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Sound can be a labyrinth, a twilight drift. Sound can truely unfold when it escapes logic or categorisation. For it is never really one thing or another, especially abstract, collaged or found sound, as it is always connected to a time and a place, or sometimes to an intention, or a notion, or – even more vague – to something as dubious as a feeling. So all this is inevitably inherent in a sound too. Sound is a fact but also an inbetween. In A Piece Of Work, concrete composer crys cole takes us on a journey through those inbetween places. Fragments collected over time in Oslo, Berlin, Vienna, Winnipeg, Melbourne and Lisbon were later arranged and assembled into an invented space, a story arc, a freeform poem. cole's work is one of dynamics and proximity, of complexity and sensitivity. One that embraces both montage and movement. Originally commissioned by Radiophrenia (Glasgow, Scotland), where it premiered in 2019, A Piece Of Work has been developed through live performances and studio sessions, naturally progressing over time and eventually leading to this final version presented here on vinyl.

Composed, performed and recorded by crys cole, 2019-21. With additional percussion by Oren Ambarchi and electronics by Seiji Morimoto. Mixed with Joe Talia at Good Mixture in Berlin, 2021. Mastered and cut by Anne Taegert at Dubplates & Mastering in Berlin, 2021. A Piece Of Work was commissioned by Radiophrenia in Glasgow, Scotland, and originally premiered in 2019.

SYLVAINE festigen Ihren Platz an der Spitze des atmosphärischen Metal-Pantheons mit dem brandneuen Album "Nova." Unter der Leitung der Multiinstrumentalistin Kathrine Shepard ist das Album eine zutiefst emotionale Reise, die wie ein Pendel zwischen meditativer Spiritualität und roher Verletzlichkeit hin-und herschwingt . Shepards ätherische Stimme verstärkt die verträumte Aura der Platte und verzaubert den Zuhörer mit himmlischen Dunkelheit.

SYLVAINE festigen Ihren Platz an der Spitze des atmosphärischen Metal-Pantheons mit dem brandneuen Album "Nova." Unter der Leitung der Multiinstrumentalistin Kathrine Shepard ist das Album eine zutiefst emotionale Reise, die wie ein Pendel zwischen meditativer Spiritualität und roher Verletzlichkeit hin-und herschwingt . Shepards ätherische Stimme verstärkt die verträumte Aura der Platte und verzaubert den Zuhörer mit himmlischen Dunkelheit.

SUGARTOWN existed for a short period of time, but long enough for the country-soul voice of Gwen Stewart to make its mark - Two albums were released in Germany on the Marina label, and Sugartown performed live occasionally as guests of The Bathers.

The albums, 'Swimming In The Horsepool' and 'Slow Flows The River' were produced by Douglas MacIntyre and Paul McGeechan. McIntyre also wrote the bulk of the material specifcally with Gwen's voice in mind. Her vocal performance on the tracks featured on the PNFG album are sad and soulful, channeling the melancholia of Bobbie Gentry and Dusty in Memphis.The album title, 'Mount Florida', is named in honour of the location where the songs were written, with the exception of 'Valentine', which was written by Willie Nelson. The 12 songs on the album are down-tempo and resigned, Gwen's voice imbues a tenderness for the wee small hours.

John Illsley, Bassist der Dire Straits, meldet sich mit seinem 8. Studioalbum 'VIII' zurück, das nach Veröffentlichung seiner erfolgreichen Autobiographie 'My Life in Dire Straits' Ende 2021 ohne Umschweife an den legendären Sound der Band erinnert und alte und neue Fans begeistern wird. Das neue Werk enthält 8 brandneue Songs sowie eine neu aufgenommene Studioversion des Beatles-Klassikers 'I'm Only Sleeping', den John auf dem virtuellen 'Dear John' Konzert im Jahr 2020 anlässlich des 80. Geburtstags von John Lennon zum besten gab.

Munich quintet Fazer are set to release their third album ‘Plex’ on City Slang in 2022. Moving freely between composition and improvisation, the band’s spacious, organic sound pitches lyrical melodies from guitar and trumpet over double-drummer polyrhythmic grooves and dub-like basslines.

Coming from different musical backgrounds ranging from bebop to electronic, Fazer met while studying jazz at the Academy for Music and Theatre in Munich. The German city has a rich history of improvised music; home to labels ECM (Keith Jarrett, Chick Corea, the Art Ensemble of Chicago, Steve Reich) and Enja (Archie Shepp, Eric Dolphy, Freddie Hubbard, Elvin Jones) and Krautrock icons Embryo. Today much of the scene in Munich revolves around Radio 80000, an online community radio station located in the east of

the city. There, dedicated diggers like Karl Hector (Now-Again) or Marvin & Valentino of Public Possession are doing regular shows and it’s this diversity that drives the band’s DNA

Munich quintet Fazer are set to release their third album ‘Plex’ on City Slang in 2022. Moving freely between composition and improvisation, the band’s spacious, organic sound pitches lyrical melodies from guitar and trumpet over double-drummer polyrhythmic grooves and dub-like basslines.

Coming from different musical backgrounds ranging from bebop to electronic, Fazer met while studying jazz at the Academy for Music and Theatre in Munich. The German city has a rich history of improvised music; home to labels ECM (Keith Jarrett, Chick Corea, the Art Ensemble of Chicago, Steve Reich) and Enja (Archie Shepp, Eric Dolphy, Freddie Hubbard, Elvin Jones) and Krautrock icons Embryo. Today much of the scene in Munich revolves around Radio 80000, an online community radio station located in the east of

the city. There, dedicated diggers like Karl Hector (Now-Again) or Marvin & Valentino of Public Possession are doing regular shows and it’s this diversity that drives the band’s DNA

The Coral is the eponymous debut studio album by British rock band the Coral. It was released on 29 July 2002, through the Deltasonic record label. After finalising their line-up, the band had a residency at The Cavern Club, where they were spotted and signed by Alan Willis of Deltasonic. Following the release of a single and an EP, and two UK tours, the band began recording their debut album. Sessions were held at Linford Manor Studios, Milton Keynes in early 2002, and were produced by the Lightning Seeds frontman Ian Broudie and the Coral. Described as a psychedelia and folk rock album, frontman James Skelly's voice was compared to Eric Burdon of the Animals and Jim Morrison of the Doors.

The Coral toured the United Kingdom twice (one stint as a co-headliner with the Music), and supported Pulp and Oasis for a few shows, leading up to the release of The Coral's lead single "Goodbye" on 15 July 2002. Following an appearance at that year's V Festival, the band toured the UK again in October 2002 to coincide with the album's second single "Dreaming of You" on 7 October 2002. The Coral was released in the United States on 4 March 2003, through Columbia Records.

The Coral received universal acclaim reviews from music critics, many of whom praised the high quality musicianship. The album peaked at number five in the UK, while also charting in France, Ireland, Japan, Scotland, and the US. It, alongside "Dreaming of You", would later be certified platinum in the UK. "Goodbye" charted at number 21 in the UK, and number 28 in Scotland, while "Dreaming of You" peaked at number 13 in the UK, and number 14 in Scotland. The album was nominated for the Mercury Music Prize, and a Brit Award.

The Coral is the eponymous debut studio album by British rock band the Coral. It was released on 29 July 2002, through the Deltasonic record label. After finalising their line-up, the band had a residency at The Cavern Club, where they were spotted and signed by Alan Willis of Deltasonic. Following the release of a single and an EP, and two UK tours, the band began recording their debut album. Sessions were held at Linford Manor Studios, Milton Keynes in early 2002, and were produced by the Lightning Seeds frontman Ian Broudie and the Coral. Described as a psychedelia and folk rock album, frontman James Skelly's voice was compared to Eric Burdon of the Animals and Jim Morrison of the Doors.

The Coral toured the United Kingdom twice (one stint as a co-headliner with the Music), and supported Pulp and Oasis for a few shows, leading up to the release of The Coral's lead single "Goodbye" on 15 July 2002. Following an appearance at that year's V Festival, the band toured the UK again in October 2002 to coincide with the album's second single "Dreaming of You" on 7 October 2002. The Coral was released in the United States on 4 March 2003, through Columbia Records.

The Coral received universal acclaim reviews from music critics, many of whom praised the high quality musicianship. The album peaked at number five in the UK, while also charting in France, Ireland, Japan, Scotland, and the US. It, alongside "Dreaming of You", would later be certified platinum in the UK. "Goodbye" charted at number 21 in the UK, and number 28 in Scotland, while "Dreaming of You" peaked at number 13 in the UK, and number 14 in Scotland. The album was nominated for the Mercury Music Prize, and a Brit Award.

After the standout collaboration 'Southern Dub', Clap! Clap! and the Italian percussionist Domenico Candellori officially join forces as TOROZEBU. This project is a marriage of traditional percussive sound sources and cutting edge sound engineering, as Clap! Clap! explains, "In some of the tracks you can hear a sound like an 808 BD but it's a surdo percussion passed through a pile of compressors and eqs. All sub frequencies in this work are made from percussion leathers. So the electronic sound of this project it's all about sound engineering" With inspirations ranging from Mike Dean to Babatunde Olatunji TOROZEBU is a soundclash between the past and future of global rhythm.

Lorca joins the Shall Not Fade family with a debut LP consisting of 8 melodic tracks with richly-layered soundscapes made up of samples and field recordings taken from his hometown, Brighton.

His first full-length album as Lorca, the Saudade LP sees Sam Cassman return to a melancholic and experimental sound for which he originally made a name for himself since his first release in 2012. The album's title, written in Portuguese - the language native to his current residence, Madeira - translates to English as "a feeling of longing, melancholy, or nostalgia". With stripped-back percussion and plaintive
atmospherics, it's clear to see why. We are soothed into things with the soft melody of "Lullabies" before being transported to Brighton Beach via field recordings of seagulls and the whisper of pebbles on the second track. The driving pulse of deep house track "Are You Gonna Love Me" picks up the pace whilst maintaining a sense of minimalism before the shimmering lull of "Two Pianos" brings things right back with
formless sonic collages and drifting atmospherics.

Flip the record over and the rolling beats are back. "Colraine" and "uTube" see the return of clever use of sampling, the latter including mobile phone recordings of live piano playing by friends, sampled from social media. "Colraine" offers up pulsating jazz rhythms, oozing with groove, before the aptly-named "Polly" ushers in a change of course with a razor-sharp polyrhythmic melody and acid undertones which are more suited to the club. On "Rock Paper", it's sound design that takes centre stage. To close the LP, Lorca manipulates field recordings taken from inside his studio to incorporate abstract, sample-based percussion, making for a truly unique take on techno and synthesis.

