Search:men of steel

French techno titan Madben unveils his much anticipated ‘Troisième Sens’ LP on Maceo Plex’s Ellum Audio.

Madben started absorbing the techno of Jeff Mills, Dave Clarke and Speedy J in the 90s, growing up in Lille in northern France. He retains a passion for DIY culture and warehouse parties thanks to youthful raving at Brussels' Fuse, Gent's Kozzmozz or in abandoned factories in Courtrai. All this has shone through in his music, including a debut album on Astropolis in 2018 that featured a collaboration with Laurent Garnier and a recent EP for Garnier and Scan X’s label.

Over the last decade, he has become a European club and festival favourite playing places like Berghain and Awakenings. His studio boasts a fine array of machines utilised to full effect on this latest opus. ‘Troisième Sens’ perfectly reflects what the artist has always loved, listened to and played, keeping one eye on the dance floor but never at the expense of musical narrative. It’s a genuinely progressive, multi-genre body of work that allows listeners to fully immerse themselves in the seemingly limitless depths of the Frenchman’s sonic capabilities.

He says, “Over the years, I learned to have more fun with the gear in my studio, and this has been the result. The album took three years to finish; I started in an underground basement studio in Paris before moving to Nantes. Therefore, it may surprise listeners with such a diverse selection of moods. It's dark in places but happy in others.”

'Departure' kicks off with uplifting synth work and broken techno beats that have a celebratory feel. 'Addicted' is a lithe cut with steamy vocals and a more fulsome combo of drums and bass, while 'Circuit Breaker' cuts loose in the cosmos. Acid wobbles, smeared synths and metallic percussion all make for a bouncy cut before 'Fade In Fade Out' continues the cosmic trip with vastly oversized synth patterns that will light up a dark space with overwhelming euphoria.

The brilliant 'It's 1 am In A Rave' is a dark, heads-down banger with 'Lost Memories' then layering up melancholic synths and Plastikman-style drum loops into something full of deep thought. There is no let up with the superb acid techno gymnastics of 'No fear', and 'The March' is a turbulent mix of sheet metal synths that whip about over steel-plated drums. 'You Dance Like A Robot' is end-of-the-world electro with a menacing robot vocal, and the electro tip continues with expert drum programming and menacing leads on 'Deep In The Jungle'. 'Meta' is a flailing rhythmic workout that sounds like the machines are in meltdown, and 'I Made A Dream During This Nightmare' is a serene techno soundscape for ruminating about the future of the human race.

Intelligent yet immediate, impactful but emotional, ‘Troisième Sens’ is another standout techno record from Madben.

If you were smart enough to get your grubby paws on the first Scrap Metal compilation, you probably have a pretty good idea of what you’re in for with our second installment. Featuring long-lost gems from ultra-rare 45s and private press singles—plus one previously unreleased banger—Scrap Metal 2 maintains a steady NWOBHM course. Packed with infectious outliers and supremely talented one-and-done metal warriors from the crucial British movement of the late ’70s and early ’80s (and some killer American obscurities inspired by them), this collection delivers all the fist-pumping, riff-mongering and flashy solos of heavy metal’s golden age. As always, every track has been officially licensed and every artist gets paid. As a late entry into the NWOBHM sweepstakes, JJ’s Powerhouse was formed in Merseyside, England, by guitarist Jon “J.J.” Cox with members of his previous band, Quad. Much like the opener to the original Scrap Metal comp, you can hear early Metallica coursing through this legendary ripper. Coincidentally, this ultra-rare 45 was released in ’83, the same year as Kill ’Em All. Taking their name from a 1978 sci-fi novel by Marion Zimmer Bradley, Welsh super troopers Storm Queen reveled in animal-print clothing and flying Vs. The Motörhead-meets-Priest anthem “Raising the Roof” is the flipside to their only single, which the band self-released in 1982. Led by guitarist Dave Morse, Storm Queen’s earliest lineup included bassist Bryn Merrick (RIP), who would go on to join The Damned. Roaring out of Birmingham, England, in 1975, Jameson Raid palled around with fellow Brummies Black Sabbath and named themselves after a failed 19th century attack that helped kick off South Africa’s Second Boer War. Their three-song 1979 debut featured the infectious “It’s a Crime,” which comes across like a deadly hard-glam version of Budgie. Still fronted by vocalist Terry Dark, they’re going strong as of 2022. A.R.C., a punky proto-metal group from the UK, released the boozy single “Home Made Wine” b/w “The Chase” in 1979 and—as far as we know—were never heard from again. They’re not to be confused with a gang of Tolkien enthusiasts also called A.R.C., who released two NWOBHM singles in the early ’80s and actually were heard from again. Nonetheless, the A.R.C. we have here was led by a thirsty lad named Klaus Brunnenkant, who liked to rock n’ roll all night and party every day. Both sides of Metropolis’ sole single bear the legend, “Unauthorized duplication shall result in getting your ass beat.” This San Jose metal squad released their only single in 1986 and dedicated it to Metallica bassist Cliff Burton, who had recently been killed in a bus accident. “The Raven” is the serpentine NWOBHM- and Edgar Allan Poe-influenced flipside to “Time Heals Everything,” and yeah, you can hear the guitars going out of tune on the solo, but that’s part of the charm. Of the two dozen or so metal bands that have called themselves Prowler over the years, we’re pretty sure this particular Prowler is the only one from San Diego. These dudes take a thrashier approach than most of the bands here on Scrap Metal 2: “Temporary Insanity” strikes a deft balance between early Anthrax and early Testament, with just enough hard rock swing to keep it from getting overly staccato. Self-released in ’86 as the band’s only single, the song is the flip to “I Love It.” Not much is known about Christian Steel beyond this: They put out their only single in 1983, which boasted “Need Your Love” as the flip to “I Don’t Want To.” The former, included here, sounds kinda like a dizzy, more metallic version of ’70s Jersey rockers Starz, who famously influenced the likes of Mötley Crüe, Poison and Twisted Sister. Ohio guitarist/vocalist Marty Soski’s career dates back to at least 1969 with the Inside Experience track “Be On My Way,” which we unearthed for our own Brown Acid: The Third Trip. This time, we’ve got a monster Soski cut that he recorded under the name Black Rose. Released in 1982, the absolutely smokin’ “Sidewinder” was the A-side on the band’s sole single. The main riff isn’t far off from Y&T’s major-label banger “Mean Streak,” which was released the following year. When Dark Age titled their 1987 album The Youngest Metal Band in the World, they weren’t even sort of kidding. Legend has it that “Star Trippin’,” which was released as a single a year earlier, was written by guitarist CJ Rininger when he was just 12 years old. His brother Dave, the vocalist, was two years younger. Old photos of the band—complete with pineapple haircuts—seem to bear this story out. Either way, the song is pure flash metal, conjuring Sunset Strip sleaze all the way from Ohio. By now, all you heads know Los Angeles magic men Sorcery from their storied appearance in—and soundtrack for—the death-defying Ozploitation flick Stunt Rock. What we have here in “Whales” is a previously unreleased track from the same 1978 recording sessions. It’s a little bit Zeppelin, a little bit prog, and a whole lotta thundering riffage. Why this languished in the vaults for so long is anyone’s guess. Better late than never!

If you were smart enough to get your grubby paws on the first Scrap Metal compilation, you probably have a pretty good idea of what you’re in for with our second installment. Featuring long-lost gems from ultra-rare 45s and private press singles—plus one previously unreleased banger—Scrap Metal 2 maintains a steady NWOBHM course. Packed with infectious outliers and supremely talented one-and-done metal warriors from the crucial British movement of the late ’70s and early ’80s (and some killer American obscurities inspired by them), this collection delivers all the fist-pumping, riff-mongering and flashy solos of heavy metal’s golden age. As always, every track has been officially licensed and every artist gets paid. As a late entry into the NWOBHM sweepstakes, JJ’s Powerhouse was formed in Merseyside, England, by guitarist Jon “J.J.” Cox with members of his previous band, Quad. Much like the opener to the original Scrap Metal comp, you can hear early Metallica coursing through this legendary ripper. Coincidentally, this ultra-rare 45 was released in ’83, the same year as Kill ’Em All. Taking their name from a 1978 sci-fi novel by Marion Zimmer Bradley, Welsh super troopers Storm Queen reveled in animal-print clothing and flying Vs. The Motörhead-meets-Priest anthem “Raising the Roof” is the flipside to their only single, which the band self-released in 1982. Led by guitarist Dave Morse, Storm Queen’s earliest lineup included bassist Bryn Merrick (RIP), who would go on to join The Damned. Roaring out of Birmingham, England, in 1975, Jameson Raid palled around with fellow Brummies Black Sabbath and named themselves after a failed 19th century attack that helped kick off South Africa’s Second Boer War. Their three-song 1979 debut featured the infectious “It’s a Crime,” which comes across like a deadly hard-glam version of Budgie. Still fronted by vocalist Terry Dark, they’re going strong as of 2022. A.R.C., a punky proto-metal group from the UK, released the boozy single “Home Made Wine” b/w “The Chase” in 1979 and—as far as we know—were never heard from again. They’re not to be confused with a gang of Tolkien enthusiasts also called A.R.C., who released two NWOBHM singles in the early ’80s and actually were heard from again. Nonetheless, the A.R.C. we have here was led by a thirsty lad named Klaus Brunnenkant, who liked to rock n’ roll all night and party every day. Both sides of Metropolis’ sole single bear the legend, “Unauthorized duplication shall result in getting your ass beat.” This San Jose metal squad released their only single in 1986 and dedicated it to Metallica bassist Cliff Burton, who had recently been killed in a bus accident. “The Raven” is the serpentine NWOBHM- and Edgar Allan Poe-influenced flipside to “Time Heals Everything,” and yeah, you can hear the guitars going out of tune on the solo, but that’s part of the charm. Of the two dozen or so metal bands that have called themselves Prowler over the years, we’re pretty sure this particular Prowler is the only one from San Diego. These dudes take a thrashier approach than most of the bands here on Scrap Metal 2: “Temporary Insanity” strikes a deft balance between early Anthrax and early Testament, with just enough hard rock swing to keep it from getting overly staccato. Self-released in ’86 as the band’s only single, the song is the flip to “I Love It.” Not much is known about Christian Steel beyond this: They put out their only single in 1983, which boasted “Need Your Love” as the flip to “I Don’t Want To.” The former, included here, sounds kinda like a dizzy, more metallic version of ’70s Jersey rockers Starz, who famously influenced the likes of Mötley Crüe, Poison and Twisted Sister. Ohio guitarist/vocalist Marty Soski’s career dates back to at least 1969 with the Inside Experience track “Be On My Way,” which we unearthed for our own Brown Acid: The Third Trip. This time, we’ve got a monster Soski cut that he recorded under the name Black Rose. Released in 1982, the absolutely smokin’ “Sidewinder” was the A-side on the band’s sole single. The main riff isn’t far off from Y&T’s major-label banger “Mean Streak,” which was released the following year. When Dark Age titled their 1987 album The Youngest Metal Band in the World, they weren’t even sort of kidding. Legend has it that “Star Trippin’,” which was released as a single a year earlier, was written by guitarist CJ Rininger when he was just 12 years old. His brother Dave, the vocalist, was two years younger. Old photos of the band—complete with pineapple haircuts—seem to bear this story out. Either way, the song is pure flash metal, conjuring Sunset Strip sleaze all the way from Ohio. By now, all you heads know Los Angeles magic men Sorcery from their storied appearance in—and soundtrack for—the death-defying Ozploitation flick Stunt Rock. What we have here in “Whales” is a previously unreleased track from the same 1978 recording sessions. It’s a little bit Zeppelin, a little bit prog, and a whole lotta thundering riffage. Why this languished in the vaults for so long is anyone’s guess. Better late than never!

