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In the spring of 2020, Willem Ardui and Jean-Valéry Atohoun of blackwave. found themselves in a difficult creative and personal period and in need of a change of scenery to recharge. They find their peace in the cosmopolitan melting pot of Los Angeles, the City of Angels, and for Ardui and Atohoun also a city of dreams. A dreamworld in which they rediscover themselves as artists and as individuals.



The spark from which blackwave. had emerged in 2016 caught fire again during their 20-day trip to the American West Coast. With renewed passion, inspiration and vision, the duo writes and works on new music, as if in a daze, day and night, with no limits to the creative process. With about thirty demos in their pocket, Ardui and Atohoun fly back to Belgium. Three days later, the first covid-lockdown hits them cold and the regained enthusiasm slowly ebbs away. Another period of uncertainty began, and at one point it was even doubted whether the group would continue to exist...



But the towel is not thrown in the ring. blackwave. starts polishing the American demos and distills 11 tracks from them. These now make up 'no sleep in LA', their second full-length album and follow-up to 2019's successful 'ARE WE STILL DREAMING?' 'no sleep in LA' is about the highs and lows of the past years, the insights they have gained, the difficulties and the beautiful moments. Everything about the record feels a lot more mature as a result. Existential themes are explored more and more deeply. Doubt and uncertainty, depression, grief and loss, dreams and ambitions, nostalgia, love and desire, no stone is left unturned.



The album also exudes maturity on a musical level: it is more compact in length than its predecessor, but the instrumentation is more in-depth. Strings, horns, backing vocals and other session musicians enrich the genre-transcending sound of blackwave. Everything is arranged to perfection without being delineated. The common thread is the thoughtful and lively lyrics of the two frontmen, and the layered production of Willem Ardui. To this end, Ardui received help on a number of tracks from the likes of Paul Meany (Twenty One Pilots), MiSCHiEF BOY (Cantrell), Spencer Petersen (Sego), Tobie Speleman (incidentally mixer of the entire record), and even his younger brother Remco Ardui.



Celebrated guest features include Lute (signed to Dreamville, J.Cole's label), Abhi The Nomad (artist from Austin, Texas who met the duo in LA) and Caleborate (a good friend and old friend to blackwave. fans). Kirby, who has already collaborated with the likes of Beyoncé and Kanye West, co-wrote the song "I Miss" on the album.

The stunning third album from Wyldest - aka London singer, songwriter and multi-instrumentalist Zoe Mead. Taking cues from the vulnerable and honest songwriting of Elliott Smith to the melodic indie-pop of Soccer Mommy and Hovvdy, Feed The Flowers Nightmares is something of a coming of age moment and with co-production from Luciano Rossi (Idlewild, Dama Scout) the LP is set to further establish Wyldest as a quietly prolific, multi-faceted and increasingly assured talent.

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

Hailing from the vermin-saturated remains of upstate South Carolina, SLUGCRUST are preparing to release their debut full length, Ecocide, via Prosthetic Records this summer. Featuring members of WVRM, SLUGCRUST embodies true Southern grind in all its grimy, punishing glory. With two ferocious EPs already under their belts, the breakneck speed with which SLUGCRUST operate gives a fair indicator of their approach. However, their focus isn’t compromised by their accelerated work ethic. Drawing from various literary inspirations the political issues at the heart of SLUGCRUST’s output is given a darkly poetic twist. SLUGCRUST seeks to bring political issues to light in a way that galvanises action and activism. The title derives from the process of destroying environmental structures or ecosystems, either via natural means or - as is more pertinent in the case of this album - deliberate human actions. Depravity is a recurring theme throughout the lyrics; emotional and physical immorality and degeneracy permeates the twelve tracks that make up Ecocide.

