Cerca:mat s

• The veteran roots reggae duo returns with ‘Back A Yard' (patois for 'back in Jamaica').
• The 11-song set features longstanding members, Winston "Pipe" Matthews and Lloyd "Bread" McDonald, in the studio with producer/ singer Alborosie, whose deep study of Jamaican music was heavily influenced by the Souls and their heyday at Channel One studio in the 1980s.
• The production features all-star musicians including keyboardist Tyrone Downie (formerly of The Wailers) and bassist Errol "Flabba" Holt (of the historic Roots Radics band).
• The first single is a re-make of "Shark Attack" one of the bands classic '90s hits, featuring a deejay verse by Alborosie.

The debut album from Kiri Ra! is an intuitive journey through landscapes of spectral otherness with colors of post classical minimalism, ambient folk and spiritual jazz. Starting as cross Baltic improvisation group in 2014, Kiri Ra! found form in the winter of 2016 when Finnish experimental artist Lau Nau, Finnish jazz saxophonist Linda Fredriksson, and Swedish pianist Matti Bye were commissioned by The Swedish Film Institute to create music for experimental amateur documentary films from its archive. Their debut album is made up entirely of improvised live studio recordings that stemmed from this film-scoring effort. With meticulous attention to detail and a sense of wonder, the players are collective witnesses to what can unfold between three musicians in a room. As illustrated on the tracks "Happlo'os" and "))Glänta//", softly played piano ostinatos, field recordings and bowed percussion set a visceral foundation for the saxophone to carve melodic tones of tingling melancholia. This warmth and sense of intimacy prevails throughout the album, as illustrated on the serene track "Linnesöndagen Gynnas Icke", whilst "Kites Över Gärdet" is an almost supernatural unfolding of timelessness.

Gold-certified bluegrass band The Dead South announce Served Live, their first double live album, available for pre-order now. Recorded during the Served Cold World Tour, which traveled the USA, UK and Ireland before the live music industry was shut down by the pandemic, Served Live is a full concert set list taped at iconic and beloved venues, from London’s Brixton Academy and Denver’s Mission Ballroom to The Belasco Theatre in LA. Featuring new material from the JUNO Award winning album Sugar & Joy, alongside the band’s top charting, global viral hits from previous records, Served Live puts you in the front row in your own home, where we hope you’ll stay safe. "We've often thought of ourselves primarily as live, performing artists as opposed to recording artists. Our studio albums exist as a reflection of and advertisement for what we really do, which is put on high-energy shows. While a "live recording" is a bit of a paradox, we're very excited to give our fans a glimpse of what we do best. If you've seen us before, we hope this record will in some small way bring you back to the sweaty, loud live experience we've all been missing. If you have yet to see us, we hope this record excites you to come see us in the (hopefully) near future.” Served Live will be released January 29, 2021 via Six Shooter Records.

Wild Pink’s last album, 2018’s Yolk In The Fur, concluded with a song about the strange sense of relief that comes with “letting go of youth.” Frontman John Ross, then in his early thirties, was singing from a place of newfound comfort and wisdom, but it ended with a repetition of the line, “I don’t know what happens next.” The song, titled “All Some Frenchman’s Joke”, is a beautifully concise rendering of a universal milestone: leveling up from the wide-eyed naivety and self-destructive routines of our youth, only to realize that we’re as unprepared for the future as we were for the past. On Wild Pink’s third album and first for Royal Mountain Records, A Billion Little Lights, Ross explores that dichotomy of finally achieving emotional security—of accepting the love and peace he deprived himself of in his twenties—while also feeling existentially smaller and more directionless than ever before. The record is a two-pronged triumph: an extraordinary reflection on the human condition presented through the sharpest, grandest, and most captivating songs Wild Pink have ever composed. The band, which is rounded out by bassist T.C. Brownell and drummer Dan Keegan, formed in New York City in 2015 and put out a handful of EP’s before releasing their critically acclaimed self-titled debut in 2017. It was a sophisticated showing for a band’s first album, but it was the striking maturation of Yolk In The Fur that established Wild Pink’s unique sound: a glistening variety of pastoral indie-rock akin to The War On Drugs, Death Cab For Cutie, and Kurt Vile, but informed by classic American rock poets like Bruce Springsteen and Tom Petty.