"Hans Zimmer LIVE" versammelt mehr als zwei Stunden neuer Musik des in Frankfurt am Main geborenen Komponisten-Stars! Für das Album hat Hans Zimmer neue "Suiten" arrangiert, die auf einigen der bekanntesten Themen und Melodien aus seinen Oscar®-prämierten Filmmusiken basieren, darunter "Dune" und "Der König der Löwen" sowie für moderne Filmklassiker wie "The Dark Knight", "X Men: Dark Phoenix", "Dunkirk", "Gladiator", "Inception", "Interstellar", "Last Samurai", "Man of Steel", James Bond: "Keine Zeit zu Sterben", "Fluch der Karibik" und "Wonder Woman 1984".Gemeinsam mit seiner 20-köpfigen Band "The Disruptive Collective", in der eine Reihe langjähriger musikalischer Partner des Komponisten mitwirken, sowie mit dem Odessa Opera Orchestra und Chor hat Hans Zimmer ein episches Musikspektakel geschaffen, das stimmungsvolle klassische Arrangements und elektronische Elemente mit dem kraftvollen Sound einer Rockband verschmilzt."Ich wollte einfach ein tolles Album produzieren", sagt Zimmer, der "Hans Zimmer LIVE" ähnlich wie eine Studioproduktion an zehn Abenden seiner gleichnamigen Tour im Frühjahr 2022 aufzeichnete und mehrere Wochen damit zubrachte, das Album gemeinsam mit dem Produzenten Stephen Lipson abzumischen. "Ich wollte der Musik ermöglichen, auf neue Weise in ihrem eigenen Zusammenhang zu atmen, und ich bin absolut begeistert von dem fantastischen Team, das mich bei diesem Abenteuer unterstützt hat.""The Disruptive Collective" vereint Musiker, die schon lange mit Hans Zimmer zusammenarbeiten, etwa die Sänger*Innen und Komponist*Innen Lisa Gerrard ("Gladiator"), Lebo M. ("König der Löwen") und Loire Cutler ("X Men: Dark Phoenix"), die Cellistin Tina Guo ("Wonder Woman 1984") und Nick Glennie-Smith (musikalischer Leiter der Band). Zu den weiteren Solist*Innen zählen Andrew Kawczynski (Synthesizer, Schlagzeug), Pedro Eustache (Holzblasinstrumente), Refi (Gesang), Rusanda Panfili (Gesang), Guthrie Govan (Gitarren), Andy Pask (Kontrabass), Aicha Djidjelli (Trommeln), Steven Doar (Schlagzeug, Keyboards), Molly Rogers (Gesang), Juan Garcia Herreros Snow Owl (E-Bass), Nile Marr (Gitarren), Leah Zeger (Gesang), Holly Madge (Drumkit), Aleksandra Suklar (Schlagzeug). Hans Zimmer spielt auf dem Album eine Reihe verschiedener Instrumente.Die 2 CD-Version im Digipac enthält ein Booklet mit Bildern von der Live-Show und Illustrationen, einen persönlichen Text von Hans Zimmer und Texte zu allen Solisten.Die limitierte audiophile Vinyl-Version enthält 4 x 180g LPs im Quadfold mit bedruckten Innentaschen. Enthalten sind Bilder von der Live-Show und Illustrationen, ein persönlicher Text von Hans Zimmer und Texte zu allen Solisten. Direct Metal Mastering. 33 RPM.

Der gefeierte australische Sänger, Songwriter und The Go-Betweens Gründer Robert Forster kündigt sein achtes Soloalbum an: "The Candle And The Flame" erscheint am 3. Februar 2023 bei Tapete Records. "The Candle And The Flame" enthält neun Songs, geschrieben von Forster. Das Album wurde produziert von Forster, seiner Frau Karin Bäumler sowie Louis Forster (The Goon Sax) und gemischt von Victor Van Vugt (Nick Cave and The Bad Seeds, PJ Harvey). Mit von der Partie sind die ehemalige Go-Betweens- und Warm Nights-Bassistin Adele Pickvance sowie Scott Bromiley und Luke McDonald (The John Steele Singers), der auch auf Forsters Alben "Inferno" und "Songs To Play" gespielt hat. Großartige, zutiefst inspirierte Musik entsteht manchmal ganz unerwartet - in richtig schwierigen Zeiten, aber manchmal auch in Zeiten größter Zufriedenheit. 2021 hatte Robert Forster eine Reihe von Songs fertig, die er in den vergangenen drei Jahren geschrieben hatte. Diese sollten die Grundlage seines neuen Albums bilden. Die Songs waren stark und emotional wie aus einem Guss. Selbst der Autor war überrascht: Sie boten eine neue Perspektive, waren persönlicher und erzählten von den Menschen, die ihm am nächsten standen. Es gab noch ein weiteres Songfragment - nur Musik und Melodie, noch ohne Text. Da Robert zeitgleich an seinem ersten Roman arbeitete, eilte es nicht. Die neuen Songs konnten auch noch eine Weile warten. Doch das Leben stellte ihn plötzlich vor ganz neue Herausforderungen: Im Juli 2021 erhielt Roberts Frau Karin Bäumler, mit der er auch gemeinsam Musik macht, die Diagnose Eierstockkrebs. Und so standen also erst einmal Krankenhaus, Tests und Chemotherapie auf der Agenda. Eine intensive Zeit voller Angst und Hoffnung. Wie so oft in ihrer seit 32 Jahren währenden Beziehung war Musik der Fels in der Brandung, der Zufluchtsort. "Die Aufnahmesessions für das Album fanden sporadisch über sechs Monate statt. Manchmal nur ein oder zwei Tage im Monat. Das war alles, was Karins Kraft und ihr Zustand zuließen. Wir mussten also "live" aufnehmen, magische Momente einfangen und auf "Gefühl" setzen. Und das ist der Sound des Albums geworden", sagt Robert.

The Vivid label is yet another one from Burnski who also runs Constant Blanc and Instinct. He is s single handed garage hit making machine and he knows how to tap into the next gen, too. Here he calls upon Peaky Beats for a naughty and nasty three track affair that has retro feels but contemporary style. 'Can't Stop' opens up with a 2-step shuffle and steely hits, then 'Get Ready' gets more free and melodic with some boxing little melodic patterns and oscillating bass. Last of all is the most menacing and dark - 'Wildcat' flips into a dub wise swagger mid-way through that is going to blow up the clubs.

For Fans Of: Bacao Rhythm & Steel Band, Menahan Street Band, El Michels Affair, The Poets Of Rhythm. Debut LP from The Winston Brothers! Featuring members of Bacao Rhythm & Steel Band. Hot on the heels of their debut 45 released on Colemine Records, German funk powerhouse The Winston Brothers re-up with their first-ever full length LP. “DRIFT” is the name of the game, presenting eleven versatile cuts to invite listeners on an all-instrumental trip back to the future of funk. But make no mistake: Though audibly steeped in the deep funk tradition, this retrophile outfit is anything but dusty. The Winston Brothers are a modular studio project by Hamburg-based multi-instrumentalist and producer Sebastian Nagel (The Mighty Mocambos, Bacao Rhythm & Steel Band) and drummer / percussionist extraordinaire Lucas Kochbeck (The KBCS, Bacao Rhythm & Steel Band, Hamburg Spinners). Industry veterans with a penchant for analog music production, the two combine a boom bap state of mind with well-rounded funk acumen and able frequent collaborators to create dynamic arrangements that are both an audible nod to the genre’s past as well as a contemporary blend of like-minded organic styles. Lacing heavy drums with juicy breaks, headnodic grooves, scorching riffs and melodic instrumentation, “DRIFT” draws on the raw energy inherent to ‘60s / ‘70s funk and takes it from there. Catchy, repetitive motifs gain musical momentum as they evolve into vibrant and autonomous soundscapes with a distinct drive of their own, ranging from incendiary to more laid-back and almost dreamlike. Strutting an irresistible bounce to their step, The Winston Brothers are poised to light up dance floors, river cruises and backyard BBQs alike. Catch our drift? Tracks: 1. Winston Theme 2. Boiling Pot 3. Hang On 4. Drift 5. Northern Light 6. Metering 7. One Thing 8. Free Ride 9. High Life 10. Think 11. Brother's Strut

Horse Lords return with Comradely Objects, an alloy of erudite influences and approaches given frenetic gravity in pursuit of a united musical and political vision. The band's fifth album doesn't document a new utopia, so much as limn a thrilling portrait of revolution underway. Comradely Objects adheres to the essential instrumental sound documented on the previous four albums and four mixtapes by the quartet of Andrew Bernstein (saxophone, percussion, electronics), Max Eilbacher (bass, electronics), Owen Gardner (guitar, electronics), and Sam Haberman (drums). But the album refocuses that sound, pulling the disparate strands of the band's restless musical purview tightly around propulsive, rhythmic grids. Comradely Objects ripples, drones, chugs, and soars with a new abandon and steely control. This transformation came, in part, due to circumstance. Sidelined from touring their early 2020 album The Common Task in a world turned upside down, Horse Lords promptly returned to their Baltimore practice space and began piecing together the music that became Comradely Objects (Bernstein, Eilbacher, and Gardner have since relocated to Germany). Removed from their tried and true method of refining new music on the road, the quartet invested less energy ensuring live playability and more rehearsing and recording. The deliberate writing and tracking process, a rarity since the band's earliest days, led to a collection of pieces that signal a new peak of creativity and musical heft without devolving into studio sprawl or frippery. Comradely Objects reflects familiar elements of Horse Lords' established palette_the mantra-like repetition of minimalism and global traditional musics, complex counterpoint, the subtleties of microtonality, a breadth of timbres and textures drawn from all across the avant-garde_with some standout stylistic innovations. At different moments, the album veers closer to free jazz than anything else in the band's catalog, channels spectral electroacoustic tones, and throbs with unexpected yet felicitous synth. While these new elements are evidence of additional studio time and care, Comradely Objects retains the dizzying obsessive rhythmic energy that galvanizes the best moments of the band. Music for people who like Mdou Moctar, This Heat!, Battles, Ndagga Rhythm Force, Can, Captain Beefheart, Art Ensemble of Chicago, LaMonte Young.

