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Recorded during the tour following their debut LP Burn'IN, prolific French quartet NCY Milky Band present their second album of hybrid jazz, inviting us in a cinematic, melodic and poignant universe.

These 14 tracks, including two collaborations with Detroit rapper Quelle Chris and French producer FLUPKE, reflect sonic photographs of everyday moments with a psychedelic sound that pushes jazz out of its comfort zone.

'Kel Tinariwen' ist eine aufschlussreiche Entdeckung aus den Tinariwen-Archiven, eine MC mit frühen Aufnahmen der legendären Tuareq-Band, die 1992 nur innerhalb ihrer Sahara-Stammesgebiete erschien und jetzt erstmals die offizielle Veröffentlichung erlebt. 'Kel Tinariwen' hat noch nicht den vollen Bandsound entwickelt, mit dem sich Tinariwen international etablierten, und erweitert die reiche Geschichte der Band um eine weitere Epoche. Ihr Markenzeichen sind die hypnotischen Gitarrenlinien und der Call-and-Response-Gesang, die sich zwischen rauen Drum-Machine-Rhythmen und Keyboard-Melodien verweben und fast an eine arabische Version von 80er Synth-Pop erinnern. Es gibt deutliche Parallelen zwischen den Klängen auf diesem Band und der Arbeit, die in den letzten Jahren von Cratedigger-Labels wie Awesome Tapes From Africa, Sahel Sounds und Sublime Frequencies entdeckt wurde.

Das neue Spoon Remix-Album "Lucifer on the Moon" ist das schwerkraftlose Pendant zu "Lucifer on the Sofa". Das zehnte Album der Band aus Austin wurde von Grund auf überarbeitet und von On-U Sound-Gründer und UK-Dub-Ikone Adrian Sherwood neu interpretiert. "Lucifer on the Moon" nahm zunächst in Form von ein paar Remixen für die Singles des aktuellen Spoon-Albums Gestalt an. Frontmann Britt Daniel gab Sherwood zwei Empfehlungen: "Vermeide Dinge, die auf Band nicht möglich wären" und "Füge hinzu, was immer du möchtest, je weniger modern, desto besser." Die Zusammenarbeit sollte nicht überraschen: Die Dub-inspirierte Produktion zieht sich durch Spoons klassische Tracks, von "Finer Feelings" bis "Inside Out". Sherwood ist ein bewährter Kollaborateur, der bereits mit Lebenslauf Partnerschaften mit bedeutenden Künstlern wie The Fall, Jah Wobble und Mark Stewart enthält. Die ersten Ergebnisse gefielen beiden Parteien und Sherwood wurde beauftragt, an weiteren Songs zu arbeiten - und dann an noch ein paar mehr. "Ich fand Gefallen an der Melodie und den Gedanken, die sie in mir auslöste", erklärt der Produzent. "Es hat sich einfach weiterentwickelt und wir hatten schließlich ein ganzes Album." "Lucifer on the Moon" stellt die Rhythmusspuren des Originals auf den Kopf und baut sie oft komplett neu um. Sherwood lieferte eine umfangreiche zusätzliche Instrumentierung über die erweiterte Familie der On-U-Session-Spieler, einschließlich des Bassisten Doug Wimbish und des Schlagzeugers Keith LeBlanc (beide spielten in den frühen 80er Jahren in der Studioband von Sugarhill Records). Er grub sich tief in die Multitracks des Albums ein und förderte vergessene Details und Elemente zutage, die in den endgültigen Album-Mixen nicht enthalten waren. Das Ergebnis hebt Spoons Signature-Sound in ein fremdes Terrain, vollgepackt mit Echos und grollenden Bässen. "Es war nicht nur eine Sache, bei der man dies und jenes auseinandernimmt, auf dem Raster bleibt und ein Delay hinzufügt", erklärt Daniel. "Er fügte den Tracks so viel mehr an Instrumenten hinzu, dass sie zu komplett anderen Versionen der Songs wurden. Nicht nur Remixe, sondern ergänzende Stücke - quasi ein Spin-Off des Albums." "Lucifer on the Sofa" wurde im Februar 2022 veröffentlicht und ist Spoons bisher rockigstes Album.

