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Divided into two worlds Life? A long narrow path. Anything else? Yes: people and music. That's it, but still. It couldn't get any more narrow than for Ozan Ata Canani.

I've been asking myself all these years: what has he done to deserve that his art is so ignored? The young Ata was a prodigy on the bağlama, the Anatolian long- necked lute. So good that the great Aşik Mahzuni Şerif took him on tour. At that time Ata was just thirteen. Ata's father was suspicious and forbade him to play music.

In the late seventies, the young adult Ata wrote the first song cycle of Anatolian music in German. He wanted to arrive, live in Germany and communicate with the majority society. He wanted to make audible what was going wrong. The lament was only eclipsed by Ata's infectious optimism. His music is a journey that takes its listeners along. He was obviously ahead of his time, because no one wanted to publish these songs. They found no lobby. Not even the utopias of the German counterculture of the sixties did include the so-called guest workers and their art and culture - which is why Ata's parents' generation did not find a connection in the country. Most of them wanted to return home after their work was done. So what was the point of building bridges to the land of the oral cavity surveyors and the screaming foremen? The Anatolian people of Germany had created their own great structure of music dissemination. They were not dependent on the radio and the department stores. They had their own shops, everywhere. Unnoticed by the German music industry and the local media, companies like Türküola in Cologne or Uzelli in Frankfurt turned over millions of records every year. Türküola is the most successful independent label in post-war history. The records and cassettes, later CDs, went over the counters in their own shops, in greengrocers' markets and at electronics hawkers near railway stations.

Kscope Re-Issue Of The Classic ‘Radiation’ Featuring 2013 Mixes, 2 x LP 140Gram Vinyl in a Gatefold sleeve. The CD edition will include both the original 1998 version and the 2013 mixes, whilst the LP edition will host the 2013 mixes with an etched D-side
Marillion formed in 1979 and have since sold over 15 million albums worldwide. Rightly regarded as legends of progressive rock, the band have continued to evolve and have been keen to embrace the possibilities of the internet, using innovative ways to interact with listeners resulting in an incredibly loyal legion of fans around the world.
‘Radiation’ was the band’s tenth studio album and debuted in the top 40 in the UK when it was originally released in 1998. The album saw the band abandon the acoustic approach of ‘This Strange Engine’ and instead revisit a heavier sound previously found on ‘Afraid Of Sunlight’. This change in sound as well as the experimentation with different instrument tones and vocal effects and samples led to a more pop sound than that previously heard from the group.
The album was subsequently remixed and remastered by Michael Hunter in 2013. Kscope are now pleased to present a reissue of this highly regarded album on LP.

The venerable composer and keyboardist Stale Storlokken follows up his previous Hubro release (and solo debut recording), The Haze of
Sleeplessness, with a second solo album performed entirely on pipe organ and recorded at Steinkjer Church by Stian Westerhus.
He describes the album as “a cavernous cathedral of sound”. While the Norwegian Grammy-nominated ‘The Haze of Sleeplessness’ used a whole keyboardmuseum’s worth of antique synths and contemporary digital software to create
its vast array of sounds, everything on ‘Ghost Caravan’ is the product of one organ’s pedals, pipes and sonic plumbing.
“There’s not so much of a relationship to ‘Haze’, says Stale Storlokken of the new album. “That album was more based on improvised ideas that were tweaked and arranged , while this one is all improvised with almost no editing at all. Everything you hear is from the church organ, with no additional instruments.
The basic concept of the record, and the arrangement of the titles and pieces, is done in such a way that they alternate between a fluent, “on the move”, abstract mood and a more recognisable, concrete and grounded mood. At the same time it should be so open that listeners will hopefully have their own unique experience. The organ at Steinkjer is not a big organ but it has some really nice sounds, with a number of quirks and mechanical eccentricities that suit my music.”
The organ is partly a reconstruction based on a Wagner organ in Nidarosdomen built originally in 1741, the organ is housed in the strikingly modernistic Steinkjer kirke, designed by Olav S. Platou in 1965, and featuring glass panels by the artist Annar Millidahl. What Ghost Caravan does share with its predecessor is a seemingly limitless acoustic space for the listener’s imagination to roam in, with Storlokken creating a cavernous cathedral of sound.
The audio dynamics span an enormous range, capable of stretching from the quietest breathy whisper to a basso profundo squawk or scream, sometimes within seconds of each other. Similarly, the incredible variety of sounds that Storlokken coaxes from the organ can defy rational analysis, with the resolutely analogue instrument appearing to echo the industrial, found-sounds of clanking machinery or buzzing electronics that one might expect to encounter through digital sampling or the tape-based experiments of musique concrete.
Over ten separate improvised pieces which connect into an informal suite through the repetition of key elements and sequential titles (with four ‘Spheres’ and four ‘Cloudlands’, plus ‘Ghost Caravan’ and ‘Drifting on Wasteland Ocean’), Storlokken has made a strikingly unified, self-referential aesthetic world that can stand as a true work of art.

With a fundamental emphasis on the encouragement of genre hybridization, Evar Records, the Los Angeles-based imprint co-founded by Trickfinger (John Frusciante) and Aura T-09 (Marcia Pinna), continues its momentum with an expansive 9-track collection from Netherlands-based luminary, Limewax.

After making a strong first impression with its 2020 debut offerings, Evar Records has recruited Limewax to carry forward its mission of blurring boundaries and challenging conventions in electronic music. The Ukranian hard drum and bass hero happily obliged, referring to signing with Evar as a breaking point which allowed him, finally, to take full stock of his background in classical and electronic music simultaneously. Although Maxim Anokhin is widely known for his hard-edged breakbeats, releasing on labels such as Tech Itch Recordings, Position Chrome, Freak Recordings, and PRSPCT, the full scope of his artistry shines through on Untitled.

The opening cut, "Porcelaineworm," is a futuristic electro cut recalling IDM classics like AFX's "XMD5A." Of course, the virtuosic drum programming and hectic D&B sound which Limewax has built his reputation upon is here in spades on tracks like "Stay Lackey. Cuts like "Ushio" and "Whay1" are fascinating studies in contrasts—the former balances bludgeoning techno of the Ansome and Perc variety with a resolve that recalls Fennesz's pastoral glitch abstractions. "Whay1," meanwhile, is sub-rattling drum and bass nuanced by cinematic string themes. "Getupa" is an experimental beat track that truly bangs, its layers of texture and field recordings placing Limewax in the company of bleeding-edge acts like SVBKVLT's breakout star Hyph11E. The very next track, "19NB," is a subtle update to the original minimal technical template established by Detroit icons Robert Hood & Jeff Mills.