Unique and much lauded classic soulful blues-rock band XANDER AND THE PEACE PIRATES will release their hotly anticipated new album Order Out Of Chaos on 6th May. This is preceded by their explosive single “Leave The Light On” released 4th March with an amazing video giving a tantalising taster for the main course of songs to be unleashed on their upcoming album. Order Out Of Chaos is replete with heart-warming songs with soul-searching meanings. There’s also a tumultuous sea of sounds to be discovered on Leave The Light On that will send shockwaves through the ears of connoisseurs of classic rock music. And creating musical shockwaves is something that Xander And The Peace Pirates specialise in ever since brothers Keith and Stu Xander were discovered on YouTube by former Gibson Brands CEO Henry Juszkiewicz and quickly grabbed the attention of music industry figures such as Eddie Kramer (Jimi Hendrix, Led Zeppelin, Kiss, Rolling Stones) and Rick Allen (Def Leppard). After their 5-year tenure as the resident band at Liverpool’s iconic Cavern Club, they went on to support the likes of Joe Bonamassa, Joe Satriani, Manfred Mann’s Earth Band, The Temperance Movement, ex-Whitesnake’s Bernie Marsden and even Bon Jovi at Old Trafford Stadium to name but a few.

"The prolific band returns with a brief and seething left-turn: a furious homage to the scummiest, crustiest hardcore of the early ’80s". (Pitchfork)

"Brain stem cracking scum-punk recorded tersely in the basement of my home. After a notoriously frustrating eon, the knee-jerk song path was aggressive and hooky. This is an homage to the punk bands we grew up on—the weirdos and art freaks that piqued our interests and pointed us on the trail head to here / now. Bad times make for strong music is something I agree with. I would say that is evident by the past few years of output from the underground. Transmissions have been all over the map: scanning…searching...sweeping out in the darkness looking for a foot hold.

OSEES A Foul From represents some of our most savage and primal instincts. Fight or flight. And the importance of a sense of humor in the darkest hour. Nothing wrong with keeping it snappy in the meantime. For fans of Rudimentary Peni, Crass, Bad Brains, Black Flag, Screamers, Abwärts, Stooges and all things aggressively tilted towards your face. You can lean back but don’t flinch…it’s a brief foray into the exhausting pogo pit, so stiffen your back and jerk with your knees. Enjoy." - John Dwyer

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.

4 LP set is for Indies only until further notice. Unravelled: 1981–2002 shines a loving light on lo-fi pioneers Tall Dwarfs, the prized New Zealand duo of Chris Knox and Alec Bathgate. The collection, available as a 4-LP or 2-CD box set, compiles songs from Tall Dwarfs' two decades of recordings. The vinyl edition includes a 20-page collector's booklet of photos, comics, posters, and other ephemera. The songs on Unravelled: 1981–2002 were curated by Alec Bathgate, who also designed the box set packaging; Chris Knox suffered a debilitating stroke in 2009 just as they had started work on a new album. The collection captures the different sides of the Tall Dwarfs in 55 songs. Though the band was an excuse for two good friends who lived in different cities to get together, drink beer, watch shitty old movies, and do some recording and drawing, Tall Dwarfs created music unlike anyone else. Capturing the initial excitement of creation and taking pride in what they did, Knox and Bathgate showed a whole generation of musicians what could be done at home on a 4-track and what magic could be made if you mixed pop melodies and hooks galore with homemade sounds. After a failed flirtation with success in their previous band Toy Love, Knox and Bathgate formed Tall Dwarfs in 1981, opting to record themselves on a 4-track reel-to-reel. New Zealand’s AudioCulture wrote of the duo’s project: “Early live performances were a ramshackle work in progress. Knox described them in an interview with American magazine Forced Exposure as ‘two minutes of song followed by five minutes of fucking around,’ and they dismayed many Toy Love fans—but the pair had no interest in a career spent in pubs cranking out ‘Pull Down the Shades.’” Tall Dwarfs was meant to be a one-off, but after the founding of their New Zealand label Flying Nun, they continued to record music for the next 21 years, releasing seven EPs and six albums. Their process was spontaneous, with songs being recorded as they were written. Typically, Bathgate would work up something on guitar while Knox provided vocals, lyrics, and tape loops. Then they added any sounds that seemed necessary to finish a song, using whatever was lying around: pans, chairs, baby rattles. Though Tall Dwarfs could be weird, they were never too experimental; Knox and Bathgate both loved melody too much (“Beatlesque” appeared more often than any other adjective in their reviews).