As Far As Death is the cross-generational debut of fire music evangelist and saxophonist Paul Flaherty with double bassist and composer Zach Rowden. The Connecticut natives forge an album of dynamic free jazz interplay that also draws on imporous textures of contemporary music - an ecstatic reflection. After a half century of blowing the alto and tenor saxes, Flaherty's playing continues to molt and electrify. Whether solo, or with collaborators (Joe McPhee, Chris Corsano, Bill Nace, Daniel Carter, etc.), his blues-based, lyrical melodies anchor lung-bursting gallops. Rowden - whether as Tongue Depressor (a string duo with Henry Birdsey), in performance with cellist Leila Bordreuil, or his own musique concrète constructions - balances harshness and elegiac drones. His past releases resemble resolute exploration into acoustics and noise. Together, Flaherty's monstrous howl is perfectly matched by Rowden's subterranean pitched drone and glacial pace. Each offers weeping lurches of tune, gasps of balladry and microtonal fields of interplay on five pieces. The side-long "Thrown Shadows" is an epic passage of avant jazz vs minimalism, as Rowden's low-register bowing offers a blackened landscape for Flaherty's most mournful notes. Artwork by Chris Corsano.

Take To The Sky is a sun soaked EP with four dance floor heaters soundtracking the summer; capturing the euphoria and release of collectively gracing sweaty dance floors again. Inspired by nostalgic 90s UK club music/Summer of Love, incorporating broken-beat, garage and street-soul rhythms carried by melodic ear-worm vocals performed and produced by J. Caesar with co-production and mixing by Z Lovecraft (Rhythm Section). This year the East London based producer, singer/songwriter blessed the BBC airwaves with the EP title track, ‘Take To The Sky’ premiered on 1Xtra by Jamz Supernova originally featured on the well-received Scenic Route compilation and has been testing out dubs at his club night, Space Ghettos co-run by Qendresa and Albertina.

The opening track “I Told You” is a balearic love letter of gratitude to his friends, “ all I had was love, love of my friends, love of music and love of living.” his sentiment of meaningful relationships evoked through his sparse vocal arrangements, sprinkled over downtempo street soul drums. Take To The Sky, similarly paying homage to the underground Black dance music of the 90's, is a tale of escapism whilst Give Me To The Night is a celebration of hedonism featuring Jim’s sultry vocals punctuated by broken-beat drums. Lost In Space co-produced by Z Lovecraft is a moody, Garage/D’n’B infused B-side with disorientating breaks capturing the essence of romantic turmoil he found himself in during COVID. In his words “Take To The Sky EP is an ode to freedom”.

Support from Jamz Supernova BBC 1Xtra, CC:Disco Track IDs, Stamp The Wax, NTS; Anu, Zakia,

2+ is the 3rd album of DjeuhDjoah & Lieutenant Nicholson. A new sound stopover in their funky trip since their beginning with T’es qui ? album in 2015. This new building stone prolongs their critically acclaimed album Aimez ces airs released in 2019.

What’s new? 15 tracks , eclectic, soft, deep, and funky, where electro, soul even afro beat touches , or bossa nova live together harmoniously. DjeuhDjoah & Lieutenant Nicholson make praise of slowness (« Pas si vite »), address environmental issues (« Coeur béton »), social statements on (« Police », « Raie publiques », « clic »), childhood on (« Bola Mba ») , the post colonial relation between Africa and the other continents. Love is also really well presented ( « Thé à la menthe «, « Ping Pong ») and why not sailing to Essaouira in Morocco ?

During the summer of 2020 , when the french national radio asked them to perform a live cover , our french funky duo chose the famous « Né quelque part » by Maxime Leforestier released in 1987. Their Suave interpretation, haunting beat and spatial & languid atmosphere give a fantastic tribute to this beautiful melody and strong lyrics. They found a very intimate link with chorus in Zulu, harking back to the strong connection they made with South Africa during their last tour.
It became clear that they needed to put this track on their new album , as their now club remix classic « Bwe Dlo « performed with their friend David Walters.

After their tour in South Africa, they met « Cool Affair », the musician and electro house producer in Johannesburg who made a beautiful remix of « Aimé Césaire » which close perfectly this new opus. Recorded at « Le triangle des Bermudes » the home studio of Lieutenant Nicholson, produced and mixed by him with a electro analog sound dear to them. Horns, live drums, percussions and vocal choir were recorded at Bastille village at the label basement , even during the pandemic… On 2+, we can also hear the swirls of Antoine Berjeaut at the trumpet and bugle, magic keys from Florian Pellissier , two new flagships of the French jazz scene.