While most of the album hurtles forward at hard techno and D&B tempos, "Maleisae" is a sensual 70 BPM track mixing ghostly R&B and acid. That spectacular cut heralds Untitled's intricate denouement. The brief "Wernmqbram" effortlessly reconciles a baroque minor-key piano theme with the renegade snares of classic jungle. "Hasan" is a true "closing credits" master stroke, half-time acid giving way to gorgeous IDM-meets-Blade Runner synth leads.

Far from a genre-jumping hodgepodge, Untitled is a remarkably coherent full-length by a virtuosic artist free to explore the entirety of their creative influences. The Tilburg-based artist cites the poets Marina Tsvetaeva and David Whyte as influential on Untitled and also listened to works by 1771-1862 works by organ builders when crafting the album. The end result reveals Limewax as a masterful, diverse artist, capable of any style he pursues. It's a clear indicator of the boundless promise of Evar's core principle—a staunch refusal to put artists in boxes.

If there’s ever been a way to describe David Allan Coe, it’s got to be his ability to defy categorization. With over six decades of following his musical muse wherever it’s led, this craggy voiced outlaw has crossed the panorama of American roots music. As well as being a singer, guitarist, songwriter, David is also a magician and a ventriloquist, deep sea treasure hunter, and movie star. His movies included Stagecoach, The Last Days Of Frank and Jesse James, Lady Grey, Buckstone County Prison, Take This Job and Shove It, to mention a few. David signed with Sun Records in 1968 and recorded his first album Penitentiary Blues, all songs that David had written in prison. In 1973, Columbia Records bought David’s contract from Sun Records and he recorded his first Columbia album, titled “The Mysterious Rhinestone Cowboy”, several years before Glen Campbell had a hit with the song, “Rhinestone Cowboy.” Much has been written about David’s past and his lifestyle, but not much about his achievements over the years. From performing on Farm Aid to touring with Neil Young, Kid Rock and Willie Nelson. David’s song, “Take This Job and Shove It” has received multi-million airplays certificate from BMI. His “Greatest Hits” album is multi-platinum and his “First Ten Years” album is gold. David has had sixty three songs on the Billboard Singles Charts, including, “Mona Lisa Lost Her Smile”, “The Ride”, “Please Come To Boston”, “Willie, Waylon and Me”, “Jack Daniels If You Please” and “You Never Even Called Me By My Name” to name a few. David has written songs for Johnny Paycheck, Tanya Tucker, George Jones, Willie Nelson, Leon Russell, Charlie Louvin, Del Reeves, Tamy Wynette, Melba Montgomery, Stoney Edwards, The Oak Ridge Boys and Kid Rock. Both “Would You Lay With Me” and “Take This Job and Shove It” are multi- million seller songs penned by David. Johnny Cash has also recorded David’s songs including “Would You Lay With Me” on his chart topping album entitled, Cash. David has been through a lot in his life but has managed to put his past behind him and move forward with his life. This album was recorded in 2001 live from the Iron Horse Saloon in Daytona, Beach Florida and includes the only recorded version of, I’m An Ohio Boy.

Repress

In 1970 Barney Wilen assembled a team of filmmakers, technicians and musicians to travel to Africa for the purpose of recordi ng the music of the native pygmy tribes. Upon returning to Paris two years later, he created Moshi, a dark, eccentric effort fusing avantjazz sensibilities with African rhythms, ambient sound effects and melodies rootedin American blues traditions. Cut withFrench and African players including guitarist Pierre Chaze, pianist Michel Graillier and percussionist Didier Leon , this is music with few precedents or followers, spanning from extraterrestrial dissonance to earthbound, streetlegal funk. Wilen pays little heed to conventional structure, assembling tracks like "Afrika Freak Out" and "Zombizar" from spare parts of inde terminate origins. (Jason Ankeny, AMG)

Revelatory reissue of Barney Wilen’s ambitious jazz-fusion journey, Moshi (1972), presenting the legendary French jazzman and Miles Davis-sideman’s wildly ambitious effort fusing recordings of Pygmy tribes with African rhythms and stellar avantjazz leanings, sounding little like anything before or since its release. (boomkat)

Super rare and long out of print, the ground-breaking 1972 album from saxophonist Barney Wilen receives a reissue treatment of the highest order. Complete with a 20-page booklet and a never before seen DVD chronicling Wilen’s trip to Africa, this one is sure to be a delight for fans old and new. The deepest spiritual jazz grooves meet field recordings from the Upper Volta and b eyond, whilst psych rock influences collide with hypnotic and shamanistic percussion work. Truly one of the most out -there jazz records we’ve stocked for a long time! (bleep)

Originally issued by the seminal imprint Saravah in 1972, and among the most uncategorizable and sought after artefacts of the French avant-garde, Barney Wilen’s Moshi is nothing short of a masterpiece - long holding a coveted spot in the hearts of adventurous listeners and record collectors alike. A wild unkept cultural collage. A series of sonic experiments. A spiritual, psychedelic pilgrimage into the unknown - darting from one continent to the next, each of its tangents building toward a more optimist world view through ordered sound. Its scope remains as difficult to understand today as it was when it was released. Now brought back into the light by Souffle Continu, this is a moment to be celebrated far and wide. (Soundohm)

Deluxe reissue with additional artwork & remastered audio. 20-page booklet including rare pictures, sheet music & original liner notes. Bonus DVD with exclusive artwork of Caroline de Bendern’s movie « à l’intention de Mlle Issoufou à Bilma » documenting this incredible african journey.

DC Salas’s second EP indeed is a tale of beautiful feelings: After his last year’s debut EP on Live At Robert Johnson called The Complicated Art of Dreaming, this fresh four tracker is a proof to his creative continuity.

A1 Did They Listen rhythmic structure banks on a pounding and effective combination of bassdrum, conga and cowbell, joined by a mildly distorted bass line figure, which embeds itself in a panoramic soundscape. A2 Beautiful Feelings introduces a remarkable striking sawtooth sequence, with repeated filtered and resonating variations, alternating throughout the track. On the flipside, B1 Within employs yet another bubbly bassline, keeping the soundscape wide-open to retain enough sonic space for that eerie, yet highly energetic Cosmic Disco touch. B2 Liquid Perception signature is a liquid acid bassline introduced in the second part of the track, perfectly befitting its track title. All tracks of this monolithic EP, thanks to its consistent approach to sound design, could easily be mixed subsequently with each others.

DC Salas is thirtysomething year old Diego Cortez Salas, a skilled talent with peruvian origins hailing from Brussels. A regular DJ at C12 and Kiosk Radio both in Brussels, Diego also co-runs Biologic Records with his mate Abstraxion since 2014.

