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Reduced with immediate effect from £16.99 to £8.99 while stocks last. Lightnesses Vol. I & II sees Doyle create what we might understand as true ambient music – that is, music intended for the background that wasn’t composed as such but allowed to blossom out of the setting of some rules and parameters, played by sounds he created and then resampled. The deceptively simple, droning pieces are unlike anything Doyle has made before or since. “During their creation I’d often take photographs of the light coming in through the windows of the two houses I lived in during their creation. I’d post these on social media and they became quite popular parts of my output. This music was intended to accompany those visuals. The first volume’s photo is a double exposure of the sun shining in on my notebook and my hand, whereas the photo for the second volume was taken in Joshua Tree Park, California as I saw our tail lights illuminate one of the trees.”

Originally released on Dream Theater’s YtseJam Records in 2005, this one-of-a-kind performance sees Dream Theater again paying tribute to some of their historic musical icons. “The Number of the Beast” is Dream Theater’s rendition of the classic album from legendary British heavy metallers, Iron Maiden. This unique 2002 performance in front of a French audience at La Mutualite in Paris, France is the only available recording of this one-off historic event, forever preserved in the YtseJam collection and now available for the first time ever on vinyl and streaming services. A much-revered performance from Dream Theater’s catalog, “The Number of the Beast”, performed in its entirety, is a can’t-miss live release in the growing Lost Not Forgotten Archives series.

What is there to say about this album that hasn’t been said before? Multiple words could be used to describe this album: Timeless. Essential. Masterpiece. Definitive. Sickening. Yes, even sickening falls into this category, because believe it or not, back in 1996 when Cryptopsy released “None So Vile,” it was unlike anything else at the time. From the first drum hits and guitar riffs of “Crown Of Horns,” it would have been obvious, and still is to this day, that Cryptopsy improved on themselves since “Blasphemy Made Flesh.” But then you combine some of the most technical and speedy Death Metal to date with the sickening screams, snarls, growls, and grunts of vocalist Lord Worm, and I’m sure that 1996 was the year Death Metal changed forever. “None So Vile” is a testament to the Death Metal formula, and the odd thing is is that not many have tried to emulate it. I don’t know why. Maybe it might be because of how difficult it would be to emulate an album of this calibur. Cryptopsy is a massive influence upon Death Metal. Many factors contribute to the influence Cryptopsy struck upon Death Metal. One of them is absurdly seen from Flo Mounier’s maniacal drumming. As far as I’m concerned, two words can sum up this man: Speed Demon. But just because he’s speedy doesn’t mean he loses any shed of technicality. But Flo is not alone in making Cryptopsy. With the duo of Jon Levasseur and Eric Langlois on guitar and bass respectively, Cryptopsy was noted for their technical music playing. Just look at songs like “Slit Your Guts,” “Graves Of The Fathers,” and “Phobophile” to see how this duo completely tore apart everything that may have been considered a standard for Death Metal at that time. These two remade the standard by bringing shredding guitar and audible, crushing, and technical bass playing into the mix. The playing by these two is a testament to technical playing. But what truly makes Cryptopsy, and many would agree, is Lord Worm. This man is down right beastly. No true word in the English vernacular could describe what this man brings to Cryptopsy and what he did for Death Metal on “None So Vile.” At this point in time, I don’t think anyone could have anticipated vocals like this. He is downright in-fucking-human. His screams are vicious, his gutteral growls are putrid, and the longevity at which he can perform and hold these vocals is insane. But not only did Lord Worm bring a sickening unnatural vocal style, he brings

Please see below for the next Kalita 12" - Adelle First - Don't Give Up.
A South African Boogie, dancefloor heater reissued on vinyl for the
first time since the original release in 1986.


Kalita are excited to announce the first ever official reissue of Adelle First’s highly sought-after 1986 12” South African boogie single 'Don’t Give Up'!

Originally privately released on infamous South African label Music Team’s imprint Solid Records, the single features both the shorter vocal version and devastating 9-minute long extended ‘Dub Mix’, a true testament to the genius of producer Tom Mkhize. Having recently rocketed in demand,

fuelled by equal measures of quality and scarcity, and with original copies now selling for over £200 on the second-hand market, Kalita now offer this masterpiece to the world once more, sourced from the original analogue master tapes.

Limited edition of 7500 picture disc copies. Spirituals is Santigold's first full-length album since 2016's 99¢, and was mostly recorded during the 2020 lockdown. "All of a sudden there I was with three small children out of school_just-turned-two-year-old twins and a six-year-old_I was cooking, cleaning, doing laundry and changing diapers from morning to night, with three little kids coming in and out of my bed throughout each night like musical chairs. I was losing touch with the artist me, stuck in a part of myself that was too small. I felt the other parts of me were shrinking, disappearing." Santigold struggled but succeeded in defining a space in which she could center herself and collaborate virtually with producers and contributors: Rostam, Boys Noize, Dre Skull, P2J, Nick Zinner, SBTRKT, JakeOne, Illangelo, Doc McKinney, Psymun, Ricky Blaze, Lido, Ray Brady, and Ryan Olson. "Recording this album was a way back to myself after being stuck in survival mode. It wasn't until I made the space to create that I realized I wasn't only creating music but a lifeline," she says. California was on fire, we were hiding from a plague, the social justice protests were unfolding. "I'd never written lyrics faster in my life. After having total writer's block, they started pouring out. I decided to create the future, to look towards where we are going, to create beauty and pull towards that beauty. I need that for myself, but it's also there for whoever else needs it."

The Outer Edge (formerly known as The Artless Cuckoo) is proud to present a second vinyl release by Ghia. The first single is sold out for a while and already became a collectible item. Now, we present a piece from Ghia's past - a very limited 7" with two unreleased recordings from 1985: "Down At The Hilton" on side A and the equally fantastic tune "Curacao Blue" on the flip side. This is just the beginning of a series of more unissued songs by the band. Two albums are currently in the works - and there will be more material to follow.

For now, here is what label founder Günter Stöppel a.k.a. John Raincoatman says about the project: "For the past three years I've been asking Ghia about further recordings. Lutz Boberg and Frank Simon, the two original band members who later joined with Lisa Ohm as a singer, always were communicative, friendly and interested in releasing more music. But at the same time nothing really happened. Accept for a bunch of newer demo tracks they offered on their Bandcamp page for a while, I never was able to hear anything more. Anyway, a few month ago, I suprisingly received a picture by email. A photo showing a box of 11 demo tapes by Ghia with basically all tracks they ever recorded. I couldn't believe my eyes! After a few complications the package with the cassettes arrived in Berlin. I didn't really know what to expect. Everything was taped chronologically, the first cassette included early recordings from 1984 and 1985. I put it in my tape deck and I couldn't believe what I heard. It started with a minimal electro funk track, the next song was '80s funk with rap vocals, and then came a track entitled "Down At The Hilton". This was EASILY the best Balearic jazz funk track I had ever heard. The warm sound, the melodies, the drum computer beats, the solos - everything was almost too unreal to believe. I really didn't understand why Boberg and Simon never considered that some of their early works could be of interest to other people. But they simply thought of it as some sort of learning curve remnants or simply forgot that the music existed."

The story goes on - but we are going to end it here for now. The vinyl single "At The Hilton" is now available. Once you hear the songs we are sure that you'll agree that the music by Ghia needs to be heard and shared with the world.

Peggy Gou’s Gudu Records steps into 2022 with Brain De Palma’s second EP for the label, Purple Brain.

Although this is only his second release under the Brain De Palma name, Alexei Versino has been honing his sound for the best part of a decade, both solo (as Panama Keys) and as one half of the duo Stump Valley, previously releasing on labels like Dekmantel, Soul Clap and Off Minor. Born in Ukraine but settling as a child in Turin, he’s currently based in Berlin and makes up a key part of the Gudu stable.

Coming straight out the gate with an instantly impactful bassline, opening track ‘IQarus’ sets the tone for the rest of Purple Brain: bold melodies and basslines shot in high-definition, full of detail and idiosyncrasies. As with his last EP for Gudu, cinema is a key reference for Brain de Palma: ‘IQarus’ is a reference to his directorial namesake’s first film, while later in the EP, ‘(O.W.D.) Once Were Dancers’ nods to the 1994 drama Once Were Warriors, “dedicated to all the ravers, DJs, aficionados who had to go through the lockdowns … a shout out to people who keep on fighting for the underground culture!”

Elsewhere on the EP, ‘Purple Brain’ pairs an unforgettable arpeggio with stargazing stabs and a marching cowbell beat, while the Netherlands’ Deniro takes ‘IQarus’ into the depths of the night with a cosmic remix that grabs hold of a groove and refuses to let go.

