.

Routed through an interdimensional gateway; the latest message from Psy-fi Sounds has materialized. Reporting back to the home world with 4 separate accounts of their latest cosmic endeavors. Encounters with complex life forms, analysis of digital realities and investigations into the true nature of the universe are transcribed within. The trilogy is now complete.

Incredible jazz / prog / folk score to groundbreaking tattoo film by maverick filmmaker. Unreleased until now, so don’t go saying it’s a reissue because it isn’t, but I’m sure some people will because they always do.

John Samson (1946 - 2004) was a truly great documentary maker. He must be as I’ve been obsessed with his work for many years. Educated first at Glasgow School Of Art (circa 1963) and then finally in the art of film making at The National Film And Television School in Beaconsfield - he headed there in its opening year of 1971 having made a short film that got him a scholarship.

It was at the NFTS that Samson met Mike Wallington, who was to become his right hand man and eventual producer; together as a quite brilliant team they made a handful of inspiring, entertaining and hugely prescient films about important, overlooked, unseen and marginal fringes in society. Tattoo (1975) Exploring the rather clandestine world of tattooing in the UK. Dressing For Pleasure (1977) Exploring the rather clandestine world of festish in the UK. Brittania (1979) A film about railway enthusiasts and a steam train restoration.

Arrows (1979) The life of dart player Eric Bristow. Drag Ball (1981) An unreleased film about the annual Porchester Hall Drag Ball. The Skin Horse (1983) BAFTA winning film about The Outsiders Club, a dating agency for disabled people. The subject matter in all films was always unusual for the time, and Samson managed to navigate his way with compassion, interest and subtlety, immersing himself in the chosen scene and producing moving, fascinating and sometimes darkly amusing situations. His documentaries also do not rely on traditional voiceovers, with stories, facts and narrative threads being dictated by the subjects.

I’ve tried for a long time to find the music for a couple of his early films (there was actually an original 7” for Arrows) - so far this is the only unreleased soundtrack I have found. This one was written by Steve Jolliffe, who met Samson at the NFTS. Joliffe was the resident composer and had a room at the college complex where he could work on scores for the fledgling film makers. Jolliffe was and still is a multi-instrumentalist and prolific composer who had met Edgar Froese at the Berlin Konservatorium in the late 1960s and played in an early incarnation of Tangerine Dream. He toured with blues rock outfit Steamhammer, before hanging out at the NFTS, making this recording (and many others) and eventually rejoining Tangerine Dream in the late 1970s. Jolliffe still writes, records and releases today and once i had made contact with him we traced the original Tattoo master tape to a box at his brother’s house. Musically it’s charming, slightly folky, a touch baroque, there’s a whiff of prog too, and it perfectly suited this early documentary about the art and desire of tattoos. I only wish it was longer. But the film is only 16 minutes long. Seek it out if you can. Try and find all the Samson films, they really are a joy.

As well as featuring intimate footage of tattooed people, the film also includes a rare and very early interview with Alan Oversby (better known as Mr Sebastian), a seminal character in the development of tattoos and body modifications worldwide - it was he who eventually was to tattoo and pierce Genesis P-Orridge.

The images for this vinyl release were all found in Mike Wallington’s Tattoo documentary research folder from 1974, and were photos sent in to Mike and John by people who wanted to feature in the film. Most answered an advert in Time Out, and others included people from my home town of Aldershot where tattooist Bill Skuse and his wife, Rusty (the most tattooed woman in Britain at the time, and featured in the film) were based. His parlour was situated at the back of the arcade where we all used to lose all our pocket money in the slot machines.
The Musicians:
Steve Jolliffe - keyboards, flute, sax Geoff Jolliffe - bass guitar Julian Furniss - guitar Mick Kirby - drums

Lndon Odense Ensemble is a powerhouse quintet that combines forces from the Causa Sui/El Paraiso family tree (Jakob Skott, Jonas Munk, Martin Rude) with the vibrant, experimental London jazz scene (Tamar Osborn, Al MacSween). On two studio full-lengths, released in 2022 and 2023, they have explored the confluence of psychedelia, improvisation and cosmic jazz. On this set, recorded at the 2021 edition of Denmark's Jaiyede Jazz Festival, the energy is cranked up another notch or two. Comprised almost entirely of exclusive material not found on the two studio records these three sonic excursions dive head-on into the fiery side of the group's sound. Taking up the entire A-side "Energy Ascending" starts out as a gently flowing piece of dreamy jazz that wouldn't have sounded out of place on a late 1960s Pharoah Sanders record. As the piece evolves the guitar takes it into rock territory, where it dissolves in a mesmerising breakdown before commencing a build of epic proportions, lead by Tamar Osborn's baritone sax, channelling The Stooges as much as John Coltrane. Heavy. On the B-side things get more electronic and spacy. Here the ensemble uses album track "Sojourner" as a starting point for a new improvisation guided by Al MacSween's virtuoso keyboard work. The rhythm section creates a hypnotic foundation for layers of synths and electric keys to fully blossom and travel into cosmic territory. Limited to 300 copies on transparent ochre vinyl.