Hunter And The Dog Star is the band’s fifth studio album and their first since 2018’s Rocket—a record that marked a major return for the group following a twelve-year hiatus and was released to widespread critical acclaim. Of the album, Associated Press declared, “a triumphant return…their joy in recording together again is clear on Rocket, a record that touches on a variety of musical styles with ease,” while NPR’s World Café proclaimed, “explosively joyful” and the Austin American Statesman praised, “a beautiful, inspiring, sensational album.” Since forming in Dallas in the mid-1980s, the band has toured extensively across the country and had their music featured in several hit shows including Miami Vice, Girls, Cold Case, Ugly Betty, Wet Hot American Summer: Ten Years Later, American Dad! and more. Since the release of their 1988 debut, the 2x platinum-certified, Shooting Rubberbands at the Stars, the band has continued to earn their reputation as an unclassifiable, genre-blending force. Returning to Arlyn Studios in Austin, TX to record with producer Kyle Crusham, Brickell and the New Bohemians—Brandon Aly (drums), John Bush (drums, percussion), Brad Houser (bass, synthesizer) and Kenny Withrow (bass, guitars, synthesizer)—once again put forth a collection of diverse musical ideas and styles on Hunter And The Dog Star, as they have continuously done for the past three decades. Reflecting on the album, Brickell shares, “Hunter And The Dog Star is a collection of songs reflecting the mystery of self-expression, loyalty, companionship and love in the darkest sky just before dawn.” In addition to Brickell (vocals, guitars), Crusham (background vocals, mellotron, piano, Rhodes, synthesizer) and the New Bohemians, the album also features Matt Hubbard (background vocals, organ, piano, synthesizer, wurlitzer), Burton Lee (pedal steel) and background vocals from Kelly Micwee and Alice Spencer.

Distressed of sound and disturbed of subject matter, “Down-Faced Doll” sees the classic indie outfit connect with their dark-sides to deliver a cacophonous alt/folk stomp unlike anything they’ve released before. Based on a chilling true story told through the eyes of a discarded toy, its lyrics like clues, begin to lay evidence to a scene enough to turn anyone’s blood blue.

As vocalist Ian H. says:

“By far the most disturbing song I’ve ever written. Some songs seem to have a strange compelling energy which no one can rightly claim authorship to. They ‘write themselves’ but of course a great deal of working and shaping occurs too… A true story - well the first two verses are. The last two verses are my attempt to imagine “how did it ever get to this”…”
Customised with discomposing Eastern-inspired guitar riffs and clamouring percussive rhythms, “Down-Faced Doll” instils an unshakable feeling of paranoia, pursuit and unsease to match its haunting storyline. “Ewan and Stephen immediately tuned into its unsettling vibrations to create sounds and dark corners as you are unwillingly dragged through the scenario.” Ian adds.

Created & produced by Bradford (Ian Hodgson, Ewan Butler & Stephen Street), “Down-Faced Doll” was mixed by Stephen Street (Blur/New Order/ Kaiser Chiefs) and mastered by John Davies. It is taken from what will be Bradford’s first new studio album in over three decades: ‘Bright Hours’ - set for release early-on in 2021.

Bradford are a revered indie band formed in Blackburn in 1988. Championed by Morrissey, the band earned a cult status with their acclaimed debut album 'Shouting Quietly' in 1990, a record as-produced at the time by Stephen Street. Touring with the likes of Joe Strummer, The Sugarcubes, Morrissey and more, the band burned brightly and brilliantly. Fading away against the neon glow of the Madchester era, the band split in 1991.

Fast forward to 2018 and a re-mastered 30 song collection entitled ‘Thirty Years Of Shouting Quietly’ was released on Turntable Friend Records. The album was re-appraised as a 'lost English classic'. This rekindling of belief slowly re-ignited the magic and chemistry that always existed between the band now Ian H and Ewan Butler and Stephen Street. So much so, that Stephen decided to join forces with them and become a fully fledged member of the band.