It’s nearing a decade since William Doyle released his Mercury Music Prize nominated debut album, Total Strife Forever, as East India Youth in 2014. A year later, he had toured the world and was releasing his second album, Culture of Volume, but it would be another four years before Doyle returned with his third full album, and the first official release under his own name. The dizzyingly ambitious Your Wilderness Revisited arrived in 2019 and was followed last year by the artpop masterpiece, Great Spans of Muddy Time. In the years between leaving the old project behind and re-emerging under his own name, Doyle self-released a string of ambient-leaning albums, The Dream Derealised, Lightnesses Vol I & II and Near Future Residence, which are now to receive a first vinyl pressing via Tough Love. The Dream Derealised is a collection of nine abstract, lo-fi pieces that were recorded during the summer of 2016, when focusing on creating them helped guide Doyle through a “difficult period of anxiety, panic and a regular dissociative feeling called derealisation.” At the time, doing something creative in a quick and immediate fashion felt vital to Doyle, carrying him to a new place: “I’m releasing them now as a cathartic measure, and as a message for others who may be going through difficult times themselves. What I told myself at the time, what I can tell you now: You are not in danger. You are not going insane. You are not alone.”

Sympathetic Magic is an ecstatic, delirious, and deeply touching piece of music; a towering new work in Kim Myhr’s increasingly substantial output as an artist and composer. Sympathetic Magic is the follow-up to Kim Myhr’s 2017 album You | me, which was widely praised and received an honorary mention at the 2018 Nordic Music Prize. While the immersive warmth of You | me is still present, Sympathetic Magic is more expansive than its predecessor. A band of eight musicians playing a wide variety of instruments including electric 12-string guitars, drum machines, vocals, synthesizers, organs and lots of drums and percussion, has created a work of a grander scale. The shimmering, oceanic waves of You | me has been traded for cosmic currents in Sympathetic Magic. Put simply, Sympathetic Magic is a collection of song-like structures that has expanded into symphonic proportions. “With You | me, I wanted to create an ocean of sound, where the listener is surrounded by a myriad of elements that has equal importance in the music. I wanted to challenge this a bit, to push certain elements forward. The result is a more song-like kind of music than what I’ve done before.” – Kim Myhr Just before starting working on Sympathetic Magic, Kim bought an old 70s Yamaha organ (the YC45d), after falling in love with the sound of it on different recordings. At first, he thought the organ would be a subtle element on the new record, but it ended up becoming a focal point: “It’s a brilliant in-your-face sound that brought an ecstatic quality to the music. Playing around with this instrument, along with an 80s Roland Juno synth and a new drum machine took the music in new directions.” – Kim Myhr. Thematically, Sympathetic Magic circles around a longing for collectivity and togetherness. While the world was locked down in 2021, thanks to a commission from Oslo Jazz Festival, Kim had the opportunity to delve deeply into this project, working with the members of the band, one at a time: “The music created a situation of unexpected positivity. It felt like a social project even if I spent most of the time on it alone. And all this positive, joyful energy felt quite magical, arriving like out of thin air in this otherwise grim situation. It all felt like a hallucination, which fed back into the music. Sympathetic Magic is like a dream within a dream.” – Kim Myhr The title of the record is a term coined by James Frazer in The Golden Bough. He writes: “things which have once been in contact with each other continue to act on each other at a distance after the physical contact has been severed”. “In a closed down world where all our connections with the outside suddenly are remote or absent, the line between the real and imaginary is blurred. I felt that the term perfectly summed up the thoughts, processes and sentiments that went into the making of this record”, says Myhr. “Kim Myhr is a master of slow-morphing rhythms and sun-dappled textures that seem to glow from the inside”. The Guardian 1/And I Thought These Are My People 2/Gifting Senselessly In Endless Lavishness 3/Move The Rolling Sky 4/Iridescent 5/Up To The Sun Shall Go Your Heartache 6/I Wonder If I Shall Fall Right Through The Earth 7/Heart Streams

»HD+« is a data dvd, documenting uwe schmidt's aka atomTM's visual aesthetics for the first time. the conceptual engagement with and the critical yet diverting examination of pop music that's always delivered with a twinkle in the eye is a central topic of the musician's diverse creative work and cer- tainly included in this visual presentation of it. together with the second remix ep »riding the void« to be released this summer, »HD+« marks the provisional completion of atomTM's »HD« cycle. besides tracks from the »HD« album (r-n147), the video collection does as well contain tracks from other atomTM recordings such as »streuung«, originally released on »winterreise« (r-n140), and tracks taken from external releases such as »praezision«. in order to present the video material in high resolution and at the best quality, no special format- ting was used, but for playing the videos, the following system requirements have to be met: OS: Mac OSX 10.5 or later, Windows 7 or later processor: 2.4 GHz Intel Core 2 Duo or faster RAM: minimum 2 GB video RAM: minimum 512 MB furthermore, we have to thank the following people who helped realizing this complex work:

März erscheint endlich blink-182’s „Greatest Hits“, eine Sammlung von Songs aus rund 30 Jahren Bandgeschichte.

Darunter Songs aus den Alben „Cheshire Cat“, „Dude Ranch“, „Enema of the State“, „The Mark“, „Tom and Travis Show“, „Take Off Your Pants And Jacket“, „blink-182“ und viele mehr. „Greatest Hits“ enthält außerdem zwei Bonustracks: „Not Now” (eine Auskopplung aus dem selbstbetitelten Album von 2003) und „Another Girl Another Planet”, welches als Titelmelodie für die MTV Realityshow Meet the Barkers mit Blink Schlagzeuger Travis Barker diente. Das Album erscheint als 2LP.

LP on Black Vinyl. First new album 2018’s Romance. Mastered by Alan Douches. Recommended If You Like: Can, Tortoise, OOIOO, Sonic Youth, Ty Segall, King Gizzard & the Lizard Wizard, Bitchin Bajas, The Cars, Liars. Experimental psych-punk institution Onedia returns with Success, the band’s most guitar-centric, rocking album in decades. Long straddling the gray area between the NYC punk/psych/rock community and the art/experimental world, the music of Oneida is celebrated for its mix of abstract, atmospheric sounds and pulsing, hammering anthems. Success finds the band getting to the core of what makes minimal rock music so good - songs pared back to beat and melody with a limited number of guitar chords. If a song or two gets ripped in half later by a corrosive guitar solo, well, what did you expect? This is Oneida. “Oneida are the rare experimentalists who can hammer away at a riff or idea incessantly and somehow make it really last.”

LP on Black Vinyl. First new album 2018’s Romance. Mastered by Alan Douches. Recommended If You Like: Can, Tortoise, OOIOO, Sonic Youth, Ty Segall, King Gizzard & the Lizard Wizard, Bitchin Bajas, The Cars, Liars. Experimental psych-punk institution Onedia returns with Success, the band’s most guitar-centric, rocking album in decades. Long straddling the gray area between the NYC punk/psych/rock community and the art/experimental world, the music of Oneida is celebrated for its mix of abstract, atmospheric sounds and pulsing, hammering anthems. Success finds the band getting to the core of what makes minimal rock music so good - songs pared back to beat and melody with a limited number of guitar chords. If a song or two gets ripped in half later by a corrosive guitar solo, well, what did you expect? This is Oneida. “Oneida are the rare experimentalists who can hammer away at a riff or idea incessantly and somehow make it really last.”

