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Maple Glider is Naarm/Melbourne-based singer-songwriter Tori
Zietsch.
On debut album ‘To Enjoy is the Only Thing’, written whilst Zietsch
lived in Brighton in the UK, she compiles a striking set of vignettes
from her life; growing up in a restrictive religious household, falling in
and out of love, cross-country and international travel, longing,
alienation and more.
Moments both unremarkable and life-altering but always deeply felt,
brought to vivid life by the beauty of Tori’s artistry and wry sense of
dark humour.
Elaborating further on her vision for the project, Zietsch describes:
“To me, ‘To Enjoy is the Only Thing’ feels like walking past tinselcovered trees in mid-September, swimming along the calanques in
the south of France, frost on the hood of a car, darkness at 4pm,
lightness until 10pm, Sibylle Baier’s Colour Green, Devendra
Banhart’s Ma, Adrianne Lenker’s a-sides, a muted feeling, the
perpetual grey fog that swallows the Silver Coast in Portugal, an ugly
green dress, the color red, red wine, red blood, red lips, the red of a
cardinal’s robe, Switzerland, my mother’s diaries, a coroner’s report,
the sun on my face, the end of love.”

Rose City Band is the solo project of Ripley Johnson (Wooden Shjips, Moon
Duo).
Stepping out from behind the psychedelic haze that envelops his other
output, Rose City Band’s lean yet richly textured arrangements lay bare the
beauty of his songcraft. On ‘Earth Trip’, Johnson reveals more of himself
than ever before, colouring the project’s country-rock twang with a
melancholic, wistful undertone. It charts a journey of personal growth and
introspection with surprising honesty, from pining for summers spent with
friends to meditations on space, stillness and the splendour of the natural
world.
It continues Rose City Band’s celebration of summer warmth and the great
outdoors, seen from a new vantage point and with newfound appreciation for
the freedom and joy that nature provides.
Through its daring honesty and masteful arrangements, ‘Earth Trip’ cements
Johnson’s place as a singular songwriter of inimitable skill. Its message of
mindfulness and our interconnectedness to the environment expands on a
long country and blues music tradition that draws a symbiotic relationship
between storyteller and the land, capturing the beauty of the natural world
while also emphasising our responsibility in preserving it for future
generations.
‘Earth Trip’ features an incredible line up of guests including drummer John
Jeffrey (Moon Duo), Sanae Yamada (Moon Duo) on piano, Ryan Jewell and
Barry Walker on pedal steel guitar.
Mixed by Cooper Crain (Bitchin’ Bajas, Cave) at Electrical Audio and
mastering by Amy Dragon at Telegraph Mastering.
Deluxe mini gatefold CD package.
Forest green coloured vinyl and black vinyl are available in deluxe LP
packaging, die-cut jacket with 4-colour printing on both the outside and inside
of the jacket. Also with fully artworked heavy-weight cardstock printed inner
sleeve and digital download card.
“Ripley Johnson has been responsible for some of the past decade’s most
mesmeric and beguiling albums.” - The Guardian
“Johnson’s Rose City Band incarnation may be his most dazzling and
uplifting so far... transforms the fuzz-drenched thrust of Johnson’s usual
music into a beatific choogle, a modest but potent means of escape from the
realities of 2020” - MOJO