With a new look line-up on illuminating form, as a trio Bradford have lovingly crafted a jewel of a new album: ‘Bright Hours’ to be released early in 2021.

Directly following “Like Water”, their latest single “Down-Faced Doll” is a definitive signal that ‘Bright Hours’ will be every bit worth the long wait...

GRAMMY® Award nominated producer/songwriter/performer Maggie Rogers releases a special collection of archival music: Notes from the Archive: Recordings 2011-2016. The 16 track collection features newly remastered versions of tracks from Maggie’s early albums including Blood Ballet (2014), The Echo (2012) and six previously unreleased songs. After graduating from NYU’s Tisch School of the Arts, Rogers released her EP, Now That The Light Is Fading and was quickly tipped as an artist to watch. Rogers’ 2019 Capitol Records debut album, Heard It In A Past Life entered Billboard’s Top Album Sales Chart at No. 1, debuted at No. 2 on the Billboard 200 Chart and received widespread critical acclaim from the likes of NPR, The New York Times, Rolling Stone, Pitchfork, TIME Magazine, Vogue and many more. Some of her television performances include “Saturday Night Live,” “The Tonight Show Starring Jimmy Fallon,” “The Late Show with Stephen Colbert,” “Today,” and “Austin City Limits.” Rogers has sold out headline tours across North America and Europe, performed at major festivals worldwide and was nominated for a GRAMMY® Award for Best New Artist. She is currently at work on her next album.' Pressed on two colour LPs, with two printed sleeves, a gatefold jacket with an overall matte finish and each print element has an additional metallic finish, plus a sticker.This remastered album includes previously unreleased tracks.

Fuera de Ambiente (2006), the latest album by Uruguayan musician and reference, Jaime Roos, now first time on vinyl! Includes a new cover artwork, designed especially for this edition, and a new audio master that far exceeds the original. Groove and introspection in the new millennium. With a unique mix of music roots and cosmopolitan sounds, Jaime Roos would become one of the most successful and influential artists of Uruguayan music. Released in 2006, Fuera de Ambiente is his last album of original material so far. Without leaving aside the groove of candombe fusion music, the eloquence of murga and his distinctive blend of Latin-American rhythms with pop and rock touches, this is one of his most introspective and sophisticated works. A timeless record that has gained recognition over the years as one of Roos' greatest albums. This is the first time ever that Fuera de Ambiente is released on vinyl.

LIMITED ONE OFF DOUBLE VINYL PRESSING (ONE RECORD SILVER VINYL, ONE RECORD BLACK VINYL TO MATCH THE SLEEVE ARTWORK) HOUSED IN A GLOSS VARNISHED GATEFOLD SLEEVE WITH BLACK POLYLINED INNERS. (NON-RETURNABLE)

LIMITED ONE OFF CD PRESSING HOUSED IN A GLOSS VARNISHED CARD GATEFOLD SLEEVE TO REPLICATE THE VINYL VERSION
 
The follow up to Mainliner’s 2013 comeback album 'Revelation Space' has been rumoured for many years. I've even heard tales of several attempts being finished and scrapped in the last five years. I guess that's how hard it is to run a band when all the members are based on different continents and in other very busy bands themselves (Acid Mothers Temple & Bo Ningen notably).

But it's finally done. And if you're a fan, it's been worth the wait.

In Kawabata's own words ... "This new album is the second chapter of this present Mainliner. Finally we could open to the next stage to break old customs since 1995"

The killer trio from the 'Revelation Space' album is still intact, we have Kawabata Makoto (motorpsycho guitar), Koji Shimura (drums) and Kawabe Taigen (bass/vocals) and we're back to calling them just Mainliner once again ('Revelation Space' was issued as Kawabata Makoto's Mainliner)