Trapped Animal Records are proud to present for the first time on vinyl, Stars and Rabbit's 2020 smasher 'Rainbow Aisle'. Remastered at Metropolis to lacquer and cut to 300 Purple Stripe 180GSM 12"s this is a very special package from Indonesian household names, Stars and Rabbit! // Press quotes : Alternative Fruit, UK - This fun and catchy album is laid back to back with classic numbers which each have a soul of their own. A friendly rock 'n' roll delivery mixed with classical melodies and homely closeness allows us to hear this band in person from wherever we happen to be. // Analogue Trash, UK - Reviewed (Little Mischievous) There’s a joy and innocence at the heart of Little Mischievous that is delightful and infectious, in large part down to the fun, rollercoaster vocals of Elda Suryani. Sounding like a cross between Nina Persson and Björk, her livewire performance is the perfect foil for Didit Saad’s equally electric lead guitar melody and the briskly bouncing arrangement. // Reviewed Naked King - They make up the central core of the song, as soft synths and lush strings wash in and out of perception, combining to confect a sweet sense of serenity. Though contemplative, Naked King looks outward and also seeks to engage the listener: the children’s choir and assertive guitar solo bringing the song to a euphoric crescendo, with Elda Suryani’s performance directing the song to ever greater heights. // Antenna, Japan - Stars and Rabbit were captivated by a variety of songs that sublimated 90s introspective alternative rock, mainly in Europe, such as Sigur Rós, Radiohead and Portishead. On one occasion, listeners like "Little Mischievous" show light guitar pops that can sing a long, and "Attic No.7" shows a jazzy, dark side like a trip hop. // Atwood Magazine, UK - Elda Suryani and Didit Saad make up the group and both employ signature rhythms and harmonies onto each song of theirs, and “Little Mischievous” is no exception with its slick guitar riffs and tantalizing vocal performance. // Beehive Candy, UK - Their new LP, Rainbow Aisle, a full spectrum of colors, showcasing their knack for groovy electro rock as well as intimate acoustic confessions. // Big Takeover, US - Wow, such a vocally and lyrically intriguing number! Yet again, there’s the ’90s alt-rock feeling, but the vocals are yes, mischievously impish; a teeny-tiny bit like SOAK vocally, but with a grainier, deeper timbre.

Considering the tight run of albums since the first part of the Gullvåg Trilogy in 2017 – three double and a single album in less than four years – the 16 months wait for “Ancient Astronauts” must feel like an eternity for the fans. Much of the music continue in the manner of the band’s popular long form “N.O.X.” suite from “The All Is One” (2019) album, including “Mona Lisa/Azrael” and “Chariot of The Sun”, the latter clocking in at 22 minutes, being the band´s longest instrumental track to date. Most of ”Ancient Astronauts” was recorded in Amper Tone studio in Oslo during five days in August with old compadre Deathprod at the helm. All four tracks are basically the band playing live in the studio, with the odd keyboards, some guitar and the vocals added afterwards. Some of it is in turns pretty frantic and angular or grandiose and hypnotic and is mined from the same sources as the band’s more explorative music from recent years. Meaning there aren’t many choruses to hang on to here, but plenty of mouthwatering music for the progheads. The album was mixed by Andrew Scheps.1/The Ladder 2/The Flower Of Awareness 3/Mona Lisa/Azrael 4/Chariot Of The Sun – To Phaeton On The Occasion Of Sunrise (Theme From An Imagined Movie)

Slyder Smith first swaggered onto the stage as lead guitarist with glam-tinged power popsters, Last Great Dreamers. After releasing four studio albums and one live album on Ray Records & having toured extensively throughout the UK & Europe with LGD, Slyder now takes centre stage leading Slyder Smith & The Oblivion Kids (Tim Emery, Bass and Rik Pratt, Drums) in an honest outpouring of grit, glamour and emotion. Stepping out of the shadows and into the spotlight, the self-confessed ‘frustrated lead singer’ has been forced to delve deep into his own psyche, to carefully craft lyrics and melodies that speak from the heart. Slyder’s emotive vocals are powerful, yet melancholic, the perfect balance of light and shade sitting effortlessly within the sonic landscape of his varied rhythm guitar sounds and highly melodic & anthemic lead lines. “This album has been a real labour of love for me, I’ve really put my heart & soul into it. Over the last year or so I’ve been working very hard developing my guitar playing, music & lyric writing pulling myself in all sorts of directions, really stretching myself. I feel I have accomplished what I set out to do, create songs from the heart in no specific genre & perform them to the best of my ability on the record. I guess for years I have been a frustrated lead singer so I have relished the opportunity to showcase what I can do vocally too.” – Slyder Smith - Stage left, Slyder is joined by Tim Emery, a towering enigma, whose stylish bass lines are the only thing to outshine his impeccable apparel and at the back sits the Oblivion Kids’ powerhouse and beat master, Welshman, Rik Pratt. A man of few words but whose presence is palpable in this rock steady rhythm section. But this is no ordinary guitar-based rock album; together with producer Pete Brown (George Harrison, Siouxsie & the Banshees, Marc Almond, The Smiths and Sam Brown), Slyder has allowed the songs to dictate the direction they have gone in; discovering melodies and hook lines along the way. Making use of Hammond organ and piano with the help of Neil Scully (Richard Davies & the Dissidents), a 1950s Phillicord organ, lap steel guitar & even a bit of banjo. A chocolate box of sonic sensations offering up a little something for everyone - from heavy riffage with walloping drums akin to the brothers Young to the anticipated sleaze rock shades of Hanoi Rocks. However, this band is not afraid to step away from their rock roots, instead, with nods to the likes of The Doors, Velvet Underground, The Stranglers and The Kinks from the past and the alternative rock sound of Manic Street Preachers, The Oblivion Kids have reimagined an 80s synth pop classic and mastered singalong pop, gothic, dark Americana, and dare I say it, funk rock?! There are a few firsts for Slyder on here too in the form of an instrumental track with a western feel and to a duet featuring the ethereal vocals of Nina Courson (Healthy Junkies). The result is an idiosyncratic 14 track album of outstanding versatility. A Charming debut, I’m sure you’ll agree.

Sharon Jones & the Dap-Kings have developed an international reputation as the #1 group on today’s soul scene. Soul Time! is an exploration of the full range of their dynamic sound through twelve songs handpicked by the Daptone Records gang, each one a precious exclusive.

The needle drops on Genuine Pts. 1 & 2, a supercharged funk arrangement that evokes the late Godfather not only with the spirited syncopation of the Dap-Kings rhythms, but also with the raw power of Jones’ voice. It is performances such as these that have earned her the moniker “the Female James Brown.” Though it has long been one of their best-selling singles, it makes it’s album debut here. Longer and Stronger, written for her 50th birthday, is a deep mid-tempo soul celebration of the strength and determination with which Sharon Jones has earned her long overdue success. It is heard here for the first time, but will undoubtedly join other Sharon Jones & the Dap-Kings songs in the canon of great soul music. The theme of empowerment pushes on through “He Said I Can”, an energetic stomper belted over an arrangement reminiscent of the Isley Brothers early-seventies heyday, and “I’m Not Gonna Cry” brings us back to the raw funk intensity of Genuine with a squealing tenor solo and a fiery vocal. Side one wraps with a scorching studio performance of “When I Come Home”, long a highlight of the band’s live show but rearing its head on album here for the first time as well.

“What If We All Stopped Paying Taxes?” kicks the second side off with a bang. A strong anti-war message pours over a revolutionary mid-tempo groove, accentuated by the conga work of the legendary Johnny Griggs of JB’s fame, while Settling In is a greasy rhythm and blues grinder. And who says Christmas can’t be soulful? Jones et al. make it so over their sought after holiday exclusive, “Ain’t No Chimneys in the Projects.” Next is an energetic romp into Motown intensity with “New Shoes”, a walking-out-the door belter that picks up where These Boots Were Made For Walking left off. Without A Trace shows yet another dimension of the band, stretching a dreamy mid-tempo groove down the road to Memphis and back. The record winds up with a deep laid back cover of Shuggie Otis’ psychedelic soul jam “Inspiration Information.” From the first note to the last, Soul Time! confirms this band’s place at the head of the table as the world’s greatest funk and soul showband. Whether you’re a lifetime fan, or just getting turned on, Sharon Jones & the Dap-Kings’ have yet again made a record that will blow your mind. Get ready world, because It’s Soul Time!

From a Balkan basement comes an EP so filthy that we had to cover the record with a color photo. KRI records first installment oscillates between EBM and electro, ready for sweaty dancefloors and those extra long afterhours needing some “warm leatherette”. A well crafted five tracker journey is a debut collab by two veterans, Christian Kroupa discovering his darker shades coming off of an LP on Natural Sciences under his Alleged Witches moniker, while Le Chocolat Noir is no stranger either with seals of approval on Return to Disorder and L.I.E.S among others. Get ready for plenty of melodies, massive chords and menacing vocals spiced with an epic acid remix by the Mannequin boss Alessandro Adriani.

823 is a multifaceted Perth-based record label, fashion brand, and artistic community, founded by Australian producer and all-around creative, Ta-ku (846k monthly listeners on Spotify). With an ethos of attention to detail and appreciation for the everyday things in life, 823 doesn’t stick to any particular genre. 823’s releases include Cabu’s (800k Monthly Listeners on Spotify) “So Far To Go” EP, Ta-ku and matt mcwaters’s duo project “Black and White,” which featured Masego collaboration “Flight 99” (14 million streams on Spotify), their debut release with Australian producer and instrumentalist Kuzich, and multiple sold out clothing capsules. “All Things Considered Vol. 1” set off a collaborative series of curated compilations, featuring both budding and well-established artists around the world including Idealism, Wun Two, pastels, SwuM, Jinsang, Saltyyyy V, and more. “All Things Considered Vol. 2” sees the continuation of this project, this time in partnership with fellow Perth-based powerhouse, Butter Goods.