Amsterdam based DJ and producer Perdu aka Alain van der Born returns to Live At Robert Johnson for his second release: On his Illusion Of Choice EP, Perdu drives his sound one notch harder, yet retains his trademark 1980s tinged vibe. Perdu has already secured releases on DGTL Records, Heist and Let’s Play House amongst others, and surely is a keen producer to keep your eyes and ears on.

A1 Archi gets into gear with a straight and focused beat arrangement. It’s a trippy uptempo vibe, intertwined by a slightly modulated Arpeggio-Bassline and its transposed twin figure.

A2 Grey Rush features a filtered broken beat, quickly rushing inbetween sprinkled effects and noises, off into a resonating Bass figure and outstanding melodic arrangement, both which dominate the better part of this energetic track.

B1 Sitrao doesn’t hesitate long in letting a pounding Kick Drum escort you right into an uptempo Cosmic vibe. It’s that arpeggiated Bass, catchy melody and silky pads, which might just get those hands in the air again.

B2 Blue Rush is a subtle variation of Grey Rush, omitting the resonating Bass figure. Yet it doesn’t compromise its level of energy, as this keeps the beat stand out contoured, compared to its twin track Grey Rush. credits

It works in clubs. it works at after hours. Also, small bars vibrate meaningful on it: the music of Kuniyuki Takahashi enthralls everywhere and is made for heedful listeners, that love the thrill of little musical nuances, shifting in a deeply composed ocean of sound.

In terms of composition, melodic sensitivity, and subtle progression the music of japanese producer, Sound designer and dj stands out. Ambient, Future-Jazz, Deep House, Leftfield Elec-tronics: since more then 25 years the man from Sapporo expresses his emotions with a wide stylistic range.

As Kuniyuki or under pseudonyms like Koss or Newwave project, he released a body of work consisting of numerous albums and EP’s, that display his deep musical consciousness pro-foundly. Now his home label Mule Musiq drops “Remix Works “, an eighth tune strong compila-tion featuring for the second time since 2013 Kuniyuki Takahashi’s very own virtuosity of re-mixing.

A double vinyl that carries the full pallet of his skills – from yacht rock leaning synth-pop and balearic dreams to sweet wave signals and soulful Pop House.

It all starts with Kuniyuki’s Remix of “Plateau”, a tune by japanese Nu-Jazz / Post‐Rock band mouse on the keys, released in 2013 on the short living japanese retalk label. An epic, almost ten-minute-long house voyage, full of discreet acid shades and enlightening Jazz chords, that play spirited tricks on each other’s manic musical preaching.

Since its inception in 2007, Minimood has continued to explore the deeper, dubbier realms of techno, house and minimal, playing host to the likes of CV313, David Hausdorf, Steve O’Sullivan, Luke Hess, Sascha Dive, Delano Smith and many more. Now, label head Voltmar returns to the subseries Minimood Extra together with his good friend Polish DJ/producer Blazej Malinowski to serve up two individual atmospheric, dub-techno reworks of Russian underground duo Advanced Dreams’ ‘Blurred Trip’ pressed on transparent wax.

Inner Tension chief Blazej Malinowski’s interpretation of the aptly titled ‘Blurred Trip’ creates a complex sonic soundscape as evocative keys, subtle percussion, reverberating basslines and ethereal samples work in harmony. On the flip, Voltmar offers up a chuggy, stripped back reshape as ghostly echoes, tight snares, and a punchy bassline carry this profoundly emotive cut.

These two songs were written, recorded and
mixed during the sessions for Arab Strap’s first
album in forever, ‘As Days Get Dark’.
 As much as they loved them, they couldn't find a
place for them on the final album. Maybe it’s
because they seem to have their own distinct
identities, but sometimes a song just sounds better
on its own, when it’s not part of a crowd and vying
for attention.
 So, to celebrate the anniversary of the album’s
release, Rock Action present ‘As Days Get Dark’s
two runaway loners; a couple of black sheep who
might not click with the rest of the family but, even
though they aren’t very happy, are still worth a
cuddle.
 Coloured vinyl 7” with digital download code.

Since the demise of his previous band, Ultimate
Painting, Jack Cooper - under his Modern Nature
guise - has never stopped looking ahead,
exploring and reaching for something further.
Since 2019, he’s released an EP, mini album
‘Annual’, one full length LP, one 7” and three live
cassettes - in the process mapping out astonishing
new terrain. ‘Island Of Noise’ presents an obvious
new peak in his discography.
 180g recycled vinyl in 3mm spined sleeve printed
on recycled board.
 “Mesmerising... A treasure trove of interesting
musical ideas, as well as a source of restorative
solace.” - The Guardian (****)
 “On ‘Island Of Noise’ Modern Nature’s Jack
Cooper folds together much of what he’s already
done - illuminated pop, exploratory improvisations,
post-Canterbury prog - and locates a common
thread, expanding outwards with the help of freemusic pioneers saxophonist Evan Parker and
bassist John Edwards.” - Uncut (9/10)
 “Jack Cooper captures a sense of mystery and
magic on his second album as Modern Nature,
using gentle folk rock as the base for a subtle
evocation of peacefulness.” - The Times (****)

Mercurial London artist Nilüfer Yanya announces her hugely anticipated second
album, ‘PAINLESS’, for release via ATO Records.
 ‘PAINLESS’ is the follow-up to Nilüfer Yanya’s renowned 2019 debut album, ‘Miss
Universe’, which fully established her as a singular artist and a distinctive voice that
simply has to be heard.
 The critically acclaimed ‘Miss Universe’ - a widescreen concept record that took a
tongue in cheek swipe at the most self-involved corners of the health and wellness
industry - was followed last year by the three song EP ‘Feeling Lucky?’, which further
explored Yanya’s fascination with ‘90s alt-rock melodies and drew on themes of
resentment, her fear of flying, and the concept of luck. Pitchfork summed up ‘Feeling
Lucky?’ and her now peerless songwriting aptitude best: “Nilüfer Yanya’s melodies
have a pull so strong they almost necessitate their own law of physics.”
 Yanya also re-released her early EPs on vinyl for the first time this year, on the
record ‘Inside Out’. The release is a fundraiser for Artists in Transit, a collaborative
not for profit group she founded with her sister Molly that delivers art workshops to
displaced people and communities in times of hardship.
 As the daughter of two visual artists (her Irish-Barbadian mother is a textile designer
and her Turkish-born father’s work is exhibited at the British Museum), creativity was
always destined for Nilüfer Yanya’s future. Now she enters the next stage of her
creative journey - Yanya is running head first into the depths of emotional
vulnerability on her sophomore record, ‘PAINLESS’. The album was recorded
between a basement studio in Stoke Newington and Riverfish Music in Penzance
with ‘Miss Universe’ collaborator and producer Wilma Archer, DEEK Recordings
founder Bullion, Big Thief producer Andrew Sarlo and musician Jazzi Bobbi.
 Where ‘Miss Universe’ stretched musical boundaries to include a litany of styles from
smooth jazz melodies to radio ready pop, ‘PAINLESS’ takes a more direct sonic
approach. By narrowing down her previously broad palette to a handful of robust
ideas that revolve around melancholy harmonies and looped industrial beats to mimic
the insular focus of the lyrics, Yanya has smoothed out the idiosyncrasies of previous
releases without losing what is essential to her.
 ‘PAINLESS’ is a record that forces the listener to sit with the discomfort that
accompanies so many of life’s biggest challenges whether it be relationship
breakdowns, coping with loneliness, or the search for our inner self. “It's a record
about emotion,” Yanya explains. “I think it's more open about that in a way that ‘Miss
Universe’ wasn't because there's so many cloaks and sleeves with the concept I built
around it.” Summing up the ethos of the new album, she adds, “I’m not as scared to
admit my feelings.”
 Should stock of ATO0594BI1 sell out, a different standard vinyl format will be made
available (ATO0594LP).
 “A distinctive new voice in indie rock, a deeply expressive singer and sharply
inventive guitarist” - Uncut
 “On a musical and human level, then, the world needs more people like Nilüfer
Yanya” - MOJO
 “A true original” - The Guardian

Andrew Tasselmyer is a musician from Baltimore, MD currently living in Philadelphia, PA. He utilizes samplers, field recordings, and lo-fi recording techniques to make textured and tactile sounds.

In addition to his solo catalog on labels such as Seil Records, Eilean Recs, Constellation Tatsu, Home Normal, and more, he is a member of Hotel Neon, Gray Acres, and Mordançage

Dutch symphonic metal band Delain released their third studio album We Are the Others in 2012 to positive reviews from music critics. The album title was inspired by the murder of 20-year-old Sophie Lancaster, whose murder was likely a hate crime due to her being part of the goth subculture. The album spawned two single releases: “Get The Devil Out of Me” and the title track, for which the band shot a music video that included many well-known people from the metal scene, including George Oosthoek, Sharon den Adel, Robert Westerholt and Rob van der Loo. The album features guest contributions by the likes of Burton C. Bell (Fear Factory) and Marko Hietala (Nightwish) and was produced by Jacob Hellner (aka Tripod), who is best known for producing most of Rammstein’s albums.