Horse Lords return with Comradely Objects, an alloy of erudite influences and approaches given frenetic gravity in pursuit of a united musical and political vision. The band's fifth album doesn't document a new utopia, so much as limn a thrilling portrait of revolution underway. Comradely Objects adheres to the essential instrumental sound documented on the previous four albums and four mixtapes by the quartet of Andrew Bernstein (saxophone, percussion, electronics), Max Eilbacher (bass, electronics), Owen Gardner (guitar, electronics), and Sam Haberman (drums). But the album refocuses that sound, pulling the disparate strands of the band's restless musical purview tightly around propulsive, rhythmic grids. Comradely Objects ripples, drones, chugs, and soars with a new abandon and steely control. This transformation came, in part, due to circumstance. Sidelined from touring their early 2020 album The Common Task in a world turned upside down, Horse Lords promptly returned to their Baltimore practice space and began piecing together the music that became Comradely Objects (Bernstein, Eilbacher, and Gardner have since relocated to Germany). Removed from their tried and true method of refining new music on the road, the quartet invested less energy ensuring live playability and more rehearsing and recording. The deliberate writing and tracking process, a rarity since the band's earliest days, led to a collection of pieces that signal a new peak of creativity and musical heft without devolving into studio sprawl or frippery. Comradely Objects reflects familiar elements of Horse Lords' established palette_the mantra-like repetition of minimalism and global traditional musics, complex counterpoint, the subtleties of microtonality, a breadth of timbres and textures drawn from all across the avant-garde_with some standout stylistic innovations. At different moments, the album veers closer to free jazz than anything else in the band's catalog, channels spectral electroacoustic tones, and throbs with unexpected yet felicitous synth. While these new elements are evidence of additional studio time and care, Comradely Objects retains the dizzying obsessive rhythmic energy that galvanizes the best moments of the band. Music for people who like Mdou Moctar, This Heat!, Battles, Ndagga Rhythm Force, Can, Captain Beefheart, Art Ensemble of Chicago, LaMonte Young.

Since making his mark in the ‘90s through the early aughts as a part of the legendary Boot Camp Clik and one half of “Da Incredible Rap Team” and duo Heltah Skeltah, Rock (also known as the Rockness Monsta) has been conservative with solo efforts. With one of the most distinct voices in hip-hop, the Brooklyn emcee released his full-length debut solo albumRockness AP in 2017, and now looks to step back into the spotlight with his sophomore album, Ether Rocks.

Produced entirely by Harlem, New York’s Ron Browz (Nas’s “Ether”, Jim Jones’s “Pop Champagne”, etc.), the project sees Rock’s ominous tone and sharp flow transposed from the traditional Boom-Bap beats of Da Beatminerz and others, into a sonic backdrop that retains grit yet bolsters an updated and more sophisticated style from the legendary emcee.

The 12 track LP boasts guest appearances from Method Man, Steele (Smif-N-Wessun), Ruste Juxx and more, and is available via DSPs, CD and vinyl through American B Boy Records in partnership with Fat Beats.

“Dope is dope. I'm trying to break out of the underground rap box and ease into ‘grown man rap’. This album is basically my way of showing y’all more sides to myself musically and conceptually. A lot of our culture wants you to do the same thing over and over. That’s understandable but not realistic as we are forever evolving as human beings. So, while I continue to serve jedi level barbarian bars, I’m adding some things to the menu.” – Rockness Monsta

Punk rock creative moment music born out of DC & Baltimore scenes. Jarrett Gilgore (Alto/ Soprano Saxophone) is a gifted sonic melodic soothsayer. Luke Stewart (Bass, Irreversible Entanglements) lays down heavy danceable free bass lines, and Ian McColm (drums/percussion) is a drummer with an endless vocabulary moving from thrash to swing - always pushing the energy forward. This trio is unearthing new sonic territories with unwavering musicality and a steely grin. Special notice must be paid to the second track ("Aaron's Ride") - a piece dedicated to the life, spirit, and music of Aaron Martin Jr. - a mentor and fixture of the DC creative music scene who recently departed this realm for another. These musicians know the tradition and fearlessly venture into a vast ocean of sound. Dive in! - Jaimie Branch

In the late 1950s, Tina Turner (née Anna Mae Bullock) caught a performance of Ike Turner’s Kings of Rhythm at St. Louis nightclub and practically begged Ike to let her sing with the band. Ike refused, as only men were allowed to sing in his group at the time, but she persisted, and once he heard Tina sing he wouldn’t let her stop. Since that fateful meeting, the world of R&B has never been the same. Ike & Tina Turner’s Kings of Rhythm Dance is their second long player, originally released in 1961, and it is full of stompers, rippers, and all around rocking R&B magic. Ike’s guitar tone and style are the perfect complement to Tina’s unmistakable voice. Now nearly impossible to find an original LP at a reasonable price, Destination Moon once again saves the party by putting another R&B classic back in print. Features the original hit version of “It’s Gonna Work Out Fine”.

This first-ever vinyl reissue, remastered from the original analog tapes, includes a gatefold jacket and inner sleeve with restored, new, and alternate art and photos by Terry and Jo Harvey Allen; an insert with lyrics, original notes, and Terry’s letter to H.C. Westermann about the songs; and a high-res download code. Deluxe CD edition features a trifold jacket and inner sleeve. Recorded exactly two years after acclaimed visual artist and songwriter Terry Allen’s masterpiece Lubbock (on everything), the feral follow-up Smokin the Dummy is less conceptually focused but more sonically and stylistically unified than its predecessor it’s also rougher and rowdier, wilder and more wired, and altogether more menacingly rock and roll. Following the 1973 Whitney Biennial, in which songwriter and visual artist Terry Allen and fellow iconic artist Horace Clifford “Cliff” Westermann both exhibited, Allen maintained a lively long-distance correspondence and exchange of artworks and music with Westermann, whose singular and highly influential art he admired enormously. In a February 1981 letter to his friend and mentor, written shortly after the late 1980 release of his third album Smokin the Dummy, while he and his family were living in Fresno, California, Terry explains the genesis of the album title: Westermann died shortly after receiving this letter, enclosed with a Smokin the Dummy LP, the minimalist black jacket of which Allen suggested that Cliff fold into a jaunty cardboard hat if he didn’t like the music. That response was unlikely, since Westermann loved Terry’s music, calling his debut record Juarez (1975) “the finest, most honest and heartfelt piece of music I ever heard.” The Panhandle Mystery Band had only recently coalesced during those 1978 Lubbock sessions, Lloyd Maines’s first foray into production. Through 1979, they honed their sound and tightened their arrangements with a series of periodic performances beyond Allen’s regular art-world circuit, including memorable record release concerts in Lubbock, Chicago, L.A., and Kansas City. Terry sought to harness the high-octane power of this now well-oiled collective engine to overdrive his songs into rawer and rockier off-road territory. His first album to share top billing with the Panhandle Mystery Band, Dummy documents a ferocious new band in fully telepathic, tornado-fueled flight, refining its caliber, increasing its range, and never looking down. Alongside the stalwart Maines brothers co-producer, guitarist, and all-rounder Lloyd, bassist Kenny, and drummer Donnie and mainstay Richard Bowden (who here contributes not only fiddle but also mandolin, cello, and “truck noise theory,” the big-rig doppler effect of Lloyd’s steel on “Roll Truck Roll”), new addition Jesse Taylor supplies blistering lead guitar, on loan from Joe Ely (who plays harmonica here). Jesse’s kinetic blues lines and penchant for extreme volume were instrumental in pushing these recordings into brisker tempos and tougher attitudes. Terry was feverish for several studio days, suffering from a bad flu and sweating through his clothes, which partially explains the literally febrile edge to his performances, rendered largely in a perma-growl. (By this point, he was regularly breaking piano pedals with his heavy-booted stomp.) Like the album title itself, the songs on Smokin the Dummy ring various demented bells. The tracks rifle through Terry’s assorted Obsessions especially the potential energy and escape of the open road, elevated here to an ecstatic, prayerful pitch and are populated by a cast of crooked characters: truckers, truck-stop waitresses, convicts, cokeheads, speed freaks, greasers, holy rollers, rodeo riders, dancehall cheaters, and sacrificial prairie dogs, sinners seeking some small reprieve, any fugitive moment of grace. A reigning deity of a certain kind of country music since the mid-70s. – The New York Times // The kind of singular American artist who expresses the fundamental weirdness of his country. – The Wire