Butter Goods is a Perth clothing brand rooted in skating culture and style, but drawing inspiration from hip-hop, jazz, and music at large. Butter Goods has been featured in major publications, including GQ, Complex, and HYPEBEAST. They’ve collaborated on releases with Peanuts and Puma, and have reached international levels of popularity. Butter Goods co-founder Garth Mariano’s deep love for and eclectic tastes in music drive his creativity, and are front and center in his partnership with Ta-ku and 823 on “All Things Considered Vol 2,” where the two team up to curate a wide-ranging compilation.

Arriving on September 2nd, 2022, “All Things Considered Vol. 2” is an exploration of Ta-ku’s and Mariano’s extensive and often overlapping musical palettes in two parts. The record pays homage to the love of instrumental music and hidden gems of new school jazz and funk that act as a source of inspiration and nostalgia for the both of them. The collaboration brings together over a dozen producers and instrumentalists from Sydney to Chicago, including Jadu Jadu, Gnarly, Tenderlonius, silentjay, and more. Side A is curated by Ta-ku and 823. It’s as much a love letter to the past as it is a nod to the future of beat-making. Featuring sample heavy, drum looped beats, sprinkled with the occasional ear candy for the attentive listener, it presents cruisy soundscapes & easy listening. Side B is curated by Garth and Butter Goods. It’s a raw and eclectic companion to Side A, leaning heavily into the texture and grit of multi-layered jazz and funk-driven beats.

As with any 823 release, the project is as visual as it is sonic. The artwork and visualizers are a celebration of Garth’s love of thrift culture and old nature documentaries, fused with 823’s design aesthetic of bringing everyday inspirations to the forefront. CRT style visuals are paired with 90’s spin, slide and fade away transitions. When partnered with the music, each visualizer could easily work as the intro for an episode of a VHS series of nature docos.

1st single, “senzu bean,” arrives on July 7th and kicks off Side A, showcasing Ta-ku’s hip-hop-centric tastes. Sydney producer Jadu Jadu teams up with UK-based TAMBALA, apltn, and Makzo for a vibrant instrumental. From a head-nodding bassline beneath fuzzy synths, to soft horn licks sprinkled over electronic drums, “senzu bean” is sonically rich and multilayered.

2nd single, “Too Much” by UK producer saaaz arrives July 20th. It’s a moody and low-tempo beat that builds itself up over time, complete with cryptic vocal samples and syrupy drums and bass. Also off of 823’s Side A, “Too Much” maintains a laid-back hip-hop theme but with saaaz’s signature and definitive lo-fi twist.

3rd single, “Goodmorning” from Baro Sura and silentjay of Melbourne arrives August 3rd, kicking off Butter Good’s Side B. The track is bright from start to finish and is a sun-filled track perfect for closing out the summer with. Final single, “Fool’s Gold” by Los Angeles producer L.Dre arrives August 17th. The infinitely creative beatmaker layers soft hums and the sounds of crashing waves over crisp drums and an infectious bassline. Together, it makes for a beat that sounds like it was made outside, under the sun, and is best enjoyed in the same way.

Focus track, “Seventh Wonder” by Tenderlonius, comes off of Side B, and is a window into the ideas and palettes on both sides of the compilation. The beat slowly fades in, one sound at a time, until it reaches a full-fledged groove, soaked in synths, bass, and horns, that’s impossible not to move to.

On the whole, “All Things Considered Vol. 2” is a forward-focused, sonic journey into the minds behind two of today’s great creative brands, and is as artistically eclectic and varied as those minds are, and a proud follow-up to its first volume.

LP contains A2 poster on uncoated stock.

Savage Grounds lands on She Lost Kontrol with a 7 track EP, Hidden by the Night. 

For the first time, the voice of Kleio Thomaïdes joins Savage Grounds members Florin Büchel (Synthesizers) and Daniele Cosmo (Drum Machines). The result is an attractive, intense record with some nuances that will surely make the old nostalgics of Krilian Camera and Simona Buja's voice squeak their eyes. 
 The record reminds us the heartbeat of Italian darkwave, the angularity of German basements, the youthful despair of French coldwave. But it’s more than that because it’s a very personal kind of darkness.
 The exasperated atmospheres seem to resonate on both sides of the record, with the due differences between the darker-wave elements of the record and the more proto-ebm ones.
 All these songs are almost ‘goth love protest songs’: they all have the gloominess of the pre-disappointed, of the already-disgusted, of the unrelentlessly bleak against a freezing, sparse, ethereal electronic landscape.
 The voice by Kleio Thomaïdes is so fascinating because... more credits released March 15, 2022 SLK016 Savage Grounds are Kleio Thomaïdes (Voice), Florin Büchel (Synthesizers) and Daniele Cosmo (Drum Machines). Recorded between Zürich and Geneva, 2020/2021 Composed and recorded by Savage Grounds. Lyrics by Kleio Thomaïdes and Daniele Cosmo. Mixed by Florin Büchel. Mastered by Andrea Merlini. Photography by Erika Marthins Artwork by dudegraph - Michelangelo Greco Executive producer: Giovanni Rispoli & Carmine Staiano

Born October 1966. Break Dancer in 1984, under the moniker Mad Max, started a crew named the Back Street Warriors, Busking all over the UK at places such as Covent Garden/Leicester Square Performing on stage & in clubs. They once jammed with the Rock Steady Crew in Camden Palace in front of an audience.

Then in 1987 he became a DJ, playing all genres of music, he first played on
RJR Radio, playing Electro, Hip Hop, Soul, R&B & Reggae. Moving forward he started playing Acid House & Four to the Floor Music styles, by the early 90s he played on Weekend Rush and then went onto Defection, Touchdown, Don & Passion FM, playing Acid & Hardcore Jungle.

In the early days MixMaster Max was one of the Innovators of Jungle music by mixing Hardcore, Reggae & Hip Hop together, helping others to produce, fuse & gain ideas in the music industry. He was by Far the most Original, Innovative, DJ anybody had ever heard.

In 1991 he played alongside John Saunderson at the Camden Palace on a Friday night, he also played at the famous Hacienda club in Manchester.
He was the First DJ to create the Topsy Turvey, which is one turntable on top of the other, he came runner up in the DMC world championships in the early 90s.

He played at some of the Biggest Raves back in the day, Pirate club 93, Fantazia 92, Dungeons 91/92, Turnmills 92, to mention a few. He also played on Avenues FM & People's Choice, which were legal Radio Stations, not forgetting Kool fm & Centreforce.

He performed on stage with the We Papa Girl Rappers in 1990 at the Notting Hill Carnival. This Legendary Cult figure is a Master of the Nunchuckers & TurnTables!
His innovative Mixes were ‘legendary’ he was a pioneer precursor to the Art form known as Jungle Music, not to mention his Scratching abilities, which was ‘extraordinary’!

For those that listened to pirate radio back in the day, he was the legendary cult
figure that inspired us all, giving us the freshest musical styles that had never been heard before!

Ever since Tsuyoshi Hamada, better known as Dayzero dropped his now-sold-out first ZamZam “Orbit Dub” b/w “Theory Dub” in 2020 we’ve been eager to bless listeners and dancers with a next chapter of his unmistakable, menacing 140 dubs, and that Part 2 is finally here. In the two years since his first Zam he’s worked with Sentry, Vomitspit, Endz, and most recently branched out with an EP of leftfield styles & textures for Bristol’s legendary Livity Sound. Now he's back on 7" vinyl with a pair of stompers just the way we like them.

“Word sounds and power gonna mash them down” couldn’t be a more choice sample to lace “Pages” with, a skanking behemoth of 140 energy powered by swaggering kick & sub, reverb soaked snare, driving shaker, scratchy guitar licks, and mad delays twisting out at bewitching angles.

“Sen” counts off through a dodgy radio frequency, flying low and dropping into a ruff attack of dirty drums & bass, shifting, off-beat mid-range melodics, sleigh bell and percussion cutting through the hazy sonic miasma threatening to envelop the tune. At once eyes-down and hands-in-the-air, Dayzero strikes again with a guaranteed high score in the dance.

Strictly limited to 700 copies for the world. No digital, no repress. Art, design & two-color screen print by Polygon Press. Mastered at Precise, Pressed at Third Man.