As a confluence of ideas and methods, WILD ROCKET endeavour to interpret the subtle signals of the universe - the interplanetary vibrations - and present them as brash manifestations of sound. Scientists and Shaman alike have endeavoured to interpret the universal whispers, to elucidate meaning from the measurable and the sensible. It is known that to measure and interpret is to alter and colour those signals and this is what drives the development of WILD ROCKET's sound and interpretation.
FORMLESS ABYSS showcases the band's unflinching pummelling style, drifting from repetitive blows to unhinged swirls of din yet always remaining innately infectious and perhaps surprisingly danceable. The record is presented as a continuous piece in three parts.
The title track A FORMLESS ABYSS appears here for the first time in recorded form – a behemoth of a tune which builds around a drone, joined by dual drums and minimal bass locked into a repetitive groove. A groove that is slowly expanded via multiple guitars and synthesis. Vocals eventually join at just the right moment imploring the listener to “leave your criticisms down” and realise “we're all equal now” in the formless abyss or the place between worlds where our earthly preoccupation with human differences are meaningless. We're all in it together, whether we realise it or not.
The second track INTERPLANETARY VIBRATIONS may seem familiar to some in a simpler form. The expanded line up and extended development of the core theme brings a new interpretation and experience that is more than worthwhile. The track's vocals juxtapose the hybrid Germanic language of English with the ancient native Irish language of Gaeilge. Both used to promote meaning and interpretation of the interplanetary vibrations felt by all. The track features large dynamic shifts and changes of pace as the message that “it's time to leave” propagated by the Earth itself becomes more frantic and more desperate. The track culminates in a wash of smashed gongs and distorted guitars, leaving the listener to interpret the message for themselves. Should we leave, to protect ourselves or the Earth itself?
The final track FUTURE ECHOES is a doom/kraut juggernaut coming in at just under twenty minutes. Only one question is asked and none answered, are we doomed to repeat the mistakes of previous civilisations over and over, or can we find the cracks of light that echo through and show us a new way forward? We're left in a swirling formless abyss to consider who we are and where we're headed. Will we ever reach the cosmic truth? Or will we be continuously mocked by the cosmic trout?
WILD ROCKET have proven themselves on the live circuit, playing with such visionaries as Ufomammut, Slomatics, Earth, Boris, The Cosmic Dead and old school rock legends Girlschool. One of the heaviest bands to emerge from the melting pot of talent in the Irish music scene, WILD ROCKET's reputation precedes them wherever they travel and audiences and venues alike are left to piece themselves together in the discombobulation.

Red Vinyl

In 2021 Bristol Hip-Hop duo Ree-Vo released two singles from their forthcoming album ‘All Welcome On Planet Ree-Vo’. The first was the Electro-Hop, LFO-surfing ‘Combat’ with a remix by SURGEON. The second -dropped as a digital double A-side in December - was the dark, submersive ‘Groove With It’ remixed by New Jersey’s legendary Dälek and ‘Protein’ remixed by The Bug (who released what many considered to be 2021’s album of the year ‘Fire’). smartURL.it/EDDA56

Ree-Vo begin 2022 in contrast with this their hookiest track on their album, a party throwing chorus spinning tipsy visitors around the intergalactic control booth of mission control.

“Lift off, blast off, shirt off, pants off, bra off, Dance off! Naked in the dance hall SPACE BOX!”
is the beamed mantra, rapper Relly transmitting to all occupants of the galaxy.
“We wanted to make a hedonistic and colourful dancehall track, a bold response to the suppressive circumstances of the last two years”.

Helping them on this seven’s mission are two remixes, one by NØISE (the musical collective of Joe Cassidy, Shepard Fairey, Merritt Lear and John Goff) and BATBIRDS (the duo of Joe Cassidy and Aaron Miller). Common to both of course is Joe Cassidy who recorded for Dell’Orso (as well as Rough Trade and Dedicated) as Butterfly Child. These mixes were made at the end of 2020, the record sent off to print in February 2021, five months before Joe’s incredibly sad departure from this planet, at least physically. So for all of us involved it’s a very bittersweet release, but another piece of art that Joe was undoubtedly thrilled to be involved with.

Diablo Swing Orchestra is an Swedish eight-piece ensemble known for pairing elements of jazz, swing, classical, progressive rock with just about everything in between. Since the start in 2003 the band has released four studio albums pushing musical boundaries with humor, creativity and a healthy dose of positive aggression. Together they have dug deep into each genre explored on the 13 tracks on the album and worked hard to find the appealing characteristics within that genre and forged it into their own sound. This approach has resulted in a impressive list of guest musicians and some very interesting clashes between sounds which, at least on paper, shouldn’t work. But listeners with an open mind will be rewarded since there are a lot of goodies to be found on the album ranging from the tribal assault that is “War Painted Valentine” to the Zeppelin gospel infused “Snake Oil Baptism”. The band presents new interesting ways of looking upon rock and metal music while managing to stay quite accessible in spite of the fact they’re often described as avant-garde metal.

Diablo Swing Orchestra is an Swedish eight-piece ensemble known for pairing elements of jazz, swing, classical, progressive rock with just about everything in between. Since the start in 2003 the band has released four studio albums pushing musical boundaries with humor, creativity and a healthy dose of positive aggression. Together they have dug deep into each genre explored on the 13 tracks on the album and worked hard to find the appealing characteristics within that genre and forged it into their own sound. This approach has resulted in a impressive list of guest musicians and some very interesting clashes between sounds which, at least on paper, shouldn’t work. But listeners with an open mind will be rewarded since there are a lot of goodies to be found on the album ranging from the tribal assault that is “War Painted Valentine” to the Zeppelin gospel infused “Snake Oil Baptism”. The band presents new interesting ways of looking upon rock and metal music while managing to stay quite accessible in spite of the fact they’re often described as avant-garde metal.

"Whether it's the last hour you were allowed to play outside as a child before you had to go home, a reference to the fight against time in regard to the climate crisis or the last minutes of a person's life - ""An Hour Before It's Dark"" certainly doesn't lack interpretations. Be it ""Seasons End"" on the 1989 album of the same name or the much discussed track ""Gaza"" on the 2012 album ""Sounds That Can't Be Made"" - Marillion have never minced their words and don't do so on this album either. ""An Hour Before It's Dark"" is not only the title of the album, but also the overarching theme that creates a connection between all the songs on the album.
Recorded in Peter Gabriel’s Real World Studios, Marillion remain musically true to themselves and continue swimming against the path of adjusting to norms and limitations.
DVD and Blu-ray come with a Hi-Res stereo mix and HD video content including a documentary on the making of the album and a performance of Murder Machines from Real World Studios."

"Whether it's the last hour you were allowed to play outside as a child before you had to go home, a reference to the fight against time in regard to the climate crisis or the last minutes of a person's life - ""An Hour Before It's Dark"" certainly doesn't lack interpretations. Be it ""Seasons End"" on the 1989 album of the same name or the much discussed track ""Gaza"" on the 2012 album ""Sounds That Can't Be Made"" - Marillion have never minced their words and don't do so on this album either. ""An Hour Before It's Dark"" is not only the title of the album, but also the overarching theme that creates a connection between all the songs on the album.
Recorded in Peter Gabriel’s Real World Studios, Marillion remain musically true to themselves and continue swimming against the path of adjusting to norms and limitations.
DVD and Blu-ray come with a Hi-Res stereo mix and HD video content including a documentary on the making of the album and a performance of Murder Machines from Real World Studios."

External Combustion – the second album and first as band leader of the Dirty Knobs – is proof that lightning can strike twice. His first record, Wreckless Abandon, was released in November 2020 to a great reception, gaining attention from Broken Record, Vulture, WTF with Marc Maron podcast, LA Times, Rolling Stone, American Songwriter, Billboard and many more.

The Dirty Knobs made External Combustion in three weeks over the summer of 2021, and "The band became this spontaneous type of combustion”, Campbell recalled, recounting how the band became more intuitive the longer they played.

Campbell claims he was never offered a solo deal in his four decades with Tom Petty and the Heartbreakers, despite also writing and producing for artists like Roy Orbison and Don Henley. "I wouldn't have known what to do with it," he adds quickly. "I was Tom's partner. Lyrics and singing – he could always do it much better. But I was writing and recording more music than Tom could deal with. That's when I got the Dirty Knobs, which gave me a chance to try singing. So I started woodshedding. And then when my life changed (with Petty's death in October 2017) it was, 'Time to do this now.'"

What is the difference between here and there?
What are the differences between countries and races?
between men and women?
children and adults?
you and me?

We are supposed to be the same person, but we are all different.
We look different, we were born and raised in different environments.
Our personalities are also different.
These differences create interest and new discoveries,
but they also create discrimination and prejudice,
which leads to division.
In recent years, this situation seems to have become more pronounced.

"You and I are different.
But sometimes I might be the same as you."

In this uncertain world,
this is what I wanted to express in this music.
--K Nogami

A second album just perfect, carried by the charismatic singer- guitarist Jessie
Lee. A blues record with hints of rock, soul and jazz, for a unique alchemy.

Reissue of Oscar Peterson's 1969 album 'Motions & Emotions' pressed
on blue vinyl
On 'Motions & Emotions' Oscar Peterson presents jazz versions of popular pieces
from pop, easy listening and classic songwriters, as the quartet of long- time
companions are washed in rich orchestral colours. Arranged and conducted by a
magician of the guild, the great Claus Ogerman, who had previously worked for
Tom Jobim. The Brazilian is also represented with his standard "Wave", in which
the orchestra builds a luminous tropical backdrop for Peterson's fantastically
dragged phrasing. Peterson and Ogerman pay tribute to another great orchestra
leader, Henry Mancini, in "Sally's Tomato" with feather- light trilling brilliance.
Jimmy Webb's "By The Time I Get To Phoenix" experiences a metamorphosis
almost into the classical - Ogerman opens infinite sound spaces here with the
distantly indulging strings. Bobby Gentrys "Ode To Billy Joe" cleverly abducts
Countryfolk into Bigband Jazz by means of fiery keyboard playing.
Finally the hits: from soul comes Bobby Hebb's "Sunny", whose theme the pianist
here cleverly harmonises out to then decorate it bluesy in dialogue with the wind
instruments. Burt Bacharach's "This Guy's In Love With You" shines with a
leisurely late night mood and a pompous finale. Yesterday" is provided with a
sparkling bossa substructure, while the second Beatles homage "Eleanor Rigby"
oscillates between loose groove, deep melancholy and swing. Peterson plus
quartet plus orchestra: Enthusiastic detail work also in the popular sector.
"The question about favourite albums is basically not an easy one, except in my
case, because Motions & Emotions by Oscar Peterson is actually my absolute
favourite album. I think Motions & Emotions might even be the perfect
instrumental album." - Till Brönner (German Jazz trumpeter and professor)