Rose City Band is the solo project of Ripley Johnson (Wooden Shjips, Moon
Duo).
Stepping out from behind the psychedelic haze that envelops his other
output, Rose City Band’s lean yet richly textured arrangements lay bare the
beauty of his songcraft. On ‘Earth Trip’, Johnson reveals more of himself
than ever before, colouring the project’s country-rock twang with a
melancholic, wistful undertone. It charts a journey of personal growth and
introspection with surprising honesty, from pining for summers spent with
friends to meditations on space, stillness and the splendour of the natural
world.
It continues Rose City Band’s celebration of summer warmth and the great
outdoors, seen from a new vantage point and with newfound appreciation for
the freedom and joy that nature provides.
Through its daring honesty and masteful arrangements, ‘Earth Trip’ cements
Johnson’s place as a singular songwriter of inimitable skill. Its message of
mindfulness and our interconnectedness to the environment expands on a
long country and blues music tradition that draws a symbiotic relationship
between storyteller and the land, capturing the beauty of the natural world
while also emphasising our responsibility in preserving it for future
generations.
‘Earth Trip’ features an incredible line up of guests including drummer John
Jeffrey (Moon Duo), Sanae Yamada (Moon Duo) on piano, Ryan Jewell and
Barry Walker on pedal steel guitar.
Mixed by Cooper Crain (Bitchin’ Bajas, Cave) at Electrical Audio and
mastering by Amy Dragon at Telegraph Mastering.
Deluxe mini gatefold CD package.
Forest green coloured vinyl and black vinyl are available in deluxe LP
packaging, die-cut jacket with 4-colour printing on both the outside and inside
of the jacket. Also with fully artworked heavy-weight cardstock printed inner
sleeve and digital download card.
“Ripley Johnson has been responsible for some of the past decade’s most
mesmeric and beguiling albums.” - The Guardian
“Johnson’s Rose City Band incarnation may be his most dazzling and
uplifting so far... transforms the fuzz-drenched thrust of Johnson’s usual
music into a beatific choogle, a modest but potent means of escape from the
realities of 2020” - MOJO

Drug Store Romeos formed at college in nearby Farnborough when childhood friends Jonny (Gilbert) and Charlie (Henderson) pinned an ad about finding a bassist for their new band to the school’s notice board – Sarah (Downie) replied and quickly proved herself a better vocalist than either of them. The trio spent the subsequent 24 hours discussing their love of Stereolab over messenger and watching Portishead and Mild High Club videos in the college’s computer lab. The band soon cut their teeth playing live at college, at Guildford Boiler Room and Aldershot West End Centre, rather than the familiarly trodden paths in London although they did frequent Brixton Windmill as often as three times a week at one point; carrying all of their equipment back to Fleet by train as none of the band were old enough to drive. The 3am walk home from Fleet station, with amps and flight cases slung over their shoulder, would become a rite of passage; the quiet countryside influencing their hushed atmospheric sound and nocturnal aesthetics as much as their shared affection for Suburban Lawns, Broadcast, and Tom Tom Club. Lyrical abstractness / concrete meaning. Danceability / lyingdownability. Minimalism / fullness. Introspective melancholy / playfulness. Lo fi / hi fi. Drug Store Romeos play with the senses and flip the expectations, finding the sweet spot every time.

Sasha introduces LUZoSCURA, a new compilation that hasevolved from the thriving eponymous playlist. Featuring adiverse package of original works from a host of fresh talent, aswell as established artists and Sasha himself, it traverse selectronica, ambient, breaks and techno. Meaning light and dark, LUZoSCURA began on Spotify as a stash of tracks sent to Sasha which didn't meet the pace of his clubsets nor suit his venerated label LNOE, LUZoSCURA came into itsown through 2020 as Sasha gravitated toward more mellowed sounds while being off the road, and clubbers diverted their ears to home listening. Gaining a renewed source of energy inconnecting with more gifted, budding producers and seeing the project blossom, the idea for the compilation came off the back of doing a live stream solely featuring tracks from the playlist. Meticulously compiled to flow like a DJ mix for home listening, Sasha kicks it off with the buoyant, breaks-influenced 'Corner Shop', the first of his three tracks on the compilation. MJ Cole is among the established artists to feature with blissed out track 'Maestro', while The Micronaut, a multi-instrumentalist whose back catalogue was a favourite of Sasha's through lockdown, offers an immersive trip in 'Koelsa'. Lau.ra, lead singer from British experimental rock band Ultraísta, evokes a sense of spiritedness in 'I'll Wait' before we hear again from Sasha with another breaks-loaded trip in 'HNDI' and a collaboration withB ritish producer Franky Wah. Closing the odyssey with a stirring, expansive soundscape is synth duo Felsmann + Tiley.