Once again, DjeuhDjoah & Lieutenant Nicholson push the boundaries of the traditional « French song « to make the world dance. They want to keep their international audience , from Australia, Japan, Usa, South Africa to name a few the dance floors of the world will ignite with this new album . The French touch will still shine !

Drive at Night wurde 2021 von den beiden langjährigen Freunden und Bandkollegen Joachim Nordlund und Johan Lindstedt von Astral Doors und SunStrike gegründet. Da beide den melodischen Rock aus den 80er Jahren lieben, war es nicht schwer zu entscheiden, welche Richtung sie mit ihrer Musik einschlagen sollten. Im Jahr 2021 wurden 12 Songs in Joachims Studio in Borlänge, Schweden, geschrieben und aufgenommen und produziert. Drive At Night folgen der Tradition der großen skandinavischen Melodic Rock Bands und bieten tolle Melodien, riesige Keyboard-Sounds und Sing-a-Long-Refrains. Später im Jahr folgt die Vinylveröffentlichung.Für Fans von Treat, Europe, Madison oder Eclipse.

Emerging from a live recording at St.Mary's Episcopal Cathedral in 2021, Alliyah Enyo’s ‘Echo’s Disintegration’ is a transformational project; a coded reflection on loss, metamorphosis and rebirth.

It’s a work of two parts, each incarnation informed by the parameters of the recording environment. In the initial live performance, Alliyah harnesses the organic echo and reverb formed by the vast open space of the cathedral. Her luminous vocals break through a dense sea of layered noise, a reverberating wailing drenched in heartache.

Her words are fractured and frayed, broken into segments, and enshrouded in mysticism. Yet through the ambiguity, there’s an innate spirituality to the work; iridescent melodies are heightened by the imposing presence of the surroundings.

The five studio tracks, made in retrospect, carry the live performance within the DNA of their reinterpreted sounds and loops. Recorded in Glasgow’s renowned Green Door Studio, constructed reel-to-reel tape loops further fragment and transform compositions, evoking the intoxicating tape feedback of Eliane Raidgue and the harrowing loops of William Basinski.

There’s a radiant clarity to the recordings, Alliyah’s voice implemented as the guiding instrument, the heady sensuality of her vocals layered and echoed in enchanting formation. Through the agony and longing, we reach reincarnation in the culminating euphoria of ‘the healer’. We’re left amongst the blissful reverberations of an awakened soul.

Echo’s Disintegration is the debut album by Alliyah Enyo. The work has received early support from Jack Rollo (NTS), Lucinda Chua (NTS), Pako Vega (Fade Radio, Athens), Elina Tapio (Radio Radio, Amsterdam), Conna Harrawy (INDEX:records) and Martyna Basta (Unsound festival).


Alliyah Enyo - Bio
Alliyah Enyo is an Edinburgh-based artist. She comes from a visual-arts background which is evident in her theatrical live performances that encompass elaborate stage design and choreographed dance. She recently performed her 9-month collaborative project ‘Selkie Reflections’ for Hidden Door festival, working with dancers and classical musicians to explore Siren and Selkie myth. She has performed at multiple venues across Scotland and previously supported Erika De Casier.


Somewhere Between Tapes - Bio
Somewhere Between Tapes is a Glasgow-based record label, formed in 2022 via connections made at local community radio station Clyde Built Radio and at Green Door Studio’s sound workshop.

The label is primarily drawn to working with artists who use experimental processes, often as part of an interdisciplinary practice, where live performance and visual accompaniments are intrinsic to the work. Our focus is on diaristic, sensitive approaches to sound, from ethereal ambient to avant-folk and psychedelic-infused electronics.

The label is run by Lizzie Urquhart and Tim Dalzell. Both are residents at Clyde Built and have contributed to Mutant Radio, Refuge Worldwide, Lyl Radio and Rinse FM. Collaboratively and independently their shows are characterized by their reflective nature, designed for deep listening. This is supplemented by their online mix series ‘Somewhere’, and involvement in co:clear; a new collaborative listening series formed with Conna Haraway of INDEX:Records that commenced with a performance by Berlin-based artist Perila.