Reissue of Oscar Peterson's 1969 album 'Motions & Emotions' pressed
on blue vinyl
On 'Motions & Emotions' Oscar Peterson presents jazz versions of popular pieces
from pop, easy listening and classic songwriters, as the quartet of long- time
companions are washed in rich orchestral colours. Arranged and conducted by a
magician of the guild, the great Claus Ogerman, who had previously worked for
Tom Jobim. The Brazilian is also represented with his standard "Wave", in which
the orchestra builds a luminous tropical backdrop for Peterson's fantastically
dragged phrasing. Peterson and Ogerman pay tribute to another great orchestra
leader, Henry Mancini, in "Sally's Tomato" with feather- light trilling brilliance.
Jimmy Webb's "By The Time I Get To Phoenix" experiences a metamorphosis
almost into the classical - Ogerman opens infinite sound spaces here with the
distantly indulging strings. Bobby Gentrys "Ode To Billy Joe" cleverly abducts
Countryfolk into Bigband Jazz by means of fiery keyboard playing.
Finally the hits: from soul comes Bobby Hebb's "Sunny", whose theme the pianist
here cleverly harmonises out to then decorate it bluesy in dialogue with the wind
instruments. Burt Bacharach's "This Guy's In Love With You" shines with a
leisurely late night mood and a pompous finale. Yesterday" is provided with a
sparkling bossa substructure, while the second Beatles homage "Eleanor Rigby"
oscillates between loose groove, deep melancholy and swing. Peterson plus
quartet plus orchestra: Enthusiastic detail work also in the popular sector.
"The question about favourite albums is basically not an easy one, except in my
case, because Motions & Emotions by Oscar Peterson is actually my absolute
favourite album. I think Motions & Emotions might even be the perfect
instrumental album." - Till Brönner (German Jazz trumpeter and professor)

'Revisited' is a hybrid of studio and concert recordings from the
acclaimed Norwegian pianist/composer Helge Lien and his trio
Miraculously, however, you can't hear the hybrid nature of the source material. All
tracks blend into a cohesive, 50- minute piece: There are no sounds from the
audience and the studio takes feel as urgent as the live performances.
After the departure of Frode Berg (after 'Guzuguzu') and Per Oddvar Johansen
(after '10'), Helge Lien had to re-think and re-assemble his trio. All the while, he
continued to record and (virtually) perform you could call it improvisation
squared.
The courage has paid off: The new formation - Johannes Eick joining on bass
alongside the returning Knut Aalefjaer on drums - arrived at interpretations which
felt like a look back and a fresh departure all at once: This is not a revolution, it's
passion under the microscope.

TRANSMISSION 2LP EDITION OF PORCUPINE TREE'S 1991 DEBUT
ALBUM
Having recently announced that Snapper Music will be representing
Porcupine Tree's Transmission label worldwide, new CD & LP reissues of
the band's extensive catalogue continue to roll out throughout 2021
Porcupine Tree's 1991 debut album 'On The Sunday Of Life' is an album that
stands up as a modern-day pop-psych classic.
With acid warped lyrics courtesy of Alan Duffy (the brains behind the late
lamented Imaginary Records label) the album is a surreal delight containing gems
such as "Jupiter Island" & "Linton Samuel Dawson" filled with quirky melodies,
effected vocals & trippy backwards guitar work. "Nine Cats", the undoubted
masterpiece of the album, is pure Edward Lear styled psychedelia.
'On The Sunday Of Life' also hints at the direction the band would later take with
more progressive influenced material such as the epic "Radioactive Toy".
Porcupine Tree released their last album, 'The Incident', in 2009, marking another
step forward in the incredible journey of the band that began as a solo studio
project created by Steven Wilson in the late eighties to a multi grammy nominated
act & one of the world's most revered live bands, selling out arenas across the
globe & wowing fans with their incredible performances.
"Refreshingly original – a wonderful musical adventure" Record Collector "A debut
disc of unearthly delights… deadly seducing stuff" NME 2LP 140g Gatefold
Edition

All Them Witches are known for their loud and lengthy live shows - 2020
found the band releasing their critically acclaimed album, Nothing As The
Ideal - An album release from this band would traditionally be followed by
a lengthy 18-month tour across the globe
Due to an international pandemic, the band's touring plans were brought to a halt.
This did not stop All Them Witches from assembling in a studio to broadcast a
live set for their fans. The set was roundly received as an amazing performance
and fans immediately inquired as to whether or not this show would be available
outside of the broadcast. New West Records is proud to present All Them
Witches - LIVE ON THE INTERNET.

Nach ihrem von Fans & Kritikern gefeierten, 2019-er Meisterwerk Oscillation, stehen die schwedischen Post-Rock Meister von OH HIROSHIMA nun mit ihrem vierten Studioalbum Myriad in den Startlöchern, welches am 4. März 2022 über Napalm Records veröffentlicht wird. Die Zeit der anhaltenden Pandemie hat die Band mehr als kreativ genutzt um hier einen epischen Nachfolger abzuliefern, der zweifelsohne eine Schippe drauflegt und mit absoluter Post-Rock Bravour zu brillieren weiß!

Es ist die Mischung aus Emotionen – von unendlicher Traurigkeit bis hin zu Momenten der Klarheit und herzzerreißenden Melodien, die sich zu einem grollenden Vulkan aus ästhetischem Noise und einer wilden Urkraft zu vermischen scheinen, aber auch ihr einzigartiger Einsatz von Trompeten, Cello und Posaunen im Gegensatz zu den Synthesizern – lässt OH HIROSHIMA in Post-Rock Kreisen und darüber hinaus herausstechen.

Wie bereits der Album Vorgänger, wurde Myriad von niemand Geringerem als CULT OF LUNA‘s Magnus Lindberg gemixt und gemastert, wieder einmal mehr beweisen OH HIROSHIMA herausragendes Können – und liefern ein majestätisches Post-Rock Meisterwerk ab, welches sich ohne Zweifel an die Spitze der Alben
des Jahres 2022 einreihen wird!

Highway Butterfly: The Songs of Neal Casal is a 5LP vinyl boxset
celebrating the prolific body of work Casal left behind over the course of
14 studio albums
Recording sessions for the project began in February 2020 led by co-producers
Dave Schools of Widespread Panic and seven time Grammy- Award winning
recording engineer/ producer Jim Scott at PLYRZ Studios in Valencia, CA.Over
forty artists appear on the tribute including Susan Tedeschi and Derek Trucks,
Jonathan Wilson, Phil Lesh and The Terrapin Family Band, Steve Earle, Warren
Haynes, Jaime Wyatt, and Shooter Jennings among numerous others. The first
single and video from the recording was captured during the initial sessions in
February 2020. It features Billy Strings with Circles Around the Sun performing
"All The Luck In The World.

THE 10TH ANNIVERSARY EXPANDED EDITION OF TIM BOWNESS &
GIANCARLO ERRA'S 2011 ALBUM 'WARM WINTER' - NOW ISSUED AS
MEMORIES OF MACHINES
An expanded & remixed 10th Anniversary version of Tim Bowness & Giancarlo
Erra's 2011 album 'Warm Winter' (now issued as 'Memories Of Machines', the
original project name).
Featuring contributions from Robert Fripp, Peter Hammill, Julianne Regan, Jim
Matheos, Colin Edwin, Huxflux Nettermalm, Peter Chilvers, Aleksei Saks &
members of Nosound & Tim Bowness's live bands, the album contains 10
sweeping & majestic songs (culminating in the epic "At The Centre Of It All").
The 2 disc - CD/DVD-A/V version includes hi-res stereo & 5.1 Surround mixes in
addition to two 2020 recordings - an album outtake & a new version of the
Nosound piece "Someone Starts To Fade Away" - created especially for this
release.
Featuring a 2021 remix from the original tapes by Giancarlo Erra, this new edition
emphasises the textural nature of the music & restores the pieces to their original
arrangements & track lengths (resulting in a different listening experience).
The artwork has also been overhauled for this release by Giancarlo Erra &
Caroline Traitler.

On their Dualtone Records debut 'Sticking With It', Seattle-based sevenpiece The Dip deliver the kind of unbridled soul/R&B that hits on every
emotional level, inciting everything from raw catharsis to heavy-hearted
reckoning to wildly exuberant joy
In a major breakthrough for the band, the self-produced album fully channels the
vitality of the freewheeling live show that's earned them an ardent following over
the last decade, expertly matching their sophisticated musicianship with a
fantastically loose energy. When met with The Dip's lyrical reflection on matters
both timely (the crush of late capitalism, the glaring need for true community)
and undeniably timeless (the vast complexities of love and loss), the resulting
body of work captures the mood of the current moment while offering immediate
escape into a more elevated state of mind.

The new record by Eric Chenaux is his most immaculate and pristine. Say Laura perfectly incarnates the counter-intuitive interplay of instrument and voice that Chenaux has been revealing and revelling in throughout the past decade: his gently unhinged juxtaposition of resplendently smooth, seductively assured singing and puckish, frazzled, thoroughly destabilized guitar could come from no other musician. The five wandering, wondering ballads on Say Laura bring Chenaux's semi-improvised but keenly intentional songwriting to its fullest, clearest, warmest and coolest articulation; uncompromising and generous, hyper-specific and loose, spartan and luxurious, elemental and ornate. Say Laura might as well be a jazz record_certainly as much as his previously acclaimed albums Slowly Paradise and Skullsplitter tread that genre-adjacent territory_though it also features moments and melodies that come as close to pop flirtation as Chenaux is likely to get. But above all, Say Laura breathes like no other Chenaux album. Voice and guitar are inscribed with elemental clarity in a wondrously open, symbiotic sonic space. His pure tenor croon glides through a crisp, reverberant ether while his fried guitar careens dizzily and giddily, every gesture and timbre captured in unflinching detail by engineer Cyril Harrison. Chenaux has also made his most minimal, controlled, regulated and rhythmic record.

Previously issued on three rare cassette-only editions, Joanna Brouk's 1980 sophomore album The Space Between has finally been given spacious LP quarters. The side-long title track, performed by Brouk's Mills College instructor and sometime-lover Bill Maraldo is among the deepest and most distinctive pieces in the new age canon, while side B's three cuts expand the theme in hypnotic new directions.

In the late '70s, three do-right women from Cleveland forged a brief partnership with Ohio's everything man, Lou Ragland. Unlike the prefabricated singing combos of the day, Lily Pearson, Annette Warren, and Avetta Henry swapped lead duties as situation demanded. When a Ragland-centric publicity stunt preempted a concert appearance, Love Apple disintegrated, abandoning this rehearsal tape within the lo-fi confines of Thomas Boddie's cherished Eastside studio. Devoid of bass, the sparse instrumentation (only Lou on guitar and piano and Hot Chocolate's Tony Roberson on drums) accentuates each vocalist's aptitude, showcasing some of Ragland's finest songwriting in the process. During any given take, Ragland can be heard calling audibles, directing his singers to repeat a passage, or lending his own sweet tenor to the vocal mix. Never intended for release, Love Apple's six-song sketch is the perfect companion to I Travel Alone, bringing Ragland's unique musical vision into sharper focus.