Q. What does 'Dual Myths' sound like ?
A. Mainliner. Nasty!

We’ll forever remember the summer of 2020. In March the world was hit by the Covid-19 pandemic. All over the world cities and countries went in lockdown, bars and venues were closed and live music stopped altogether. After three months of total isolation and not being able to jam or play at Missy Sippy Blues & Roots Club in Ghent —or any other place for that matter— Tiny Legs Tim and his friends decided to book a weekend at The Yellow Tape studio. They wanted to capture the emotional high of finally playing together again. A simple live setup, a 60’s Faylon mixing desk and an old 24-track tape machine were used to record this outburst of musical joy. During that weekend Tim and his musicians reached that point of ‘locking together’ they experienced so often playing late nights at a packed and steamy Missy Sippy. Imagine when four musicians act as one in an energetic dance with the audience, led by the sultry beats of the drums (Bernd Coene), the dirty grooves of the bass (Mattias Geernaert) and the inciting dialogue of the guitars (Toon Vlerick & Tiny Legs Tim).
At the moment these kind of scenes and carefree celebrations of life and music seem like a thing of a long gone past, but as Tim puts it: “We’re always ready to roll, call us when it’s over.” In the meantime, the listener gets a first-hand experience of the positive energy and joy of making music on the spot with a selection of spontaneously arranged songs: some new, some old and one cover by the late RL Burnside.

The label’s first release seeks to offer an initiatory experience to Forbidden Teaching’s mission, namely to express the inexpressible.

The A side of the record is body oriented and is introduced with NN’s “The Blood Of A White Monark”, a track characterised by its forceful rhythm, cinematic breakdown and strong synths. Mind I Matter dives deeper in the EBM spectrum with “Thelema”, a track featuring a bassline that goes straight to the body and supported by an expertly crafted atmosphere, reminiscent of the notorious esoteric doctrine.

The B side of the record is soul oriented and begins with Antechamber’s “The Ephemeral Hallucinations”, an atmospheric track that elevates the listener to a place where earthly senses become blurry. Nigh/T\mare concludes the compilation with his track “Unconscious Traction”. It features a robust and hypnotic rhythm coupled with an intense atmosphere that leads the listener to a state where deeply buried emotions and desires could resurface.

Coma World is a new collaboration between Maxwell Hallett, a.k.a. Betamax (The Comet Is Coming/Soccer96) and Pete Bennie (Speaker's Corner Quartet) bringing together their potent chemistry in an intoxifying debut LP. Betamax drives the duo with his signature 'rhythmadelic' drum rapture as Pete elegantly pummels bass tones into an assortment of wonky pockets. Both layer on a blanket of electronic dark matter to create a sonic womb-like world laid out for the brave listener to explore. This is dub and jazz reduced to the raw fundamentals of experimentation, trance and spontaneity. Inspired by a friend's recollections of being in a coma, the duo delve through the mysteries of consciousness and return with a striking array of colourful sound artefacts. From Cosmic flushes that wouldn't sound amiss on a record by Byrd Out collaborator the late, great Andrew Weatherall, through to drowsy groove meditations and explosive eruptions, the album plays by its own rules but demands attention. The two artists sling their dirty funk through cold clouds of darkness leaving psychedelic trails of bleeping fractal spillage. The sonic experimentation is distilled through analogue studio relics followed by a rugged 'all hands on deck' live mix down performance from 1/4" tape. The result is a spontaneous collection of sonic debris that will be administered to willing participants through 12" vinyl format.

Katy Kirby is a Texas-based songwriter and indie rock practitioner with an affinity for unspoken rules, misunderstanding and boredom. She was born, raised and homeschooled by two ex-cheerleaders in small-town Texas and started singing in church, amidst the pasteurised-pop choruses of evangelical worship. Like many bible belt late-millennials, Katy grew up on a strict diet of this dependably uncool genre and accordingly, Cool Dry Place finds her dismantling it. "I can hear myself fighting that deeply internalized impulse to make things that are super pleasant or approachable," she says. Though Katy hasn't fully overcome the itch to please, it's to a listener's benefit. Instead of eradicating the pop sensibilities of her past, she warps them, lacing sugary hooks with sneaky rage, twisting affectionate tones into matter-of-fact reproach, and planting seemingly serene melodies with sonic jabs. The fun is in the clash. The nine tracks that make up Cool Dry Place are miscellaneous in subject (motherhood, late capitalism, disintegrating relationships) but unified by the angle from which they're told: from a person re-learning to process life with intense attention. Each song is a catalogue of fragments, the number of segments in an orange or the cut of an obsessively-worn shirt, distilled into meditations on the bizarre and microscopic exchanges that make up modern life - a relationship splintering, an uncomfortable pause, an understanding finally found. These emotional dioramas are moderated by the angular storytelling that unites Gillian Welch and Phoebe Bridgers, a favour for the conventions of short fiction over confession.

