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There are times in our life when we feel magic in the air. When new love arrives, or we find ourselves lost in a moment of creation with others who share our vision. A sense that: this is who I want to be. This is what I want to share. It's a fleeting feeling and one that Kyle Thomas, the singer-songwriter who records and performs as King Tuff, found himself longing for in the spring of 2020. But knowing he couldn't simply recreate this time in his life at will, Thomas-who hails from Brattleboro, Vermont-set out to write a love letter to those cherished moments of inspiration and to the small town that formed him. The one where he first nurtured his songwriting impulses, bouncing ideas off other like-minded artists. The kind of place where the changing of the seasons always delivered a sense of perspective and fresh artistic inspiration. Where he felt a deeper connection with nature and sense of community that had once been so close at hand. And so, Thomas seized upon his memories, creating what he calls "an album about love and nature and youth." The result is Smalltown Stardust, a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of the artist's back catalog. On Smalltown Stardust, Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. References to his Brattleboro upbringing abound, but at the core of Smalltown Stardust is Thomas's desire to commune with nature on a spiritual level. Images of the natural world, from blizzards to green mountains to cloudy days, fill the songs. "I consider nature to be my religion," he explains, and Smalltown Stardust is nothing if not a spiritual exploration. While so much of Smalltown Stardust invokes idealized traces and places of Thomas's past, the album's recording process made his communal vision a reality. Thomas's Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duffy (Hand Habits) and Sasami Ashworth recording their own heralded albums (2021's Fun House and 2022's Squeeze, respectively) at the same time. A shared spirit dominated an era spent largely on the premises, with Thomas serving as engineer and contributor to both records, and Ashworth working as co-producer on Smalltown Stardust. Ashworth's contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. In the end, Smalltown Stardust is not merely a nostalgia trip. Thomas not only conjured a special time in his life, he found new inspiration, surrounded by collaborators and a sense of love and wonder for nature. If the first King Tuff record was content to merely state Thomas was no longer dead, Smalltown Stardust is a paean to what that life means. A statement of belief and a hymnal to the magic still to behold all around us.

Tape

There are times in our life when we feel magic in the air. When new love arrives, or we find ourselves lost in a moment of creation with others who share our vision. A sense that: this is who I want to be. This is what I want to share. It's a fleeting feeling and one that Kyle Thomas, the singer-songwriter who records and performs as King Tuff, found himself longing for in the spring of 2020. But knowing he couldn't simply recreate this time in his life at will, Thomas-who hails from Brattleboro, Vermont-set out to write a love letter to those cherished moments of inspiration and to the small town that formed him. The one where he first nurtured his songwriting impulses, bouncing ideas off other like-minded artists. The kind of place where the changing of the seasons always delivered a sense of perspective and fresh artistic inspiration. Where he felt a deeper connection with nature and sense of community that had once been so close at hand. And so, Thomas seized upon his memories, creating what he calls "an album about love and nature and youth." The result is Smalltown Stardust, a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of the artist's back catalog. On Smalltown Stardust, Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. References to his Brattleboro upbringing abound, but at the core of Smalltown Stardust is Thomas's desire to commune with nature on a spiritual level. Images of the natural world, from blizzards to green mountains to cloudy days, fill the songs. "I consider nature to be my religion," he explains, and Smalltown Stardust is nothing if not a spiritual exploration. While so much of Smalltown Stardust invokes idealized traces and places of Thomas's past, the album's recording process made his communal vision a reality. Thomas's Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duffy (Hand Habits) and Sasami Ashworth recording their own heralded albums (2021's Fun House and 2022's Squeeze, respectively) at the same time. A shared spirit dominated an era spent largely on the premises, with Thomas serving as engineer and contributor to both records, and Ashworth working as co-producer on Smalltown Stardust. Ashworth's contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. In the end, Smalltown Stardust is not merely a nostalgia trip. Thomas not only conjured a special time in his life, he found new inspiration, surrounded by collaborators and a sense of love and wonder for nature. If the first King Tuff record was content to merely state Thomas was no longer dead, Smalltown Stardust is a paean to what that life means. A statement of belief and a hymnal to the magic still to behold all around us.