A turning point for the band: Savatage's 1989 studio album exploring the
more progressive sound.
Even the album's regal front cover demonstrated the band's continued
musical evolution.To quote producer Paul O'Neill: "Savatage was
graduating from being a heavy metal band to becoming more than a
heavy metal band
On Mountain King, we had toyed with a little bit of more symphonic, progressive
side, but we hadn't taken it as deep as we did on Gutter."
Mastered for vinyl and reissued with the original cover design, enhanced artwork
including a 12pages LP booklet with extensive liner notes by Clay Marshall, the
album will become available as a 180g Black Vinyl Gatefold Edition and as a
Strictly Limited Heavyweight Collector's LP Edition on Silver Vinyl which includes
an exclusive '89 poster replica and an exclusive 10" Vinyl Single featuring the
songs "Thorazine Shuffle" (Side A) and a 1990 live version of "When The Crowds
Are Gone" (Side B).
"It's a very versatile album. It shows all sides of the band, and where we were
going with our songwriting. Working with Paul there were no limitations, we were
no longer just a heavy metal band, we now were a band ready to explore and
grow, as the follow up album "Streets" clearly shows. "Gutter Ballet" remains in
my top 3 favorite Savatage LP's." (Jon Oliva)

A turning point for the band: Savatage's 1989 studio album exploring the
more progressive sound.
Even the album's regal front cover demonstrated the band's continued
musical evolution.To quote producer Paul O'Neill: "Savatage was
graduating from being a heavy metal band to becoming more than a
heavy metal band
On Mountain King, we had toyed with a little bit of more symphonic, progressive
side, but we hadn't taken it as deep as we did on Gutter."
Mastered for vinyl and reissued with the original cover design, enhanced artwork
including a 12pages LP booklet with extensive liner notes by Clay Marshall, the
album will become available as a 180g Black Vinyl Gatefold Edition and as a
Strictly Limited Heavyweight Collector's LP Edition on Silver Vinyl which includes
an exclusive '89 poster replica and an exclusive 10" Vinyl Single featuring the
songs "Thorazine Shuffle" (Side A) and a 1990 live version of "When The Crowds
Are Gone" (Side B).
"It's a very versatile album. It shows all sides of the band, and where we were
going with our songwriting. Working with Paul there were no limitations, we were
no longer just a heavy metal band, we now were a band ready to explore and
grow, as the follow up album "Streets" clearly shows. "Gutter Ballet" remains in
my top 3 favorite Savatage LP's." (Jon Oliva)

For the first time ever, here is the soundtrack from the 1983 post-apocalyptic flick directed by Joe D'Amato, Endgame - Bronx Lotta Finale. A compelling Carlo Maria Cordio's mighty Vangelis-meets-John Carpenter score. With hangovers from previous Giallo-based outings, Endgame's themes are more gentle and introspective than, say, Claudio Simonetti's muscular work for The New Barbarians and Hands of Steel but also, arguably, musically more diverse. In particular, the opening title track 'Atomic Contamination" is genuinely chilling when set against the stock footage of a nuclear bomb going off.

While liberally pinching the vibe of Blade Runner's more symphonic textures, Cordio's synthesizers also do bombast, melancholy and menace when required, whilst the pretty pieces for Lilith are like semi precious jewels shining out of the murk and machismo.

Deluxe LP features 140g virgin vinyl; heavy-duty board jacket, artwork by Art Rosenbaum + DL. RIYL: Bob Dylan, John Prine, Townes Van Zandt, Ry Cooder, Michael Chapman, Michael Hurley, The Youngbloods & Bonnie “Prince” Billy. Jake Xerxes Fussell’s 4th album finds the acclaimed folksong interpreter, guitarist, and singer navigating fresh sonic and compositional landscapes on the most conceptually focused, breathtakingly rendered, and enigmatically poignant record of his wondrous catalog. Produced by James Elkington and featuring formidable players both familiar (Casey Toll, Libby Rodenbough) and new (Joe Westerlund, Bonnie “Prince” Billy), it includes Jake’s first original compositions; atmospheric arrangements with pedal steel, horns, and strings. One of the most striking and strangely moving moments on Jake Xerxes Fussell’s gorgeous Good and Green Again an album, his fourth and most recent, replete with such dazzling moments arrives at its very end, with the brief words to the final song “Washington.” “General Washington/Noblest of men/His house, his horse, his cherry tree, and him,” Fussell sings, after a hushed introductory passage in which his trademark percussively fingerpicked Telecaster converses lacily with James Elkington’s parlor piano. That’s the entire lyrical content of the song, which proceeds to float away on orchestral clouds of French horn, trumpet, and strings, until it simply stops, suddenly evaporating, vanishing with no fade or trace, no resolution to its sorrowful minor-key chord progression, just silence and stillness and stark presidential absence. It feels like the end of a film, or the cold departure of a ghost, and is unlike anything else Jake has recorded. In all his work Jake humanizes his material with his own profound curatorial and interpretive gifts, unmooring stories and melodies from their specific eras and origins and setting them adrift in our own waterways. The robust burr of his voice, which periodically melts and catches at a particularly tender turn of phrase, and the swung rhythmic undertow of exquisite, seemingly effortless guitar-playing here he plays more acoustic than ever before pull new valences of meaning from ostensibly antique songs and subjects. On Good and Green Again, Jake not only ventures beyond his established mastery of songcatching and songmaking into songwriting, but likewise navigates fresh sonic and compositional landscapes, going green with lusher, more atmospheric and ambitious arrangements. The result is the most conceptually focused, breathtakingly rendered, and enigmatically poignant record of his wondrous catalog. It’s also his most deliberately premeditated album, representing his fruitful return to a producer partnership after two self-produced projects, What in the Natural World (2017) and Out of Sight (2019) (William Tyler produced his friend’s self-titled 2015 debut.) This time James Elkington produced and played a panoply of instruments, bringing to Jake’s arcane song choices his own peerless sense of harmony and orchestration, balance and dramatic tension. The pair enlisted a group of formidable players including regular bandmembers Casey Toll (Mt. Moriah, Nathan Bowles) on upright bass, Libby Rodenbough (Mipso) on strings, and Nathan Golub on pedal steel. They were joined by welcome newcomers Joe Westerlund (Megafaun, Califone) on drums, Joseph Decosimo on fiddle, Anna Jacobson on brass, and veteran collaborator and avowed Fussell fan Bonnie “Prince” Billy, who contributes additional vocals. Album opener “Love Farewell” (featuring some beautiful singing by Bonnie “Prince” Billy), an elliptical tale of the folly of war, set to the world’s most heartbreaking goodbye march for a lover left behind. “Carriebelle” and “Breast of Glass” each similarly concerns, in its own way, romantic love and leavings. All three songs highlight Jacobson’s diaphanous, understated brass parts, tying them together in a true lover’s knot. “Rolling Mills Are Burning Down,” with its distant keening strings and capacious sense of space, observes and mourns the loss of work and community in the wake of elemental disaster. Nine-minute tour de force “The Golden Willow Tree,” the sole explicitly narrative song herein, is a hypnotic, minimalist rendering of a tragic maritime ballad about scuttling an enemy ship in exchange for wealth and glory and a captain’s inevitable betrayal. “Fussell is creating his own legacy within the long lineage of traditional folk musicians and storytellers that have come before him.” The New York Times // “So elegant … It’s relaxing in the way that pondering a Zen koan is relaxing, and sweet in the way that the wounded, honey-voiced blues of Mississippi John Hurt are sweet.” Pitchfork // “Music that resides at the seams of Appalachia and the cosmos.”

The Blind Date Party hosted by Bill Callahan and Bonnie ‘Prince’ Billy
and featuring AZITA, Matt Sweeney, Alasdair Roberts, Matt Kinsey,
Sean O’Hagan, Bill MacKay, George Xylouris, Dead Rider, David Pajo,
Mick Turner, Meg Baird, Ty Segall, Emmett Kelly, Cory Hanson, Six
Organs of Admittance, David Grubbs, Cassie Berman, Cooper Crain and
Sir Richard Bishop happened online in the autumn and winter of 2020 -
2021 but the party planning dated back to the spring of 2020.
 Stuck at home, with no gigs in the foreseeable future, Bill, Bonnie and
Drag City needed an outreach program to keep themselves busy, not to
mention sane. In the absence of any company or anything on the
calendar, playing songs they loved was an idea; playing with people they
loved, the desire. And making it fun - so pairing someone with someone
else having no say in the matter, the essence of the blind date, was the
plan. Favourite songs were chosen; players from around the Drag City
galaxy were messaged. Pretty soon, songs were flying back and forth -
music in the air.
 By autumn, the songs started to appear online: Bill and Bonnie singing a
song by someone they loved and admired; each song cut by another
artist they loved and admired, then sent to Bill and Bonnie to provide the
finishing touches. The spotlight pointed in every direction each week:
toward the singers and writers who’d originally played the songs (Yusuf
Islam, Hank Williams Jr., Dave Rich, The Other Years, Billie Eilish,
Steely Dan, Lou Reed, Bill Callahan, Jerry Jeff Walker, Robert Wyatt,
Lowell George, Johnnie Frierson, Air Supply, Will Oldham, Leonard
Cohen, David Berman, Iggy Pop and John Prine), toward their featured
collaborators, the artists whose artwork adorned each digital single and
videos made by still more collaborators.
 Like the best parties, it turned out to be everything and more than they’d
even hoped for. So many more people were involved in the process that
would on the page here. Suffice to say, making records over the years
has required a broad sense of community and an always-surprising mix
of independence and unity, inspiration and utility. Some of the best
memories are those where as many of our folks as possible were
together in one place at one time. The Blind Date Party was one of
these, maybe the most improbable one yet. It’s for everyone who’s here
and it’s in the name of everyone who’s gone but will never go and will
always live with us here. This album will too.