The mysterious Black Fan is back again! After his recent 7“ with Greymatter, he goes bigger this time and releases a proper 4-track 12“. We know that Black Fan has already released on respected labels like Wolf Music and Local Talk. We also know that he loves vintage analog studio gear as much as we love his old school touched tunes. But we don’t know what „RVBD“ means. And what’s with „tiger fisted“? Maybe we will find out! In the meantime enjoy this proper old school release.

Papiro’s approach to music is never technical, but always personal. Since the mid-Nineties, he has released a handful of noteworthy albums, each carefully put together and seemingly self- contained, yet all sharing an unmistakable musical language and a certain escapist aura.

La finestra dentata (The Toothed Window), is no exception. It includes both studio and concert recordings from 2016–2020. The sounds on this album appear infinite and full of marvels, ingenious in portraying imaginary creatures and environments.

The title track and Anelli take up most of the first side and include live outtakes. Papiro likes to describe his performances as therapeutic. These swirly symphonies are specifically intended as immersive deep-listening experiences for concert venues, and have been edited for this album to meet the physical demands of vinyl and domestic use. Imagine the younger cousins of Laurie Spiegel’s Concerto Generator performance, or Terry Riley’s Shri Camel.

However, those who know Papiro only from the stage might be unaware of a different side to his oeuvre; starry-eyed miniatures that may appear frivolous in comparison to the more heady stuff, but are nonetheless well worth discovering. Each piece adds a chapter to a phantasmagoric world populated by such characters as "Giant Duckling", "King Hard-Beard", or the "Bodulator". Tracks like the opener Odilon or Il triciclo nascosto, meanwhile, emanate a candor rarely found in the domain of serious music, and revisit Papiro’s early days of instrumental storytelling.

About Papiro:

Marco Papiro is a Swiss-Italian musician, composer and graphic designer. He teaches at the Schule für Gestaltung in Basel and is known for the posters and album covers that he's created for a number of prolific artists (Sun Araw, Sonic Boom, Panda Bear, Oren Ambarchi)

Good things come to those who wait! A commonplace that is also true in the case of Perel’s Running Back debut. Ever since „Die Dimension“ appeared on DFA, our own CEO couldn’t wait for a call from the lady herself. Star is the consequence of said call and not only that.
Picturing Perel’s development as a recording artist on the one hand and the hardships everyone had to experience since the world has been changed by a pandemic on the other, making it - in her word words - „an EP about crossing the „physical distance between the people I miss and love“. Opening with the riveting vocals of Star („This song is literally a love song for my people“), the three pieces also show Perel's growing versatility as a producer. The tried and tested neon disco lights interchange with darker tones, uplifting and affirmative moments (Tour De Perel) rotate with contemplative and pondering intervals (Internal Monologue). Yet, by no means Perel is whistling a sad tune. Her melodies are as always deep, distinguishable and delightful to dance to. Wherever that may be.

This was the ardent wish of thousands of fans calling out to Andi Deris, Michael Kiske, Michael Weikath, Kai Hansen, Markus Grosskopf, Sascha Gerstner and Dani Löble during the PUMPKINS UNITED WORLD TOUR - and their dream has come true! With the upcoming album, simply titled HELLOWEEN, the band opens a new chapter after 35 years of a glorious career. The future of one of the most influential German metal bands from now on will feature three singers. Originally planned for the live performances only, it was the birth of a unique seven piece metal alliance.