In the midst of a global pandemic John Hiatt
walked into Historic RCA Studio B and opened up
a lifetime full of leftover feelings. A half-century
ago, Hiatt lived in a ratty, $15-a-week room on
Nashville’s 16th Avenue, less than a mile away
from the RCA and Columbia studios that were the
heartbeat of what had come to be known as ‘Music
Row’. In the ensuing 50 years, he went from a
scuffling young buck to a celebrated grand master
of song.
With ‘Leftover Feelings, Hiatt teamed up with multiGrammy winning artist and producer Jerry Douglas
and his band, The Jerry Douglas Band. There’s no
drummer, yet these grooves are deep and true.
And while the up-tempo songs are, as ever, filled
with delightful internal rhyme and sly aggression,
the Jerry Douglas Band’s empathetic musicianship
nudges Hiatt to performances that are startlingly
vulnerable.
In life, leftover feelings can remain unresolved, no
matter how often explored. Explicated in a place of
history, a place of comfort. A sacred place, if you
believe the documentation of human expression to
be a holy thing. Here then, with this album, there is
a meeting of bruised and triumphant American
giants. Here are Hiatt and Douglas, creating the
meant-to-be: Love songs and road songs, sly
songs and hurt songs. Their songs and now our
songs. Leftover feelings that edify and sustain.

Founded in 2010, Hussle’s All Money In made an epochal debut with its very first release, “THE MARATHON,” marking Hussle’s fifth official mixtape and follow-up to his introductory “BULLETS AIN’T GOT NO NAME” trilogy. Named among XXL’s “100 Best Mixtapes of 2010,” the collection was quickly followed by 2011’s “THE MARATHON CONTINUES” and then 2013’s “CRENSHAW.” Along with his work as a lead artist, Hussle has previously collaborated with a veritable who’s who of contemporary hip hop, including Kendrick Lamar, Drake, Rick Ross, YG, Ty Dolla Sign, Meek Mill, DJ Mustard, Young Thug and many more. As if his musical career and role as label boss weren’t enough, Hussle is also successful entrepreneur. In addition to The Marathon Clothing line and store, Hussle also owns a number of successful businesses including The Marathon Agency, SC Commercial Ventures, Proud 2 Pay, and of course, All Money In No Money
Out Records.



[b] 2 Rap Niggas [Explicit]

Fiddlehead wasn’t supposed to make a second record. But, if we’re being totally honest, they weren’t supposed to make their first record either. Formed in what singer Pat Flynn describes as “a deeply, deeply, laughably depressing part of my life,” Fiddlehead was born with modest intentions. Flynn and his then-roommate, guitarist Alex Dow, decided to work on some songs, and with Basement having just broken up, guitarist Alex Henery entered the fold. Drummer Shawn Costa and bassist Adam Gonsalves—who has since been replaced by Casey Nealon—linked up with them and, all together, they wrote what would become the Out Of The Bloom EP. Those five songs established what Fiddlehead would be, a band that merged elements of post-hardcore, post-punk, and classic ‘80s emo into something that felt distinctly theirs.

Between The Richness effectively picks up where Springtime & Blind left off, as Flynn dives headfirst into that same subject. But astute listeners will notice a major difference this time: Flynn is singing about himself. “These massive things happened in my life between the first record and this record. It just so happened that I ended up getting married, I had a child, and it was around the 10-year anniversary of my father’s passing. So what if I want to write another record about how I feel about the loss of my father? Will people be like, ‘Pick another topic, dude.’ So, the opening track is called ‘Grief Motif’ because it’s the idea that this is an eternal struggle that will never go away. Take it or leave it, but it will be part of this dude as long as he’s got a pen in the hand.”

Between The Richness explodes with an energy that usurps that of Springtime & Blind. The guitar riffs of Dow and Henery are their most anthemic and combustive yet, making songs like “The Years,” “Get My Mind Right,” and “Down University” not just serve as the backbone for Flynn’s personal ruminations, but empathetic, emotional musical stabs that hit the listener just as hard. Meanwhile, Costa and Nealon give the songs a propulsive heft, allowing a track like “Million Times” to dart into unexpected territories without ever feeling alien

Fiddlehead wasn’t supposed to make a second record. But, if we’re being totally honest, they weren’t supposed to make their first record either. Formed in what singer Pat Flynn describes as “a deeply, deeply, laughably depressing part of my life,” Fiddlehead was born with modest intentions. Flynn and his then-roommate, guitarist Alex Dow, decided to work on some songs, and with Basement having just broken up, guitarist Alex Henery entered the fold. Drummer Shawn Costa and bassist Adam Gonsalves—who has since been replaced by Casey Nealon—linked up with them and, all together, they wrote what would become the Out Of The Bloom EP. Those five songs established what Fiddlehead would be, a band that merged elements of post-hardcore, post-punk, and classic ‘80s emo into something that felt distinctly theirs.

Between The Richness effectively picks up where Springtime & Blind left off, as Flynn dives headfirst into that same subject. But astute listeners will notice a major difference this time: Flynn is singing about himself. “These massive things happened in my life between the first record and this record. It just so happened that I ended up getting married, I had a child, and it was around the 10-year anniversary of my father’s passing. So what if I want to write another record about how I feel about the loss of my father? Will people be like, ‘Pick another topic, dude.’ So, the opening track is called ‘Grief Motif’ because it’s the idea that this is an eternal struggle that will never go away. Take it or leave it, but it will be part of this dude as long as he’s got a pen in the hand.”

Between The Richness explodes with an energy that usurps that of Springtime & Blind. The guitar riffs of Dow and Henery are their most anthemic and combustive yet, making songs like “The Years,” “Get My Mind Right,” and “Down University” not just serve as the backbone for Flynn’s personal ruminations, but empathetic, emotional musical stabs that hit the listener just as hard. Meanwhile, Costa and Nealon give the songs a propulsive heft, allowing a track like “Million Times” to dart into unexpected territories without ever feeling alien

Hella Love, the Hardly Art debut from Marinero, is an album about closing a chapter. It’s Jess Sylvester’s grand farewell, and love letter to his hometown and the place he grew up, The San Francisco Bay Area, before relocating to Los Angeles after finishing his debut release. Using the moniker Marinero (which means “sailor” in Spanish), Jess Sylvester was drawn to this name as a means to honor his parent’s stories -- his father, a sailor, and mother, a Mexican-American who grew up in San Francisco. This record blends many worlds from beginning to end, and as you go deeper it hits harder. It’s his goodbye to The Bay. Pulling sonic influences from classic Latin American groups and international composers from the 60’s & 70’s: Los Terricolas, Ennio Morricone, Esquivel, Carole King and, Serge Gainsbourg Hella Love finds Sylvester fusing classical arrangements with a variety of different genres, evoking a sonic nostalgia blended with other contemporary artists like Chicano Batman, Connan Mockasin, and Chris Cohen. The album was written, played, and produced by Jess Sylvester with help from Bay Area engineer Jason Kick (Mild High Club’s Skiptracing) at Tunnel Vision and Santo Recording in Oakland, California. On the standout single “Nuestra Victoria,” Sylvester shares “It’s my way of talking about gentrification in SF, or specifically the Mission where my mom and family grew up. The song is about a bakery, or panaderia called La Victoria, and was a place where my mother and tias went growing up, a place I also went to that is no longer there.” It was one of the oldest Mexican-American businesses in SF and I wanted to honor it”. “Through the Fog” highlights Sylvester’s exploration of his influences from the Tropicalia movement, weaving bossa rhythms with lush percussion and orchestration. Using SF’s infamous fog as a metaphor for “tough times”, Sylvester expands that it is a dedication to his friends and family who have helped him get through substance abuse issues, heartbreak, and other painful experiences. “There are a few easter eggs in the lyrics for Bay Area folks or people who have followed my music in the past but it’s mostly about getting through something difficult with the love and support from the homies and fam.” The album’s title track, “Hella Love,” summarizes both of his parent’s stories of how they ended up in the bay. The first verse is about his father’s voyage out west as a sailor during the late ’60s while the second verse follows his mother’s experience moving to The Mission District when she was a young girl.