Very limited vinyl pressing, 500 copies in a full colour single outer sleeve and full colour printed lyric inner sleeve, housing a 2-colour blue and yellow cosmic swirl vinyl. Full download included as well. Blacklab are back. The self-proclaimed ‘Doom witch duo from Osaka’ are set to drop their 3rd album ‘In A Bizarre Dream’ this summer. Their debut ‘Under the Strawberry Moon 2.0’ saw them taking Sabbath inspired doom, mashing it with a Japanese sensibility and a fuzzed-up groove. It certainly caused a stir, but only hinted at their potential. Album two ‘Abyss’ added to the mix. A Stooges like squalor to the riffs, dollops of lo-fi hardcore punk and loose riffing, pointing the way towards a signature sound. So what of the ‘difficult’ third album? Not so difficult at all it seems. ‘In A Bizarre Dream’ ups the ante considerably, to let rip and define what Blacklab are about. The combined talents of Jun Morino on production and Wayne Adams (Big Lad, Green Lung, Pet Brick, John, Cold In Berlin) on the mix have conspired to produce a towering beast of a record. A real step forward for the ‘Doom Witch Duo’. The drums have a humungous ‘Fugazi’ like welly, and the guitars are a boiling maelstrom of fuzz dense riffola and warped psychedelics, with added synth. Yuko’s throat shredding snarls are as mean as a pissed off Satan, and melodious, often within the same song. This is doom meets hardcore punk, hooky melodies, and killer riffs, all cranked up to the max. Japan has always had a special take on ‘noise’ and ‘heavy’ and with ‘In A Bizarre Dream’ Blacklab add their own spin to that tradition. Gone is the lo-fi approach, here is Blacklab in full effect. ‘Cold Rain’ and ‘Abyss Woods’ (debuted at their storming set at London’s Desert Fest and appearing here in its full version) are two nuggets of epic fuzz heavy doom with added screamo and a neat and canny grasp of melody at its core. Very much a Blacklab trademark. ‘Dark Clouds’ is D-beat fuelled hardcore, fierce and ferocious, with Chia’s rolling thunder drumming underpinning the distorted guitar. It’s pretty exhilarating stuff that shifts the mood perfectly. ‘Evil I’ is just that, a riff as evil as it gets, morphing into a chugging punk wig out. Then followed by ‘Evil II’ a breather, almost mellow, melancholy, with layers of dark overdrive threatening to explode beneath a sweet yet menacing vocal. Then, the mid-point of the album drops a real surprise. Yuko has said before that the band’s name is a combination of her two favourite bands, Black Sabbath and Stereolab. Odd bedfellows to be sure, but if you want to know what that combination might sound like ... here it is. ‘Crows, Sparrows and Cats’ actually features Laetitia Sadier of Stereolab, no less, providing the lead vocal, adding a layer of cool over Blacklab’s Hawkwind meets krautrock sludge. It’s a stoner groove with pop at its heart ...Sludge Pop even, a surprising gem amongst the maelstrom of sound around it. The skewed, sludgecore of ‘Lost’ with its push-pull riffs and rolling thunder drumming, signals that it’s back to business as usual. And after the brief atmospheric instrumental interlude that gives the album its title, comes ‘Monochrome Rainbow’ a huge beast of a track so simple, yet so seductive, from its filtered bass intro to its massive ebb and flow groove and stomping ending. The vocals are all mystery and melody, and the music is kind of a Groundhogs meets Goatsnake ten-ton fuzz-fest, with a singalong, wave your arms in the air chorus. The new Japanese Doom-blues, and what could be the album’s defining moment. ‘In A Bizarre Dream’ closes with ‘Collapse’ verging on noise rock, complete with throat shredding vocals and a crushing wall of guitars, that switch from a stoner groove to full on punk assault, teetering on mayhem before finally ending with the sound of Yuko switching off her fuzz pedal. Perfect. Blacklab have negotiated that ‘difficult’ third album with aplomb and have created a sound that, despite their many influences, is all their own.

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.”