Was als Big Band für Tom Tykwers Babylon Berlin begann,
ist längst ein über die Jahre zusammengewachsenes Ensemble geworden, in dem die besten Jazz Cats Deutschlands ihre musikalische Manege bekommen. Aus einer für
die Serie zusammengestellten Gruppe von talentierten
Musikern wurde ein Orchester mit eigener Identität. Zu sehr
wandelte man bereits mit dem Erstling auf eigenen Wegen.
Die Serie fungierte letztlich vornehmlich als Geburtshelfer.
Telegramm beweist einmal mehr: Die Stärken des Moka Efti
Orchestra kann man nicht einfach kopieren, nicht herbeiwünschen. „Jeder von uns ist Jäger und Sammler“, fasst
Kamien die MEO-Situation mit einem schönen Bild zusammen.
Oder anders: Man sammelt Töne, Noten, Gesänge, Melodien
und schickt das Ergebnis schließlich als Telegramm hinaus
in die Welt.

Armed with a disdain for pastiche and a penchant for experimentalism, rRoxymore has spent the last decade pushing the boundaries of what constitutes club music. Across a steady stream of releases, the Berlin-based artist has continually reinvented her sound, shifting from hypnotic leftfield techno to UK bass mutations, genre-eschewing dub oddities and so much more.

On Perpetual Now, her sophomore album, she again displays this propensity for pushing the sonic envelope. It’s a slow-burning record, and one that blurs the lines between the electronic and the organic.

Subverting the traditional album format, Perpetual Now is made up of four extended soundscapes - each taking the listener on a journey through tempo, texture and emotional state. Downtempo opener ‘At The Crest’ gently sets things into motion, allowing the sparse percussion to tentatively find its feet. ‘Sun In C’ is a peculiarly meditative excursion, crafting a rich, intoxicating atmosphere across its nine minutes. ‘Fragmented Dreams’, with its pulsating rhythms and fractured melodies, sees the album fleetingly burst into life, before ‘Water Stain’ winds things down in the most effortless of manners.

A daring, unconventional album, Perpetual Now is everything we’ve come to expect and more from one of electronic music’s most unique producers.

The Layers collections showcase compilations by 7K! Records, supporting a range of contemporary classical music. Duet Layers pays tribute to the first editions of Piano Layers, String Layers, Ambient Layers and Wind Layers, honoring the layers thematic template, and challenging the artists to work together to find a common ground. The results of this are something new and unexpected.

The first edition to be pressed on vinyl, Duet Layers contains six duets. The result is a collaborative record written and performed by twelve of the most interesting artists from around the world, a sharing of sonic landscapes.

The release opens with a collaboration between the saxophonist Colin Stetson and pianist Hania Rani. Divided equally between an astonishing piano line, synths, a trace of vocals and the stunning melody of the saxophone. The music finds its feet in silence and developing into a new world full of sounds. The second track slowly moves into an artistic-axis held between Stefano Guzzetti’s piano and Neil Leitner’s (Echo Collective) viola – paying tribute to the slow passage of time. Following, the Polish cellist Dobrawa Czocher and British-Berlin violinist & producer Simon Goff, meet with a dark and poignant track.

Die Welt von Morgen gehört der Belgischen Grunge Rock-Sensation BLACK MIRRORS!
Mit ihrer beeindruckenden Debüt EP, Funky Queen, eroberte die Brüsseler Rock-Sensation BLACK MIRRORS 2017 im Sturm die Szene. Frenetisch gefeierte Live Auftritte sowie ein Festival-Showcase später,
unterschrieb die Band rund um Sängerin Marcella Di Troia einen weltweiten Vertrag mit dem führenden
Rock- und Metal Imperium Napalm Records. Ihr darauffolgender, erster Longplayer Look Into The Black
Mirror wurde von Fans als auch Kritikern gleichermaßen hoch gelobt und BLACK MIRRORS zählten längst
nicht mehr zu einem der bestgehütesten Rockgeheimnisse Belgiens. Der unaufhaltsame Vierer übertrifft
weiterhin alle Erwartungen und steht mit dem neuen Meisterwerk Tomorrow Will Be Without Us in den
Startlöchern, welches sich ohne Frage als eines DER Rock Highlights im Jahr 2022 beweisen wird!
Im Gegensatz zum Album Titel und seinen alarmierenden Themen über die heutige Gesellschaft in einer
Welt, die dem Untergang geweiht ist, gehört die Zukunft BLACK MIRRORS – denn es besteht kein Zweifel,
dass diese Band uns noch die nächsten Jahrzehnte mit grandiosem Heavy Rock, groovigem Power Grunge
und melodischer Bravour beehren werden, einem Sound, den die Welt von morgen unbedingt braucht!
Eines ist jedenfalls sicher, die Rockwelt von morgen wäre ohne BLACK MIRRORS ein einsamer Ort, und
mit Tomorrow Will Be Without Us hat sich die Band einen festen Platz in ihr verdient.