New York’s very own JW Francis announces his brand new album ‘Dream House’ – his third with London based label Sunday Best Recordings. Coinciding with the announcement is the gloriously up-beat new single ‘Casino,’ which offers a glimpse into what to expect on his forthcoming feel-good LP. When JW isn’t writing songs about his own life or surreal imagery, he writes about other people – most notably around the month of February when he writes valentines songs on his fans’ behalf. ‘Dream House’ encapsulates all of this and forms a collection of glorious tracks written for other people: “Every year, about 6 weeks before Valentine’s Day, I make the following post on social media: “If you send me the name of your Valentine, and the reason you love them, I’ll write a song for them on your behalf.” That is how Dream House was born, 3 years ago. Over the past three years, I have received over 300 requests from fans to write songs for their loved ones. All of the songs on Dream House come from this project, some of them have been reworked to speak more to the artist’s life, others have remained exactly as they were first written. Ultimately, this is an album about caring for others, and the way we express it.” Written and recorded at the start of 2021 in NYC, ‘Dream House’ is slightly reminiscent of The Strokes and even has hints of Lou Reed, however the project is still quintessential JW Francis with its blissful melodies and dreamy instrumentation; perfectly fitting given the album’s title. Along with the announcement comes ‘Casino’, a track about pursuing your dreams, as JW explains, “This song is about taking a gamble on myself as a musician, quitting my job, and living the life I want to be living. The video explores the two lives I was living before I got the opportunity to follow my dreams and doing music full time.” ‘Dream House’ follows the hugely well received ‘WANDERKID’ and ‘We Share a Similar Joy’ and once again proves why JW is the king of laid-back and effortlessly cool song-making.

New York’s very own JW Francis announces his brand new album ‘Dream House’ – his third with London based label Sunday Best Recordings. Coinciding with the announcement is the gloriously up-beat new single ‘Casino,’ which offers a glimpse into what to expect on his forthcoming feel-good LP. When JW isn’t writing songs about his own life or surreal imagery, he writes about other people – most notably around the month of February when he writes valentines songs on his fans’ behalf. ‘Dream House’ encapsulates all of this and forms a collection of glorious tracks written for other people: “Every year, about 6 weeks before Valentine’s Day, I make the following post on social media: “If you send me the name of your Valentine, and the reason you love them, I’ll write a song for them on your behalf.” That is how Dream House was born, 3 years ago. Over the past three years, I have received over 300 requests from fans to write songs for their loved ones. All of the songs on Dream House come from this project, some of them have been reworked to speak more to the artist’s life, others have remained exactly as they were first written. Ultimately, this is an album about caring for others, and the way we express it.” Written and recorded at the start of 2021 in NYC, ‘Dream House’ is slightly reminiscent of The Strokes and even has hints of Lou Reed, however the project is still quintessential JW Francis with its blissful melodies and dreamy instrumentation; perfectly fitting given the album’s title. Along with the announcement comes ‘Casino’, a track about pursuing your dreams, as JW explains, “This song is about taking a gamble on myself as a musician, quitting my job, and living the life I want to be living. The video explores the two lives I was living before I got the opportunity to follow my dreams and doing music full time.” ‘Dream House’ follows the hugely well received ‘WANDERKID’ and ‘We Share a Similar Joy’ and once again proves why JW is the king of laid-back and effortlessly cool song-making.