The Blind Date Party hosted by Bill Callahan and Bonnie ‘Prince’ Billy
and featuring AZITA, Matt Sweeney, Alasdair Roberts, Matt Kinsey,
Sean O’Hagan, Bill MacKay, George Xylouris, Dead Rider, David Pajo,
Mick Turner, Meg Baird, Ty Segall, Emmett Kelly, Cory Hanson, Six
Organs of Admittance, David Grubbs, Cassie Berman, Cooper Crain and
Sir Richard Bishop happened online in the autumn and winter of 2020 -
2021 but the party planning dated back to the spring of 2020.
 Stuck at home, with no gigs in the foreseeable future, Bill, Bonnie and
Drag City needed an outreach program to keep themselves busy, not to
mention sane. In the absence of any company or anything on the
calendar, playing songs they loved was an idea; playing with people they
loved, the desire. And making it fun - so pairing someone with someone
else having no say in the matter, the essence of the blind date, was the
plan. Favourite songs were chosen; players from around the Drag City
galaxy were messaged. Pretty soon, songs were flying back and forth -
music in the air.
 By autumn, the songs started to appear online: Bill and Bonnie singing a
song by someone they loved and admired; each song cut by another
artist they loved and admired, then sent to Bill and Bonnie to provide the
finishing touches. The spotlight pointed in every direction each week:
toward the singers and writers who’d originally played the songs (Yusuf
Islam, Hank Williams Jr., Dave Rich, The Other Years, Billie Eilish,
Steely Dan, Lou Reed, Bill Callahan, Jerry Jeff Walker, Robert Wyatt,
Lowell George, Johnnie Frierson, Air Supply, Will Oldham, Leonard
Cohen, David Berman, Iggy Pop and John Prine), toward their featured
collaborators, the artists whose artwork adorned each digital single and
videos made by still more collaborators.
 Like the best parties, it turned out to be everything and more than they’d
even hoped for. So many more people were involved in the process that
would on the page here. Suffice to say, making records over the years
has required a broad sense of community and an always-surprising mix
of independence and unity, inspiration and utility. Some of the best
memories are those where as many of our folks as possible were
together in one place at one time. The Blind Date Party was one of
these, maybe the most improbable one yet. It’s for everyone who’s here
and it’s in the name of everyone who’s gone but will never go and will
always live with us here. This album will too.

By now you’re probably familiar with our wildly popular Brown Acid series of rare, lost and unreleased proto-metal and stoner rock singles from the 60s-70s. In the endless pursuit of those glorious gems, we often uncover equally brilliant rarities from the late-70s to late-80s Golden Age of Heavy Metal that also just must be heard, but they don’t fit the series’ aesthetic. Scrap Metal, Volume 1 collects some of the greatest unknown and lost Heavy Metal tracks, long buried beneath the avalanche of the era’s classic output.
We all know the old adage that history is told by the winners. But sometimes the losers tell the best stories. And while none of these bands found fame and fortune, this artifact and the volumes to come are testament to the enduring power of heavy music. You can hear the blood, sweat and beers that went into each of these singles. The recordings may be low budget, but the inspiration and talent is immutable. Not only are the amps turned up to 11, the boyish sexual innuendo is cranked to 69. You can hear the convergence of influences — NWOBHM, thrash, glam metal, doom, etc — colliding at once as the era birthed a wellspring of subgenres.
Many of these singles are self-released and were thus limited to a small run of copies. Those that remain are hoarded by collectors and sold for exorbitant amounts. We’ve collected the best of the best for you here. As with Brown Acid, all of these tracks are licensed legitimately and the artists all get paid. Because it’s the right thing to do.
LINER NOTES:
Rapid Tears launch this series with the perfect christening. The Toronto, ON quintet’s 1981 single “Headbang” is such the pinnacle of heavy metal madness that it almost sounds like a spoof. There’s also enough of the rapid-fire sputum that inspired Metallica to bang the head that doesn’t, as such, engage in said practice, to be found on the band’s sole full length Honestly. But “Headbang” is a straightforward glammy anthem for the ages.
Air Raid’s “69 In A 55” may be lyrically so sophomoric that it’s actually pretty clever, but this 1983 Bay Area power metal single is loaded with sleek Judas Priest riffs and interwoven melodies that are downright sublime. The band’s sole release, the 2-song Rock Force 7” features a curious band photo in which 3 band members — dolled up in Crüe makeup and leather — are sexually menacing the lead singer/guitarist tied to a bed. Another low budget highlight is when singer/guitarist Tommy “Thrasher” Merry imitates a delay effect on his vocals as he sings, “tonight!...tonight...night.”
Hades’ “Girls Will Be Girls” has a real demo cassette feel to its vastly uneven mix, but the energy to the performance makes this an undeniable keeper. The long running Paramus, NJ quintet’s 1982 2- song debut 7” titled Deliver Us From Evil features this blistering thrasher dominated by shimmering leads and confident vocals that show why the band went on to near-fame on Metal Blade Records.
Resless don’t need no T to prove that they’ve got “The Power” with this 1984 driving mid-tempo rocker in the vein of Mötley Crüe and Ratt. The River Vale, NJ quartet’s tight crunch wails all over Bon Jovi posers but it’s the band’s unique and subtle deployment of background vocals that gives this rager its staying power.
Pittsburgh, the Steel City, is home to Don Cappa, a band that pays tribute to the burgh, the metal, and the awesomeness of both with “Steel City Metal.” Their lone single, issued in 1987 with only 300 copies released, sounds like the work of some serious steel driving men, with a drummer who might’ve forgotten to wear a hard hat one too many times on the construction site.
The Beast has more of a punk feel to their aggressive “Enemy Ace” track from the 4-song Power Metal EP from 1983 — something like Dr. Know meets D.O.A. But their look, artwork and lyrics all prove that Heavy Metal is where their hearts lie. And this hook filled monster delivers repeated lines like, “I command them all in my lofty realm,” with commendable conviction.
Dead Silence from Denver, Colorado, debuting in 1984 is not to be confused with Dead Silence from Denver, Colorado, who also debuted in 1984. The former a workman’s hard rock bar band, the latter a political peace punk band and neither knowing of the other’s existence throughout their tenure. The pre-internet days were a marvel, indeed.This Dead Silence spits out a slick, Nugent tinged rocker called “Can’t Stop” about life on the road.
The Danger Zone is, by all accounts, not the place to be. And, Hazardous Waste of Boston, MA saw fit to add their two cents on the matter with this 1986 single that combines Van Halen’s flashy musicianship with NWOBHM aggression that sounds so awesome it teeters on itself entering the “Danger Zone.”
Czar’s heavy, doomy “Iron Curtain” single from 1982 hearkens to the sleazy sounds of Saint Vitus and Pentagram with its cranked up DOD Distortion pedal in a Peavey combo amp guitar tone and meaty, barking vocals. The upstate NY quintet only issued this 2-song single, but its driving rhythm, nosedive whammy-bar guitar solos and comparatively mature Cold War subject matter show they had real potential.
Not much is known about Real Steel’s majestic “Viking Queen” from 1987, other than it rocks hard and the 7” 45 sells for upwards of a grand on the collectors market. The Flint, Michigan band recorded at the home studio of local radio personality Bill Lamb, who primarily released Christian Gospel recordings. So, perhaps the band was struck down by a bolt of lightning shortly after this rare single’s release. Whatever the case may be, it’s a must have for fans of classic metal mayhem.

Yellow Vinyl

The first release on Optimo Music founder JD Twitch’s new compilation-focused label Cease & Desist will be a collection of pioneering turn-of-the-90s British “Bleep & Bass” techno tracks curated by author and music journalist Matt Anniss.

Join The Future: UK Bleep & Bass 1988-91 is a partner product to Anniss’s critically acclaimed book on the foundations of British dance music’s ongoing love affair with sub-bass, Join The Future: Bleep Techno and the Birth of British Bass Music. The book, which was published by Velocity Press in December and features a foreword by JD Twitch, documents in vivid detail the previously untold story of the Yorkshire-pioneered style and the impact it had on the development of UK dance music.

The compilation is the first to focus on Bleep & Bass since the sound’s heyday in the late 1980s and early ’90s. It features a mix of historic cuts, period classics, overlooked gems and unreleased material. It was mastered for release by Warp Records co-founder and Forgemasters member Rob Gordon, a producer, remixer and studio engineer who arguably did more than anyone else to define the sub-heavy sound of the style.

Gordon also contributed a previously unheard version of Alfanso’s “Dub Feels Nice”, a near mythical track he produced in 1991 that has never received a proper commercial release. The cut has been a secret weapon for a handful of Sheffield DJs for almost 30 years, most notably Gordon’s fellow Forgemasters member Winston Hazel. Fittingly, the compilation also includes the original unreleased instrumental version of Tuff Little Unit’s Steel City classic “Join The Future”.

Many of the other tracks on the compilation are rare, hard to find or have not been issued on vinyl or digital since their initial release. It opens with Unique 3 and the Mad Musician’s “Only The Beginning” – the 1988 A-side of the first ever Bleep record – and also includes tracks and remixes from fellow scene pioneers Ital Rockers (an early alias of dub hero Iration Steppas), Nightmares on Wax, Cabaret Voltaire and DJ Martin and DJ Homes, the previously unheralded Chapeltown duo behind the influential Leeds-based studio and record label BASSIC.

Elsewhere on the compilation you’ll find Birmingham producer Demonik’s sought-after debut single “Layrinthe”, a hard-to-find cut from Bedford-based men of mystery Original Clique, two classic cuts from the vaults of influential Midlands label Network Records and a glassy-eyed slab of Bleep/deep house fusion from 100 Hz.

Join The Future: UK Bleep & Bass 1988-91 will be released on double vinyl and digital download. The 10-track vinyl version features an insert with extensive liner notes by Matt Anniss. It also comes with a code to download the 12-track digital download version. The compilation will be released by Cease & Desist on March 25th 2020.

In the fleeting moments between the state of being awake and reaching the doors of dreamworld lies a borderland whence comes the mood music of ancient stories told – the celestial unison of three creative souls known as AURI.
Originally born in 2011 from the special connection of Johanna Kurkela, Tuomas Holopainen and Troy Donockley, AURI was first introduced to the world as late as 2018. Now complemented by the dynamic percussive talents of Kai Hahto, the threesome carves fantastical worlds entirely their own.

Comprised by Tuomas’ keys and infinite imagination, Troy’s arsenal of flutes, other folk instruments and magical touch, and Kurkela’s youthful and tender voice full of childlike wonder – fragile and gossamer, yet powerful and moving beyond words – the flow of AURI’s celestial, uplifting mood music captures from the first notes and does not let go.

To its key members AURI is a creative outlet unconfined by the preconceptions caused by their other bands and their respective audiences. Leaning to Celtic folk and cinematic pop yet not shackled by any specific genre, AURI isn’t the kind of music that can be described by words alone. No, an equal effort of the enchanted three, AURI runs a lane of completely their own. Unburdened by anyone’s expectations but their own. This is the sort of music that taps directly into emotions.