Dani Löble: ”This record is the coronation of the PUMPKINS UNITED journey! Still today I am fascinated by the different character traits and facets of the HELLOWEEN history. As an example I’d like to point out the legendary voices of Michi, Andi and Kai. To enjoy them now together on one record, under one flag is the ultimate HELLOWEEN experience”. It is therefore not surprising that the pre-release single SKYFALL, a 12 minute epos written by Kai Hansen, has the long yearned “Keeper-vibe” - even if the long player can by no means be limited to it. SKYFALL implies the musical arch which will be loved by fans of every era. This first album of a new age is taking the fans from unforgettable memories of the fifteen studio records and four live CD’s to new adventures. SKYFALL begins with a bang. The epic track describes an alien landing on earth and a dramatic chase while Kiske, Deris and Hansen duel with each other in a breathtaking manner and create a vocal broadband adventure. Produced by Martin Häusler, it is the most elaborate video clip in the history of the band; shown with 3-D animation and having a cinematic look, this video is a real high-end experience.

”FEAR OF THE FALLEN” – the second single is a fast paced, melodic track done the way only Deris can do it. ”I had so much fun not only writing a song for my voice but also for one of the greatest singers out there. I always have an extremely broad smile on my face when I hear Michi singing my melodies“, says Deris and Kiske adds: ”The whole process, including the spirit, was just ideal. If I had the feeling that one of the parts would not be really fitting, I asked Andi if he would sing it and vice versa. There was no competition whatsoever – what counted was what is best for the respective song. I am thankful to be (again) a part of this crazy family. I love them all”. Along with massive album tracks such as HELLOWEEN classic and album opener “OUT FOR THE GLORY“, the epic “DOWN IN THE DUMPS”, both written by Weikath, the power metal shouter “MASS POLLUTION“ by Deris and Grosskopf’s scuff proof rocker “INDESTRUCTIBLE“ (which could be an analogy towards the unbreakable career of the band), the album release is flanked by the ‘party-track‘ of the record, “BEST TIME“. Lyrically the song by Sascha Gerstner reminds of the good old days, musically it´s convincing with confident HELLOWEEN style guitar harmonies and a chorus that stays in your long-term memory after hearing it for the first time.

“HELLOWEEN“ offers a complete metal universe within 12 songs. The base of this milestone album was already erected in the studio: using the original drum kit of Ingo Schwichtenberg, the recording was done with the same modulators at the Hamburg HOME studios where back then ”Master Of The Rings“, ”The Time Of The Oath“ and ”Better Than Raw“ were recorded. Completely analog and under the eyes of long term producer Charlie Bauerfeind and co-producer Dennis Ward, the UNITED impact travelled to New York and got the final mix in the Valhalla Studios of Ronald Prent (Iron Maiden, Def Leppard, Rammstein).

Returnee Kai Hansen reflects: ”Being in the studio with my old companions after 30 years was very emotional for me. But at the same time it was a completely different experience with the ‘new‘ boys. The collaboration of different songwriters and strong characters made the album very special: a unique mix with reminiscences from all chapters of the band’s history. HELLOWEEN is a big part of my life and I am looking forward to celebrating the songs live for and with our fans“! From another perspective Markus Grosskopf agrees: ”For me, being one of the last “survivors” who played every note from the beginning, it was a fantastic experience and a very emotional process. I think everyone can hear it on this album. I love it“. When it came to capturing the larger-than-life emotions in the artwork, it quickly became clear that it was only possible as a handmade painting on which the important topics of the band's history are processed. The work of Berlin based artist Eliran Kantor has achieved this and visually underscores the fact that the band cherishes all parts of their history. With all this brand new material an album has been created, an album that is set apart from the digital mainstream and showing the essence of the band was never more solid. This is the beginning of something big – here comes HELLOWEEN!

This was the ardent wish of thousands of fans calling out to Andi Deris, Michael Kiske, Michael Weikath, Kai Hansen, Markus Grosskopf, Sascha Gerstner and Dani Löble during the PUMPKINS UNITED WORLD TOUR - and their dream has come true! With the upcoming album, simply titled HELLOWEEN, the band opens a new chapter after 35 years of a glorious career. The future of one of the most influential German metal bands from now on will feature three singers. Originally planned for the live performances only, it was the birth of a unique seven piece metal alliance.