It’s difficult to classify or generalize about Marinero’s music or identity. To him, it’s important to let his music do the talking. “I’m Chicanx, a bay native, biracial, and I’ve luckily gotten to travel and spend time in Mexico and I feel like my personality and specific musical tastes come through on this album. More than these generalizations we often make, I’m just a human who can both fear and love, and I’m just hoping to connect with others to share optimism and experience joy and laughter, even if for a moment.” Lean your ear to the ground because Jess Sylvester has been many things and will continue to share his journey. It is clear this gifted creator has more to say.
-Luz Elena Mendoza

Absolute killer 90s digi. Exciting and uplifting roots from the Abbasani crew, produced by Milton Boothe. Complete with thunder effect at the start!

In 1970 Barney Wilen assembled a team of filmmakers, technicians and musicians to travel to Africa for the purpose of recordi ng the music of the native pygmy tribes. Upon returning to Paris two years later, he created Moshi, a dark, eccentric effort fusing avantjazz sensibilities with African rhythms, ambient sound effects and melodies rootedin American blues traditions. Cut withFrench and African players including guitarist Pierre Chaze, pianist Michel Graillier and percussionist Didier Leon , this is music with few precedents or followers, spanning from extraterrestrial dissonance to earthbound, streetlegal funk. Wilen pays little heed to conventional structure, assembling tracks like "Afrika Freak Out" and "Zombizar" from spare parts of inde terminate origins. (Jason Ankeny, AMG)

Revelatory reissue of Barney Wilen’s ambitious jazz-fusion journey, Moshi (1972), presenting the legendary French jazzman and Miles Davis-sideman’s wildly ambitious effort fusing recordings of Pygmy tribes with African rhythms and stellar avantjazz leanings, sounding little like anything before or since its release. (boomkat)

Super rare and long out of print, the ground-breaking 1972 album from saxophonist Barney Wilen receives a reissue treatment of the highest order. Complete with a 20-page booklet and a never before seen DVD chronicling Wilen’s trip to Africa, this one is sure to be a delight for fans old and new. The deepest spiritual jazz grooves meet field recordings from the Upper Volta and b eyond, whilst psych rock influences collide with hypnotic and shamanistic percussion work. Truly one of the most out -there jazz records we’ve stocked for a long time! (bleep)

Originally issued by the seminal imprint Saravah in 1972, and among the most uncategorizable and sought after artefacts of the French avant-garde, Barney Wilen’s Moshi is nothing short of a masterpiece - long holding a coveted spot in the hearts of adventurous listeners and record collectors alike. A wild unkept cultural collage. A series of sonic experiments. A spiritual, psychedelic pilgrimage into the unknown - darting from one continent to the next, each of its tangents building toward a more optimist world view through ordered sound. Its scope remains as difficult to understand today as it was when it was released. Now brought back into the light by Souffle Continu, this is a moment to be celebrated far and wide. (Soundohm)

Deluxe reissue with additional artwork & remastered audio. 20-page booklet including rare pictures, sheet music & original liner notes. Bonus DVD with exclusive artwork of Caroline de Bendern’s movie « à l’intention de Mlle Issoufou à Bilma » documenting this incredible african journey.

„CLOUDS (The Mixtape)“ ab sofort auch als Vinyl erhältlich: Der multi-platin ausgezeichnete ChartTopper NF kehrt mit seinem Mixtape erstmalig in 2021 zurück! Das Mixtape umfasst 11 neue Tracks,
inklusive des gleichnamigen Hits „Clouds“, der es bereits auf Platz 53 der Billboard Hot 100 schaffte. Seit
der Veröffentlichung wurde das Album weltweit schon 350 Millionen Mal gestreamd. Mit seinem Megahit
„Let You Down“ konnte der US-Amerikaner bisher über 3 Mrd. Streams generieren, war international
Top10 in den Charts und ging in den USA 5-fach Platin. Sein drittes Studioalbum „Perception“ schaffte es
in den Vereinigten Staaten auf Platz 1 der Charts. Global generierte NF mit seiner Musik überwältigende
16,3 Milliarden Streams. Auch hierzulande hat er eine sehr treue Fanbase, die für zwei restlos ausverkaufte
Deutschland-Tourneen sorgte.”

ARTS is glad to present the very first full length work from one of our most unique artists in the roster, after a few records on the label and an impressive impact on the scene, KRTM worked on a larger project that aimed to express freely something deeper, and most likely something that was inevitable and that needed to get out into the sun. Despite the format, this is little more than a usual LP, the entire body of work is larger, but essentially presented in a very personal way in each single part of the elements and written tracks, we are glad to give you "It Will Make The World A Better Place", there are not many words that are needed to describe what you are going into, we hope that this piece of art will sign your future as will sign ours.

Locked in a 486 glow, lightblink machines nightlight, being enters lighttime limelight. The long nineties already distending, the Major midbloats, crowds throng superclubs- strobelit honeys on a podium in Ibiza already blasted a stratosphere away from mildewed badflats, emphysemic parlours, the fug of week old washing drying slowly on the rad. Ach we’ll hang it out in the morning fire another joint of badhash and turn that tape over. We are being Here. beings disconnected, shut ins, psychick worriers, long walks to and from clubs, mostly dark, always raining, or mizzling anyway, lug bigbrick machines into cabs and Venue, setup and playing live and right now from the lounge lobby at Sativa, down the stairs from the caustic, twitching thrashpit being sits, being works. Dole sludge, shirking class zeroes, scoff pizza rolls w salad cream, that headchef gaffer never reckoned you’d graft at the potwash, a slick fur of rotfood dish slop residue right to the elbow, absolutely bowfin. Rumours of other places, people, scenes, tapes sent and emissaries return, invites to get trains, overnightbus south to London. being brought water to the ‘wells in South London and monthly emissions snaked out into the world, into badflats elsewhere where gowched couch tatties sprawl and the being burrowed deep into memories.. Tea is toast and sandwich spread and endless crisps as the binbags pile high in the backyard, the being blinks, it’s a twilit morning and it’s time to go to bed.