Embrace the atmospheric auditory imagery of fantastical valleys of other fairytale dimensions and soon gone fireside bards. Dwell for just a moment in treasuries of dreamlands and ponderings that see mundane things turning into otherworldly miracles.Feel welcomed to embark on endless adventures on long roads untrodden and ships never sailed.
As if frozen in time, you’ll be captivated by heart-burstingly elating fare-thee-wells for those dearly departed.
Hear the soft words that empower those feeling inadequate and reassurance to others fearing death.AURI’s are the keys to a dimension of awe no one else sees. Only theirs to offer are the mystical, soundscapes and ethereal vocals.
Theirs to hold are the magical powers that can melt the steeliest of hearts and make grown men cry. AURI invites the listener along for journeys no other band can provide.

Come, my love – now it‘s calm enough to go.

"Essential techno, essentially militant. A collection of pioneering electronic club hits and classic tech funk cuts with highly eco-political lyrics, produced by Michelle Grinser, DJ Naughty and featuring by Chicks On Speed. Chris Korda, is a transgender artist and tireless environmental activist who denounced 21 years ago the excess of capitalism and consumerism ("Buy", "Buy More"), exposed social inequalities and warned of the dangers of climate change".

In the late ‘80s, a wave of British musicians raised on ‘70s UK pop, Caribbean sound system culture, reggae, lovers rock and Motown/Philly soul music fell in love with synthesisers, drum machines and 8-track recorders. The street soul generation had arrived.

Originally released as a white label 12” in 1989, ‘You’ve Gone’ is the sole release from Bassline, the studio project of Southeast London-raised musician Tony Henry, not to be confused with Tony Henry from Manchester jazz-funk/R&B band 52nd Street. Featuring the singer Lorraine Chambers, it’s one of the true jewels of the UK Street Soul scene. As Lorraine’s heartsick soul vocal glides over sunrise synths, dusty drums, elegant electric piano figures and a reggae indebted bassline, ‘You’ve Gone’ captures the optimism and strength of the era perfectly.

‘You’ve Gone’ was championed by Choice FM UK (now Capital XTRA), Kiss FM, and DJ Trevor Nelson. Tony went from selling white labels out the trunk to booking in Live PAs for Lorraine with London sound systems like Rampage and up north in the street soul loving cities of Manchester and Birmingham. “When Lorraine did PAs up there, she went out on stage like she was Beyoncé.”

The son of a Jamaican father and an English mother, Tony grew up around the London sound system scene. He taught himself bass guitar, keyboards, and production, before playing in the reggae band Chakwanza (Swahili for “the first”). In Chakwanza, Tony rubbed shoulders with Aswad, Barry Boom, Steel Pulse, Maxi Priest, Gregory Issacs, Dennis Brown, Ghettotone and Saxon Sound, before focusing on a career in banking over music. “Music was my first love, but it couldn’t have afforded me the sort of level of - let’s be blunt and pragmatic about it - financial success that would have allowed me to support my family.”

Outside of office hours, Tony continued to work on music at home, sometimes serving as a session bassist with local bands. In the late 80s, a work colleague mentioned her sister Lorraine Chambers was a singer. Tony and Lorraine recorded “You’ve Gone” over two sessions. “Lorraine went into the booth, put her headphones on and got into the song. My daughter turned to me and said, ‘Daddy, she can really sing!’”

Despite the success of ‘You’ve Gone’, they never recorded together again. “The world changed, and for me, it changed as well. My younger kids were born, and work started getting more intense. I got a bit more successful and was living a mad, kind of crazy life.”

Thirty-two years on, ‘You’ve Gone’ finally receives an official reissue comprising the lauded original mix, an alternate version and Tony’s Back to Bass-ics remix. Fittingly, in recent months, Tony and Lorraine have re-connected in the studio writing new material.

Wyvern Lingo are ready to reveal another taste of their highly-anticipated second album ‘Awake You Lie’, in the shape of record opener ‘Only Love, Only Light’. “This album is so much about us comforting each other. It’s about being in your late-twenties, when all the pieces are starting to settle into place and you worry whether or not you’ve made the right moves” - Wyvern Lingo, October 2020. ‘Awake You Lie’ will be released on Friday 26th February. Recorded in JRS studios in Berlin pre-COVID, with the final tweaks managed in lockdown Ireland, ‘Awake You Lie’ comes almost two years to the day after their widely acclaimed, Choice Music Prize-nominated, debut album. The tracks released thus far, accompanied by videos filmed in both Berlin and Bray, show a band brimming with confidence in their sound, relaxed in their environment, but still ready to ask hard questions about their place in the world. To describe Wyvern Lingo as ‘tight-knit’ wouldn’t even cover it - they have long debunked the myth that you can’t choose your family. After all, the band was formed in Bray in a teenage world of self-discovery, soundtracked by the 60's/70's music of their parents, and the 90's/00's R'n'B of their childhood. If anything, the band - Caoimhe Barry, Karen Cowley and Saoirse Duane - are closer than ever two years on from their first album, a steely, us-against-the-world determination that has its roots in their origin story. If the self-titled first album caught the band on the cusp of transitioning from folky songstresses to R’n’B/alt-pop influenced players, then ‘Awake You Lie’ sees Wyvern Lingo fully immersed in who they are as a band - superb musicians and supernatural harmonisers with a gimlet eye to spear the ever shifting mores of modern relationships, both intimate and platonic. The album title - ‘Awake You Lie’ - is taken from a line in the new song ‘Aurora’, the phones-aloft, showstopper that closes side 1 of the record. The band add: “A recurring image during this album writing process was light, the lack thereof, and wanting to see things more clearly, for ourselves and others. We called the album "Awake You Lie" because it evokes an image of night-time when someone should be sleeping but can’t, due to restlessness or worry..

Sought-after cult classic instrumental LP by legendary Egyptian musician Omar El Shariyi (aka Ammar El Sherei), first released on Soutelphan in 1976, is reissued by Wewantsounds on vinyl for the first time ever.

Here, the iconic Egyptian musician and composer masterfully interprets six classic compositions by another Egyptian legend, Mohamed Abdel Wahab, in his own hypnotic way. Including "Ana Wehabieby" (aka Ana Wa Habibi), "Ya Wabour Koly" and the "Ahwak" made famous by such talents as Abdel Halim Hafez or Fairuz. Using early electronic keyboards like the Steelphon S900 or the Farfisa as seen on the album cover, El Sherei creates beautifully hypnotic instrumentals that blend together traditional melodies with modern instrumentation, adding jazz and pop elements in the mix.

Achieving cult status over the years with Arabic music collectors and vinyl diggers, 'Oriental Music' is now a sought-after album which command high prices on the international scene.

This re-issue series of Arabic music is curated by Lebanese-born Arabic music expert Mario Choueiry (Institut du Monde Arabe in Paris). As always this has been newly remastered and comes in original artwork.

2020 Repress!

After two self released EPs, Eterna joins the Modern Obscure Music family. In another musical life, Eterna is a drummer and a sound engineer. Here the Barcelona based artist presents a varied EP that features beautiful melodies backed by distinctive instrumentation and percussive arrangements. Remix duties fall to the wonderful LA based experimentalist DNTEL, aka Jimmy Tamborello. Regatta features choppy textured beats, a bold keyed melody and a smooth bassline groove. The “Jimmy Tamborello” Remix from DNTEL is composed of competing parts that fit together surprisingly well. A menacing bass, powerful stop start beats and spacey synths meet on this remix. 277 is the deepest cut, with emotional strings, almost steel drum sounding keys and layered percussion. A Day In The Life rounds off the EP with walking paced sturdy beats, modulating synths and a springy bassline. This is a truly versatile EP from Eterna.

Recumbent Speech, Ezra Feinberg’s second album, opens with a lament. Named for the Robert Frost poem, “Acquainted with the Night” was written during one of the many devastating spectacles of injustice under our current regime. Repeating flutes and synths beam out of a low-end darkness, reflecting a collective sense of loss and alienation. Rising slowly, thickening with guitars and strings, “Acquainted with the Night” lifts off, and so too does the album from there. The second track, “Letter to my Mind,'' features the dynamic interplay of Feinberg's guitar with the loose and playful drumming of Tortoise's John McEntire, both pushing and pulling atop a looping bass figure. "Palms Up" begins with a lockstep pulse recalling early Terry Riley before jumping into an Ashra-like jam with Afrobeat accents. Side B opens with "Ovation," a tryptic with McEntire on drums which sets a wide lens onto a sweeping landscape, with soaring flutes, wordless vocals, and a hypnotic bassline played on a humming fretless that recalls classic ECM jazz-fusion. The piece plunges into an ambient, interior space before reemerging with a guitar solo fried through an old Space Echo effects processor, conjuring lidded Pompeii-era Pink Floyd. The album's title-track finale, "Recumbent Speech," features the magical pedal steel of Chuck Johnson. Unwinding atop a Balearic analog synth pattern, Feinberg stretches textures of Fender Rhodes and acoustic guitar around Johnson’s lyrical steel, with nods to Japanese ambient legend Hiroshi Yoshimura, as well as Cluster & Eno. Recumbent Speech refers to the possibilities, pleasures, fears, and fantasies that occur the moment the noise dies down, when we are recumbent, in repose but still awake, still speaking, and still aware of ourselves as part of the maddening world. Ezra Feinberg is a guitarist, composer, and psychoanalyst living in Jackson Heights, NY. Feinberg was the founding member of the San Francisco psychedelic rock collective Citay, releasing albums on Important Records and Dead Oceans throughout the 2000s. After relocating to NYC, he issued his first solo record, Pentimento and Others, on his imprint Related States and on cassette on Stimulus Progression in 2018. The release, his first since Citay folded in 2012, earned praise from numerous music outlets including Paste Magazine, The Wire, Stereogum, Vice, and Aquarium Drunkard. In recent years, Feinberg has performed and toured near and far with Jefre Cantu-Ledesma, Steve Gunn, Alexander Turnquist, Cruel Diagonals, Daniel Carter, Jonas Reinhardt, Christopher Tignor, Kath Bloom, Robbie Lee, High Aura’d, Glasser, Ava Mendoza, Buck Curran, Real Estate, and many others, and has ongoing studio collaborations with Jefre Cantu-Ledesma and Arp, contributing both guitar and songwriting to the last Arp album Zebra.