Dani Löble: ”This record is the coronation of the PUMPKINS UNITED journey! Still today I am fascinated by the different character traits and facets of the HELLOWEEN history. As an example I’d like to point out the legendary voices of Michi, Andi and Kai. To enjoy them now together on one record, under one flag is the ultimate HELLOWEEN experience”. It is therefore not surprising that the pre-release single SKYFALL, a 12 minute epos written by Kai Hansen, has the long yearned “Keeper-vibe” - even if the long player can by no means be limited to it. SKYFALL implies the musical arch which will be loved by fans of every era. This first album of a new age is taking the fans from unforgettable memories of the fifteen studio records and four live CD’s to new adventures. SKYFALL begins with a bang. The epic track describes an alien landing on earth and a dramatic chase while Kiske, Deris and Hansen duel with each other in a breathtaking manner and create a vocal broadband adventure. Produced by Martin Häusler, it is the most elaborate video clip in the history of the band; shown with 3-D animation and having a cinematic look, this video is a real high-end experience.

”FEAR OF THE FALLEN” – the second single is a fast paced, melodic track done the way only Deris can do it. ”I had so much fun not only writing a song for my voice but also for one of the greatest singers out there. I always have an extremely broad smile on my face when I hear Michi singing my melodies“, says Deris and Kiske adds: ”The whole process, including the spirit, was just ideal. If I had the feeling that one of the parts would not be really fitting, I asked Andi if he would sing it and vice versa. There was no competition whatsoever – what counted was what is best for the respective song. I am thankful to be (again) a part of this crazy family. I love them all”. Along with massive album tracks such as HELLOWEEN classic and album opener “OUT FOR THE GLORY“, the epic “DOWN IN THE DUMPS”, both written by Weikath, the power metal shouter “MASS POLLUTION“ by Deris and Grosskopf’s scuff proof rocker “INDESTRUCTIBLE“ (which could be an analogy towards the unbreakable career of the band), the album release is flanked by the ‘party-track‘ of the record, “BEST TIME“. Lyrically the song by Sascha Gerstner reminds of the good old days, musically it´s convincing with confident HELLOWEEN style guitar harmonies and a chorus that stays in your long-term memory after hearing it for the first time.

“HELLOWEEN“ offers a complete metal universe within 12 songs. The base of this milestone album was already erected in the studio: using the original drum kit of Ingo Schwichtenberg, the recording was done with the same modulators at the Hamburg HOME studios where back then ”Master Of The Rings“, ”The Time Of The Oath“ and ”Better Than Raw“ were recorded. Completely analog and under the eyes of long term producer Charlie Bauerfeind and co-producer Dennis Ward, the UNITED impact travelled to New York and got the final mix in the Valhalla Studios of Ronald Prent (Iron Maiden, Def Leppard, Rammstein).

Returnee Kai Hansen reflects: ”Being in the studio with my old companions after 30 years was very emotional for me. But at the same time it was a completely different experience with the ‘new‘ boys. The collaboration of different songwriters and strong characters made the album very special: a unique mix with reminiscences from all chapters of the band’s history. HELLOWEEN is a big part of my life and I am looking forward to celebrating the songs live for and with our fans“! From another perspective Markus Grosskopf agrees: ”For me, being one of the last “survivors” who played every note from the beginning, it was a fantastic experience and a very emotional process. I think everyone can hear it on this album. I love it“. When it came to capturing the larger-than-life emotions in the artwork, it quickly became clear that it was only possible as a handmade painting on which the important topics of the band's history are processed. The work of Berlin based artist Eliran Kantor has achieved this and visually underscores the fact that the band cherishes all parts of their history. With all this brand new material an album has been created, an album that is set apart from the digital mainstream and showing the essence of the band was never more solid. This is the beginning of something big – here comes HELLOWEEN!