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)

The 16-track album opens with “War & Wonders'' as Smoke begins his journey foreshadowing an upcoming battle featuring impassioned flows and rhymes describing the violent challenges of urban living. The track opens with a storyline of Smoke getting knocked down from his ongoing battles and a woman calling his name to wake up. The narrative then progresses with latest singles “Shame On You” and “Common Sense” featuring SiR commenting on humanity’s unique simplicity and embracing our differences. At the core of the album, “Stay True” featuring John Legend accentuates the meaning of living your best life by staying true to your authentic self regardless of what life throws your way and the hardships you may face. Then “Good Thing” featuring Ty Dolla $ign offers an upbeat, positive track bringing light to companionship and finding joy in life through many avenues. Smoke wraps the project with rhythmic, jazz infused “Free Write” reflecting on the crusade of each track leading to the end of his battles, and bringing awareness to the grieving of his city from politics to systemic racism and his influence on making the situation better for future generations. War & Wonders spotlights poignant themes, necessary social commentary, and the hurdles we overcome in order to appreciate what we have in this life. For Smoke, he showcases Inglewood’s war on losing love, being in love, and battling himself as he is always being led in different directions. It is a continuous journey of learning, growing, self-discovery, and reinventing a better version of himself.

Wooohaaa! The figure 8 always meant more to us than just a symbol on your screen. For this very reason on our eighth vinyl release from Minor Notes Recordings we’re featuring non other than the legendary producer BMB SpaceKid. Stemming from St. Petersburg and from an early age, BMB proved himself to be an extraordinary musician. Able produces top quality compositions with ease, and in any style, but all with his unique twist.

To date BMB is best known in hip-hop circles as he made album beats for many key underground rap artists. He also went international and produced joint tracks with Dj Premier, Anderson Paak, Raekwon, GoldLink and many others.
BMB has also performed at the Fabric Club in London, the Outlook Origins festival, live on Boiler Room and BBC Radio 1. He also participated in the Red Bull Bass Camp and the Hip-Hop Academy.

On the record "Taste Booster" BMB SpaceKid showcases his taste and skills in the production of house style dance music. A tribute to the traditions of African-American music, the virtuoso mastery of MPC and sampling techniques, and an outstanding approach to melodic rhythms.
We are convinced that this record will appeal to everyone who loves true house music, acting as a breath of fresh air. To enhance the overall effect we invited one of our favorite French producers Art Of Tones, who for a long time, and just like us, has been promoting the organic sound of electronic music 4x4.

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.

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.

Note price increase and cat number change from last time around. In 1968, Don Cherry had already established himself as one of the leading voices of the avant-garde. Having pioneered free jazz as a member of Ornette Coleman's classic quartet, and with a high profile collaboration with John Coltrane under his belt, the globetrotting jazz trumpeter settled in Sweden with his partner Moki and her daughter Neneh. There, he assembled a group of Swedish musicians and led a series of weekly workshops at the ABF, or Workers' Educational Association, from February to April of 1968, with lessons on extended forms of improvisation including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales. That summer, saxophonist and recording engineer Göran Freese who later recorded Don's classic Organic Music Society and Eternal Now LPs invited Don, members of his two working bands, and a Turkish drummer to his summer house in Kummelnäs, just outside of Stockholm, for a series of rehearsals and jam sessions that put the prior months' workshops into practice. Long relegated to the status of a mysterious footnote in Don's sessionography, tapes from this session, as well as one professionally mixed tape intended for release, were recently found in the vaults of the Swedish Jazz Archive, and the lost Summer House Sessions are finally available over fifty years after they were recorded. On July 20, the musicians gathered at Freese's summer house included Bernt Rosengren (tenor saxophone, flutes, clarinet), Tommy Koverhult (tenor saxophone, flutes), Leif Wennerström (drums), and Torbjörn Hultcrantz (bass) from Don's Swedish group; Jacques Thollot (drums) and Kent Carter (bass) from his newly formed international band New York Total Music Company; Bülent Ates (hand drum, drums), who was visiting from Turkey; and Don (pocket trumpet, flutes, percussion) himself. Lacking a common language, the players used music as their common means of communication. In this way, these frenetic and freewheeling sessions anticipate Don's turn to more explicitly pan-ethnic expression, preceding his epochal Eternal Rhythm dates by four months. The octet, comprising musicians from America, France, Sweden, and Turkey, was a perfect vehicle for Don's budding pursuit of "collage music," a concept inspired in part by the shortwave radio on which Don listened to sounds from around the world. Using the collage metaphor, Don eliminated solos and the introduction of tunes, transforming a wealth of melodies, sounds, and rhythms into poetic suites of different moods and changing forms. The Summer House Sessions ensemble joyously layers manifold cultural idioms, traversing the airy peaks and serene valleys of Cherry's earthly vision. In the Swedish Jazz Archive quite a few other recordings from the same day were to be found. Some of the highlights are heard as bonus material on the CD edition of this album. The octet is augmented by producer and saxophone player Gunnar Lindqvist, who led the Swedish free jazz orchestra G.L. Unit on the album Orangutang, and drummer Sune Spångberg, who recorded with Albert Ayler in 1962. The bonus CD also includes a track without Cherry featuring Jacques Thollot joined by five Swedes including Lindqvist, Tommy Koverhult, Sune Spångberg, and others. With liner notes by Magnus Nygren and album art featuring a cover painting by Moki Cherry: Untitled, ca. 1967-68. Track list: 1. Summer House Sessions 2. Summer House Sessions.