In the late 90’s, east-side LA was in the throws of a post-indie explosion; a network of stoned bands ranging from neo-psychedelia to pseudo-country overran Spaceland (our generation’s Troubadour) and the local Silverlake Lounge. I was playing freakbeat records twice a week in dive bars, half of Spacemen 3 was crashing at my house (my drop-out roomate was Sonic Boom’s tour drummer) and it was during this blur that I met Raymond Richards, a clean-cut all-American pedal steel guitarist playing in Mojave 3 (the country-tinged side project of 4AD shoegaze royalty, Slowdive). I was instantly swept off my feet, head over heals in love with Raymond's weeping tone—the most chill-inducing, emotionally responsive dialog I’d had with music since discovering Satie as a child—it was then and it is now, truly haunting. After a year of personnel trials, my roomate and I stole Raymond for our own band, and not only did he smother our songs with his enchanting steel, he was virtuosic with a variety of atypical instruments such as baritone guitar and theremin, he utilized them all. The band was short-lived—I joined Ariel Pink, Raymond fled to Portland and me subsequently to New York City—but in founding the ESP Institute years later, there was always a recurring mental note; we must make Raymond’s pedal steel album. I had managed to wrangle his blessed performance on a remix for Project Club’s El Mar Y La Luna, but it took almost a decade until I once again wore the producer hat and we began working on The Lost Art Of Wandering, a title borrowed from Sam Shepard’s Stories. Spiritually candid, expansive yet enveloping, this is the strung-out, visceral country music that simply radiates from Raymond. Each song is his set of coordinates in a vast open terrain, holding a sentimental familiarity, a truthful longing for the simple comforts that diffuse life’s complications, a place to get lost. –Lovefingers

Still deeper forays into the musical landscape of the Windrush generation. A dazzling range of calypso, mento, joropo, steelband, palm-wine and r’n'b. Expert revivals of stringband music, from way back, alongside proto-Afro-funk. An uproarious selection of songs about the H-Bomb and modern phones, prostitution and Haile Selassie, mid-life crisis and the London Underground, racism and solidarity, the Highway Code and a 100% West Indian Royal Wedding.
For example some frantic British-Guianan joropo music-hall about Eatwell Brown from Clapham, who starts out biting off a piece of his mother-in-law’s face at a party, then devours everything in his path… a chunk of Brixton Prison, a Union Jack, a policeman’s uniform. Or Marie Bryant — collaborator of Lester Young and Duke Ellington — taking time off from skewering the South African PM Daniel Malan at her West End revue, to contribute some arch, swinging filth about uber-genitalia. Superior sound, courtesy of Abbey Road, D&M and Pallas; lovely gatefold sleeve; full-size booklet, with full notes, and fabulous previously-unseen photographs, including a set from the family archive of Russ Henderson (who led the first, impromptu Notting Hill Carnival march, in 1966).

Mr. Collage’s debut solo album “Layers” takes a traditional Hip-Hop approach, utilizing samples as well as recorded instruments. “Layers” is a sonic painting consisting of dusty vinyl memories and future plane tickets. Funky beats and basslines, afro percussions and a second-hand synth are layered to complete the musical background of the album.

Is that all? Def not! The album features some very talented artists from the USA, Australia, Spain, Greece and Belgium. The rappers Nico The Beast, S Squair Blaq, Mic Bles and 1989TRE get funky on Collage’s beats and lady MC Amira Lacrima with her mellow raps gets into a story telling.

Soul comes strong in the album too with Lady EMZ cherishing life over a Northern Soul-inspired beat and Mantique spicing up the funkiness with her deep voice. Not to mention vocalist Lisa Spykers adding an extra R&B/Soul vibe by joining forces with 1989TRE.
On the wheels of steel, the IDA World Finalists - Fly Immigrants (DJ Mysterons and DJ Hypercutz) and the heavy artillery of scratching of Mind The Wax, DJ Moya take care of the scratches in the album.

Layers will be released on vinyl by label Mind The Wax in December 2019, and includes 11 tracks.

Raised in the multicultural and mind-broadening London borough of Enfield, Loraine James grew up hearing everything from steel pan music to Metallica, from jazz and electronica to drill and grime, and the results of this exposure can be heard on ‘For You And I’. In part the album explores the complexities of being in a queer relationship in London - “I’m in love and wanted to share that in some way … to make songs that reflect layers of my relationship.” – and as a whole ‘For You and I’ is rhythmically free flowing and sprawling, with melodies that evolve into rippling keys, feeling like a live jam session with a jazz mentality, contrasting the delicate and abrasive. Opener ‘Glitch Bitch’ is a warm ear-worm, brandishing swirling textures with undulating keys and compressed percussion, with an introspective theme revisited soon after on third track ‘So Scared’, whose glitched percussion and syncopated dub bassline build to a frantic meltdown melody. On ‘London Ting // Dark As Fuck’, inspired by Dizzee Rascals's ‘Boy In Da Corner', James explores the darker side of her production with her frequent collaborator Le3 BLACK laying verses over the skeletal track. ‘Hand Drops’ is an instrumental, about public displays of affection in a queer relationship. ‘Sensual’ reflects on intimacy with vocals by UK singer Theo, who's lyrics capture love and gentleness over a soft, minimal production of ethereal keys and scattered glitches. The albums’ title track is also the most colourful, it’s ecstatic and effusive chaos driven by fervent synths expressing elation and the joyful side of her relationship, while ‘My Future’ is a more reflective moment, where warping synths wash in and out with compressed kicks, as the artist considers the dangers that may come with her relationship : “I wanna tie the knot / But the rope is dangerous”. ‘For You And I’ is a deeply intimate and personal offering, expressing happiness, anxiety, joy, sensuality and fear through a vivid sound palette and an experimental sense of rhythm.

Durban gqom ambassador DJ Lag and London-based Okzharp combine over four club heavy tracks rooted in their long-term long-distance connection, the EP’s title originating from the Durban nickname for the local clubs where much early gqom-style music was played. Opener ‘Now What’ layers a wooden percussion scraper with a ticking cow bell and chants. Set at a slightly faster pace than most gqom, the track harbours a dark energy at its core generated by a low rumbling background synth and pitch shifting claps.

‘Steam One’ - inspired by DJ Lag’s set at Hyperdub’s club night Ø after he brought the heavy steam room vibe - has a slow and entrancing build up with a subtle melody layering on stabbing syncopated kicks, leading up to awoozy synth breakdown. “We were inspired by that moment in the club when things get hazy and bendy and glowy. It has South Durban via South London DNA, so inevitably there's a heavy kwai-gqom vibe with a grimey funky London twist running through it”. ‘Nyusa’ opens with a grinding acidicbass line overlaid with a metallic and gravelly melody with suppressed chants.

Sharp kicks drive the track leading up to a wobbly synth breakdown and back up synth stabs raising the energy. Finally, ‘Sambe’ pairs menacingstrings with a steel drum melody, displaying characteristics of both funky house and gqom in a subtle meeting of the two styles. ‘Steam Rooms’ is a collection of dancefloor heaters set to make the club sweat, the amalgamation of a London / Durban link up reflecting both producers environments and sound palettes for icey cold gqom tracks with funky house shadings.

Man Power's Me Me Me signs up long-time friend Ian Blevins for his long overdue label debut. Blevins's originals are backed by stellar remixes from Austin Ato and Kiwi.

Blevins hails from the North East of England and has released on ESP Institute, Futureboogie, Not An Animal and Culprit. The prolific producer was a long time resident of the legendary We Love Space in Ibiza and is an enduring favourite on the UK scene with plenty of musical tricks up his sleeves.

'Both tracks on offer showcase the mongrel sound that I hear coming out of the North East region,' Says Man Power. 'Partly tough, partly playful, not simply techno, not simply house, and certainly nowhere near the most common contraction of the two words.'

Innovative opener 'The Serpent' is a suitably snaking, slithering groove with acid twitches, rubbery drums and raw percussive energy. It pings about in dynamic fashion and really keeps you on edge. First up to remix, Austin Ato makes his return to the label after his huge 'The Sound Of' EP in summer 2018 and gives further credence to Man Power's suspicion of his impending super stardom. He takes the 'The Serpent' on a luscious and deep trajectory that would make Larry Heard proud.

The second standout original is 'Unse', a dark stomper with cosmic rays that strike right to the heart of the dance floor. It's menacing and absorbing music that is steely and unlike anything else. To remix is 17 Steps regular Kiwi, who is responsible for two of Man Power's favourite tracks of 2018. Here he continues his run of astounding form while taking 'Unse' in a tougher and more robust direction that will really make you sweat.

As ever this is a brilliant and stylistically diverse package from Me Me Me.

White Shadows In The South Seas is the title of a book written in 1919 by Frederick O'Brien as part of a trilogy he wrote based on his experiences living in the Pacific islands in the early part of the 20th century. His book was taken as the starting point for a film to be directed, initially, by Robert Flaherty (famous at the time for his groundbreaking documentary / fiction film Nanook Of The North) with W.S.Van Dyke as his support. The film, ultimately, apart from the title, had little to do with O'Brien's book and Flaherty left the film after a few months leaving Van Dyke to finish it.

I purchased O'Brien's book, along with many others, from Basement Books, a secondhand bookstore in Melbourne/Australia. Part of my 'Islomania' and on going fascination with all things Pacific. When I discovered there was a 1929 silent film based on the book I sought it out and started to present it as part of my 'Live Music/Silent films' repertoire. Tabu by Frederick Murnau, which coincidently also had Flaherty as co-director originally, was the first film I ever wrote / improvised a score for and presented as a live film/music performance. My repertoire extends to over 23 films now.

My eclectic and diverse musical and artistic interests extend into 'Hawaiian', 'Exotica', 'Ambient' and 'Electronic' Music. I have produced several volumes of so called 'Electronic, Ambient, Exotica' on CD and Vinyl, including Kiribati, Globe Notes, Rayon Hula ( on Vinyl, CD and digital format ) and most recently, New Globe Note on Vinyl and White Shadows In The South Seas on CD.
White Shadows In The South Seas features some of the music presented in my live screenings of the 1929 silent film.