Glenn Astro and Hulk Hodn (to some known as mighty Hodini) release their new full-length record “Ghosts” via Kommerz Records on August 26th.
Producers Astro & Hodn‘s first joint album “Turquoise Tortoise” in 2018 combined uptempo beats, hiphop and spaced out lo-fi slow jams effortlessly. On “Ghosts” the duo develops their exploration of new
aesthetics even further through synthesized soundscapes and numerous collaborations with young talent from all over the world. Artists such as Danish neo soul discovery AGGi, King Krule collaborator Gal Go, Kamohelo from Studio Barnhus band Off The Meds, Berlin-based voice experimentalist Yosa Peit and many more deep dived into the collaboration and transformed the album into a sonic multiverse.
New Release Information
Glenn Astro and Hulk Hodn are connected through a long lasting musical friendship. With their Detroitinspired house releases they gained wider recognition by critics and listeners alike. Nevertheless,
they’ve never been one dimensional artists. Berlin-based Glenn Astro‘s diversified approach to production as showcased on labels such as Ninja Tune and Tartelet bridges the gaps between ambient, hip-hop, techno and bass.
Meanwhile Cologne‘s Hulk Hodn gained the status of a German underground hip-hop legend. Through his records and shows with rapper Retrogott he gathered a cult-like following besides dropping high quality projects with other beat makers such as Hubert Daviz and Twit One and rappers such as Eloquent. Most recently he dropped the instrumental LP “Sparklez” on Sichtexot sub Casual Low Grind.

David Sylvian describes his 2nd solo album for his own Samadhisound label as being: “A modern kind of chamber music. Intimate, dynamic, emotive, democratic, economical”. Recorded in London, Vienna and Tokyo, the 8 songs and 1 instrumental on ‘Manafon’ bring together “the world’s leading improvisors, and innovators, artists who explore free improvisation, space-specific performance and live electronics” including Evan Parker, Keith Rowe, Christian Fennesz, Sachiko M, Otomo Yoshihide, John Tilbury and members of Polwechsel. This is the first time on 180gram vinyl for this 2LP set

Our Albarika Stores 7-inch series returns with one of the masterpieces of lo-fi Afro-funk: 'It's A Vanity' by Gabo Brown and Orchestre Poly-Rythmo.

Originally released in the early '70s, it is a fine example of the way that Benin's premier group could perfectly nail a James Brown-style groove and then twist it to make it uniquely their own thing.

'It's A Vanity' is one of the masterpieces of low-fi Afro-Funk, and has been widely sought after (and become extremely valuable) since it was comped in 2008. We've paired it with the first reissue of 'Nougbo Vehou (La Verité Blesse)' - licensed directly from bandleader Clement Melomé's family - for a must-have double-sider!

Still Life has been shaped by Katuchat's various musical influences: Arca, Vegyn, Sophie or Boards of Canada, artists who inspire him in the production of complex and detailed rhythms. For his first album, he wanted to experiment with more melodious sounds but also to diversify his music by collaborating for the first time with other artists (Chester Watson, Lia...).

Music being omnipresent in his daily life, his inspirations are as multiple as indefinable. We find them in what surrounds him, in the places, the interactions, the events which, unconsciously, directed the creation of the album. This idea inspired the artistic direction of "Still Life": the music is kind of a time capsule, which we can listen to again later to rediscover past moments of life, remembering the circumstances in which we first listened to it, and in his case, created it. Electronic music allows the listeners to attach their own interpretation and their own emotions, be they joyful or more melancholic.

LP on classic black vinyl. The long-awaited new album from the best pop band in Scotland... The Orchids were making sophisticated pop music right back in the early 1990s when Sarah Records first started. Their songs were as emotionally pure as anything else on that label, but they were always a step ahead of their peers in terms of song arrangements and musical ambition. With a casual, unpretentious air they made writing perfect pop songs seem easy, almost accidental, and several great releases followed. The Orchids gained a passionate following: people knew a good thing when they heard it and they hugged it close. But maybe now it’s time for the rest of the world to be let in on the secret. The songs themselves are a beautiful mix of strength and gentleness. They wrap you in a powerful embrace, making you feel comfortable and secure – and then whisper their insecurities and anxieties into your ear. They say: ‘it’s OK to admit weakness. It’s OK to be fragile. That’s where true strength comes from’. From Glasgow, and proudly Scottish, the band shares a musical lineage with other great groups from that city, from Aztec Camera to Orange Juice, Lloyd Cole to Teenage Fanclub - bands that specialise in song-writing that can tell big stories through small personal fragments, that can make the ordinary extraordinary. Ian Carmichael has helped the band create a perfectly produced masterpiece. He subtly accentuates the drama of the songs, with a sophisticated choreography and gloss that never overwhelms the tenderness of the music. In ‘This Boy Is A Mess’ (the first single from the album), the lyric confesses frailty while the arrangement gets stronger and stronger. It is bittersweet and exhilarating at the same time. ‘I Want You, I Need You’ has harmonies as big as a house – but the yearning message remains intimate and close. ‘I Don’t Mean To Stare’ is an elegant version of the song that first appeared on Skep Wax compilation Under The Bridge. Album opener ‘Didn’t We Love You’ daringly opens up empty spaces where the reverb of the drums is the only thing you can hear... and then floods your ears with a harmonised chorus, sweet guitar melodies and sweeping effects. Even then, the lyrical lament, expressing the desire to live in a better place - a place unspoilt by the greedy phonies who’ve taken over – comes across as clearly as if Hackett were leaning over for a friendly chat in the snug bar of The Orchids’ favourite Glasgow pub. Dreaming Kind will be released as a CD, digital download and vinyl LP.

Big Crown Records is proud to present another strong 7" offering from the legendary Sunny & The Sunliners. Pulling two very in demand tunes from Sunny's Keyloc Records catalog and making one unstoppable reissue 45 that will put these tunes back in the mix around the globe. Since we released the first Mr Brown Eyed Soul compilation in 2017 the price of Sunny's records have skyrocketed. We are sure a lot of people will be happy to be able to get their hands on these tunes and it will be great to see them getting spins in a whole world of new circles. The A side, "If I Could See You Now" is a classic dance floor burner from Mr Brown Eyed Soul. From the first note of the organ intro those in the know will be grinning ear to ear, as soon as the beat drops and Sunny starts singing anyone who never heard this tune before will be hooked. "Give Me Time" is a bit of a sleeper in Sunny's catalog. Not one of the flagship tunes that everyone knows but absolutely worthy of reissue and becoming one of the classics alongside "Should I Take You Home", "Smile Now, Cry Later", etc. The band is as sharp as the man himself on this one, running through the beautiful arrangement while Sunny pleads for time to get over his lost love.

Black Truffle is thrilled to announce Drumming Up Trouble, the first release of previously unissued music by Alvin Curran on the label. Collecting works recorded between 2018-2021 and a side-long epic dating back to the early 80s, as the title suggests, Drumming Up Trouble focuses on a hitherto almost unknown aspect of Curran’s encyclopaedic and omnivorous musical world: his experiments with sampled and synthesised percussion. As Curran’s wonderful, wildly sweeping liner notes make clear, his fascination with drumming belongs to the radical investigation of music’s fundamental elements that has marked his output since the beginnings of MEV, who aimed (as he says in a recent interview) to return ‘in some collective way to a non-existent start time in the history of human music’. Whatever kind of music our proto-human ancestors played, he writes, ‘drums were front and centre in the mix. Drums rule!’

In a paradox typical of Curran’s approach, Drumming Up Trouble interrogates this most ancient dimension of music with contemporary technology. On the first side, we hear recent pieces performed using the sampling software and full-size MIDI keyboard setup Curran has refined since the 1980s. Two of them are wild real-time improvisations, primarily utilising an enormous bank of hip-hop samples. Building from polyrhythmic layers of drum machine fragments to wild cacophonies of clashing vocal samples, scratching, and frantic pitch shifting, these energetic and at times hilarious pieces occupy a space somewhere between John Oswald’s Plunderphonics, Pat Thomas and Matt Wand in the Tony Oxley Quartet, and the propulsive Kudoro/Grime fusion of Lisbon’s Príncipe label. They are improvisations are accompanied by two austere, minimal compositions realised in collaboration with Angelo Maria Fallo: ‘End Zone’ for orchestral bass drum and high oscillator, and ‘Rollings’, where a snare roll is gradually stretched and filtered by digital means into ‘floating electronic gossamer’.