Much is made of Detroit techno progenitors proximity to the auto plants. Similarly, overlooked electronic pioneer Jeff Phelps was raised just blocks from a Western Pennsylvania steel mill_close enough to smell the sulphur and hear the roaring blast furnace. When Tascam released their ground breaking Portastudio in 1984_allowing multi tracking on the far more financially inclusive cassette tape_Phelps purchased one immediately, and quickly added a Roland SH-101 monophonic synthesizer, Fender Rhodes suitcase piano, Roland drum machine, and a basic Radio Shack stereo mic. Those basic tools were employed on his first commercial productions for his own Engineered For Sound label: 1985's "Magnetic Eyes" LP and Antoinette's "Now You're Gone" 45. These DIY sketches generated few profits, and Phelps kept his day job in the energy business. Jeff Phelps eventually found his way back into performance and recording, starting with The Next Level Band near the end of the decade. Houston gourmands might have caught them at the opening of Texas's first Cheesecake Factory. "Magnetic Eyes" has already had a few lives, between TomLab's 2010 replica pressing and inclusion on Dante Carfagna's genre-defying Personal Space compilation. This 2021 edition features the heretofore un-re-released second mix, completed after discovering flaws in the initial 1985 pressing. Enjoy this technically perfect, artist-approved version of a visionary techno-adjacent masterwork.

Lemonheads’ seminal album ‘It’s A Shame About Ray’, lovingly reissued for it’s 30th Anniversary. The long overdue reissue includes a slew of extra material, including an unreleased ‘My Drug Buddy’ KCRW session track from 1992 featuring Juliana Hatfield, B-sides from singles ‘It’s A Shame About Ray’ and ‘Confetti’, a track from the ‘Mrs. Robinson/Being Round’ EP, alongside demos that will be released for the first time on vinyl. This reissue celebrates their prestigious fifth album, these deluxe bookback editions feature new liner notes and unseen photos.

Described by music journalist and author Everett True as “A 30-minute insight into what it’s like to live hard and fast and loose and happy with like-minded buddies, fuelled by a shared love for similar bands and drugs and booze and freedom.”. ‘It's A Shame About Ray’ had a considerable impact back in those heady, carefree days of '92, the record perfectly captures Dando’s ability to effortlessly encapsulate teenage longing and lust over the course of a two-minute pop song.

Singles such as 'My Drug Buddy' and the breezy perfect pop of the title track might stand out (plus the add-on of 'Mrs. Robinson' which later copies included), but the album's real strength lies in the tracks in-between; the truly fantastic 'Confetti' (written about Evan's parents' divorce), and the eye-wateringly casual acoustic cover of 'Frank Mills' (from the "hippie" musical Hair), a version that seems to resonate with every ounce of pathos and emotion felt for the lost 1960s generation. To hear Evan Dando sing lines like 'I love him/but it embarrasses me/To walk down the street with him/He lives in Brooklyn somewhere/And he wears his white crash helmet' is to truly appreciate how wonderful and tantalising pop music can be. Then, there's the rush of insurgency and brattishness on the wonderfully truncated 'Bit Part'; the topsy-turvy 'Ceiling Fan In My Spoon'... this was male teenage skinny-tie pop music on a level of brilliance with The Kinks, early Undertones, Wipers.

LP reissue. Pressed on 180gm black vinyl. Boney M's 1976 debut LP, which contained the hits "Daddy Cool" and "Sunny"

Für Candlemass schließt sich ein Kreis: Ur-Sänger Johan Langquist, der 1986 das wegweisende Debüt Epicus Doomicus Metallicus einsang, kehrt endlich für ein komplettes Studioalbum zur Band zurück!
The Door To Doom setzt den roten Faden fort, den Mastermind, Songwriter und Bassist Leif Edling in den letzten Jahren für seine Band verfolgte: epischer Weltklasse-Doom-Metal, der sich auf
schleppendes Mammut-Riffing stützt. Mit Langquists dramatischen Vocals und viel Liebe zum Detail verfeinert die Band dieses Album und macht es zum nächsten - Epicus'. Gekrönt wird das Meisterwerk
von einem Gastauftritt von Black Sabbaths Gitarrenikone Tony Iommi auf 'Astorolus - The Great Octopus'- The Door To Doom ist die Doom-Metal-Offenbarung des 21. Jahrhunderts!

On a balmy Brazilian night in February, 1981, a crowd gathered in Rio de Janeiro's Gávea neighbourhood under the iconic dome of the city's Planetário (Planetarium). Alongside musicians like Helio Delmiro and Milton Nascimento (who were in the audience that night), they were there to see the great "Bruxo" (sorcerer) Hermeto Pascoal live in concert, with his new band formation which would become known simply as "O Grupo" (The Group).

Growing up on a farm in Brazil's northeastern state of Alagoas, Hermeto has always been deeply in tune with, and inspired by nature. In his youth he would make his own flutes to play call and response with the birds and frogs. He would build scrap-metal instruments in his blacksmith grandfather's forge, and sit for hours by the lake listening to the sounds of nature. On the Planetário Da Gávea recordings though, Hermeto is cast as the "sorcerer" or the "cosmic emissary" (as the great Brazilian guitarist Guinga once called him), exhibiting an intuitive sense of harmony and melody beyond that of our own world.

"Tudo e Som" (All is Sound). It's a phrase Hermeto regularly returns to, and it points to the fact that not only can music be made from anything, but also alludes to something much more profound. It's an understanding of the universe as being in a state of constant movement, forever vibrating at the quantum level, like the string of a guitar, or a saxophone's reed. "Tudo e Som" is a declaration of the mystical and spiritual power of sound, as a fundamentally vibrational force.

The series of concerts at the Planetário marked the birth of "O Grupo" which would last with the same line-up (apart from Zé Eduardo Nazário) for the next eleven years. Every member of O Grupo was a phenomenal musician in their own right. It was one of saxophonist/flautist Carlos Malta's first gigs with the group, and the concert unusually featured two drummers, Zé Eduardo Nazário and Marcio Bahia. Nazário, from São Paulo, had played with Hermeto during the mid-70s (as well as with Milton Nascimento, Egberto Gismonti and Toninho Horta, to name a few). Bahia though had just joined the group. Acclaimed keyboard player Jovino Santos Neto was on keyboards, piano and organ, and the great Itiberê Zwarg (who remains in Hermeto's band to this day), played bass. Rounding the group off was the percussionist Pernambuco. During this period (up until the early 90s) the group would rehearse for hours on end, virtually seven days a week, with a total dedication to music and Hermeto's musical vision.

Most of the compositions performed that night at the Planetário had never been recorded before, and many are unique to this album, including the wild 'Homônimo Sintróvio', the exaltant 'Samba Do Belaqua', 'Vou Pra Lá e Pra Cá' and 'Bombardino', which features Hermeto's wonderfully absurd call and response mouthpiece soliloquy. Then there's the stunning 7/4 Samba 'Jegue' which builds with inventive dissonance, before releasing yet another celestially colourful, celebratory refrain. The show also features the first recorded performances of 'Era Pra Ser e Não Foi' and 'Ilza na Feijoada' (inspired by Hermetos' wife Ilza's famed black bean and meat stew), which Hermeto later recorded on his 1984 studio album "Lagoa Da Canoa Município De Arapiraca".

Dubbed by Miles Davis as "one of the most important musicians on the planet", a Hermeto Pascoal live show was (and still is) an experience like no other. Across the recording of the Planetário concert, wild improvisation meets groovy, virtuosic vamping on progressive, extended psychedelic jams. The tracks are generally built around a beautiful, transcendent melody; instantly recognisable as being Hermeto's, and for the most part, the musicians then solo over extended two chord vamps. There's a plethora of powerfully delivered rhythms, wild solos and the performances are punctuated by Hermeto's unpredictable, at times comical sonic antics.

Over forty years since this historic happening, Far Out Recordings is overjoyed to release this magical recording of Hermeto Pascoal e Grupo Live at Planetário Da Gávea, on double vinyl LP, CD and digitally for a February 4th 2022 release.

From the meeting of the legendary Tsugaru Jamisen Maestro Chisato Yamada with volcanic mind of the composer Tasheshi Terauchi and his Oriental Fantastic Orchestra, a collaboration and a unique record, a conceptual work, is born in which innovative songs transcend the boundaries of traditional music by mixing modernity, rural and electronic atmospheres, local arias and contemporary music.
A record with strongly evocative and cinematic sounds.

Comes with OBI and a two-panel fold out sheet with original liner notes of the time translated in English that explains in an exhaustive way the inspirations from tradition and popular music and the very accurate digital recording techniques of the time that make it a record sought after by audiophiles looking for sounds unedited in the Western tradition.

Her debut LP, Banshee, was released on Wax Poetics. Has collaborated with MF Doom, Czarface, Ghostface Killah, Dennis Coffey, and more. Kendra Morris’s Nine Lives, to be released on Karma Chief Records (a division of Colemine Records) in early 2022, marks not only the culmination of the decade since the release of her first LP Banshee, but also a turning point in Kendra’s life. Nine Lives heralds the beginning of a new chapter; label, and an evolution to the next level of adulthood. This collection of her original songs encapsulates moments from what could be nine lifetimes. Kendra, while very much a New Yorker and veteran of almost 2 decades on the NYC scene, hails from Florida and aesthetically embodies the broader sense of American culture, bringing to her contemporary sound influences found in music and cinema dating back to the mid 20th century. Her music conjures imagery evocative of road trips to weird and wonderful places. Concurrently a visual artist, filmmaker and animator, Kendra harnesses the feline nine lives metaphor repeatedly. In the context of the chapters of her musical trajectory alone, we see at least 9 lives. From discovering multi-tracking on a karaoke machine as a child, to playing in bands in Florida, moving to NYC and creating music alone on an 8 track, releasing her first 2 LPs on Wax Poetics, releasing her 2016 EP Babble and collaborating with DJ Premier, 9th Wonder, MF Doom, Czarface, Ghostface Killah, Dennis Coffey, and David Sitek, to name a few. The life of this multi-disciplinarian artist contains units of time and story lines through which we can all relate to universal themes of love, loss and overcoming one's fears. Kendra, never ceasing to heed her spiritual calling to continue creating music and art, no matter what, has no plans of slowing down but a belief in only evolving, eager to begin experiencing her next nine lives.

Introducing Skygirl, with their 4-track debut release.