Without sampling any breaks or loops, Funky DL has created the perfect audio tribute to arguably the best group in Hip-Hop history by remaking the beautiful sounds of A Tribe Called Quest's 1993 classic album "Midnight Marauders". This is a beautifully presented piece for keen vinyl collectors.

Be With is delighted to present Jorge López Ruiz’s El Grito (Suite Para Orquesta De Jazz), eternal Argentinian magic released on CBS in 1967 that must be one of the most sought-after South American jazz LPs.

Living in Buenos Aires in the 60s, driven by creative impulse and rage Jorge López Ruiz used music as his platform to protest the Argentine military dictatorship: “I could never stand dictatorships, to be told how you have to think, what you have to do. Nor did I endure discrimination”.

A young López Ruiz had appeared on a television panel alongside writer, politician and philosopher Arturo Jauretche, criticising the Onganía dictatorship. Jauretche told López Ruiz “Now say it with music”. This was the deep inhale that lead to El Grito, literally “The Scream”. As López Ruiz later explained “Jauretche urged me that my protests should not remain in words and acquire the consistency of a work… but it was not so much what he told me but how he told me, what prompted me to make the work take shape, first in a live concert and then in a recording”.

As the police and military began resorting to kidnapping, torture and summary executions to quiet dissent, with depressing inevitability the artist community and their work were a particular target of the increasingly brutal regime. El Grito was banned not long after it was released and the majority of original copies were unceremoniously destroyed.

The work of a genius artist living under an opressive dictatorship, erased by the government of the time, this is buried treasure in every sense and it’s been a rare record for over 50 years. But it isn’t just being hard to find that has pushed up the prices of those few original copies that survived, this is a foundational record in the development of jazz in South America.

El Grito (Suite Para Orquesta De Jazz) is a showcase for Jorge López Ruiz’s skills as a composer and arranger as he leads a virtuoso orchestra of the likes of Mario Cosentino (alto sax), Baby López Furst (piano), Pichi Mazzei (drums), Gustavo Bergalli (trumpet), Oscar López Ruiz (guitar), Arturo Schneider (flute) and Jorge López Ruiz himself plays double bass on the fourth and fifth movements.

As the album’s sub-title explains, The album is a Jazz orchestra concept suite. Five movements, to be heard as a whole, that end where they begin.

“When I wrote it there was no history of a cyclical work in jazz. But I didn't notice that, I needed to express something and I did it. At that time they told me I was crazy, that such a thing was very difficult to do. But hey, I like challenges”.

Yet this is not challenging jazz. There are certainly avant garde, free jazz flourishes, but the hard bop characteristics make this a very accessible album: easy to listen to without being easy listening. López Ruiz’s love of film brings a definite cinematic feel.

The title movement opens the album in bombastic style. “El Grito” grabs you by the lapels and refuses to let go. Raw then controlled, it’s by turns stabbing then soothing, with rage weaved in and out of the elegant styles. “M.A.B. = Amor” is our favourite here. With a tense introduction and a patient build, a gentle sax sweeps in to lift everything up to meet the serene piano and soft drums. Elegantly paced, it moves back and forth between deep contemplation and a more urgent call and response between strings and horns. A near-eight-minute, slow motion marvel.

The second side eases in with the beautifully-titled “Hasta El Cielo, Sin Nubes, Con Todas Las Estrellas” (“Up To The Sky, No Clouds, With All The Stars”) a relatively brief mid-tempo piece featuring López Ruiz’s insistent bass notes high in the mix, and again blending the sublime with the emotive with its wild horns and tight rhythm section.

It’s followed by “Tendré El Mundo” (“I Will Have The World”) which also leads with hypnotic bass, but this time swifter, driven by crashing drums, rapid horn conversations and effortlessly cool piano flourishes. Rounding out the suite, “De Nuevo El Grito” (something like “The Next Scream” or “The Scream Renewed”) is a stylish closer. Whilst López Ruiz’s bass shifts the track along, the horns and piano are more restrained, yet no less stunning.

This Be With edition of El Grito sounds sensational, if we do say so ourselves. Working with audio from the original analogue tapes, the vinyl mastering chops of Simon Francis are on full show here in what he considers to be some of his best ever work for Be With. Pete Norman’s cutting skills have made sure nothing is lost. The tortured artwork has been restored here at Be With HQ as the finishing touch to helping this revered work find a rightful place in every protest art collection.

Neutral’s seminal album, Grå Våg Gamlestaden, is widely
considered ground zero for the explosion of creativity that has
transpired in the Swedish Underground ever since. It is the noisy
experimental rock album that opened the door and welcomed in
so many artists working behind the scenes. Gothenburgers Dan
Johansson (Sewer Election) and Sofie Herner had previously
made music together in the band Källarbarnen when they started
discussing a new methodology and a fresh sound for recordings
in 2013 under a new name as a duo.
After witnessing Herner and Johansson’s live performance in
an artist’s studio in the spring 2014, Gustaf Dicksson, who was
running the Omlott record label at the time as well as performing
under his own moniker, Blod, offered to release an album by
Neutral on the spot.
Herner recorded most of the instruments and voice, Johansson
worked on manipulating the recordings, experimenting with
reel-to-reel techniques. The title of the album translates as “Grey
Wave Gamlestaden” and was chosen as an inside joke about the
neighbourhood Gamlestaden where Johansson and Herner lived.
A major theme on the recording is a certain kind of bleakness
but with a wry smile closely identified with the spirit of the
neighborhood.
In the fall of 2014 Grå Våg Gamlestaden was released,
limited to 200 copies, and sold out quickly without many copies
making it outside of Sweden. Around the same time, Johansson
and Herner joined forces with other underground artists in their
widening circle to form a sort of Gothenburg supergroup making
music together as Enhet för Fri Musik.
Grapefruit’s reissue of Grå Våg Gamlestaden is the first time
Neutral’s masterpiece has seen the light of day since it sold out
quickly in 2014. This vinyl-only gatefold reissue is limited to
300 copies.

Der Gitarrist, mehrfach Platin-ausgezeichnete Singer-Songwriter, Bandleader, Rock’n’Roll-Hall of FameKandidat und Songwriter-Hall of Fame-Mitglied Steve Miller hat sich tief in sein Archiv eingegraben und
eine unveröffentlichte Konzertaufnahme in voller Länge gefunden, „Steve Miller Band Live! Breaking
Ground: August 3, 1977.”
Das Album erscheint als 2LP-Set, CD und digital.
Der begleitende Live-Konzertfilm mit der vollständigen Performance wird über The Coda Collection auf
Amazon Prime Video als Stream verfügbar sein.