The film is the story of Dr. Matthew Lloyd, an alcoholic doctor who is disgusted by the exploitation by white people of the natives on a Polynesian island. The natives dive for pearls, however, numerous accidents occur and one diver dies. In anger, Dr. Lloyd punches Sebastian, the employer. As revenge and to prevent further interruption of his activities, he tricks Dr. Lloyd onto a ship with a diseased crew (thinking they are ill) and his men rough him up and send the ship off into a storm. Dr. Lloyd survives and is washed ashore on an island where none of the natives have ever seen a white man before. Lloyd is rescued and ultimately falls in love with the chief's daughter, who is Taboo, hence Lloyd is prevented from pursuing his love for her. An incident occurs and a young boy is thought to have drowned but Lloyd is able to revive him, earning him points and permission with the chief's daughter. Lloyd begins to realise that the local islanders have no sense of the value of the black pearls which grow in abundance around their island and he starts to dive for them and collect them. One morning the white man Sebastian unexpectedly turns up on a scooner and starts to offer the islanders trade for their pearls. Llloyd tries to interrupt the encounter and is shot and dies. His wife and the islanders morn for his dead body and, symbolically, the passing of a way of life.

Mike Cooper plays - Electric and acoustic lap steel guitars / electronics / Zoom Sampletrack / Kaos Pad / Casio SK1 / Korg Drum Machine / Self Made Instruments.

It also features field recordings made on Pulau Ubin by Mike Cooper during a month as Artist In Residence for The Artist Village / Singapore.

I would like to acknowledge and thank Lawrence English (Room40 Records) for his assistance and encouragement with the original recordings and the CD version of White Shadows In The South Seas.

All music written and played by Mike Cooper PRS/MCPS - except Po Mahina (trad. Arr. Cooper) and Hilo Hanakahi (trad. Arr. Cooper)

Recorded and Mixed at the Steelworks in Rome 2012/2013.

A White Shadow In The South Seas
In February 2014 'A White Shadow In The South Seas' was the title of an audio-visual installation I made at the Teatro In Scatola in Rome, Italy, presented as part of a series of sound installations titled 'Visitazioni' produced by Proposte Sonore.

The essay below, as well as our collection of Hawaiian shirts, Exotica and Hawaiian vinyl records, was an inspiration for this installation.

'..the transformation and reconstitution of the souvenir commodity as an indigenous ethnic art form and a scarce relic of Hawai'i's romanticized past...' from - Clothing and Textile Reasearch Journal - From Kitsch to Chic by Marcia A. Morgado.

And....
Michael Thompson's Rubbish Theory (1979)
' ...a critical aspect of Western culture is the pre-disposition to see objects in terms of two overt categories: the transient and the durable. Objects identified as transient have finite life spans and lose value over time, whereas those identified as durable have infinite lives and over time increae in value....category assignments are arbitrary, but once assigned a category membership determines relative value. Fashion apparel-by defenition-is assigned to the transient category; paintings commonly are designated durables....how is it that transient objects.. ( e.g. Hawaiian shirts and vinyl records ) ..sometimes become durables.

Objects assigned to the rubbish category are largely invisible, have no value and, ideally, no life span. Fashion for example, no longer worn and relegated to the back of the wardrobe has fallen into the covert rubbish category. But rubbish can be rescued and transformed. Thompson says ' What I believe happens is a transient object gradually declining in value and in expected life span may slide across into rubbish. Here it exists in a timeless and valueless limbo where it has a chance to be re-discovered and be successfully transformed to a durable. Such transferes are radical: objects gradually slide from transcience to rubbish, but the transformation from rubbish to durable involves an all-or-nothing leap across two boundaries, that separating the worthless from the valuable and that between the covert and the overt. Things drift into obscurity but they leap into prominence.

The delightful consequence of this hypothesis is that in order to study the social control of value we must study rubbish.

The rubbish-to-durable transformation is accompanied by the development of highly specialized knowledge derived from the discovery of subtle variations and complex details that went unnoticed in the objects transient stage. The discoveries initiate renewed interest in the object and its market value begins to climb. As prices soar beyond the reach of ordinary people, the object becomes available only in high priced collectors' markets. Furthermore, as market values rise, the aesthetic value of the object undergoes a reassessment as well, and it becomes increasingly apparent that the objects intrinsic beauty has been overlooked. Ultimately the object is re -assigned as a durable and becomes recognized as a timeless classic.

Exotica, Ambience and Pacificism - A dialogue with Mike Cooper & Professor Philip Hayward Deputy Pro Vice Chancellor of Research Southern Cross University, Lismore, Australia.

Layton Giordani steps up for his first solo EP of 2018. In terms of pedigrees, it doesn't get finer than Layton Giordani.

The Brooklyn-born DJ/producer followed up his lauded debut album of 2017, with a collaboration with Danny Tenaglia to close out the year and marked the summer of 2018 with a three-way collaboration with Adam Beyer and Green Velvet, 'Space Date'.
The period has been a big one for Layton personally, also. From humble beginnings in his native NYC as an Output resident, to being thrust into the bustle of the European club and festival circuit, he's enjoyed a stint living in Amsterdam, growing and developing over this time. All these experiences have had a fundamental influence on him and his music.

The four-track EP 'Phase II' represents a new chapter for this exciting talent. Beginning with 'New York to Amsterdam', a track that draws inspiration from the Yves Deruyter's classic 'Back To Earth', Layton's work packs a memorable punch as tough acidic undertones and brain scrambling synth effects undulate raising the intensity, making it a perfect opener for Adam Beyer when he played Berghain earlier this year. Following this, 'Enter the Stratosphere' is steely electro-tinged techno paired with atmospheric licks of melody, awhile maintaining the artist's trademark low-end chug. On the B side, 'Body Language' follows, a track written when Layton was scrubbed out of touring for a month courtesy of a shattered elbow from a skating accident. Not wasting the downtime, he's crafted a cut that's sleek, sexy and smart, with a seductive vocal and rousing melodic riff that runs throughout. Closing out the EP, 'Black Mirror', stays true to its dystopic name, a stomping rave cut that pummels dancefloors with a menacing lead synth that's purpose built for the cold months ahead. A classy conclusion to an EP from one of techno's brightest talents.

- Coming off Transmission, Death in Vegas's critically acclaimed 6th album which saw the band collaborating with Sasha Grey, are three unique remixes by Silent Servant and Rudolf Klorzeiger.

- Silent Servant delivers two stunning mixes of You Disco I Freak. In his first remix he elevates the discordant melody in You Disco I Freak and adds a sense of menace with a new sequence, taking the track in a more sinister direction. With his second version, he takes the heat up a notch with a brutal workout synonymous with his signature abrasive sound.

- Dopplereffekt, Drexciya, Arpanet, Der Zyklus, Japanese Telecom, Heinrich Mueller, Rudolf Klorzeiger: Death in Vegas are huge fans of Gerald Donald in all his forms. He choose to 'reproduce' Metal Box, keeping certain elements of the original field recordings, the sounds of the Steel Factory opposite Drone's studio, the incessant drones from the planes landing at City Airport and the dial tones of the studio's VHF radio and layered over these with his own sonic tapestry.

Die Musik des deutschen Filmmusik-Komponisten Hans Zimmer bewegt Millionen Menschen weltweit. die Zahl der Zimmer Fans, die seine packende Musik auch ohne die zugehörigen Filme geniessen, steigt ständig, inzwischen füllen sich nicht nur die größten Konzertsäle, sondern auch Fussballstadien mit seinen Fans. Für "Hans Zimmer - The Classics" hat Zimmer selbst seine besten Melodien aus großen Soundtracks ausgewählt und neu arrangiert. Die neu geschaffene Musik aus Gladiator, Dark Knight, Inception u.awurde mit Top-Stars aus Pop und Klassik eingespielt - ein originelles, bewegendes und mitreißendes Klang-Erlebnis. Mit Lang Lang, den 2Cellos, Leona Lewis, The Piano Guys, Maxim Vengerov, Lindsey Stirling, Till Brönner u. a.

Strut team up for the first time with respected French label Heavenly Sweetness for the brand new album by the inspired poet, novelist and musician, Anthony Joseph.The Caribbean is an influence that runs through Joseph's discography, obliquely or headon, suggested or on full display. It resonates on each of his albums, from the furious trance of 'Bird Head Son' to the more polished 'Time'. On 'Caribbean Roots', he has now decided to turn a guiding thread and a reference point into a communications cable - a powerful bond that makes light of distance and braves the seas to link his island to that of his friends in the Caribbean arc, dancing to the strains of tumbélé and mendé only a few miles
from Port of Spain where people live it up to rapso and soca beats. Caribbean Roots' represents a return to his roots for Anthony Joseph, who has always remained true to a powerful, deep-seated sense of his Caribbean identity. Having started
out as a joint project with the outstanding percussionist Roger Raspail (Cesaria Evora, Papa Wemba, Kassav), 'Caribbean Roots' swiftly grew into a creative force incorporating
the rhythms, sounds and vibes that rock the Caribbean from San Fernando, Scarborough, Kingston and Les Abymes to Port-au-Prince and Havana. Backed by a band made up
of a blend of local musicians, the album attempts to unite the different islands into a single entity whilst ensuring that the identity of each is in no way diluted by the mix instead creating a richer and stronger alloy. The saxophones of Shabaka Hutchings (The
Heliocentrics) and Jason Yarde, the trumpet of Yvon Guillard (Magma), the bass of Mike Clinton (Salif Keita) and the trombone of Pierre Chabrèle (Creole Jazz Orchestra) all combine to form a group of Caribbean All Stars to which Andy Narrell, the master of the steel pans, brings ringing drum beats. The album features bursts of catchy rhythms and slow percussive riff progressions, as on a film soundtrack, incandescent voodoo funk and rhythmic high-speed frenzies shot through with free-jazz sax. This reunion of the Caribbean diaspora was never meant to come up with a formula divisible into eleven separate tracks - its goal was to explore and discover new sounds. And all of this under Anthony Joseph's guidance, as he spins his lyrical blend of afro-futurism and surrealism, commemorating the Caribbean people's sometimes violent resistance to colonialism. Anthony Joseph, one moment a chronicler reciting his text against a background of simple percussion, the next a storyteller possessed by the power of a hypnotic bassline, then an adventurer chanting among mangroves where the rhythm section and the brass have created an impenetrable thicket. At turns, an MC too, strutting to a fat, throbbing groove in vocal tandem with Sly Johnson or David Rudder to pay tribute to Mighty Sparrow, the undisputed and indisputable king of calypso