Skygirl is Eva and Hanna. The two got together by chance, but definitely not by accident. After they were introduced at a festival through mutual friends and danced the night away, it became clear that both have musical ambitions and their artistic vision aligns. The band was formed before the hangover was gone, and songs were written before the weekend ended.

The kind of “after-party-Monday-mood” also functions as an entry to the band’s lyrical and musical cosmos. Rest assured, this is not your mundane headache, but rather a working class meets art school kind of philosophical approach. Sparse instrumentation meets two voices. Life-affirming, yet informed by a somber future.

Reference points may be groups like Young Marble Giants or Shakespears Sister. Brittle but strong voices, molded by urban decay.

Originally released in 2010 on their own label, Brooklyn nu-disco group Escort’s ‘Cocaine Blues’ is lovingly revisited by Glitterbox Recordings over a decade later, re-introducing the dancefloor essential to a new generation of disco fans. A loose remake of disco-reggae classic ‘Cocaine in My Brain’ by Jamaican DJ Dillinger, Escort’s ‘Cocaine Blues’ with its relaxed, disco approach and catchy vocal soon became a hit. Now arriving in a 12” package, up first, legend of NYC’s house and disco scene John Morales delivers his M+M Mix. A long-time friend of Glitterbox, this is John’s first release on the imprint, with the signature sparkling sound that brought him to prominence in the 80s sounding fresh as ever on this remix. Up next, original Escort member JKriv revisits the track on his funk-filled Disco Bumps Mix, before regular Roísín Murphy collaborator Crooked Man delivers his Crooked Line 1 and Crooked Line 2 versions, gloriously deep fuelled by bumping bass and attitude. Crooked Line 2 is exclusive to this 12”. Sounding just as good as it did when it first hit dancefloors, this unmissable vinyl remix package gives ‘Cocaine Blues’ another lease of life.

Genetic Funk and Mr V present The Believe EP, a deep, soulful, spoken word groover that gets a sublime make-over from the mighty Atjazz. Jazz injected, ethereal business that instantly dissipates any worries as you float on the hypnotic tones of this celestial track. On the flip a stripped back, tougher beats, bass and vocal led dub for the dancers.

Linda Di Franco only released an album in 1986, "Rise Of The Heart" and it is still considered a Balearic classic. The main tunes are "T.V. Scene" and "My Boss" which extended versions are featured in this official repress remastered from the original tapes. Not to miss!

A blend of Nu-Disco/Disco-funk, trip hop and cosmic with a touch of jazz from the one they call Super Paolo across 2 x 12 Inch records that has been lighting up dancefloors the world over.


DJ Support:
Ashley Beedle, Daniele Baldelli, LTJ Trevisi, Severino, Francesco Mami.

Los Retros is the young Mexican American singer songwriter whose music has captured the hearts of fans around the world. He broke onto the scene with the viral single ‘Someone to Spend Time With’
in 2019, which has racked up over 40m streams. ‘Looking Back’ is his third EP.
 Los Retros was just sixteen when he first began recording in his family’s living room on an old fourtrack. The recordings comprising ‘Looking Back’ grew out of these early sessions. Now officially released for the first time. Includes fan favourite ‘Amtrak’ (2.5m YouTube views).
 For fans of Cuco, Beebadoobee, Toro Y Moi, Yellow Days, Mild High Club, Boy Pablo.

Seit jeher ist die Natur für den Künstler Dominik Eulberg eine Quelle für Inspiration, ein Ort der Kraft und des Rückzugs. Nun veröffentlicht der studierte Naturschützer sein sechstes Album: Avichrom. Dieses Kunstwort bedeutet soviel wie "Vogelfarben". Denn Eulberg widmet sich diesmal den Farben im Gefieder von Vögeln, von deren über bordenden Vielfalt es elf in die deutschen Namen heimischer Vogelarten geschafft haben, von Grünfink, Goldregenpfeifer über Blaumeise bis hin zu Purpurreiher und Schwarzhalstaucher. Sie dienen ihm als Führer auf seiner musikalischen Expedition in die Ornithologie. Eulberg zeigt sich hier als ein hart arbeitender Handwerker, als jemand, der alle Schritte der Produktion von Grund auf beherrscht und versessen an kleinsten Details feilt. Avichrom ist in dieser Hinsicht konsequent für den im Westerwald lebenden DJ und Produzenten: ein Werk, das im besten Sinne des Wortes zeitlos ist. Es läuft nicht Trends der Gegenwart hinterher, sondern schreitet auf dem eigenen Weg voran, den Eulberg seit frühester Karriere eingeschlagen hat und der ihm zahlreiche Preise und Chartplatzierungen eingebracht hat. Entstanden ist mit Avichrom ein Album, das schon beim allerersten Hören berührt, das aber dennoch bei jedem weiteren Mal neue Details offenbart. Ähnlich wie bei einem Gang durch die Natur zeigen sich immer neue Strukturen, immer andere elaborierte Verästelungen denjenigen, die genau hinhören: erst mit der Zeit zeigt sich die wahre Schönheit, die sublime Komplexität.

Jimpster’s lockdown LP was made throughout 2020 and finally sees the light of day at the end of February 2022 having been delayed around 6 months due to the ongoing vinyl pressing hold ups. Birdhouse is the revered producers seventh full length LP and can be considered a full circle as he takes a step away from the dance floor to revisit his early inspirations of jazz, 70’s fusion, library music, ambient and sample-based downtempo electronica. With its soulful touches, vocal and live musician features and trademark warm Jimpster production, we also think it could be his most accomplished and accessible yet.

The opening title track sets the tone for what’s to come with rustling percussion, widescreen choral samples, dub FX and drifting pads all coming together to create a sense of optimism. The first of six vocal features comes next. Ascension with UK vocalist Oliver Night (featured on IG Culture’s recent Earthbound LP) is a simple soul jam with live bass from Nick Cohen and Jimpster’s beloved Fender Rhodes joining the lo-fi drum groove.

Next up we’re treated to Voodoo featuring brilliant young NYC MC/poet/producer who first grabbed Jimpster’s attention with his mind-melting track Signs, released in 2020 on Youngbloods. Yoh’s sung (not sung) vocal flow adds a new dimension to the Jimpster sound and is hopefully the first of many more collaborations to come with this perfect pairing. Still Believe takes us on a tripped-out journey into slo-mo, lopsided MPC beats punctuated with otherworldly vocal samples, live bass and Rhodes making for an immersive late night mood.

The first of two tracks on the LP featuring London vocalist and songwriter Cairo drops next entitled Beautiful Day. Another incredibly talented young artist introduced to Jimpster through a mutual friend, Cairo adds a deep and uplifting vibe making for a track you’ll come back to time and time again. A slow-burning nu-soul groove which will draw you in with its warm glow. Lazarusman is a Johannesburg-native poet and vocalist known for his collaborations with Stimming, Joris Voorn and Booka Shade. Here he delivers a poem called Heavy, perfectly punctuating the haunting reverb-drenched horn, Detroit-esque chord stabs and filtered drums.

Future Paradise drops the BPM's further still for a slow-stepping synth ride mixing up rising arpeggios, dubby flugel horn FX and the lushest of strings. It’s been 15 years since Jimpster and Capitol A last joined forces on Left n Right from Jimpster’s Amour LP. Known for his work with Jazzanova, King Britt, Mark De Clive-Lowe and 2008 club anthem Serve It Up on Mantis, the San Francisco native MC delivers his inimitable flow to a blunted jazzy hip hop groove making for one of the LP highlights.

Up next, Rain is an intimate and understated slice of contemporary soul music which pushes another spellbinding Cairo vocal front and centre, underpinned by loose, crunchy beats, dusty keys and moogy flourishes. Picking up the pace, Doors Of Your Heart sees Jimpster get busy chopping up a funk groove whilst Nick Cohen lays down another killer live bass line. Lush keys, modular synths and some crazy FX processing take this into the stratosphere and call to mind some of his earliest productions in the late 90’s on his seminal LP Messages From The Hub.

Winding things down, Jimpster continues to revisit some of the sounds and flavours of his earliest work on Tell You, which goes seriously deep with touches of cinematic big band horns and a looped up vocal sample. Closing out the LP we have the aptly titled Full Circle complete with sublime Metheny/Mays-style pads, muted synth arps and subtle FX to drift away to.

Our Lowriders album is an amalgam of the two “This Is Lowrider Soul” CDs. We have chosen 14 tracks that represent the sounds loved by Los Angelenos, often of Mexican descent, that emanate from their fabulously designed motors while cruising Whittier Boulevard in East LA or, say, Van Nuys Boulevard in the northwest of the city.

The classic Los Angeles vocal group the Superbs are featured here on their glorious ‘It Hurts So Much’, but it is mainly the records discovered by sweet soul collectors that dominate. The Carnival label has a great reputation on this scene; Lee Williams & the Cymbals’ ‘Please Say It Isn’t So’ and ‘Follow Your Heart’ by the Manhattans are a pair of killer ballads perfect in tempo and harmony for the cruisers. Other East Coast offerings include the Persians’ captivating ‘Here It Comes’ and two gems which were only on master tape prior to their Kent releases – Melvin Hicks & The Versatiles’ ‘I’m Just Passing Time’ and the similarly unknown outfit the Exceptions, with the wailing ‘So Much In Love’.

Chicago has always been a breeding ground for black harmony groups. The Esquires saw much success at Bunky; ‘No Doubt About It’ was their equally great first release at Wand. Little Ben & The Cheers hailed from the same city; their ‘I’m Not Ready To Settle Down’ fetches big bucks due to Lowrider demand, as does ‘What Am I Gonna Do’ by the mysterious Houston Outlaws – their origins are uncertain, but must be Midwestern. The Vanguards hailed from Indianapolis and deservedly charted with ‘Somebody Please’, licensed to LA’s Whiz label. All of their seven singles on Lamp are also fine, harmonic soul tracks. The Lovers were a Bay Area group who recorded in Los Angeles with the maestro Arthur Wright; their ‘Someone’ was tipped for the charts when licensed to Philips, but flopped, leaving it ripe for revival by the soul connoisseurs. Like the Lovers, the reputation of Reuben Bell’s ‘It’s Not That Easy’ has grown over the decades and a record once considered common can now fetch hundreds of dollars – class will out.

Limited Edition Vinyl LP – 1971 album cover, thick tip-on sleeve, 700 copies only

Finally putting an end to a long wait for library music lovers, Four Flies Records is proud to present the first reissue of Piero Umiliani's Paesaggi – a record that, despite remaining for many years pretty obscure compared to other titles in the maestro's discography, is now regarded by collectors and experts as the gold standard in Italian library music.