Die großen Hits der legendären Band REDNEX jetzt als VINYL erhältlich!

Rednex landeten einen Nummer Eins Hit nach dem anderen. Ausgezeichnet mit Goldenen Platten, feierten sie ihren größten Erfolg mit dem Super Hit „Cotton Eye Joe“. Neben diesem Song, ließen Songs wie „Spirit of the Hawk“ und „Wish You Were Here“ ebenfalls die CD Player und Radios heiß laufen. Einfach eine unvergleichlich gute Band, der wir hier eine Greatest Hits & Remixes widmen.

The 12" EP A Momentary Convergence of Differently Paced Trajectories is a heterogenous dj-oriented release, prelude and companion of Maurizio Ravalico's first solo percussion album Nobody's Husband, Nobody's Dad, released in November 2018 with the Funkiwala label. It comes in 180gms vinyl on a hand-numbered run of 300 individually screen-printed 320gsm brown card sleeves.

THE MUSIC

Side A opens with a full-size batucada version of Fear of Mapping, one of the tracks from No Fiction Now!, the 2013 debut album of Maurizio's trio Fiium Shaarrk.

It is followed by a personal take on one of Collocutor's second album tracks, Here to There to Everywhere, arranged here as a spacey 5/4 drum'n'bass epic.

Side B contains an old-school jungle remix of Just Bring Your Toys, one of the tracks from Maurizio's forthcoming album, by the Italian d'n'b veteran Enjoy (Omni Music, Bustle Beats). The EP closes with an edited version of the same track: a taste of the album.

Despite being both loosely presented as remixes, neither of the two arrangements on side A makes use of samples from the respective releases, and any material not progammed or played anew by Maurizio comes from either unreleased off-cuts or preliminary demos.

"One of the finest avant-garde percussionists in the world. Maurizio Ravalico is incredible to watch and hear. Catch him live somewhere soon!"- Jean-Claude Thompson, IfMusic uk

"Creative, deep and intriguing. Percussion avantgarde at its best." - Vince Vella, Dj, producer, Havana Cultura

Italian-born visionary cross-genres percussionist Maurizio Ravalico has been one notably eclectic presence in the London music scene since his arrival in the UK, in 1991.

Regularily seen on stage and on releases with the like of Jamiroquai and the James Taylor Quartet throughout the nineties, as well as with virtually every salsa and Cuban-oriented projects to originate from London in the same period, he has subsequently collaborated on many of the projects of the experimental music label Not applicable (Icarus, Isambard Khroustaliov, Alex Bonney, Tom Arthurs) since 2005, and is now an established name in both the London and Berlin improv and experimental scene, having played with John Edwards, Oren Marshall, Steve Beresford, Pat Thomas, Frank Paul Schubert and many others.

Maurizio Ravalico's peculiar approach to percussion is one of the distinctive traits of Tamar Osborn's modal jazz 5-piece band Collocutor (On the Corner records) and of the pan-European trio Fiium Shaarrk (on BBC3 Late Junction's 12 Best Albums of 2017). Maurizio Ravalico also collaborates with the string quartet Phaedra Ensemble, the composer Fred Thomas and the French contemporary dance company Silenda.