The incredible breadth of Curran’s output makes it pretty unlikely that a listener familiar with his work would be surprised to find it branching out in a new direction. But no degree of familiarity with his work can really prepare for side B’s epic and bizarre ‘Field it More’. It’s perhaps best to let the maestro describe this unhinged and infectious offering in his own words: ‘It features an 8 bar funky minimal riff à la James Brown, played on synth and an-out-of-tune piano, synced to a pre-paid patch on the Roland drum machine. Over this is laid a heavily processed track of the voices of dancer Yoshiko Chuma and movie-maker Jacob Burckhardt discussing an upcoming performance of theirs at the Venice film festival, capped by a track of my playing an increasingly out of control blues over the top of all of the above’. Only Pekka Airaksinen’s Buddhas of the Golden Light comes to mind as a reference point that might even vaguely compare to this wild home-brew of drum-machine funk, mad improvisation and squelching electronics, which eventually dissolved into a massive, layered cluster. Ancient and modern, synthetic and human, hysterical and rigorous, Drumming up Trouble is 100% Curran.

Ghent based psych jazz collective Compro Oro, are set to release new album 'Buy The Dip' on the 2nd September via the groove-obsessed Sdban Ultra label. Having received critical acclaim for their 2020 album 'Simurg' - a collaboration with Murat Ertel, co-founder and frontman of Istanbul's cult psychedelic folk band BaBa ZuLa and his singer partner Esma Ertel - the band's fifth album is less ethno- and more techno-logy, both on a musical and conceptual level.

With tastemaker fans including BBC 6 Music's Gilles Peterson and Stuart Maconie alongside Jazz FM's Jez Nelson, the band's spontaneous quest for psychedelic sounds and jazz grooves has not stopped expanding since their formation in 2014.

After imaginative musical trips to Havana, Mogadishu and Istanbul for previous releases, Compro Oro went looking for sounds and inspirations from other corners of the globe for 'Buy The Dip'. Synthesizers and electronic effects spice up Compro Oro's distinctive musical marriage of vibraphones, electric guitars, jazzfunk rhythms, exotic percussions and dubby bass patterns. Band leader and composer Wim Segers created these new compositions often on piano or vibes in a more analogue way, leaving enough room for his band mates to colour each track when fine tuning the song.

Segers was inspired by the world of crypto markets and the specific concept of 'buying the dip': bitcoin diggers who play the markets at specific 'low' moments to gain higher profits when prices go up again. Are we all reduced to consuming creatures, seeking for nothing more than the thrill of pointless spending and endless profits? It's a fairly philosophical question - especially for an instrumental album - but it's key for the punchy and eclectic sounds on 'Ben Hur' and 'Bitcoins'.

Apart from those synths and fx, a fair bunch of neo-noir western vibes sprout up on this album as well - think detuned piano's, flamenco-like guitars, rattling snare drums, and imminent whistles. Add to that some laid back sunny pop sounds ('Kayak'), off-hook and swaying Turkish psychedelica ('Karsilama') and even some haunted, kraut-ish vocal parts ('Dungeon'), it's evident Compro Oro has a musical voice without any equal in Belgium and beyond.

Compro Oro released their first album 'Transatlantic' in 2015, an ode to jazz vibraphonist Cal Tjader, an icon of the 1950's Latin jazz movement. The release received critical acclaim back home, lauded in the press as a drunken mix of Buena Vista Social Club and guitarist Marc Ribot's, Cubanos Postizos. Subsequent live shows have been called a celebration for the hips, the ear and the soul.

2017 saw the release of 'Bombarda', a bold EP that sailed South and East of Cuba, incorporating different ethnic rhythms and melodies in elaborate jams. No palm trees and cocktails in Havana this time, but instead dingy basements and LSD in West African cities. The critically acclaimed 'Suburban Exotica' followed in 2019 with 'Simurg', released in 2020, earning the band global success.

Following the release of Netflix's inspiring documentary short 'Hold Your Breath: The Ice Dive', Galya Bisengalieva presents her official soundtrack. To accompany the gruelling journey of freediver Johanna Nordblad as she tries to break the world record for distance travelled under ice with one breath, Galya has crafted an expert ambient narration that highlights the rising intensity toward the films looming climax. She uses warped solo violin techniques and electronically manipulated strings to produce compelling and emotive compositions that induce complete submersion. Aiding in the use of the dive to make comment on both global warming and the pandemic, the soundtrack commands attention while giving the characters their own space to breathe. Galya explains; "Composing music to Joanna's story was a completely new challenge. Until now my writing has been based on more abstract concepts but now I had the opportunity to engage closely in a clearly defined journey of an individual. A story of the freediver and her attempt to break the world record (men's and women's) for distance travelled under the ice, no fins, no wetsuit, on a single breath. What Joanna achieved is truly inspiring and incredibly brave. It would have been extremely easy for me to focus on the jeopardy of her record attempt. However, the story that is being told is her love of the cold water, her sister, family, and the nature she communes with every day. My music needed to reflect the personality of an extremely determined and loving woman. In order to achieve this, I used the violin as her voice, high harmonic soaring melodies. This I juxtaposed against layers of low warped drone and nature sounds, using field recordings of underwater, cutting of the ice for the dive and the howling wind in extreme weather conditions in Finland. The music hints at danger and the power of nature but always comes back to Joanna's intimacy with the icy water."

Deluxe 180gram vinyl edition comes in a foil-embossed and die-cut cardstock jacket with printed inner sleeve and additional 12x12 art cards featuring the collages of Maciek Szczerbowski. All the art interacts with the die-cut jacket framing. Edition of 300. Rooted in a distinct and immediately identifiable sound_with the cello of Rebecca Foon (Saltland, Set Fire To Flames, Thee Silver Mt Zion) and the marimba of ex-Godspeed You! Black Emperor percussionist Bruce Cawdron at its core_Esmerine has long embroidered emotive chamber works using threads of post-classical, post-rock, Minimalism, neo-Baroque, jazz, pop and a wide array of folk traditions. Multi-instrumentalist Brian Sanderson, who joined the group in 2012, has furthered Esmerine's melodic and ethnomusicological sensibility ever since, expanding the ensemble's palette as its third core member with guitars, ngoni, ekonting, hulusi, brass horns of all sorts, and more. Since 2003, six stately and filmic instrumental albums have inscribed compositional landscapes through epigrammatic miniatures, longform multi-movement chronicles, and all manner of evocative musical prosody between. Marked by an inimitably turbid yet tempered pastoralism, alternately lit by dappled dawn and disquieted dusk, Esmerine's musical narratives balance asceticism and romanticism, melancholy and hope, stillness and wanderlust. Esmerine now shares Everything Was Forever Until It Was No More, its seventh full-length album and first in five years. The band surprise-dropped the full album digitally on 06 May 2022, with the CD and Deluxe 180gram LP editions hitting stores on official release date 26 August 2022. Following an acclaimed run of mid-career records on Constellation through the 2010s_the last three of which have all been finalists or winners of Juno Awards for Instrumental Album of the Year and/or Album Packaging of the Year_Esmerine began working on new music at decade's end. Under the auspices of a grant from the Canada Council for the Arts, and a summer 2019 residency at Le Château de Monthelon (an artist commune in France where the band has cherished long-standing spiritual, creative, and personal connections), compositional seeds were planted_and then pandemic rooted everyone in place. In between lockdown waves, at the respective rural Québec homesteads of Cawdron and Foon, longtime co-producer Jace Lasek (The Bernard Lakes) began capturing the band in various stripped-down configurations with spartan remote equipment. More fulsome arrangement and overdub sessions at Foon's converted barn during the summer of 2021 brought the album to full fruition_where a notable increase in the use of acoustic piano also poured forth, with just about every band member having a go. The record also signals the definitive integration of bassist Philippe Charbonneau_having joined Esmerine as a touring member pre-pandemic, he plays throughout the album on upright and electric bass, with turns on piano and synth, as well as sound design contributions via tape echo and other processing. Everything Was Forever Until It Was No More grapples with the existential tensions between atmosphere and airlessness, seclusion and claustrophobia, forbearance and coalescence. In many ways it is one of Esmerine's most restrained records. Only a few passages are driven by full percussion. There is palpably less Sturm and Drang or overt crescendos compared to its recent predecessors. The new album roils with a different sort of dynamic intensity, where instrumental densities ebb and flow within an overtonal centre, melding into each other with gauzy timbral warmth, sometimes tracing fleeting tendrils outwards, but always rotating around a saturnine gravitational force. Everything Was Forever Until It Was No More is like a dark forest lit by a closely-orbiting opalescent planet; it could be the alternate score to Von Trier's Melancholia or Cormac McCarthy's The Road.