The Monkees, one of the most recognizable names in the annals of pop music history, are an American rock and pop band originally active between 1966 and 1971, with reunion albums and tours in the decades that followed. The original line up was Micky Dolenz, Michael Nesmith, Peter Tork and Davy Jones. The group was conceived in 1965 by TV producers Bob Rafelson and Bert Schneider specifically for the sitcom series The Monkees, which aired from 1966 to 1968. The music was originally supervised by record producer Don Kirschner, backed by the songwriting duo of Tommy Boyce and Bobby Hart.

The Monkees self-titled debut and second albums were meant to be a soundtrack to the first season of the TV show, to cash in on the audience.Their first single, “Last Train To Clarksville” b/w “Take A Giant Step,” was released in August 1966, just weeks prior to the TV broadcast debut. In conjunction with the first broadcast of the TV show on September 12, 1966, NBC and Columbia had a major hit. The first long-playing album, The Monkees, was released a month later; it spent 13 weeks at #1 and stayed on the Billboard charts for 78 weeks.

The Monkees have sold more than 75 million records worldwide making them one of the biggest selling groups of all time with international hits, including “Last Train to Clarksville,” “Pleasant Valley Sunday,” “Daydream Believer,” and “I’m A Believer.” ROG is reissuing their iconic debut album as a deluxe 2LP set with bonus tracks (several of which are unreleased mixes) and are having lacquers cut from the analog tapes for the first time since 1966—creating THE DEFINITIVE version of this album since original release!















[n] c3. This Just Doesn’t Seem to Be My Day (TV Version) [Mono]

[p] c5. I Wanna Be Free (Fast Version) [Mono TV Mix]
[q] c6. You Just May Be The One [Mono TV Version]






[x] d6. (I Prithee) Do Not Ask For Love [2020 Remix]

Cut A Lonely Figure is the (mostly) solo project of Blue Tapes founder David McNamee. Previous releases include Sugimoto Seascapes (Fractal Meat Cuts), Rothko Horizons (Bloxham Tapes), and In Sea, In Circles, In Concrete (Pan y Rosas Discos).

For this release, recorded at home during Lockdown 1, 2020, Cut A Lonely Figure was: Sarah Angliss (theremin), Maria Marzaioli (violin), Rosie Reynolds (clarinet), Andrew Smith (saxophone), and David McNamee (everything else).

African, funky, sarcastic, bewitching, green, ecstatic: these words collide to describe Vaudou Game and all of them are true.

Noussin is the fourth album of the french Afro Funk band. Forced into lockdown, like much of the planet, Peter Solo and his Vaudou Game had no choice but to retreat into the studio. A reunion to once again invoke the spiritual forces of the Voodoo Deities. A reunion that was Initially imagined for an EP…yet these spiritual forces behind that imagination yearned for something more, and as we all know, these forces are impossible to push away once they have decided to stay.

Under the strain enforced by the current socioeconomic climate, as much as by the environmental peril that faces us all today - they diverted the course of the groove towards daring new vibrations. Without extinguishing or diminishing its highly communicative power, they released Vaudou Game from its origins of pure Afro-Funk to gradually engage into compositions which crystallized themselves into tones resembling more rock than funk.

On this fourth album, with an entirely revisited line-up, Peter Solo separates for the first time in his career from his brassy guard, leaving saxophone, trumpet and trombone outside to invite an arsenal of keyboards to define, with him, this new voodoo sound. A sound, as usual, built on vintage and precise analogical material - grime even on the white side of the tape, a blunt instrument used to blanket anything that strived to shine too much in the mix.

Graced with tapered guitars stringing out rhythmic bumps or withdrawing a few beats to indulge in infectious solos, this album is boisterously alive with vintage 70's Funk, infused with a few digressions into other ethers of the funk timeline, nicking different sounds and frequencies to render the black and white keys of an inspired keyboard to reach new euphoric levels of melodic acidity.