Born in Croydon, UK in 1960 and working in Switzerland for decades, Michal Turtle has led a storied career as a composer, arranger, technician and producer, consistently aligned with some
of the most exciting bands and projects within the realms of pop and experimental music. A figure as masterful in the realm of expansive ambient recordings as advertising jingles, it’s only in recent
years that Michal’s solo productions have gained acclaim and a cult following that continues to grow ever wider.
Turtle made a long-awaited return earlier in 2020 with the extended ‘On a Canvas Lived a Baby’, a one-sided twelve of new material released on Planisphere Editorial. Now, the Basel based label
invites a diverse and international cross-section of electronic musicians to reinterpret the artist’s back-catalogue, each delivering a thoughtful remix driven by the same sense of curiosity,
exploration and genre-blurring that Turtle himself helped pioneer. Each track on the remixes collection was originally recorded between 1980 and 1985, in between Turtle’s regular tours with established bands. Opening the collection, Laurel Halo adopts her LH alias for a textural and tripping revisit to ‘Phantoms of Dreamland’, transporting the haunting original to a hyper-detailed alternate dimension. Zoning back in, Neue Grafik finds typically eclectic form with ‘Men in Green’, turning the dials and blending ideas as if tuning between the emerging musical scenes that defined Turtle’s early-eighties life in Camden, London. In stark contrast, avant-garde polymath Felicia
Atkinson designs a ‘Fennel and Moon’ version, weaving between earthy field recordings and an aching piano line, conjuring an almost ritualistic atmosphere, far from the city. Radical musical turns continue to define the collection as son of Detroit, Jimmy Edgar takes
‘Rainwater Fijit’ down a dark, damp tunnel, expanding on the pitter patter of Turtle’s more outlandish studio experiments, blending vocal experiments with fresh funk. Colombian experimentalist Lucrecia Dalt pulls further bizarre shapes from a patchwork of samples, a heaving,
gasping industrial shuffle, before French producer D.K. returns a stronger rhythm, both building on Turtle’s lovingly naive tributes to the legacy of sample culture and his trusty ARP2600.

Ostgut Ton mainstay and Panorama Bar resident Nick Höppner proceeds to sensitively rewire ‘Maid Of The Mist’ into a blossoming, introspective celebration of melody and ambience, an
almost weightless experience that lends itself well as a breather before Luca Duran’s analogue, acid-tinged take on Spookie Boogie takes Turtle’s esoteric touches back into the direction of the
funk and italo records at the heart of his initial inspiration.
The Remixes final chapter continues to expand in distinct and wide-reaching sonic directions. London’s Object Blue seems to slow time itself across her sublime interpretation of ‘Ball Of Fire’.
Initially Turtle’s tribute to Howard Hawks 1941 film classic and the legacy of old Hollywood, worlds further collide into rolling, weightless bliss.

Fellow Swiss citizen Mehmet Aslan stirs an enchanting, percussive mystery that unfolds with great
pleasure on El Teb, while Parco Palaz conjures not one but two radically different remixes of ‘Are
You Psychic?’, demonstrating both their imaginative nous, as well as the depth of Turtle’s legacy.
Finally, an irresistible vocal contribution from Oso Leone adds even further colour and joy to ‘Maid
of The Mist’, sending off this ambitious collection on a transformative, dream-pop high.
With further details set to be revealed, there is an ongoing development focused around the
accompanying art and visuals. The Peruvian born and now Amsterdam based graphic designer
Jonathan Castro leads the art direction, along with visual artist Chris Harnan. Both artists look to
explore the intersection between sound, imagery and its reorientation, exhibited through the
musical contributors and visual translation.

“I am happy and honoured to have been the spark for this remarkable compilation.
The magnificent work done by this collection of very special people speaks for itself, so listen and
be transported. It has been half a lifetime since my original tracks were written, and I am gratified
to know that they are somehow still relevant enough to be reworked and reinvented.”

Following on from a series of singles, 'Runnin' Wild', 'Confliction' and 'Jump The Line', First Word Records is very pleased to present a full-length EP from alt-soul artist Olivier St.Louis, produced by Oddisee - 'M.O.T.H. (Matters Of The Heartless)'

Olivier was born in Washington DC of Haitian and Cameroon heritage, but spent his teens studying in the UK. As a teenager, his CD and tape collection would encompass a wide range of genres, from hip hop and r&b to garage and British alternative rock. A bio-science student, Olivier couldn't suppress his true passion of music. After graduating, he took on a "Jekyll and Hyde" lifestyle; working as a scientist in the day, and a musician at night.