Note price increase and cat number change from last time around. In the late 1960s, the American trumpet player and free jazz pioneer Don Cherry (1936-1995) and the Swedish visual artist and designer Moki Cherry (1943-2009) began a collaboration that imagined an alternative space for creative music, most succinctly expressed in Moki's aphorism "the stage is home and home is a stage." By 1972, they had given name to a concept that united Don's music, Moki's art, and their family life in rural Tagårp, Sweden into one holistic entity: Organic Music Theatre. Captured here is the historic first Organic Music Theatre performance from the 1972 Festival de jazz de Chateauvallon in the South of France, mastered from tapes recorded during its original live broadcast on public TV. A life-affirming, multicultural patchwork of borrowed tunes suffused with the hallowed aura of Don's extensive global travels, the performance documents the moment he publicly jettisoned his identity as a jazz musician, and represents the start of his communal "mystical" period, later crystallized in recordings such as Organic Music Society, Relativity Suite, Brown Rice, and the soundtrack for Alejandro Jodorowsky's The Holy Mountain. The musicians in Don Cherry's New Researches, hailing from Brazil, Sweden, France, and the US, converged on Chateauvallon from all over Europe. The five-person band Don and Moki Cherry, Christer Bothén, Gérard "Doudou" Gouirand, and Naná Vasconcelos performed in an outdoor amphitheater and were joined onstage by a dozen adults and children, including Swedish friends who tagged along for the trip and Det Lilla Circus (The Little Circus), a Danish puppet troupe based in Christiania, Copenhagen. The platform was lined with Moki's carpets and her handmade, brightly colored tapestries, depicting Indian scales and bearing the words Organic Music Theatre, dressed the stage. As the musicians played, members of Det Lilla, led by Annie Hedvard, danced, sang, and mounted an improvised puppet show on poles high up in the air. The music in the Chateauvallon concert aspired to a universal language that would bring people together through song. In a fairly unprecedented move, Don abandoned his signature pocket trumpet for the piano and harmonium, thereby liberating his voice as an instrument for shamanic guidance. The show opens with him beckoning the audience to clap their hands and sing the Indian theta "Dha Dhin Na, Dha Tin Na," and the set cycles through uplifting and sacred tunes of Malian, South African, Brazilian, and Native American provenance including pieces that would later appear on Don's albums Organic Music Society and Home Boy (Sister Out) all punctuated by outbursts of possessed glossolalia from the puppeteers. "Relativity Suite, Part 1" notably spotlights Bothén on donso ngoni, a Malian hunter's guitar, prior to Vasconcelos taking an extended solo on berimbau. A vortex of wah-like microtonal rattling, Vasconcelos's masterful demonstration of this single-stringed Brazilian instrument is a harbinger of his work to come as a member, with Don, of the acclaimed group Codona. The sounds of children playing on the ensemble's achingly tender rendition of Jim Pepper's oft-covered beacon of spiritual optimism, "Witchi Tai To," lends the proceedings an especially intimate, domestic glow. Given the context of the star-studded international jazz festival, the concert's laid back, communal vibe feels like an attempt by the Cherrys to show Don's jazz audience that he was moving on. At the same time, however, Don was extending a warmhearted invitation for them to come along for the ride. With liner notes by Magnus Nygren. Track list: 1. Intro: Dha Dhin Na, Dha Tin Na 2. Butterfly Friend 3. Elixir 4. Amazwe 5. Interlude with Puppets 6. Ganesh 7. Elixir Reprise / Witchi Tai To 8. Resa 9. Relativity Suite, Part 1 10. Berimbau Solo 11. Interlude / North Brazilian Ceremonial Hymn 12. Elixir Reprise / Ganesh 13. Ntsikana's Bell / Traditional Melody

FIRST PRESSING ON WHITE VINYL*Regenerator is the fifth full-length from the Rochester, New York-based trio King Buffalo.

Written and recorded by the band with mixing and engineering by guitarist/vocalist Sean McVay and mastering by Bernie Matthews, the seven-song outing is the third in King Buffalo’s stated ‘pandemic trilogy,’ following 2021’s The Burden of Restlessness and
Acheron.

Both of those albums – like 2018’s Longing to Be the Mountain, 2016’s
debut, Orion, and the various EPs and other offerings they’ve made over the last eight years – made bold declarations about who King Buffalo are as a band, and Regenerator is no different. As McVay, bassist/synthesist Dan Reynolds and drummer Scott Donaldson continue to explore the outer reaches of modern psychedelic
music, melding progressive rhythms, drifting atmospheres and
accompanying surges of electricity, this new collection only further establishes them as one of the brightest lights shining in underground rock today.
As the third of three, Regenerator inherently ties together the previous two LPs, and as the band unfold the leadoff title-track across nine and halfminutes, it becomes clear just how truly they have marked out their own sonic presence.

The later melodic highlight “Mammoth” – with McVay’s most confident vocal performance yet – shimmers with hope that somehow doesn’t come across as desperate; on “Hours”, the group engages classic space rock, and the closing “Firmament” acts as a summary
for all three albums, marking the final installment of this trilogy as the
essential cornerstone of King Buffalo's work to date.

Regenerator is available on 180.gr white vinyl (including download) and CD.

Die Titanen des Thrash Metal sind zurück!

Megadeth veröffentlichen am 02. September ihr sechzehntes Studioalbum „The Sick The Dying… And The Dead!“ mit 12 brandneuen, unveröffentlichten Songs. Nach dem GRAMMY-gewinnenden Erfolgsalbum „Dystopia“ bleiben die vier Metalheads voll auf Erfolgskurs und lassen jedes Fan-Herz höherschlagen. Auch dieses Mal geht es um schmetternde Gitarren, fette Drum-Sounds und die markerschütternde Stimme von Frontmann und Produzent Dave Mustaine. Von nostalgie-getränkten Songs wie “Night Stalkers” mit
Mega-Feature Ice-T hinzu dem emotionalen und namensgebenden Song “The Sick The Dying… And The Dead” ist alles auf dem umfassenden Album vertreten.

Mustaine zeigt sich mehr als glücklich: „For the first time in a long time, everything that we needed on this record is in its right place. I can’t wait for the public to get hold of this!”.

Das Album erscheint als Jewel-Case CD und Gatefold 2LP

King Gizzard & The Lizard Wizard are repressing their sixteenth album, K.G. n 2010. In the wake of a global pandemic, it’s a collection of songs that saw the six members of the band retreating to their own homes scattered around Melbourne, Australia to compose and record remotely. But have no fear! Not a drop of that unnamed alchemical something that makes this band so special is missing. This is the Gizz firing on all sonic cylinders, for if ever a band were built to swiftly adapt to adverse circumstance then it is them. Hell, on paper Covid-19, with its monstrous yet unseen face, ecological implications and new language, even sounds like an abandoned concept for a King Gizzard & the Lizard Wizard album.

Truth be told, the practicalities of the creation of K.G. is a side-issue. It is the contents and the sheer visceral power of music that matters. Music that will live on long after a virus has passed. Back in 2017 the band released Flying Microtonal Banana, now one of their most highly regarded albums. That it was the first of five released by the band that year and was only part the story – a story made all the remarkable by the fact it was recorded using a microtonal musical scale that requires quarter tone tunings, on instruments custom-made for the occasion. It spawned a plethora of live favourites such as ‘Rattlesnake’, ‘Sleep Drifter’, ‘Nuclear Fusion’ and ‘Billabong Valley’ and showed the wider world that the Gizz paint from a palette that extends far beyond the musical colours of western rock. Here were songs in tunings more common in traditional Turkish or Arabic music.

“FMB was one of the purest and most enjoyable recording experiences we’ve had, and the ideas just kept coming” explains de facto band leader and multi-instrumentalist Stu Mackenzie. “But we didn’t think we would play it live as the music dictated a new medium that requires different instruments, new flight cases and so. It was a liberating studio-based experiment which surprisingly translated seamlessly and spawned some of favourite songs to play live.”

So now they return to the microtonal tunings on K.G., an album best described as a pure distillation of the King Gizzard sound, one that cherry picks the best aspects of previous albums and contorts them into new shapes and via defiantly non-Western rock scales. There’s walk-on theme song ‘K.G.L.W’, the celestial disco-funk of ‘Intrasport’, the righteous life-giving staccato rock of ‘Ontology’, epic stoner-sludge closer ‘The Hungry Wolf Of Fate’, which ends the album in abrupt burst of white noise. All come together to represent the next-level of the expanding Gizz sound.