Originally released in two versions with different sleeves, the first on Liuto Records in 1971 and the second on Ciak Record in 1980, the album features tracks composed by the maestro himself (under his alias Zalla) and performed by the legendary super-group of Italian session players I Marc 4, this time with Angelo Baroncini instead of Carlo Pes on guitars (which probably explains the name being spelled with a 'k' instead of a 'c' on the album cover).

The Italian word paesaggi means "landscapes", and that is exactly what the music in the album has been designed to evoke – a journey of moods and emotions, through exotic and pastoral scenery, with loungey sounds that caress your ears like the song of an enchanted nightingale. Mysterious yet captivating soundscapes transport you to a faraway and peaceful place, possibly somewhere in rural Asia. While listening to the record, you'll feel as if you are sitting under a pavilion, right in the middle of a tea plantation, enjoying a freshly brewed green tea and watching the calm sunset.

In addition, Paesaggi is paradigmatic of Italian library music and its genre-defying nature. By using a multitude of instruments, such as flute, vibraphone, harpsichord, sitar, gong and others, it brings together a variety of arrangements, styles, and genres spanning from bossa nova to jazz, easy listening to psychedelic, Latin, exotica, and many more.

Under Umiliani's brilliant direction, the pianos and keyboard instruments of Antonello Vannucchi, the guitars of Angelo Baroncini, the bass of Maurizio Majorana, and the drums of Roberto Podio dance together and – enriched by other instruments played by top session musicians like Bruno Battisti D'Amario (sitar), Franco De Gemini (harmonica), or Franco Chiari (vibraphone) – create the sound that makes Paesaggi so unique.

With the honour of reissuing this masterpiece so many decades since its release comes a responsibility to do full justice to one of the greatest Italian composers of the 20th century and his now celebrated legacy. Four Flies have done their best to put out a record that replicates as closely as possible the value of the original as a cultural artefact, providing Italian library connoisseurs and novices alike with an exquisite sonic, and tactile, experience.

Breaking News! DJs Pareja and Matias Aguayo have joined to form the dance project MDM Factory!

Modern transcendental Techno music for those who know, and those who want to learn!

In a turmoil of events nightlife would change forever, and confined to their respective places - A flat in Buenos Aires and a house in the jungle Diego Irasusta, Mariano Caloso and Matias Aguayo joined forces to create new communication on distance via music.

Taking all their dance floor knowledge and dreaming of sound systems and togetherness in a better future, DJs Pareja & Aguayo put their minds, bodies and souls to work on this stunning EP that will please the forward thinking underground freaks as well as the big room techno pros.

Let’s dive into this divine mess of glorious dance floor jams from the future...

A1. Curvas Peligrosas

With the first track it becomes clear what this is all about: Wobbly metamorphous sounds from outer space jamming with stomping and bass driven techno beats of tomorrow, a new kind of rave, hypnotic and seductive, utterly strange but wonderfully catchy and contagious in a good sense, harsh shuffled hiatus and alternating kick drums, a relentless bassline and sophisticated electronic sounds in a a permanent evolution resembling and invoking altered states of consciousness.


A2. Love Boat

This new rave anthem seems like a classic you haven’t heard about. Muscle memories from dancefloor days trigger your body as you listen on your headphones, awaiting the chance to play it out soon, hopefully, as the dance floors slowly reopen. Alternating between parts of kickdrum, clap and snare awesomeness, and the mangled rave signals that slowly morph into a more concrete melody reminiscent of ancient dreams of the future, this track has it all for the club kids of today.

B1. La Vida Loca
The title track is a tech banger that will please those who dig Kenny Larkin, Claude Young, The Surgeon, Dave Clark or any other star in the nocturnal sky of Techno Techno, as well as the lovers of DJs Pareja’s classic Cómeme Clubbangers, or the more Techno side of Mr. Aguayo. Definitely has the potential to become a huge hit if enough djs that don’t rely on algorithms get their hands on it


B2. Las Llaves

The closer is hyper modern tech funk at its best. Percussive greatness as you can find it on many Cómeme releases is triggered in a different way, “sabroso” rhythms that are played in the light and purposeful way of an elegant jazz drummer, pave the way for an always evolving psychedelic lead synth sound, that will be a useful tool for the dj who knows when to keep the groove, prolonging those magic times between the risings...

Red hot Modern Soul 45 recorded in Memphis, Tennessee in 1985. Big thanks to Robert Garcia @mrbighappy & Daniel Mathis @quartzwatches for the research and words on this one!!

Brotherhood Band was started by Ernest Coleman(EC) and Clint Hyson, who met thorough a US Navy band called "Mid-South", which was the US Navy's premier musical organization operating out of Millington, Tennessee (20 min outside of Memphis). The group initially played as an instrumental jazz band. In keeping up with the times, they shifted gears towards a more contemporary sound. Shortly after, they decided to cut a single. Enter "Nicci's Theme", which is the B-side here and it's a beautiful jazz tune EC wrote for a girl he fell in love with. This song was supposed to be his door way in, but he actually never opened the door with her.

A few weeks later Clint called EC and played this syncopated bass line for him over the phone. And then EC being the ladies man that he was wrote the lyrics to "Leather Pants" to it. Part of the lyrics read "The pants they stretch, but they don't bust. Enough to make a blind man cuss", but it originally read as, "The pants they stretch, but they don't bust. Enough to make a PREACHER cuss". The song was ready, but they needed to find a singer. That's when member Richard Owens mentioned that he had a young cat back in Atlanta named Taji. In a gamble Taji drove up to Memphis for the Sunrise recording studio session to record the track. According to EC when Taji laid the vocals down he took the song to the next level. In fact it was so impactful that EC, who is now a Grammy producer, still references Taji's sessions when working with new artist.

After the single dropped the group played at Memphis hot spots, Bills Twilight Lounge and Club No Name. EC even had an idea to host a local leather pants contest as a way to promote the song. This lead to a frenzy of women seeking to be "Miss Leather Pants".

It's a little known fact that in 1969, Motown Records boss Berry Gordy organised a holiday trip to Jamaica for his label's stars. It's even less well known that while they were there, a number of those same stars worked with an up-and-coming local producer to record versions of established hits over instrumental riddims from the newly emergent reggae genre. Unfortunately, perhaps due to the plentiful supply of herbal entertainment during the recording sessions, the masters were believed lost. Until now. Happily, their recent re-discovery means you finally get to hear Uptight Boss and Beg For A Dollar - the massively crowd-pleasing consequences of giving a brace of mid-sixties Motown classics the boss reggae treatment!

Alright, maybe it didn't go down like that. Maybe the sound of this release was born instead out of people occasionally mishearing the name of Mako & Mr Bristow's 'Stank Soul Edits' series as 'Skank' Soul Edits. Which got them thinking. What would 'skank soul' sound like? Hello Trojan – meet Motown. Mojan? Trotown? Either way - reggae most definitely got soul!

50th Anniversary 180g Vinyl LP Reissue All-Analog Mastered from the Original Tapes!

This reissue celebrates the 50th Anniversary of Ismael Rivera's third album, Lo Ultimo en la Avenida, recorded with the Kako y Su Orquesta. Ismael was known as one of the greatest soneros in salsa and Kako was one of the most popular timbaleros during the 60s and 70s, making the combination undeniably electric. Highlight tracks include the hit "Mi Negrita Me Espera," plus the exhilarating "El Cumbanchero." This 180-gram vinyl LP pressing boasts all-analogue mastering from the original tapes.

Oh Yeah" - Charles Mingus (p, voc); Booker Ervin (ts); Roland Kirk (fl, ts, siren, manzello, stritch); Jimmy Knepper (tb); Doug Watkins (b); Dannie Richmond.

Commenting on this album in 1962, Billboard magazine wrote: »He seems to be everywhere, everywhere that is but on his usual instrument«. Charles Mingus, one of the most impressive musicians in the history of jazz, doesn’t play a single note on the bass for a change, but leads the band from his (blues-)piano – the instrument that he always used for composing. He hits the keys, he sings the blues, he shouts and he encourages – apparently Mingus really found the need to express himself loudly in this album. (Doug Watkins stood in for him on the contrabass.) "Oh Yeah" is definitely Mingus’s most powerful and passionate album. He calls on two hot, intensive saxophonists – Roland Kirk and Booker Ervin – as well as Jimmy Knepper on the trombone. Kirk is the main soloist, but all three wind-players deliver expressive improvisations, carrying out a non-stop dialogue with one another, and pushing one other to achieve maximum energy. The music is wild and ecstatic, but it’s not free jazz, remaining – as it does – grounded in blues and gospel. "Hog Callin’ Blues" is an enthralling shuffle with a wealth of riffs, "Devil Woman" a clever slow blues with inventive wind figures. "Ecclusiastics", with its constant change of rhythm and expression alternating between gospel and blues has the most complex form. Blues has always been a part of a black church service, said Mingus. "Eat That Chicken" (a homage to Fats Waller and his favourite food) even plays around with an old-time, Dixie feeling. Humour is never far away. Even in the atomic bomb song (this too, a sort of churchy blues) one hears the words: »Don’t let ’em drop it! Stop it! Be-bop it!«