His work as a recording artist eventually lead to his debut release in 2011, 'The Mr. Saint Louis EP', released under the moniker Olivier Daysoul and produced by longtime collaborator and fellow Washingtonian, Oddisee, a revered hip hop producer / artist in his own right. From here on, Olivier began laying down vocals, collaborating and touring with a wide-range of artists over the following years, including Hudson Mohawke, C2C, Laura Mvula and German rockers, AnnenMayKantereit.

After taking a hiatus from feature work, Olivier decided to concentrate on nurturing his own sound. Embracing a newfound love for blues, rock and funk, a series of late night sessions saw him engulfed in new soundscapes, and reverting back to his birth name, Olivier St.Louis. This saw him release two critically-acclaimed EPs with Berlin-based label, Jakarta, and the release of 'The Serious EP' with Bibio on Warp Records.

Following world tours with many of the afore-mentioned, Olivier has been working on all-new material, which is now set to be unleashed upon the world via Worldwide Award-winning London label, First Word Records.

The 'M.O.T.H.' EP begins with the downtempo bump of 'Jump The Line' before the adrenaline-racing rhythm of 'Runnin Wild' steps up the pace. Next is second single 'Confliction'; a considerably moodier affair, with Oddisee on assist on the bars as well as on the boards. The flipside begins on a similar vein as the first with the smoothed-out soul of 'All In Love', before we head into the slightly jazzier tinged 'Quit'. 'Serotonin' follows next with a groove and bassline reminiscent of Sly Stone, before we close out with the feel-good uptempo boogie stepper, 'Steady'. With Oddisee on the boards throughout, this EP exemplifies Olivier's unique take on alternative soul.

Comparisons have already been made to something between D'Angelo and Shuggie Otis - big boots to fill, though easy to believe once you've seen and heard this man do his thing. This EP is essentially a classically-structured selection of soul-funk with a rock edge, and a touch of jazz. Each track is laced with Olivier's sweet harmonies and fuzzed-out guitar licks throughout, and mixed down with a little 2020 boom bap thump. A prime example of Olivier's unique talents and a set of quality contemporary alt-soul.

When asked his thoughts on his artistry, Olivier St. Louis simply states "no punches pulled, no compromises, just me".

'M.O.T.H. (Matters Of The Heartless)' is released via First Word Records in January 2021.

Repress

Arnaud le Texier (Cocoon Records): "Top quality! Really nice.." 10/10
Cio D'Or (Telrae): "An amazing double Vinyl of different interpretations from some music friends in techno for Hypnus! Thank you!" 9/10
David Att (ATT Series): "SUPER VARIOS ARTIST. THANKS: D" 10/10
Deepbass (Informa Records): "Great remix package here! Will be using most of them, a true showcase of the love for Hypnus" 10/10
Etapp Kyle (Klockworks): "Edit Select and Mike Parker are winners!" 8/10
Exium (PoleGroup): "Great stuff, thanks!" 8/10
Francois X (Dement3d): "Perfect Package of Remix!" 10/10
I/Y: "wow.. really good.. too many of them to choose one favourite" 10/10
Kwartz (Shapeless Records): "Congratulations for this great work, I love every song of the release" 10/10
Mattias Fridell (Gynoid): "This is a very solid compilation congrats." 8/10
MTD (Sonntag Morgen): "AMAZING release! hard to choose a favorite..." 10/10
Mod21 (Prologue): "No words for this release.. Hypnus is flying high!!" 10/10
Nima Khak (H-Productions): "Great bits! The Ness mix is outstanding, but a lot of great stuff in this package! Will play for sure!" 9/10
Nobody Home (Home Records): "Very nice release with many of my favorite musicians! Thank you very much :-)" 8/10
Reggy van Oers (Affin): "Some crazy stuff in here! love it!" 9/10
Samuli Kemppi (M_REC Ltd.): "Fan boy likes. Brilliant release. Full support." 10/10
Svreca (Semantica Records): "Excellent release. Full support." 8/10
Takaaki Itoh (Phobiq): "what a great trks. im sure to play all of them. full support!" 10/10
Terence Fixmer (CLR): "Top release, difficult to choose a favourite here...all are nice." 10/10
The Noisemaker (Par Recordings): "Hypnus is going to be one of the best label on earth! full support! all tracks have his own personality and are well designed.. top for opening a djset" 10/10
Tommy Four Seven (Stroboscopic Artefacts): "Big!" 8/10