Groundbreaking early work from drummer Milford Graves and pianist Don Pullen – a set of long, free improvisations that were originally issued on Graves' Self-Reliance Productions label! The music is even more striking than sounds from the time on the ESP label – and also really predates some of the freer work of this type from the European scene – as Graves is a monster on the drum kit and a range of percussion, reaching out with this scope of sound and deft command of his hands that's simply breathtaking – matched by energy from Pullen that really surpasses some of his later work too – almost Cecil Taylor-like vibes at points, mixed with other elements that are in a more familiar mode for the pianist.

A complex and sometimes belligerent character in real life, on record,
John Martyn was the epitome of the folk-dreamer, embodying the spirit
of the bourgeoning London acoustic scene of the late 60s
Well- known and respected for his 70s albums Solid Air and One World, this is
where it began.The second and final John and Beverley album, The Road To Ruin
came out in late 1970; it is a mature, fully realised work, and a glimpse of what
would have happened had Island not encouraged John to go back to being a solo
artist. Opener Primrose Hill was later sampled by Fat Boy Slim, and the John-led
Parcels offers a template for what would become his signature style as the
decade progressed. It is one of those rare albums that creates its own
atmosphere, late night intensity, middle age soul.
This re-issue faithfully replicates the original 1970 Island Records UK release and
is pressed onto high quality 180g vinyl.

Roach is Miya Folick's clearest and most direct work yet, eschewing
some of the lyrical and musical obfuscations she layered onto her 2018 debut album,

Premonitions With ear- worm melodies, heart- wrenching poetry, eclectic production and anchored by Folick's once-in-a-lifetime voice, Roach straddles a line between pop and something more experimental.

She enlisted a team of collaborators who she
trusted to bring out the grittier side of her artistry, including Gabe Wax (War on
Drugs, Fleet Foxes), Mike Malchicoff (King Princess, Bo Burnham), Max
Hershenow (MS MR) and a team of some of LA's best players. The result is an
album that sounds as honest and intimate as the subject matter at hand, a
candid snapshot of where she is now and what it took to get there

The first witnesses to Samuels' new beginnings fittingly became part of
the sound of the album - During her darkest moments, while writing in
isolation, her old friends in the band Bonny Light Horseman offered to
take her out on tour in early 2020
"They re-contextualized music for me all over again," she says. Observing a truly
kind and compassionate music community brought Samuels out of herself even
more. Inspired by conversations with producer Josh Kaufman (The Hold Steady,
Bob Weir, Cassandra Jenkins) on the road, Samuels took him up on his offer to
produce her new songs and retreated to Isokon Studios in Woodstock, NY in the
summer of 2021. They made the album as a duo, with Matt Barick (The Walkmen,
Fleet Foxes) contributing drums on the entirety of the record. The result is a sonic
template that ranges from the soaring and orchestral to the understated and
confessional; at turns free- wheeling and filled with swagger then sincere and
precise, with each subtle movement serving to highlight Samuels' lyrical journeys.

Today, powerhouse mande jazz ensemble Balimaya Project announce
their second album When The Dust Settles to be released by New Soil in partnership with Jazz re:freshed on July 21, 2023
A dynamic maturation of the group's thrilling big band sound, When The Dust Settles is a personal and cathartic expression of grief, rage, love and joy.

Fusing West African rhythmic tradition with the energy of London's jazz continuum, the album celebrates the restorative power of Black male brotherhood among diaspora communities in London.

Led by composer/arranger and UK-based Djembe player Yahael Camara Onono, Balimaya Project have established themselves as one of the most exciting and forward-thinking ensembles in Britain.
Enlisting guest vocalists Afronaut Zu, Obongjayar and Fassara Sacko across ten groove- laden and punchily percussive tracks, each song on When The Dust Settles engages intentionally with the significance of folkloric rhythms to illuminate themes that include the death of Camara Onono's older brother, losing a child, becoming a father, migration, survival and a search for truth.

As Camara
Onono describes: "One thing that's really linking us is that concept of family and the bonds are getting stronger every time ... It was important to me to go deeper and address not just tradition and culture, but also address emotion."