Curtis Godino’s first album producing for The Midnight Wishers. Mastered by Shimmy-Dic’s Kramer. “Golden Wish” Yellow Vinyl LP ltd edition of 500. RIYL: the Shangri-Las, the Chiffons, the Crystals, the GTOS, Ween. What if a cute girl group scored a hit song about a car crash, then actually died in a car crash, but decades later, David Lynch conjured their spirits for a beach-themed Halloween special? That’s a feeble attempt to describe the fun, spooky universe evoked by musician, songwriter and producer Curtis Godino with his latest project, Curtis Godino Presents the Midnight Wishers. “I’ve always been a fan of girl groups and old generic love songs,” says the Brooklyn-based artist, previously known around town for his psychedelic band Worthless and his ’60s-style light projection shows. “No matter how cheesy, they always get stuck in my head, so I decided I would try to make some of my own, with the help of my friends.” Chief among those friends are the Midnight Wishers: lead vocalist Jin Lee and backing singers Rachel Herman and Jessica McFarland, all of whom Godino recruited for the project. Lee also contributed lyrics, which she tends to recite as often as she sings in a dreamy, earnest voice. The trio are the perfect messengers for Godino’s tunes, visually as well as sonically. In photos, they pose before bubble-gummy backgrounds, playing with a ouija board by candlelight, elemental like a cartoon crime-fighting team with their respective black, red and blonde hair. But make no mistake: This project belongs to Godino, a musical ringmaster in the tradition of Phil Spector or more aptly Shadow Morton, whose noir sensibilities spawned such uncanny pop marvels as the Shangri-Las’ “Leader of the Pack” and “Remember (Walking in the Sand).” In this case, Godino built the wall of sound almost entirely by himself, recording on his eight-track tape machine during the pandemic shutdown. Starting with drum tracks from Andrew Max and Adam Amram, he would add picked bass guitar in the style of L.A. studio legend Carol Kaye, then go bonkers with fuzzy guitars, Farfisa organ, mellotron, analog synthe- sizers, glockenspiel, an arsenal of other percussion instruments and an array of mysterious electronic effects. To fully realize the vision, however, Godino knew he needed more firepower. The Wishers’ multilayered harmonies and other vocal tracks were recorded and engineered by his roommate, Paul Millar, at Millar’s Bug Sound East studio. “I'm sure all those incredible old records were recorded on a four-track or whatever, but I don’t have the same discipline,” says Godino, whose stated goal was to create “songs so sweet they’ll give you a cavity

Jonas Lindberg & The Other Side is the progressive rock project from Stockholm, Sweden-based bass player, songwriter and producer Jonas Lindberg. The new album - called "MILES FROM NOWHERE" – features Jonas joined by Jonas Sundqvist, Jenny Storm and Jonathan Lunderg. Returning on a few tracks is Simon Wilhelmsson (drums) who some may remember from their first EP, as well as Jonas's brother Joel and Roine Stolt (The Flower Kings, Transatlantic) on lead guitars,amongst others. “MILES FROM NOWHERE” is a journey that takes in stunning guitar solos, intense drums, folky melodies, majestic instrumentals & a 25-minute epic. Available as Limited CD Digipak, Gatefold 180g 2LP+CD+LP-Booklet & as Digital Album.

Upcoming new album release from JD Simo entitled 'Mind Control' will be released at the end of October while JD is on tour (9/28 - 11/21 & 1/7/2022 - 1/29/2022 JD Simo... The Chicago-born, now Nashville transplant is like a one-man crusade dedicated to keeping music real, raw, and honest. No matter the setting and no matter his role (whether it’s wingman or bandleader) J.D.’s presence infuses the situation of the moment with the music that’s been fueling him pretty much his whole life, spiced with influences that straddle both decades and dimensions. As a songwriter, guitarist, and producer, he has worked with Jack White, Tommy Emmanuel, Luther Dickinson, Dave Cobb, Blackberry Smoke, and even been a member of Grateful Dead founder Phil Lesh' "Phil & Friends." Now he comes forth with his most unique, original, and rawest effort yet… “Mind Control,” which drops November 5th, 2021. During lockdown in '20, he started cutting tracks in his makeshift studio weekly. Joined by longtime collaborator Adam Abrashoff on drums and longtime friend bassist-producer-engineer Adam Bednarik (Justin Townes Earle), they mused a proverbial soup of shared influences - Hill country trance blues of Junior Kimbrough, RL Burnside, and Asie Payton, hypnotic Afro Beat of Fela Kuti and Tony Allen, psychedelic warps of Captain Beefheart, Funkadelic, and Jimi Hendrix, the old school blues of John Lee Hooker, Earl Hooker, and Lightnin Hopkins and the raw, fuzzy rock of The Stooges and Nirvana. 'Mind Control' is the product of 3 like-minded buddies huddled in a humble setting, making music to make them feel good. The songs' stark, revealing nature is the product of them using the creative process for therapy and enjoyment. Because they had to, for no other reason than they couldn’t not! They love it too much. A positive theme of growth, self-help, and struggles with addiction and mental health lay alongside a haunting, low-down musical landscape. It's raw, funky, and real. Such is life.

Fabio & Grooverider have been at the forefront of UK dance music for over 3 decades. This is the roots of their story told through music. The 2 London DJ's are part of the DNA of the global Jungle / D&B movement and they have remained relevant, cutting edge, authoritative and essential to this truly underground art-form since it's inception. RAGE could arguably be the ground zero of Jungle. The party was started at London's cavernous Heaven club by Fabio & Grooverider in 1988, at the height of Acid House fever that was making it's way up and down the motorways, slip-roads, fields and warehouses of the M25 and further beyond every weekend, troubling the nation, the police, your parents and the press as it went. RAGE was a different beast, it certainly channelled some of that Acid energy but pitted it against the new and exciting sounds emanating from Belgium, Amsterdam, Detroit, Sheffield, Essex and Hackney and in turn created a new style, a new sonic attitude and energy in the process. Rumbling bass-lines, narcotic synth rushes and roughly chopped and sped-up breakbeats all merged into a style that we now know as Jungle. Nothing like this had been heard before, this was a brand new style and it was coming out of London's West End and Fabio & Grooverider were the people firmly behind it. RAGE is approaching its 30th anniversary. Its sonic and cultural legacy is still being felt today, Fabio & Groove are still shutting down raves and festivals every weekend all over the world with their superior DJ sets and musical knowledge guided by their pioneering spirit. This musical selection you hold in your hands, the first of 4 parts, sees them delve into their prodigious memories and record boxes to select a true musical representation of the very beginning of one of the UK's most unique and influential musical movements of the last 50 years. Across 4 x 2 x 12"s compilations we are taken on the journey through the sounds of RAGE, accompanied with track by track notes from Fabio & Groove themselves. This is the sound of the underground, from the inside out. This is a masterclass in the old-school. The roots. There is no filler here, it's simply ALL killer. Lovingly selected and programmed by the masters - 'The Living Shock' & 'The Ladies Choice'. Produced in conjunction with Above Board distribution and Fabio & Grooverider. All tracks mastered from original sources and fully licensed. Mastering by Optimum, Bristol. Artwork and design by Atelier Superplus. 2019

Porter Ricks is a collaboration between Thomas Köner and Andy Mellwig. After the Re-release of the legendary album "Biokinetics", which is superb subaquatic dub techno, we re-release Porter Ricks first album on Mille Plateaux. The album demonstrates the move to a kind of discoid funkyness with an underlying almost organic rhythmight. But still its not music for beautiful souls. Instead, it combines funkyness with alien sonic fluxes and the rhythm of a killing mover.

1985 Music celebrates 5 years with a collection of remixes from its impressive back catalog.

It’s been 5 years since the inception of 1985 Music and over that period it’s grown a family of exciting underground producers as well as a celebrated back catalog from artists new and old. With this release, the label remixes some key tracks from the archives.








h d2. Dogger, Mindstate, Anile & K S R - Don't Hurt Me (Re-work)

After their celestial Arcturian Corridors opened proceedings on Quindi, London-based brothers Clive and Mark Ives are back with a new record. When Woo first began recording at home in the early 70s, Clive and Mark were the embodiment of furtive genius. Since re-emerging in 2013, they've released scores of albums, collaborated with Seahawks, and have now struck up a productive relationship with Quindi.

On Paradise In Pimlico, you're hearing a very different sound to the one gently creaked out on early classics like Into The Heart Of Love. This is fulsome, contemporary production rich in detail and artful sound design, but crucially, Clive and Mark's gorgeously melodic approach remains open and inquisitive, even with the sheen and shimmer of modern studio techniques.

Woo sound more confident than ever in their composition, too. The crystalline, fragile tones of 'Cadenza D'Innocenza' glide through key changes that spell out an engrossing narrative, while the cascading melodies on 'Moment To Moment' pirouette across the space between notes with masterful poise. 'Paradise In Pimlico' is an illustrious suite of orchestral composition played out with the lightest touch, framed by the slightest of synthesized fauna and topped off with tender sax and flute. Album closer 'In Case Love Fails' takes on a subtly cinematic urgency with its undercurrents of walking bass and the strike of the string section (synthetic or otherwise).

There's space for markedly new approaches, too. The rhythm section on 'The Motorik Mirror' clunks and pops with a tactile, high-definition quality which teeters between electronic sculpture and clockwork, organic machination. The deft, lightly-brushed drums coursing through 'Even More Notes' see Clive and Mark step into a different mood, celebrating the beat as another fluid, tonally-rich texture in the mix and adding a smoky, jazzy hue to the Woo repertoire.

It's far from a drum-focused exercise though. At every turn, you're confronted with aching beauty and timbral surprises. If there's one constant throughout Paradise In Pimlico, it's the omnipresent chimes. These twinkling drops of light scattered throughout are something of a hallmark of Woo, ensuring the lilting, lullaby-like magic of their music persists whichever direction they head in.

This is '70s masterpiece out of Austin, Texas is a Holy Grail of the highest order -- the perfect fusion of classic soul and disco. An original copy never sells for less than 4 figures due to rarity, quality and demand. Coveted by Northern Soul, rare disco, and modern soul DJs equally means demand has always been stratospheric.

Omowale is the powerful new album from Wildchild, one third of the legendary Lootpack crew and a formidable solo artist who released many projects on the iconic Stones Throw Records. Across the 15 tracks, the Cali rapper deftly explores what it means to be a Black man in the U.S. today with timely, poignant lyrics. It’s a hard-hitting look at this country and its decades of wrongdoing, all with an air of optimism for the future. This album is Wildchild’s first solo release since 2016’s T.G.I.F., though he’s clearly kept busy in the interim by working on Omowale and making a number of standout guest appearances. Many of his past collaborators are returning the favor, as we’re treated to dope features from Posdnuos (of De La Soul), Big Daddy Kane, Guilty Simpson, Ras Kass, Murs, and more. Plus, there’s head-nodding production from Madlib, Nottz, Georgia Anne Muldrow, and Mr. Brady, among others. They’re all bringing their A-game on Omowale, an impeccably produced album beyond its instrumentation and rhymes. Wildchild builds on the project’s narrative by incorporating audio from newscasts, protests, and other live events. He also brings that real-world feel to his lyrics, from joyful raps with his son (Black-ish actor/emcee Miles Brown) on the funky “G.O.A.T.” to raw rhymes about police brutality on “Breathe.”
When the album culminates with “Say Their Name”—a moving tribute to the rap legends we’ve lost over the years—Wildchild proves on Omowale that you can balance hope with the harsh, unjust realities of the world.