Meg Baird’s songs are rarely made up of tidy stories. In fact, for Meg, mystery itself is often the
medium. With ‘Furling’, Meg’s fourth album under her own name, she explores the breadth of
her musical fascinations and the environments around them - the edges of memory,
daydreams spanning years, loose ends, loss, divergent paths, and secret conversations under
stars. ‘Furling’ moves through these varied spaces with the slippery, misty cohesiveness of a
dream - guided by an ageless, stirring voice that remains singular and unmistakable.
Since co-founding the beguiling and beautiful Espers in the mid-aughts amid Philadelphia’s
fertile underground music community, Meg’s solo recordings have constituted just a fraction of
her work.
Her first solo LP, the disarmingly out-of-time ‘Dear Companion’ (2007), saw her carve a quiet,
sunlit space away from the flickering swirl of Espers. Since her last solo releases, ‘Seasons on
Earth’ (2011) and ‘Don’t Weigh Down the Light’ (2015), Meg has lent thunderous drumming,
lead vocal, and poetry to Heron Oblivion (Sub Pop) on an album that garnered praise from the
New York Times and made Mojo’s Top Ten Albums Of 2016 list. She collaborated with harpist
Mary Lattimore on the mesmerizingly hazy ‘Ghost Forests’ (2018). She’s played drums with
Philadelphia scuzz-punks Watery Love (In The Red, Richie Records) and explored her deep
familial folk roots in the Baird Sisters (Grapefruit Records). She also contributed her vocal
arrangements to albums from Sharon Van Etten, Kurt Vile, Will Oldham and Steve Gunn, and
toured with Angel Olson, Dinosaur Jr., Bill Callahan, Thurston Moore and Bert Jansch, among
others.
Yet ‘Furling’ is the album that most irreverently explores the span of her work and musical
touchstones. It showcases her natural tether to 1960s English folk traditions. But it also reveals
her deep love for soul balladry, the solitary musings of Flying Saucer Attack and Neil Young
shackled to his piano deep in the foggy pre-dawn, dubby Bristol atmospherics, the melancholy
memory collage of DJ Shadow’s ‘Endtroducing’, and the delicious, Saturday night promise of
St. Etienne.
‘Furling’ was primarily recorded at Louder Studios by Tim Green (Bikini Kill, Nation of Ulysses,
Melvins, Wooden Shjips). Additional piano and vocal recording were captured at Panoramic
Studios in Stinson Beach, CA with Jason Quever (Papercuts). It was mastered in Brooklyn by
Heba Kadry, who mixed Bjork’s ‘Utopia’ and mastered albums for Slowdive, Cass McCombs
and Beach House.
For all its adornments, ‘Furling’ remains deeply intimate. The entire album was performed by
Meg and her long-time collaborator, partner, and Heron Oblivion bandmate Charlie Saufley.
While her prior solo work hinted at more expansive horizons, ‘Furling’ explores the idea of Meg
Baird as a band much more freely. Venturing beyond the musical confines of fingerstyle guitar,
she plays drums, mellotron, organs, synths, and vibraphone over her piano and guitar
foundations. Her distinctive, simultaneously elegiac and uplifting vocals, meanwhile, connect
surreal dream montages, graft sunshine sonics to swooning mediations on romantic solidarity
in trying times, and weave odes to the simple gestures of friendship - and the loss of family and
friends.
This rich sound world makes the songs a varied bunch: ‘Twelve Saints’ mates Pacific sunset
ambience and Pink Floyd pastoral to a meditation on mortality and escape. The infectious and
kinetic ‘Will You Follow Me Home’ contemplates hope and longing through the looking glass of
a Jimmy Miller-era-Stones strut. And in the closing piece, ‘Wreathing Days’, language
disintegrates over tone clusters that feel somewhere between falling and flying.
‘Wreathing Days’ also reveals much about Meg’s mastery of contrast - situating the dear and
delicate adjacent to chaos. And while it’s true that some songs on ‘Furling’ grapple with
humanity’s existential unknowns in stark terms, they primarily revel in the mysteries that hide in
nature and humanity at their most ordinary. ‘Furling’ lives in the notion that whole universes of
experience, enlightenment, elation and ecstasy can bloom in these corners.

All-star jazz session WINNERS CIRCLE recorded in New York, September & October 1957. Featuring the musicians who came first or second in Down Beat’s critics’ poll of 1957. Reproduction of rare 1961 alternate album art and title credited to JOHN COLTRANE IN THE WINNERS CIRCLE. Featuring Donald Byrd, Kenny Burrell, Art Farmer, Philly Joe Jones, Oscar Pettiford and more. Remastered 96 kHz/24 bit audio H Pressed on 180 gram black vinyl at GZ Media in Czech Republic.