The "straight horn" referred to in the title of this superb album from 1961
is the soprano saxophone, and Lacy is recognized as one of the greatest
to ever play the instrument, ranking alongside John Coltrane and Sidney
Bechet
Because of the difficulty involved in mastering it's pitch challenges, very few
jazzmen concentrated on it. Lacy is widely considered the first "modern" musician
to specialize on the instrument. Lacy had long and prolific career and a
fascinating style trajectory. At sixteen he began playing Dixieland with the likes of
Pee Wee Russell. In the mid 1950's he played free jazz with Cecil Taylor, and
appeared with his groundbreaking quartet at the 1957 New Port Jazz Festival. He
made a notable appearance on the 1959 Gil Evens, Great Jazz Standards album.
Along the way, Lacy became obsessed with the music of Thelonious Monk,
working with him several times including the 1963 Big Band and Quartet in
Concert album, and devoted much of this life's work to the interpretation of
Monk's materiel

"When the call came from WDR Rockpalast, we were thrilled - And the joy
grew from day to day," says Peter Bursch, head of the German Krautrock
legend Broselmaschine, founded in 1968 by "Germany's most famous
guitar teacher".Back in 1968, the Heinrich-Robert coalmine in Hamm was
still in its full bloom
Coal had been mined there since 1901, the year in which the Heinrich and Robert
shafts - as they are called in miners' jargon - were "abgeteuft", followed by the
Franz shaft in 1923. On November 10, 1997, the colliery closed its doors forever.
In the colliery's former wage hall, where the miners used to receive their
envelopes with their weekly wages, Broselmaschine rolled out carpets, plugged in
cables and set up their instruments on April 20, 2021. The high-ceilinged rooms
not only provided a matchless scenery, but also the basis for a unique ambient
sound. The perfect setting for Broselmaschine. But Corona had almost
completely paralyzed public life at this point; the pandemic was taking its toll on
the entire cultural scene. Spectators were not allowed to the events. The artists
and bands gave concerts anyway, sometimes from their flats, rehearsal rooms or
in small, empty clubs, and then came to the fans' homes via live stream. This also
applied for the WDR's Rockpalast with its "Offstage" series. The makers of
Rockpalast organized concerts with performances by artists in special places
that were deserted during the lockdown. That had its own charm and was
something very special.
This was also the case with Broselmaschine. The band played almost exclusively
songs from their latest studio album "Elegy" from 2019, as well as the title track
of the previous album "Indian Camel" and as a finale the Marc Bolan cover of
"Children Of The Revolution". Broselmaschine put on a great performance, no one
missed the audience that was not physically present. But it was there, this
audience. And it was in the hearts of the musicians. You can feel this with every
note this outstanding band was playing. Never were Broselmaschine more
musically valuable than on that special occasion.But judge for yourself.
Unique Rockpalast concert OFFSTAGE from the Corona era, recorded on April 20,
2021 at Heinrich-Robert colliery in Hamm, Germany - also available on vinyl

Cult Argentinian darkwave act Euroshima’s Gala sees a vinyl reissue courtesy of Dark Entries. Euroshima was formed in 1986 by Fabián Iribarne, José Wyszogrod, Ricardo Parrabere, and vocalist Wanda. Originally released in 1987 on Polygram, Gala was a success throughout South America. But to the band’s dismay, they received minimal support from the record label, which meant the album would linger in obscurity outside of the region. A CD issue via Twilight Records surfaced in 2020, but this is the album’s first reissue on vinyl.
Gala’s legendary status among cognoscenti is warranted. The album’s nine tracks display all the hallmarks of the best darkwave: spiky guitars, analog synth basslines, and wailing vocals. But Euroshima make their mark on the genre with impeccable songcraft and a honed sense of the uncanny. While the band themselves rejected the label of “gothic”, it’s hard to resist busting out the black eyeliner when listening to gems like the uptempo “Como Los Otro” or the churning album-closer “Mejor Callarlo”. Highly recommended for fans of Xmal Deutschland, Lebanon Hanover, pummeling TR-707’s, and doom-laden synths.

This reissue is co-presented with Twilight Records, responsible for the 2020 CD reissue of Gala. It has been remastered by George Horn at Fantasy Studios. Also included is a double sided insert with lyrics and photos, as well as a postcard featuring a photo of the band.

The master sleuths at Dark Entries bring us Forbidden Overture, another tantalizing mystery from the hidden depths of sleaze. It all began years ago when Bijou Video’s Jules Zinn introduced the label to the soundtracks of the pornographic films of legendary filmmaker Steve Scott and gay superstar Al Parker. It wasn’t until The Magazine’s Bob Mainardi gifted a cassette copy of the soundtrack to the film TURNED ON—a bathhouse fantasy from 1982—that the wheels started turning. The steamy, hypnotic sounds were credited only to “Forbidden Overture…” but who was that? This question remained unanswered for some time, and countless hours of research, Venn diagramming, and elaborate flow charts all proved fruitless.
It wasn’t until a chance screening of BAD GIRLS DORMITORY, a 1986 women-in-prison movie from gay porn director Joe Gage that happened to reuse some of the same music did the answer become clear: Forbidden Overture was none other than the mighty Man Parrish!​

The soundtrack to TURNED ON consists of two epic side-long pieces, both of which employ classic Man Parrish production techniques. “Primal Overture” slinks along with brooding pads and ominous chords, building and oozing throughout its 27 minute runtime like a sultrier Goblin soundtrack. “Strictly Forbidden” takes a similar groove to a major key, but it’s optimistic chirp conceals a wry, mysterious wink. Says director Steve Scott: “It took us about two weeks to find the right piece for the jockstrap scene. But it's like anything else—you know when it’s right.”