This reissue of Cannonball Adderley’s classic 1958 Bluenote album ‘Somethin’ Else’ features Adderley on alto sax, Miles Davis on trumpet, Hank Jones on piano, Sam Jones on bass and Art Blakey on drums.
The bonus Riverside album, ‘Portrait of Cannonball’, recorded in 1958 includes Cannonball Adderley, alto sax; Blue Mitchell, trumpet; Bill Evans, piano; Sam Jones, bass; Philly Joe Jones, drums. The 20-page booklet contains complete information with specially prepared liner notes by Penguin Guide to Jazz’s writer Brian Morton and by France’s prestigious Jazz Magazine. “ ‘Autumn Leaves’ and ‘Love for Sale’ will never mean the same after listening to this album, this masterpiece of the 1950’s which hasn’t aged at all.” Jazz Magazine

Demon Records is proud to present a new series of vinyl reissues from American singer-songwriter Black Francis / Frank Black
• First released in 2005, Honeycomb is the tenth studio album by Frank Black. For almost a decade, Frank Black discussed
making a “Black On Blonde” album with producer Jon Tiven. In 2005, Black travelled to Nashville and recorded with legendary
local session musicians including Steve Cropper, Reggie Young, Anton Fig and Spooner Oldham.
• Now available on vinyl for the very first time, this reissue features the complete album pressed on 140g translucent-honey vinyl,
housed in a printed inner sleeve featuring photographs by Michael Halsband.
• Stand out tracks include ‘I Burn Today’, ‘Lone Child’ and the title song ‘Honeycomb’.

AL presents the first musical collaboration between Hamburg based Asmus Tietchens and Japanese artist Miki Yui, operating out of Düsseldorf for almost 20 years now. Highly respected and hugely influential artist Asmus Tietchens first made his mark on the electronic music scene in the late 1970s, whereas Miki Yui debuted her sonic settings in1999.

Their first joint album NEUES BOOT envelops the listener with a poetic sound sensibility and a conceptual clarity which was processed and passed back and forth between their individual studios in Hamburg and Düsseldorf.

Asmus Tietchens: After Stefan Schneider suggested to release a Yui-Tietchens album on his TAL imprint Miki and I quickly developed some ideas towards our eventual collaboration. We agreed upon an ongoing mutual exchange of material. We have both been very familiar with each other's music for a long time and we found our individual approach towards sound design to be uniquely compatible. We do not use our electronic tools in order to merely achieve the maximum of technical possibilities, but to illustrate aesthetic necessities. This entails a deliberate reduction and refined perception of the sonic characteristics of the material. Only this approach enabled us to fully realise the complete spectrum of the sounds and noises we were working with in order to construct this New Boat. Each and everyone of my treatments is e x c l u s i v e l y based on a track supplied by Miki. I added no new sound sources. Naturally the spatial and temporal dimensions of the source material were thus altered. These transformations are exactly what makes our collaboration special and unique. Very early on we had agreed on New Boat as a working title and a guiding light . Of course in the beginning we had no idea where this New Boat might take us. Now we do know. After several months of ship-building the boat has now set sails for new sonic horizons. Ahoi!

Miki Yui: The title of the album as well as the individual tracks have been inspired by conversations with Asmus. When we had a chat after one of his concerts, he told me about Kōdō, the Art or the Way of the Scent. It is a 8th century Japanese incense ceremony. Very frequently the names of Japanese incense sticks are derived from natural themes, e.g. Bairin is the plum grove, the scent of the first blossom heralding the end of winter. This poetry, the ephemeral nature of the world reminded me of Kigo, words from a Haiku (a form of Japanese poetry), which reference a particular season or a natural phenomenon. So I chose the names of the individual pieces from Kigo as if The Boat was exploring nature whilst sailing through the seasons. Only in retrospect I realised that the titles combined create this poem:

Early spring a hazy view in the night (Oboro)
Plum groves (Bairin)
Over a Dayfly (Kagerou)
A Milkyway (Amanogawa)
Dawn (Akatsuki)
Art of fragrance (Kōdō)
On fragile thin ice (Usurai)

21 Number Ones is celebrating it’s 15th Anniversary in 2021 and it will be available on vinyl for the first time! The album features 21 of GRAMMY Award-winning superstar Kenny Rogers’ number one hits including “The Gambler”, “Through The Years”, “Lady” and many more! Rogers sold over 120 million albums worldwide, making him one of the best-selling male artists of all-time according to the RIAA, with one Diamond album, 20 Platinum albums and 11 Gold. He recorded 24 No. 1 hits, 12 No. 1 albums and 25 Top 10 country albums. Miraculously, he charted a song within each of the last seven decades. His music has always crossed boundaries, with singles and albums finding frequent success on the Country, Top 40, and Adult Contemporary charts, and in a few instances, on the R&B and Christian charts.

On 16th April 2021, three years to the day since producer Tim Larcombe and I began work in the studio, my debut album will be
released independently on our label EKT Records.

spell_hope is about finding the hope, the way forward, the light in dark places, the order in chaos, the things that are most
important. It is about creative freedom. Not compromising on integrity and originality, and resisting the shortcuts, the temptation of

an easier road. It is about reaching that end goal, that unstoppable ambition. The power we all have within us to change things, to
make things happen. To keep running even after our legs tell us to “stop!”.

The track list adventures from realms of the organic to the electronic, modern to classic, the understated to the overtly dynamic.
Brimming with an inadvertent frankness which I realised more fully after the event of recording (much of the time when I write I let
my subconscious do the talking), these songs comprise a journal, in words and melodies, of my life up to this point…

“Towers” was written at the piano back in 2013, in the moment I resolved to leave my university course behind in favour of the path
that has led me to writing this now - a song I have since been determined would end up on my first record. “Stronger Heart” at the
first sense of heart-break. “Plans” at my first sense of true partnership. “Stones”. “Big Bad Thoughts”, “Small Things” and “Spell
Hope” reactions at various points to the difficulties and destitution of my chosen career piling on top of other issues (- we all have
‘em right?), over time challenging my determination and mental stability.

Ubisoft and Laced Records have joined forces to create a special double soundtrack vinyl in celebration of the fifth anniversary of Tom Clancy’s Rainbow Six Siege.

Before there was PUBG and Fortnite, tactical multiplayer shooter Siege enjoyed a quiet launch in mid-2015. The tense Attackers versus Defenders break-and-clear gameplay saw players doing as much tactical planning in advance as reactive shooting in the moment. Thanks to rock solid gameplay, consistent developer support and a rabid core fanbase, the game grew and grew to become one of the most popular shooters in the world with 10s of millions of players and a thriving esports scene.