Philly’s own Chained Bliss set tongues a-waggin’ back in 2019 with their Stained Red cassette EP, gathering more than a few comparisons to the Wipers’ early racket in the process. Well, now they’re back with a debut album that seems to have skipped right ahead from Is This Real? to Over The Edge: this self-titled LP has all the gut-punching ramalama, knockabout guts’n’glory of that first tape, with added layers. Melodic guitar lines come perilously close to jangling over crunching power chords, while furiously yelped choruses give way to sumptuously put-together breakdown sections that catch you off guard and kick you in the shins before legging it down the street. Chained Bliss clearly love scrappy, skatey garage rock (echoes of Agent Orange’s Living In Darkness abound) as much as they love pushing that raucous clatter into something spacious - the meditative sections that flow effortlessly into absolute ripper Pillars Of Abuse are as unexpected as the thoughtful but head-spinningly energetic sections that bring Creative Seizure so thrillingly to life. Other times they’re just as happy to keep you careening towards the pit with two-minute bangers, but that’s the beauty of this record: it’s never smarter than when it’s playing dumb, and the rest of the time it’s just pretty damn smart. Here’s a challenge: can you listen to Ominous Life’s gnarly pop without raising those fists of yours skywards and landing a firm thump on the air? Or Drifter’s swaggering stomp? Or, or, or… ahhh hell, you get what I’m saying here. Every single cut slays, every single hook snags itself on your brain. You’ll come back for more, and more, and more. Are Chained Bliss your new favourite band? Well, gee, we’ve never met and I don’t know what you like and it’s not for me to say… but on the other hand, yes. Yes, they are. They’re heading straight for your heart and they ain’t budging. Will Fitzpatrick

2023 re-issue, 140g vinyl, reproduction of the classic Tele Music sleeve, full colour insert with liner notes and archive photographs

Wow! Tonio Rubio's Rhythms is a stone-cold killer, a heavyweight library breaks LP and the inaugural release in Be With's new partnership with legendary French library label Tele Music. Yes, you lucky people, there's lots to come. For this extremely special 50 year anniversary re-issue, we've reproduced the classic Tele Music sleeve with a full colour insert featuring rare photographs, fresh liner notes and personal memories of Tonio from the likes of Jean-Claude Vannier, Jean-Claude Petit and Janko Nilovic.

Sumptuous opener “Latin Leitmotiv” is all funky phasing effects and a killer montuno, with what sounds like piano and bass in tandem, stoking straight up Latin fire. The gritty hard funk of blaxploitation groove "Red Medium" is dripping in wah-wah attitude and head-nod oddness. The atmospheric, exotica-tinged "Dead Slow" emulates the languid, sensual afro groove of Quincy Jones’ wild masterpiece “Gula Matari” whilst the proggy, electric jazz fusion epic "Rock 73" is 9+ minutes of moody, rolling menace.

But the *real* highlight of this cult classic - and why it has long been *so* desirable - is the devastating, deep, hypnotic minimalist groove of "Bass In Action N°1". Very much in conversation with Quincy's rendition of "Hummin'", the loping, rumbling bassline and sweet electric piano over clean, crisp drums making it one of those tracks that sounds like a hip-hop beat 20 years ahead of time. Sensational. “Bass In Action N°2“ features Tonio's own vocal scat performance. Remarkable.

Antonio "Tonio" Rubio Garcia got his start playing the double bass in jazz clubs. In 1962, Tonio joined the Golden Stars, the first backing band of France’s teenage idol Johnny Hallyday. A genius musician with a unique guitar sound, he played on standards of French chanson including Serge Gainsbourg and Brigitte Bardot’s "Bonnie and Clyde", Françoise Hardy’s "Tous les Garçons et les Filles", Gainsbourg and Jane Birkin’s "Je T’aime, Moi Non Plus" and Serge and Charlotte Gainsbourg’s infamous "Lemon Incest". Tonio also lent his brilliance to such legendary figures as Janko Nilovic, Jean-Claude Petit, Hervé Roy, and Jean-Claude Vannier. The latter remembers Tonio as “a secretive, mysterious man, with an endearing personality, albeit difficult to reach out to. His virtuosity as a bass player allowed me to write very innovative basslines, because he was able to play any of my eccentricities!”