For the 6th time, dark metal legends AMORPHIS hit the #1 chart position in Finland with an album and 'Halo' is a pure gem featuring some of the best melodies and progressive riffs that the band has written in their 3 decade spanning career. With hits like "The Moon" or "On The Dark Waters", 'Halo' was voted 'album of the month' in Metal Hammer (GER), Rock Hard (GER), Spark (CZ) and Legacy (GER) and now, right in time for AMORPHIS' co-headline-tour with Eluveitie, they launch a brand new Tour Edition CD including the previously unreleased bonus track "The Well" and a new artwork design, and two limited (500 units) splatter vinyl editions

For the 6th time, dark metal legends AMORPHIS hit the #1 chart position in Finland with an album and 'Halo' is a pure gem featuring some of the best melodies and progressive riffs that the band has written in their 3 decade spanning career. With hits like "The Moon" or "On The Dark Waters", 'Halo' was voted 'album of the month' in Metal Hammer (GER), Rock Hard (GER), Spark (CZ) and Legacy (GER) and now, right in time for AMORPHIS' co-headline-tour with Eluveitie, they launch a brand new Tour Edition CD including the previously unreleased bonus track "The Well" and a new artwork design, and two limited (500 units) splatter vinyl editions

Aggressive Blackened Death Metal with hooks and technical finesse that invokes the Ancient Gods! Aurora Borealis has been around for years (going back to as far as 1994! and it has mostly self-released their albums. Underground fanatics might remember the band reaching out to promote its music on forums back in the day and tracking its progress, each album was a large improvement over the earlier ones. And through time Aurora Borealis had great drummers ranked in its line-ups: Tony Laureano, Derek Roddy and Tim Yeung, which indicates the quality and level we talk about here. Aurora Borealis plays Black/Death Metal, remaining gritty not unlike Angelcorpse, but being more dynamic comparatively. It has got unique themes and the album artworks represent that. As the band name suggests, they are indicative of the Aurora Borealis phenomenon although the band has progressed to involve sci-fi imagery not far removed from Nocturnus, where artworks are concerned. Musically, the band remains true to its original Black/Death sound but it’s doing it with far more potential and competency than the others. The band’s definitely got a solid US death metal sense, it is not flirting too much with the European style of melody-infused death metal as it may appear. One will be surprised to find it so hard-hitting and gravelly and yet be rife with some of the most driven and enthusiastic activity. It is not solely focused on being technical (which in a way it is) but it is varied and it is catchy. Floridian Death Metal bands have much in common with the way Aurora Borealis structures its songs and there is the ever-present Morbid Angel influence, infected with some early Malevolent Creation rabidity. This is what makes death metal so good, few could contest with that. It’s got Death Metal in its genes, but Aurora Borealis takes the vitriol from Black Metal especially in the vocal department and gives the music an edge that is hard to miss. Here there is that special spice, that sizzling quality that comes from the rasps, adding a certain Thrashiness to it as well. The hooks make this album special, because writing good songs can be safely left in the hands of founding member Ron Vento.

Massachusetts's finest indie punk outfit, Born Without Bones, have returned to announce their upcoming new album, Dancer, due out November 4th from Pure Noise Records. Since their formation, Born Without Bones have put together an impressive catalog that ranges from heart-on-sleeve punk, to biting alternative rock, to sweeping indie, and more. Now on Dancer the band sound undeniably like themselves, bridging all of their different influences into their own distinctly hook sound. Produced by Mike Sapone (Oso Oso, Taking Back Sunday, Cymbals Eat Guitars), Dancer is bursting at the seams with massive melodies and personality to spare.