Initial lead composers Paul Haslinger (formerly of Tangerine Dream) and Ben Frost (TV show Dark) delivered a taught and atmospheric electronic score for the game on launch. They were later joined by Jon Opstad, Will Bates and Danny Cocke, who contributed score music for the five subsequent years of content.

2012 von den Balfour Brüdern in Belfast Nord Irland gegründet, konnte sich MAVERICK schnell in der Szene etablieren. Mit ihrem ersten Album„Quid Pro Quo“ waren sie bereits mit den schwedischen Hardrock Stars THE POODLES auf Tour. Das von Presse und Fans überschwänglich gefeierte zweite Album „Big Red“ brachte sie wieder zurück auf die Bühnen, diese Mal mit den schwedischen Superstars TREAT. Außerdem waren sie Gast auf vielen Festivals wie z.B. das H.E.A.T FESTIVAL (D), ICEROCK und ROCKNACHT TENNWIL (CH), WILDFEST (BE) und dem ROCKINGHAM in England, was ihnen half ihre schon große Fanbase noch weiter zu vergrößern. Ihr nächstes Album »Cold Star Dancer« aus dem Jahr 2018 bekam beste Kritiken in der internationalen Presse und die Band spielte ihre erste Headliner Tour in Europa gefolgt von einer Tour mit den schwedischen Glam Rockern CRASHDIET. Außerdem spielten sie das das schweizer ROCK
THE RING Festival zusammen mit WHITESNAKE, TESLA und DEF LEPPARD. Die Tour wurde wieder mit Gitarrist Ric gespielt, der die Band wegen persönlicher Gründe verlassen hatte. Sein Ersatz Steve Moore kehrte zu seiner Band STORMZONE zurück. Ihr H.E.A.T FESTIVAL Auftritt im Dezember 2019 war die letzte Show für ihren Drummer Jonny Millar. Für ihn konnte mit Jason-Steve Mageney,
einem guten Freund der Band aus Wuppertal, ein mehr als adäquater Ersatz am Schlagzeug gefunden werden. Die Aufnahmen für das Album begannen Ende 2019 aber Covid-19 geschuldet, dauerte alles länger als erwartet. Durch den Lockdown in der UK war es lange Zeit unmöglich Jason für die Schlagzeugaufnahmen einzufliegen. Dies gelang dann endlich im Sommer 2020. Mit »Ethereality« ist der Band ein Album gelungen, welches alle MAVERICK Trademarks enthält. So findet man catchy, Hookline-orientiertes Songwriting von »Big Red« kombiniert mit etwas härteren Einflüssen von »Cold Star Dancer«. Man muss nur die Songs «Switchblade Sister”, «Bells Of Stygian”, «Falling” oder die Fast-Ballade »The Last One« anhören, um zu wissen, dass »Ethereality« ihr bisher bestes Album ist. Denn
so muss Heavy Rock klingen!

Tape

The arcane enigma from the caucasian mountains that is Natalie Beridze, treats us with a reflective concept album, her 9th solo album, focussing on buried chapters in her own work history.

“I sought after material, piled up on my old hard drives; - various sound debris, recorded and produced in the past. I recycled them beyond recognition and fudged them together into new samples to compose this album.

Mapping Debris is a term used during an investigation of a plane crash.
Special agency collects millions of infinite small pieces of shattered metal and wiring from the crash site. They later try to reconstruct an original fuselage of the plane from assembled debris, in order to recreate its story and reveal the reason that lead up to the catastrophe.



Mapping Debris is a manifestation of dematerialization in physical domain and time: shedding skin turning into dust, decaying objects, corrosion, atrophy, rot, nonsense and factual forgetfulness, which mirrors chilling fear of perishing, losing integrity, memory of events, images, smells and sensation of touch of those, who have already perished in their earthly archetype.
Yet in the aftermath of realization, one no longer dwells in colossal dead weight of inevitability of the end. The pattern perishing has a golden thread on one end - the one that makes us dwell in ceaseless possibility of rebirth, translation and remembrance.

This album is a continuation of series of works I have dedicated to my parents lives, as well as their death...”

It is an intricate poetic net one enters while surrendering to Natalies music. The spiky grit and her heartwarming, harmonic swashes that touch you like a hug, belong inseparably together and spread that multilayerd consolation, manifesting the force of music in its most glistening form. (Thomas Fehlmann/ Natalie Beridze)

Der Inbegriff für des kommerziellen und künstlerischen Höhepunkts von Traffic, ”The Low Spark Of The
High Heeled Boys,” erreichte weniger als ein Jahr nach seiner Veröffentlichung Gold und erzielte schließlich
einen Umsatz, der über den von Platin hinausging.
Nun erscheint das Album als individuelles Re-Issue aus dem phänomenalen ”Traffic 2019 - The Studio
Albums 1967-74 Boxset.” Aus den Originalaufnahmen remastered und auf 180 g schweres Vinyl gepresst,
ist es ein Muss für jeden neuen oder erfahrenen Traffic-Fan.
The Low Spark Of The High Heeled Boys” erscheint als Deluxe LP und digital.

“Some of the most extraordinary songs I’ve heard in years.” Brian Eno

Les Disques du Crepuscule presents The Salt Garden (Landscaped), an album of extended pieces by acclaimed quiet music ensemble Fovea Hex, featuring longform remixes by British songwriter and producer Steven Wilson and Serbian soundscape artist Abul Mogard, as well as a previously unreleased mix by Peter Chilvers.

Formed in 2005 by Irish musician Clodagh Simonds, Fovea Hex have since released 3 albums (Neither Speak Nor Remain Silent, Here Is Where We Used to Sing and The Salt Garden), drawing favourable comparisons with Nico, This Mortal Coil, Ligeti and even Schubert.

The Salt Garden (Landscaped) is pressed on crystal clear vinyl, and comes packaged with a CD version featuring 4 tracks in total. The outer sleeve is printed in white reverse board and features an image taken by Crepuscule designer Joel Van Audenhaege during a recent trip to Greenland. The inner bag offers detailed liner notes as well as an interview with Clodagh.

As well as Steven Wilson and Abul Mogard, other high-profile admirers include film director David Lynch, who invited the group to play at his Cartier Foundation exhibition in Paris in 2007, and Brian Eno, who has described Clodagh’s work as “some of the most extraordinary songs I’ve heard in years.”

The Salt Garden (Landscaped) gathers together 3 long ambient remixes of tracks from the Salt Garden EP trilogy, originally released between 2016 and 2019. The core album is pressed on crystal clear vinyl and showcases ‘Solace’ and ‘Is Lanza Light & Given’, both re-worked by musical polymath Steven Wilson. “I’ve long been a fan of Fovea Hex,” explains Steven, “which for me is some of the most sublimely beautiful music ever recorded. It’s a mix of electronic and acoustic sounds played on instruments ranging from state-of-the-art to ancient and arcane.”