The audio for Rhythms has been remastered by Be With regular Simon Francis whilst Christopher Stevenson has brought the original and iconic Tele Music sleeve back to life in all its striking glory as the finishing touch to this long overdue re-issue.

Jazz Piano Session is one of the first connected discs of Jazz Collection.

Grouped by instrumental theme, this jazz compilation features the greatest names in jazz: Oscar Peterson, Art Tatum, Duke Ellington...

The podcasts on the history of jazz offered in the Viny application (on IOS or Android) are fascinating.

And if jazz is in you, you'll love to continue the experience with the Jazz Collection by Vinyl & Media suite.

Jazz Saxo Session is one of the first connected discs of Jazz Collection.

Grouped by instrumental theme, this jazz compilation features the greatest names in jazz: Charlie Parker, John Coltrane, Stan Getz...

The podcasts on the history of jazz offered in the Viny application (on IOS or Android) are fascinating.

And if jazz is in you, you'll love to continue the experience with the Jazz Collection by Vinyl & Media suite.

Jazz Trumpet Session is one first connected discs of Jazz Collection's.
Grouped by instrumental theme, this jazz compilation brings together the biggest names in jazz: Miles Davis, Chet Baker, Lee Morgan...
The podcasts on the history of jazz offered in the Vinyl application (on IOS or Android) are exciting.
And if Jazz is in you, you'll love to continue the experience with the sequel to Jazz Collection by Vinyl & Media

Jazz Guitar Session is one of the first connected discs of Jazz Collection.

Grouped by instrument theme, this jazz compilation features the greatest names in jazz: Django Reinhardt, Charlie Byrd, Herb Ellis...
The podcasts on the history of jazz offered in the Viny application (on IOS or Android) are fascinating.

And if jazz is in you, you'll love to continue the experience with the Jazz Collection by Vinyl & Media suite

A SAVAGE SET OF BLACK METAL CLASSICS FROM THE NORWEGIAN
LEGENDS CAPTURED IN 1998 - PRESENTED ON SINGLE BLACK VINYL
FORMAT
Mayhem formed in Oslo, Norway, in 1984 & is infamous as one of the early
Scandinavian purveyors of black metal, made even more legendary after the welldocumented murder of original Mayhem guitarist Euronymous in 1993. This live
album was recorded at a performance at the Rainbow Club in Milan, Italy in
November 1998. The line- up features the returning early Mayhem vocalist
Maniac, plus Hellhammer on drums, Necrobutcher on bass & Blasphemer on
guitar. The show also featured a guest appearance by now- current Mayhem
vocalist Attila Csihar on the track 'From The Dark Past'.
With its well captured sound & the noticeably stunning drum work of Hellhammer,
the band themselves considered this worthy of being labelled an official release,
as Mayhem storm through a strong set full of classics from old releases
'Deathcrush' & 'De Mysteriis Dom Sathanas', to the post- Euronymous
compositions as featured on 'Wolf's Lair Abyss'. Expect nothing but dark &
chaotic black metal carnage.
This edition of 'Mediolanum Capta Est' is presented on black vinyl format.

Australian 9-piece Spiritual Jazz group Menagerie announce their highly anticipated third album 'Many Worlds', released 15th January 2021 on esteemed U.K label Freestyle Records.

Menagerie is the Melbourne-based Jazz ensemble founded by producer, songwriter, guitarist, DJ and recording artist Lance Ferguson, also the driving force behind The Bamboos, Lanu, Rare Groove Spectrum and Machines Always Win.

Recorded at Union Street Studio by award-winning engineer John Castle, 'Many Worlds' features some of Australia's finest musicians, including pianist Mark Fitzgibbon (a regular performer at Gilles Peterson and Patrick Forge's original Dingwalls sessions), drummer Daniel Farrugia and renowned saxophonist Phil Noy (The Bamboos).

Inspired by both the post-Coltrane generation of the 70's, labels like Strata-East, Impulse! and Tribe, along with the current 'New Wave Of Jazz', Menagerie aligns with the world of Kamasi Washington, Shabaka Hutchings and Nubya Garcia, whilst also bringing their own unique twist.