Black feminist punk band Big Joanie have announced their upcoming second album 'Back Home', set for release 4th November on Daydream Library Series in the UK and Kill Rock Stars in the US. The brand new album 'Back Home' follows on from last month's one-off single 'Happier Still', and the release of their 2020 single ‘Cranes in the Sky’, a cover of Solange Knowles released on Jack White’s Third Man Records. Recorded at Hermitage Works Studios in North London, 'Back Home' was produced and mixed by Margo Broom (Goat Girl, Fat White Family) and features violin courtesy of Charlotte Valentine of the experimental art rock project No Home, who recently collaborated with the LA-based artist SASAMI. 'Back Home' is a dramatic leap forward for the band; the band build on their tightly knit, lo-fi punk formula to bring forth a collage of blazing guitars, down tempo dance punk, and melancholic strings that evoke the full depth of the band’s expansive art punk vision. The album title references a search for a place to call home, whether real or metaphysical. “We were really ruminating on the idea of a home and what it means,” explains Stephanie. “It’s about the different ideas of home, whether that’s here in the UK, back in Africa or the Caribbean, or a place that doesn’t really exist; it’s neither here nor there." The band worked with multidisciplinary artist Angelica Ellis to design the striking embroidered cover art, which is a depiction of Chardine’s nephew at the barbers. The artwork is a reference to the embroidered wall hangings popular in Caribbean homes post-Windrush that were a callback to the homes they left behind. The album’s strength lies in the band’s bold and varied new sound. Album opener ‘Cactus Tree’ is an eerie, gothic folk tale that tells the story of a woman waiting for her lover while a wall of euphoric harmonies and screaming feedback roll in the background. Lead single ‘Happier Still’ is a driving, Nirvana-influenced track that grapples with the idea of wanting to push through a depressive episode. Inspired equally by the melodic rock of Hüsker Dü and the mystical sensibilities of Stevie Nicks, closer ‘Sainted’ brings the club-ready sentiment of the 2018 single ‘Fall Asleep’ to its natural conclusion. Big Joanie live dates 2022 Sun 31st July - Liverpool International Festival @ Camp & Furnace Sat 20th August - La Route Du Rock Festival St Malo, France Sun 28th August - Greenbelt Festival, Kettering, United Kingdom Could the song splits across the sides be changed to this: Side A 1.Cactus Tree 2.Taut 3.Confident Man 4.What Are You Waiting For? 5.In My Arms 6.Your Words 7.Count to Ten Side B: 1.Happier Still 2.Insecure 3.Today 4.I Will 5.In My Arms (Reprise)6.Sainted












[l] 12 IN MY ARMS [REPRISE]

Black feminist punk band Big Joanie have announced their upcoming second album 'Back Home', set for release 4th November on Daydream Library Series in the UK and Kill Rock Stars in the US. The brand new album 'Back Home' follows on from last month's one-off single 'Happier Still', and the release of their 2020 single ‘Cranes in the Sky’, a cover of Solange Knowles released on Jack White’s Third Man Records. Recorded at Hermitage Works Studios in North London, 'Back Home' was produced and mixed by Margo Broom (Goat Girl, Fat White Family) and features violin courtesy of Charlotte Valentine of the experimental art rock project No Home, who recently collaborated with the LA-based artist SASAMI. 'Back Home' is a dramatic leap forward for the band; the band build on their tightly knit, lo-fi punk formula to bring forth a collage of blazing guitars, down tempo dance punk, and melancholic strings that evoke the full depth of the band’s expansive art punk vision. The album title references a search for a place to call home, whether real or metaphysical. “We were really ruminating on the idea of a home and what it means,” explains Stephanie. “It’s about the different ideas of home, whether that’s here in the UK, back in Africa or the Caribbean, or a place that doesn’t really exist; it’s neither here nor there." The band worked with multidisciplinary artist Angelica Ellis to design the striking embroidered cover art, which is a depiction of Chardine’s nephew at the barbers. The artwork is a reference to the embroidered wall hangings popular in Caribbean homes post-Windrush that were a callback to the homes they left behind. The album’s strength lies in the band’s bold and varied new sound. Album opener ‘Cactus Tree’ is an eerie, gothic folk tale that tells the story of a woman waiting for her lover while a wall of euphoric harmonies and screaming feedback roll in the background. Lead single ‘Happier Still’ is a driving, Nirvana-influenced track that grapples with the idea of wanting to push through a depressive episode. Inspired equally by the melodic rock of Hüsker Dü and the mystical sensibilities of Stevie Nicks, closer ‘Sainted’ brings the club-ready sentiment of the 2018 single ‘Fall Asleep’ to its natural conclusion. Big Joanie live dates 2022 Sun 31st July - Liverpool International Festival @ Camp & Furnace Sat 20th August - La Route Du Rock Festival St Malo, France Sun 28th August - Greenbelt Festival, Kettering, United Kingdom Could the song splits across the sides be changed to this: Side A 1.Cactus Tree 2.Taut 3.Confident Man 4.What Are You Waiting For? 5.In My Arms 6.Your Words 7.Count to Ten Side B: 1.Happier Still 2.Insecure 3.Today 4.I Will 5.In My Arms (Reprise)6.Sainted