​Also included is a 20 page booklet featuring photos, archival material, a pull-out poster, and interviews with Steve Scott and stars Al Parker and Scott Taylor. TURNED ON is an exciting musical rediscovery as well as a vital document of queer history.

Members Only is a group XXXTentacion formed as he was still bubbling beneath the surface of the mainstream. Group members have included Ski Mask the Slump God, Kid Trunks, Craig Xen, Killstation, Coolie Cut, Bass Santana, Flyboy Tarantino, Tankhead and Kin$oul. Following the release of their fourth project, “Members Only, Vol. 4,” the collective has gone on an indefinite hiatus, with some of its most prominent members such as Craig Xen and Wifisfuneral exiting the group. Three former members including XXXTentacion have sadly passed away.

Volume 4 was originally released via EMPIRE on January 23rd, 2019 which would have been XXXTentacion’s 21st birthday. 2LP + 24 tracks in length.

“Insomnia” is the third solo album from Italian jazz beat maestro Koralle for Melting Pot Music. Without exaggeration, it can be described as the most mature and advanced piece of work by the beatmaker and producer from Bologna. On “Insomnia” Koralle invites some of his favourite artists and musical peers to collaborate and exchange sounds, ideas, beats, melodies and lyrics. The guest list includes fellow producers & musicians FloFilz, Pachakuti, Figub Brazlevic, Kuranes, Phoniks and Brous One as well as rappers and singers Kid Abstrakt, KeepVibeNear, Ryshon Jones.

All tracks produced and mixed by Koralle. Recorded at Godblesscomputers Studio, Bologna (Italy). Mastered by Roe Beardie. Artwork by Giulia Dall'Ara. Layout by Chicken George.

Dance music powerhouse Deeptrax follows up recent dispatches from Joey Anderson and Caim, with a label debut from fellow Dutch techno stalwart Robert Vosmeijer AKA De Sluwe Vos, who offers a 5-track collection that explores the depths of both music and sound.

Crafted during the pandemic, Vosmeijer, who had been experimenting with ambient music and sound design, found himself longing for the dancefloor and its ability to disconnect you from reality whilst reconnecting you with friends. As such he began digging into his record collection, absorbing sounds and reenergising his creative output.

"I loved making these records because it felt like I could express myself, within the 'De Sluwe Vos' project, again.”

The Patron Records boss’ new Terraforming EP opens with ‘Reeeese’, a heavyweight ode to the legendary bass sound that underpins the track with its thick layer of treacly warmth. Solar Prince turns our focus on percussion, with its xylophone melody dancing between vaporised synths and string-laced stabs, to create a soothing and yet urgent soundtrack.

On the flip, title track Terraforming, with its wonderful analogue crackles and hisses, lets the pulsing sub steal the show again as pressurised hats snappily punch holes in the atmosphere. Jupiter's Universe exudes a roughly cut techno 2step, layered with pulsing cosmic synths and bubbling melody.

Finally the EP is rounded off by Crawford. Another track that perfectly rides the intersection of music production and sound design. It’s cosmic keys and scything synths work almost at odds with the tribal roll of his drums, yet come together to create a mature and unique production.

From teddy grahams to pussy hats, California forest fires to cash cabs, the stuff of American nostalgia and horror adorns a personal reckoning on Christina Schneider’s triumphant third album as Locate S,1. With a name culled from a Daschel Hammitt noir novel, Wicked Jaw pulls from wildly disparate references and textures to survey the history of American pop music. Like Pat Benatar soundtracking an Adam Curtis documentary, the album trades in dramatic juxtapositions across its kaleidoscopic ten tracks. Only Schneider could pull off singing a line like “season finale 2020 death machine” as a soothing lullaby, but jarring contrasts echo the tumultuous personal journey woven throughout. “I was in hell ... and loving it,” Schneider said of her childhood, describing a murky cocktail of sentimentality and despair. “It’s like when you escape the matrix and then you remember your wonderful time in the matrix.” The Athens, Georgia based songwriter, producer, and virtuosic pop connoisseur authored the album over two years while beginning treatment for childhood sexual abuse by a relative. “I was using these songs as an expression valve for all of these