Lead single 'Free Thing' leans heavily into the spiritual side of the band's sound. The hypnotic spoken word-poem is evocative of The Last Poets, an earthy yet futuristic meditation on the universal theme of freedom itself, set to a backdrop of insistent percussion, double bass and brooding piano voicings.

'Hope' carries forward the sound of spiritual jazz into the 21st century, with its epic vocal harmonies and melodic fanfare, it is an uplifting anthem for this period of global worldwide upheaval and uncertainty.

The title track 'Many Worlds' is a perfect example of how Menagerie incorporates their myriad influences, but manage to create a sound that feels uncannily fresh and contemporary. Book-ended by ambient, ethereal sections, the slow-burning groove builds over its 11-minute duration to create a standout crossover track.

Menagerie have received airplay and radio support from Gilles Peterson (BBC6/Worldwide FM), Don Letts (BBC6), Jamie Cullum (BBC Radio 2), Simon Harrison, Paul Miller and Ennio Styles (3RRR).

'Many Worlds' will be released on legendary U.K imprint Freestyle Records - home to jazz contemporaries Courtney Pine, Jessica Lauren, and keyboard legend Brian Auger.

* Vocals courtesy of the late great Jamaican singer Bim Sherman, whose unique haunting voice made him a firm favourite throughout the 70s/80s/90s with the roots reggae crowd as well as On-U Sounds taking Bim to other worldy realms.
* Originally released on Youth and Alex Patterson’s WAU! Mr Modo label in 1989 and produced by Sound Iration (Nick Manasseh and Scruff).
* Originally recorded as `It Must Be a Dream’ in the 70s, on this cut, Bim revisits the track in `89 with a meditative part-digital rhythm from Sound Iration backed with a phased-out dub version on the flipside.

New York City"s tape_hiss makes his debut on Darker Than Wax with A Linear Progression, a deep and meditative dance record born out of the pandemic"s paradigm shift. tape_hiss is an accomplished producer by any measure, with early releases on Love Notes from Brooklyn making his hardware-driven sound known worldwide, and a string of follow up releases on Axe on Wax, Just Jack, Lost Palms, and Echocentric Records solidifying his reputation as one of the deepest in the game.




b 1.2 W 4th Street Ace

Purple Vinyl

Wiederveröffentlichung des im Jahr 2011 erschienenen sechsten Albums der schwedischen Hardrock Legende. Die limitierte Neuauflage erscheint auf violettem Vinyl.

Mit dem Debutalbum "Of the Son and the Father" lieferten Astral Doors 2002 einen Meilenstein des klassischen Heavy Rocks ab und erreichten immense Aufmerksamkeit seitens der Presse und Medien, gefolgt von großartigen Kritiken, sowie zahlreichen Festivalanfragen.

Das sechste Album "Jerusalem" - ein Konzept Album und gilt als eine der musikalisch stärksten Veröffentlichungen der Band. Es zeigt die Band direkter und provokanter als zuvor.
Gemischt von Daniel Bergstrand (In Flames, Meshuggah, etc.). Das Album wird nun als Ltd. Edition violettes Vinyl wiederveröffentlicht.

Mitka is a sound engineer and musician from Ekaterinburg, who mainly works in the film industry. We’ve contacted him after listening couple of his tracks on the web, his music amazed us, but we didn’t knew anything about Mitka himself. He doesn’t play live shows, doesn’t post on social media and in general it feels like he has an ascetic lifestyle.

For “Sound2” album Mitka has been recording drums in the forest, because “acoustic there is better than at home” and he didn’t had money for a studio. He made a guitar by himself because regular fret position is not for him, many of his compositions are played in quarter tone. The titles of the songs on the album are just Mitka’s notes, for understanding harmonies and tunings.

“Sound2” gives you the mystical and cinematic feeling, but at the same time sounds warm and familiar. While listenin this album you can imagine your walk through the green forest covered with fog. You might not know the way out, or how did you get there, but your mind can stay quiet and calm, because Mitka will be your guide.

The increasingly vital Jorkes makes a big step up to the acclaimed Live at Robert Johnson label with her standout Sweet Dreams EP. As with all Jorkes EPs, the artwork features photography shot by Daniel Rajcsanyi.