Singer/Songwriter-Kunst aus UK, prominent mit dabei Paul Weller! In Zusammenarbeit mit Paul Weller als Produzent und Co-Autor seines 5. Studioalbums veröffentlicht der Liverpooler Troubadour Steve Pilgrim das schmerzhaft melancholische ,Beautiful Blue" auf Ltd Vinyl und CD. Auf dem Album wirken Paul Weller, Steve Craddock und Rachael Jean Harris mit Streicherarrangements von Hannah Peel mit. Ein Text von Paul Weller war die einzige Inspiration, die Steve Pilgrim brauchte, um die Arbeit an seinem mit Spannung erwarteten sechsten Album ,Beautiful Blue" zu beenden. Er spielt seit mehr als einem Jahrzehnt Schlagzeug und singt mit der lebenden Legende Paul Weller. Skizzen von Liedern, Melodien und Akkordfolgen wurden der Anfang einer gemeinsamen Schreibrichtung von Pilgrim und Weller und brachten das Material an einen neuen Ort, der den sanftmütigen Scouser auf eine Art und Weise anspornte, die nur Weller hervorrufen konnte. Stücke wie ,Test of Faith", ,Don't Let The Mirror Break You", ,One With All", ,Universe" und ,Where Our Love Goes" erinnern an Pilgrims frühere Arbeiten, sind aber mit einer Wärme und Klassik versehen, die man auf dem gefeierten Album ,True Meanings" seines Co-Autors findet. Mit der Unterstützung des Toningenieurs und Klangzauberers Charles Rees und den Streicherarrangements der renommierten Hannah Peel ist Beautiful Blue" das Werk eines Künstlers, der seine Stärke im Stillleben findet und am lautesten schreit, wenn er flüstert. Die Songs auf diesem Album sind stromlinienförmig, ohne Fett und bieten ein komplexes akustisches Gitarrenspiel, das sich in und aus einprägsamen Melodien ('New Sky'), wogenden (das wunderschöne Titelstück) und umwerfend zarte Gesangsharmonien ('Everyday') einfügt.

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.

Josh Hughes (Cub\cub) returns for his second album of a long hot summer, Radiant Crush. Following the glimmering enchantments of his previous outing, Nothing New Under The Sun, this latest chapter brings things to a dizzying climax. While Josh's palette champions the lo-fi, it's his ability to unveil rich melody, seemingly spilling through ever shifting sliding doors, that leads the listener on a merry dance of intangible delights. As Radiant Crush continues to build, we increasingly discern hazy voices coming through the divide: Through a Narrow Window resonates like a lost gem from This Mortal Coil; until Drift finally breaks through with Louisa Osborn's blissful vocal performance, pulling everything into focus to stand as the album's glorious centre piece. While Radiant Crush is very capable of speaking for itself, when pressed Josh describes his work as "music for an incurably ambiguous world", and we can see how nothing is quite what it seems when he goes on to describe this latest album in similarly evasive terms: "Radiant crush is a series of nebulous concepts designed to make the listener think about the way in which we as human beings can idealise a past that never existed. The album focuses on the fragility of the human brain and the power emotions have over recollection through tracks that leave you with a feeling of longing, for something you can’t quite put your finger on. I think more than any other work I’ve made, this album feels the most human. Vocals feature quite prominently throughout the record, most of them are distorted, veiled or fragmented in keeping with the theme of a loss of connection and meaning. Drift is the only track on the album with intelligible vocals, this was intentional as it honestly and tenderly deals with the theme of living in an incurably ambiguous world." Radiant Crush will be released on 2nd September, via digital platforms and limited edition pressed vinyl. Genre: Electronic / Ambient