Tearing off the enigmatic mask to reveal his true face: on a few titles, Peter Solo ventures outside of his sacred voodoo range to reconnect with his London years, these titles feature small nods to the time he spent in “The Smoke” where the incantations of British music culture were written within him.

Noussin which means “Stay strong” in Mina, a dialect spoken in the south-west of Togo. Noussin, a message of hope as much as a call to come together to weather the turmoil and to come out better on the other side. Don’t let them grind you down…Noussin!

M-Tone presents their debut release with an A side that showcases an original and a rework from label owner's, Accented Measures and Andrew George with remixes from two highly respected artists in the game, Ed Herbst and Monika Ross, on the B side.

Simoncino is back on the iconic label that launched his career: SKYLAX RECORDS. In the meantime, he has become a benchmark artist in particular for his passion, his extreme mastery of analog material and his ability to craft dream like soundscapes and mystical house atmospheres; who has seen him collaborate in recent years with the biggest names in house: Larry Heard, Boyd Jarvis, Tevo Howard and Robert Owens on excellent labels such as Lies, Vibraphone, Crème organization, Hotmix or Mathematics. For this new release, the fruit of a maturation of several months in his studio, the made in Perugia prodigy has once again surrounded himself with the master of chicago house, the legendary Merwyn Sanders of Virgo Four (who already appeared as a remixer on the Warrior Dance part 4 in 2012 on SKYLAX) on vocals. Its inimitable style is a clever mix of chicago house tinged with the most classy techno touches, “on the dance floor” will delight both fans of the purest house but also those who are also followers of the original techno made in detroit. A mix brilliantly revealed by the golden voice of Merwyn Sanders. On the B-side, the pair reward us with a high-end remix signed by the brilliant and bulimic producer from La Hague, the furious madman Danny Wolfers aka Legowelt. To conclude, the title In Viaggio reminds us how much Simoncino is also able of creating real house bombs that send us straight into the stratosphere. ON THE DANCEFLOOR we tell you.

Weaving its way through the tapestry of influences from Lonnie Liston Smith, Softmachine and Ravi Shankar, the title track takes a more contemporary approach merging U.K. urban / spoken word, with a meandering melancholic melody, driving home the message that it’s a 'Matter of Urgency’.

Opening the recording, 'Jazz Emergency' has a laid back vibe, coasting on a hypnotic bass line, with layered wailing trilled horns, creating a blanket of tenor sax, delayed Rhodes and pianos over and around.

Crooked Urge (Part 1 & 2) (Trk: A2, B1) came about from a first time session with drummer Sergiu Fanica, Ozan and pianist Aziz. Although a jam, the band were keen to share the spirit of this recording!

The track 'Matter of Urgency' is a call to the inner self, to take care of the world around us and to pave a better world for the generations ahead. It is an enchanting fusion of wailing horns with spoken word poetry over the top.

'Sound of Pulsar' is another spaced out journey that came about from a jam night in the studio, bass line looped and off into the musical cosmos...

Once again we thank all the amazing musicians and friends sharing their creativity on this album and to those who inspire us to create!

Ambient instrumental version of Steve Von Till’s previous release No Wilderness Deep Enough.
Limited Violet Colour Vinyl.
For fans of Neurosis, Jóhann Jóhannsson, Ólafur Arnalds, Nick Cave & Warren Ellis, Brian Eno.