Jorkes has been making big and bold moves recently. She is the co-founder of the unique Freeride Millenium label which is a hotbed for queer dance music. German-born but Austria based, she has an influential residency at Radio 80000 alongside ParisBöhm and is a resident at Stuttgart's Romantica where she plays a thrilling mix of disco, house, techno and everything in between. She is someone who always serves to highlight the importance of the dance floor as a place of sexual and cultural liberation and this new EP is another innovative statement that comes as she rides a wave of high profile radio, DJ and media support for recent outings on her own label.

Opener 'You Will be Mine' is a song about obsessing after an unattainable stranger on the dance floor who disappears into the night. It's a silky disco house sound with chords that sing and a floating bassline that lifts you off your feet. The melodic motifs bring charm and cosmic energy and the whole track has a lush, musical feel. The equally excellent 'Robot Lover' muses on human detachment in this technological era of internet porn, dating apps and screen obsessions and how a robotic lover might be a better fit than a real life partner. It is another elastic and disco-tinged rhythm, with elegant chords and dancing keys over a suspensory bassline. Intimate vocal whispers bring tenderness to this timeless track.

On the flip side, 'Sweet Dreams' layers up infectious claps and tinny percussion over an irresistible deep house groove. It's a widescreen, symphonic sound that brings very real but subtle joy and closer 'CDEvaLo' is the name of a crossdressing male-to-female and sex-worker friend of Jorkes. She sings the introduction lyrics in Greek and they translate as "It was a very beautiful day, while we were sitting at the park we thought of going out for a coffee and realized we have no money and are absolutely broke. So we discussed about who is gonna put the wig on to "go and make a visit“ Greek slang for sex work so we'll have money again." It is a comment on the number of young people who arrived in Athens over the years to do cross-dressing sex work after being kicked out by their Orthodox Christian homes. The track flips the script with a more playful disco sound, characterful vocoder vocals and glossy synths over a jacked house beat.

This is an expansive EP that shows off the different sides to Jorkes's unique sound.

A pure journey inward into the headspace of an artist, that reveals his gaze at the earth-ly zones he walks in: “Song for Joni”, the new album by Japanese musician Shunji Mori, brings pure natural music full of artificial nuances who create in conversation with ana-logue tones a new kind of musical nature, loaded with vibrant seasons, unknown to us, the unwise humans. moreover, the album is a fine continuation of Japan’s rich ambient leaning music traditions, carrying them into Lorren Connor’s like pending guitar galaxies.

In the 1990s Tokyo based Mori was part of the trip hop, nu-jazz, deep house, and down-tempo duo natural calamity, releasing a string of albums and EP’s on labels like legend-ary London based imprint Nuphonic, Japanese Idyllic Records or Down 2 Earth Record-ings.

In 2003 he launched the instrumental guitar duo Gabby & Lopez with his buddy Masayuki Ishii. Together they created three albums and performed live. Additionally, Mori plays improvisational concerts with Japanese musician, multi-instrumentalist, and stage direc-tor Daiho Soga and finds time to invent his very own, charismatic guitar music.

His solo work now finally gets introduced with a full-length album for Studio Mule, con-sisting of recent and a decade ago compositions, all merely recorded with the electric guitar, pedals, and field recordings.

In the center of “Song for Joni” is the guitar, spreading longing, drifting melodies. Free floating, yet deeply felt compositions, performed in an accurate journey music style. around the string notes, ambient landscapes soar and vanish.

In some moments, the guitar works like a slow-mo yacht rock lead, flying speed less over and under imaginative sonic clouds. Then, Mori’s music distributes psychedelic ef-fects in the tradition of krautrock legends like Günter Schickert, just without the echo fuzz.

Additionally, in warm vibrating seconds, his creations remind on the calm flashes in the musical work of English photographer, musician, and artist designer Steve Hiett, while Mori’s ambient spheres come close to the magic vibe of records like “Pier & Loft” by his fellow countryman Hiroshi Yoshimura.

A mixture, that transports considerate listeners into the meditative world of Shunji Mori, a calm island of bliss, made for all those that follow the heedful path of life.