[l] 12. IN MY ARMS [REPRISE]

After a year of releases exploring recent musics from the USA, Europe and the southern hemisphere the Horn of Plenty presents a survey of archival private, demo, and live tapes from local avant-anarcho-punks The Apostles. The tapes were (poorly) recorded in Islington & Hackney squats between 1981-1983 and they capture the fledgling band exploring various line-up’s, styles & techniques with limited means and ability. In 1983 The Apostles released their first vinyl EP and switched mainly to a more straight-ahead anarcho-punk style. They gained a strong following then called it a day in 1989. Their vinyl output is still regarded highly by fans and collectors and their ‘official’ demo tapes have become highly sought-after, particularly since being namechecked by Ty Segall in a 2014 interview. In a 2009 article charting the band’s history (frontman) Andy Martin gives these early tapes a mere footnote and states that, in his opinion, they are ‘Best Forgotten’. With respect Andy, I beg to differ. Best Forgotten shows the band grappling with the political, racial and cultural tensions of the time whilst exploring radical politics and issues around homosexuality and mental health. Their sympathies with The Angry Brigade’s ‘direct action’ ethos extended to their involvement with the squatted Centro Iberico and The Wapping Autonomy Centre where they worked closely with Crass, Poison Girls, Flux of Pink Indians and The Mob among others. Viewed retrospectively, it’s easy to draw comparisons with early Fall records, The Door and The Window etc… but also at their melodic best they echo 60’s beat groups and even 70’s blues-rock. A keen interest in tape collage (supplied here by Ian Rawes who later became established with his London Sound Survey project) and the avant garde also inform the mix. Highlights include a bleak reworking of Lemon Kittens’ Chalet D’Amour and a live version of Simon & Garfunkel's I Am A Rock segueing into their take on Alternative TV’s Splitting In Two recorded at The Recession Club in Ponsford Street, Hackney. The short-lived Recession Club, which The Apostles co-ran and where Andy Martin worked the door, also hosted the first ever Coil concert. On that night he refused entry to Death In June on account of their ‘inappropriate attire’. Best Forgotten comes in a hand stamped, stickered and assembled edition of 500 copies and includes an A3 poster and 32 page A4 zine collecting archival photos and images from The Apostles tapes & zines along with liner notes and reflections on the tracks written by Steve Underwood (Harbinger Sound), Chris Low (former Apostles drummer) and The Apostles frontman Andy Martin, who thought this whole thing was daft.

Two years since his Going For It EP, Livity Sound is pleased to welcome back Sydney’s DJ Plead for a second round of versatile, psychedelic club variations. Since debuting around 2018 Plead has forged a distinctive sound which focuses on inventive use of percussion and elegant melodic hooks that draw lines between global dance music cultures without adhering to any fixed formula.

From the carnival futurism of lead track ‘Come Quick’ to the infectious reggaeton lilt and understated trance synths of ‘El Es’, Plead presents a sound as playful as it is serious, predominantly exploring the 100 bpm tempo range. Shaped out by acutely angled rhythms, shifting time signatures and bold licks, Quick EP further establishes him as a vital, individual talent with the kind of flexible club tracks that bend between scenes and inject vibrant energy into the dance.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.