K.G. is both a stand-alone work and also part of a bigger musical picture. More news on that shall be forthcoming – fans of the band know by now that King Gizzard don’t do things by halves. If music were organic matter, then their albums are ever-changing entities: initial highlights are often superseded on further exploration, favourite tracks replaced by less obvious moments, while riffs or bursts of noise from four or five albums back might suddenly rear their heads again.

After 11 years of existence, Gratitude Trio releases on September 2nd, 2022 its 4th album " Birth" on the remarkable Belgian label W.E.R.F. RECORDS in partnership with Mercury and Collectif Koa from Montpellier, France.

Protagonists Jeroen Van Herzeele (sax, analog synths), Alfred Vilayleck (electric bass, fx) and Louis Favre (drums, fx) worked for more than a year on this new album, continuing to develop the musical framework of the previous album: a blend of sensitivity and groove, contemplative vocals and raging solos.

Mixing acoustic and electronic sounds, the compositions of reflecting realities that inhabit them: to let oneself be touched by the beauty and the dark sides of life, to be amazed by nature, to accept what we cannot change, to create bonds, to commit ourselves to fulfill ourselves.

Music that is both sophisticated and organic, with an energy and boldness that characterize them.

Gratitude Trio is a Belgian/French band based in Brussels known for their strength and sensitivity that open people's hearts. The music of this power trio is tinged with spacy sounds, African rhythms, sexy grooves, endless trances, sensitive ballads, crazy free jazz, and a large dose of unpredictability. Gratitude exists since 2010 and has performed in prestigious venues in Europe. Their two first albums «Gratitude» and «alive» released in 2012 and 2015 under the label El Negocito Records have been very well received by the critics and the enthusiastic audience. The 3rd album «Gratitude III» was released in April 2018: new sound, new approach, but same soul. Gratitude Trio impressed! Indeed, voices and EWI (Electronic Wind Instrument) enrich the sound palette while the musicians have developed a new way to create together.

The brand new 4th album "Birth" is an absolute masterpiece, a synthesis of a decade of adventurous musical explorations.

(Cargo Collective Title) RIYL: Silver Mt Zion, Rachel’s, Grails & Do Make Say Think. 180g LP, custom window-cut letterpress jacket with artworked 300gsm inner + DL. Esmerine presents Everything Was Forever Until It Was No More, its first album in five years, following a celebrated run of Juno Award winning and nominated records throughout the preceding decade. Founded by ex-Godspeed You! Black Emperor percussionist Bruce Cawdron and cellist Rebecca Foon (Saltland, Silver Mt Zion, Set Fire To Flames), the acclaimed instrumental music ensemble and has long embroidered emotive chamber works using threads of post-classical, post-rock, Minimalism, neo-Baroque, jazz, pop and a wide array of folk traditions. Esmerine conjures a distinctive and immediately identifiable sound that consistently defies the trappings of “fusion”, forging emotive cinematic soundtracks under the overriding sonic sensibilities of postpunk grit, Wall-of-Sound, drone and dark ambient. Recorded by longtime co-producer Jace Lasek (The Besnard Lakes), the new album manifestly carries on in this fine tradition. Everything Was Forever Until It Was No More completes Esmerine’s “Anthropocene” triptych: a series of album-length meditations that began in 2015. The album title itself has minor meme status in eco-artistic circles, appropriated from its original context Alex Yurchak’s 2005 book about the collapse of Soviet Russia by several exhibitions and works interrogating artistic production in the age of environmental crisis. (Foon is also well-known for her climate activism as co-founder of Pathway To Paris.) The album grapples with existential tensions between atmosphere and airlessness, seclusion and claustrophobia, forbearance and satiation, scarcity and abundance; it is one of Esmerine’s most restrained and wistful works. Instrumental densities ebb and flow, melding into each other with gauzy timbral warmth, sometimes tracing fleeting tendrils outwards, but always rotating around the saturnine gravitational force of a darkly glowing sonic center. Everything Was Forever Until It Was No More is like a somber forest lit by a closely-orbiting opalescent planet; it could be the alternate score to Von Trier’s Melancholia or Cormac McCarthy’s The Road.Esmerine planted these compositional seeds before pandemic rooted everyone in place, under the auspices of a grant from the Canada Council for the Arts and a 2019 residency at Le Château de Monthelon in France. Lasek then began documenting the band between lockdowns in various stripped-down configurations with spartan remote equipment at the rural Québec homesteads of Cawdron and Foon, culminating in final sessions at Foon’s converted barn in summer/fall 2021, notably with extensive use of the barn’s resonant acoustic piano. Brian Sanderson appears on his fourth Esmerine album since joining in 2012, continuing to expand the ensemble’s ethnomusicological sensibility and melodic sound palette with guitars, ngoni, ekonting, hulusi, and brass horns of all sorts. Everything Was Forever… also signals the full integration of bassist Philippe Charbonneau, who joined Esmerine as a touring member pre-pandemic and plays throughout the new album, along with sound design contributions via synth, tape echo and other processing. Everything Was Forever Until It Was No More features the pandemic collage artwork of Maciek Sczcerbowksi, in a second Esmerine album art collaboration following their Juno award for Album Package of the Year for Lost Voices in 2015.

For Fans Of: Delvon Lamarr Organ Trio, The Sure Fire Soul Ensemble, New Mastersounds, Soulive, Jimmy Smith, Khruangbin. First reissue since it's original pressing in 2018! The iconic debut LP from the Scone Cash Players. Hammond Organ Stylings By Organ Master Adam Scone. The Hammond Organ is lead singer on this soulful and orchestral journey about industrial decay and the death of the steel town. Deep from the rusted steel mills of Youngstown Ohio, we bring you the much-anticipated reissue of the melting debut from the Scone Cash Players. It's the same organist that brought you the screaming organ on all those Daptone favorites from The Sugarman Three. Scone was behind that organ bench on the modern classics as follows. "Sugar's Boogaloo”, “Soul Donkey”, “Pure Cane Sugar", and "What the World Needs Now." Adam Scone entered the studio on Dunham Street in Brooklyn. He was wearing a blue Adidas jump suit. The studio had just opened. At the helm were his old compadres from The Dap-Kings. Namely Thomas Brenneck, Eric Kalb, Homer Steinweiss and lan Hendrickson-Smith. They make up the "Bliss Machine" behind Scones's groove. It was a truly rare moment to catch these masters of music and taste in between tours of Sharon Jones and Charles Bradley. Tommy put the mics around. Scone powered up the organ. The analog tape machine turned and turned until they couldn't turn any more. These songs were recorded. We worked all day and all night. Tears were shed. Espresso was made. There was beer on tap. 3 days of life were taken to make this album. We will never get them back. They were distilled to 40 minutes of pure emotion. It's a tale of woe. It's a tale of leaving art for responsibility. It's a farewell to an era. It's a journey that the Hammond B3 organ wasn't accustomed to. You can't compare this album to any other organ record. Don't expect to hear what you want. Free your mind. Be open. Your world is going to feel the heat of the BLAST FURNACE! It never quite feels how you want it to. Don't get burned... Tracks: 1. 1% Crown 2. Bliss Machine 3. The Slitter 4. Heavy Gauge 5. Necking 6. Blast Furnace 7. Jet Cool 8 Call & Receive No Call Back 9. Grinding Wheel 10. Structural Failure

Back in soon, note new price. The second Silver Mt Zion album featured an expanded band, with a similarly expanded band name. The addition of cello, second violin and second guitar allowed SMZ to develop richer, denser arrangements while preserving live ensemble playing. The opening instrumental pieces picked up where the debut left off, with found-sound loops and treatments introducing repeated melodic themes that move slowly through various counter-melodies the greater breadth of instrumentation brought extra subtlety, complexity and harmonic range to bear on these neo-classical dirges. Guitars and vocals moved to the fore on the album’s centerpiece tracks. “Take These Hands And Throw Them In The River” is an astounding juxtaposition of rhythmic thrust and ricocheting vocals, driven by a battered lyrical paranoia that conjures equal parts fear and rage. The calm after this storming piece comes by way of another vocal tune, this time fragile and near-whispered, with dual lines that alternately mask and reinforce each other. A piano and cello interlude prefaces the last side of the record, which features two guitar-driven songs, the first a blazing rock piece that builds to an exuberant distorted climax, the second as close to a pop masterpiece as this band is likely to craft, highlighted by a lovely arpeggio guitar riff and the defiant refrain “musicians are cowards”. While remaining anchored in an underlying sadness and mourning over this failed world, this album reveals an angrier, more urgent face as this unique ensemble charted ever-widening sonic and emotional terrain.



[c] B1 . Built Then Burnt [Hurrah! Hurrah!]