Also supported by:
Dimi Angelis, Unam Zetineb, Antonio de Angelis, Artefakt, DARS, Gianluca Meloni, Jonas Kopp, Hector Oaks, Juho Kahilainen, Vilix, Eric Cloutier, Brendon Moeller (Echologist), Iori, Jose Pouj, VSK, AnD, Rasmus Hedlund, Victor Martinez, Antonio Vazquez, BLNDR, Luigi Tozzi and many more.

After two tracks were successfully taken for a limited Maxi single, the whole album is now available on Double LP - Nicely remastered.

Patience, Violet ,and Pinky recorded their first Album in 1992. Knowing each other from the music scene, the back up singers turned friends teamed up with Emmanuel Diale and signed with Mob Music to embark on their music career as their own act. The first two albums were straight African Disco, A leftover sound of the 80's that some had still hoped to capitalize on. By the time they released their third album Why O Nketsa so Baby, loosely translated to "Why are you doing this to me Baby", Kwaito was still called either Disco or International House, and it was new sound that was taking over. The third album was influenced by the Shangaan sound made largely popular by artists like Penny Penny and Peta Teanet. Looking back now, at the time Mob Music was really leading the pack with this new sound. Being one of the last labels to have official releases with artwork and a group of young talented producers given full creative freedom they pushed the sound in a way only few other labels of that time can be given the same credit.

For their fourth and final album on Mob Music they worked with legendary producer/songwriter Malcom "X" Makume. With three years of songwriting experience and stellar talent behind the desk the result was the LP Malende. Eight tracks that would combine the early kwaito sound with the more uptempo International House topped off with productions heavily inspired by what had been slowly making its way from Chicago over the last 10 years. At the time they had some success and to this day are well known amongst the real heads.

The girls would go on to record one final album once their contract with Mob was up and then after a 5 album catalog would hang up their matching outfits for work a in a newly free South Africa. They remain friends to this day.

- The Premiere Vinyl Release of the Soundtrack - 180 Gram Black and White Swirled Colored Vinyl - Old Style Tip-On Gatefold Jackets with Satin Coating - Artwork by Phantom City Creative - 12"x12" Booklet - Scoring Session Photography - Liner Notes // Waxwork Records is proud to announce THE BRIDE OF FRANKENSTEIN Original Motion Picture Soundtrack with music by Franz Waxman. In celebration of the film's 85th Anniversary, we are thrilled to present the premiere vinyl release of the film's music as a deluxe album featuring re-mastered audio, new artwork, and likeness approvals from famed actress Elsa Lanchester's estate. THE BRIDE OF FRANKENSTEIN is a 1935 horror movie directed by James Whale and starring Boris Karloff & Elsa Lanchester. It is the first sequel to the 1931 film FRANKENSTEIN and widely regarded as one of the greatest sequels in cinematic history. The film has been praised as Whale's masterpiece. In 1998, it was selected by the Library of Congress for preservation in the United States National Film Registry, having been deemed "culturally, historically or aesthetically significant". Sourced from the original master acetates housed in the composer's archives at Syracuse University and original masters from Universal, the album has been meticulously restored and re-mastered. Working closely with Universal Pictures, this historic release marks the very first time the original film music has been made available on vinyl. The album features new artwork by Phantom City Creative, a 12"x12" booklet including artwork and original scoring session photography, and liner notes by album producer and restoration engineer Mike Matessino.