“Von Till has delved into prolonged and hypnotic expressions of darkness and decay...achingly slow post-classical hues (glissandro strings, mournful horns, reverb piano) fusing intimacy to grandeur. But the most stentorian, weariest voice imaginable - graver even than Mark Lanegan - and the existential dread of his words equally chills to the bones.” 4/5 MOJO (No Wilderness Deep Enough)
Steve Von Till has made a life’s work out of seeking the elemental. With a solo discography that stretches back more than two decades, he has toiled in a shadow realm, peeling back layers of reality in a never-ending search for true meaning and raw emotion. A Deep Voiceless Wilderness strips back the veil even further. An achingly beautiful ambient work with neo-classical leanings, the album is a hallucinatory and elegant rumination on our disconnect from the natural world, each other, and ultimately ourselves.
For some listeners, the album may recall the work of modern composers like Jóhann Jóhannsson, Brian Eno or Gavin Bryars. For Von Till, it’s about surrendering to the spirit of place—and to the original intent behind his 2020 solo album, No Wilderness Deep Enough. That album marked a significant first for Von Till: It was his first solo record without a guitar in hand. Instead, Von Till intoned powerful and thought-provoking lyrics over piano, cello, mellotron and analog synthesizers. A Deep Voiceless Wilderness is that same album without Von Till’s words.
“This is how I originally heard this piece of music,” he says. “Without the voice as an anchor or earthbound narrative, these pieces have a broader wingspan. They become something else entirely and unfold in a more expansive way. The depth of the synths, juxtaposed with the strings and French horn, have space to develop and allow the listener to imagine their own story.”

A HANDPICKED COLLECTION OF HIS GREATEST MUSICAL WORKS FROM FILM & TELEVISION, FEATURING MUSIC FROM NOMADLAND, THE FATHER, INSIDIOUS, THIS IS ENGLAND & MANY MORE

"The most syncable modern composer" Synchtank

The new collection Cinema features 28 breath-taking pieces that take the listener through Ludovico's incredible musical journey working in film & television, and includes two previously unreleased tracks** (see tracklist below)
Includes music from films and series such as the Golden Globe & BAFTA Award-winning and Oscar favourite Nomadland, another BAFTA Award-winning and Oscar favourite The Father, This Is England, I'm Still Here, Insidious, Dr Foster, Sense8 & many more
"I felt like he Ludovico and the character of Fern were walking in parallel; their shared love of nature connects them, and I knew then his music would fit perfectly with our movie" Chloé Zhao on Nomadland
Award-winning scores such as Fuori Dal Mondo (Oscar nominated, Echo Klassik award) and Sotto falso nome (Avignon Film Festival) are also included
Einaudi has become the biggest streamed classical artist of all time. His beautifully evocative music lends itself so perfectly to use in films, tv & advertising and has the incredible ability to provoke and enhance emotion.
This is why for many years directors have been using it to complement their images and continue to do so.
Famous fans & collaborators include Shane Meadows (This Is England, Dead Man's Shoes), Russell Crowe (The Water Diviner, Gladiator, Les Miserables), Chloé Zhao (Nomadland), Ricky Gervais (Derek), Eric Toldedano (The Intouchables), Clint Eastwood (J Edgar), Casey Affleck (I'm Still Here) & Darren Aronofsky (Black Swan).

Brooklyn-based duo Julian Duron and Michael Sherburn are Earth Boys, connoisseurs of heady house music that warms you with soft summer heat. Returning to Shall Not Fade after the success of their sellout LP Earth Tones last year, Automatic EP continues the Bristol label's new Classic Cuts series. It beautifully blends jazz instrumentation with deep house energy, creating sophisticated and unique dance music.

The title track is absolutely not to be missed - it's something a little different from the duo, centralising completely infectious vocals that are guaranteed to circulate your head for hours, a clean cut hit. Jazz sax meanders over the laidback house beat and into the next track "Okokok," which nods to Middle Eastern disco, this time the sax solos pair with a throbbing acid bassline. This acidic edge is brought to the forefront in the hard hitting business of "Revolution 420", a rave ready number infused with laser cut synths and dreamy pads.

Floating flute samples bring in the B side, the hazey natural breaks but disco influenced bassline making "Hush" both muted and danceable. Earth Boys bring master house producer JT Donaldson on board for the closing track, a sound soaked with funk n soul influence in its chunky slap bass and crooning female vocals. "Love Got You" winds the EP to a close with style - both cool and romantic, understated and glittering with character.
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