As well as the two tracks reworked by Steven, the bonus CD enclosed with the vinyl album also finds room for ‘We Dream All the Dark Away’, the widely-acclaimed re-interpretation by Abul Mogard of ‘All Those Signs’ from the Salt Garden II EP. By turns haunting and sinister, but always beautiful, the piece features vocals by both Clodagh and Brian Eno, as well as cello by Kate Ellis, and modular synth and effects by mysterious soundscaper Mogard.

An additional special bonus track on the CD is an unreleased remix of lesser -known 2015 digital single ‘By the Glacial Lake’ made by musician Peter Chilvers, best known for his collaborations with Brian Eno, Karl Hyde, Chris Martin and Tim Bowness.

“I feel truly honoured!” says Clodagh Simons, who began her career in cult folk-psyche band Mellow Candle, and since then has guested on albums by Mike Oldfield, Thin Lizzy, Russell Mills, Matmos, Current 93 and Steven Wilson. “It’s been fascinating to witness how these pieces have been so imaginatively and skilfully revisioned in the hands of Steven, Abul and Peter. Each piece has emerged into a completely fresh new light, with a different vibrancy, yet remains grounded in what was there before.”

Olafur Arnalds' highly anticipated second full-length album '...and they have escaped the weight of darkness', continues his mission to lure an indie-generation of pop and rock fans into an emotive world of beguiling electronic chamber music and delicate classical arrangements. The sense of an organic crossover recording is reinforced by the involvement of co-producer Bar?i J?hannsson of eccentric pop/rock/electronica-formation Bang Gang. Bar?i has successfully coloured the brittle minimalism of previous releases through the addition of an array of new instruments.

Those expecting a mere continuation of the minimal melancholia of his previous albums are therefore in for a surprise, as the record may be the most uplifting and richly orchestrated work of his career: "The album has a very clear theme", Arnalds relates, "which is that there is always light after darkness. To me, it has a more positive note than my previous works." When ?lafur saw how the opening scene of a Hungarian indie film metaphorically described a solar eclipse, he instantly connected it to the concept, naming the album after a key line of the film's introductory monologue. Staying true to this positive note, '...and they have escaped the weight of darkness' will herald another intense year for ?lafur Arnalds, with the album being accompanied by a world tour, starting in China in March 2010.

Born in the suburban Icelandic town of Mosfellsb?r, a few kilometres outside of Reykjav?k, the 23-year old composer has always enjoyed pushing boundaries with both his studio work and his live-shows. His new opus is set to again challenge his fan base, which is still growing rapidly. Over the past eighteen months Arnalds has advanced from a former support-act for Sigur R?s to an internationally respected artists in his own right. He was privileged to be invited to write the 'Dyad 1909' score for award-winning choreographer Wayne McGregor, aired on BBC Four and on ITV1's South Bank Show. 'Found Songs', a collection of pieces each written, recorded and released in a single day via the Erased Tapes label website, as well as the video for 'Lj?si?' have since managed to generate half a million downloads and video views.

In many ways, the new record is clearly inspired and informed by these events. Several of the pieces were, in fact, written on and off throughout his tour and benefit directly from the intensity of the live situation and the emotional roller-coaster-ride of life on the road: "The first half of 'Gleypa okkur' was written in a sound check in Munich, for example", Arnalds relates, "while the second part was scored in Braunschweig, Germany." On the other hand it is the result of meticulous studio work, of refining compositions in close co operation with compatriot Bar?i Johannsson, known for his eccentric personality and unique electro-acoustic sound: "I definitely wanted to do something a bit different this time, something more. Working with a producer was a part of that." The enthusiasm translates to arrangements displaying a new sense of sonic diversity.

?lafur Arnalds has created an even more open and spacious sound and taken his distinct style to a new level. Compared to his previous works, '...and they have escaped the weight of darkness' makes use of diverse instrumentation ? drums, guitars, voice, Rhodes, a selection of subtle synthesisers, alongside Arnalds' trademark piano as well as Tony Levin on bass. Traditional terminologies become void on his latest offering, which blends contrasting elements into an original, entirely organic new language and a sensitive ballet of the mind.

Arnalds fusion of 21st century electronics and classical vocabulary thereby continues to decisively unwrap the sealed-off world of classical music.

From the rampaging start of the EP, "Eternal Remorse", not a single note, guttural vocal, or fierce drum hit is out of place. The emerging greek artist Boris Barksdale, portraits the overall feeling of militaristic order encompasses music and vocal samples. The musical equivalent of that image, industrial society's restless march to oblivion rendered as an infinite dance track, as aggressively vibrant as it is alienated.

Limited edition to 500 copies vinyl + 16 pages comic.

Record Kicks presents the reissue of the rare and in-demand Calibro 35 EP Dalla Bovisa a Brooklyn on vinyl. The EP includes an original Calibro 35's comic and is limited to 500 copies, which makes it an instant collector's item.

Originally recorded in 2012 in Brooklyn during the sessions for their third studio album Any Resemblance, Dalla Bovisa a Brooklyn (literally 'from Milan's district Bovisa to Brooklyn') came out in that same year as a limited edition 10". The EP contained an original comic by Italian gurus Gianfranco Enrietto and Marco Philopat that tells, between reality and fiction, the experience of Calibro 35 in the Big Apple. Rapidly gone out of stock, the original copies are rare to find and change hands for big money amongst record collectors and Calibro fans. Following the re-release of the first 3 Calibro 35 studio albums, now also Dalla Bovisa A Brooklyn sees the light again on the superior 12" format that includes a restored colored version of the original 16 pages comic. From the opening "Broccolino funk" to the last track, the 6 minutes of the afro-funk winner "Bushwick, Nigeria", on the six tracks on the EP the band sounds as groovy as ever, serving another funk-filled journey, full of fuzz guitars, distorted organs and brooding bass lines.

Active since 2008, Calibro 35 enjoy a worldwide reputation as one of the coolest independent bands around. During their thirteen-year career, they were sampled by Dr. Dre on his Compton album, Jay-Z, The Child of lov & Damon Albarn; they shared stages worldwide with the likes of Roy Ayers, Muse, Sun Ra Arkestra, Sharon Jones, Thundercat and Headhunters and as unique musicians they collaborated with, amongst others, PJ Harvey, Mike Patton, John Parish, Stewart Copeland and Nic Cester (The Jet). Described by Rolling Stone magazine as "the most fascinating, retro-maniac and genuine thing that happened to Italy in the last years", Calibro 35 now count on a number of aficionadosin every corner of the planet.

Dua releases the deluxe Future Nostalgia album ‘The Moonlight Edition’ on 11th Feb at 11pm GMT. The Moonlight Edition is a celebration of what can only be described as the album of a generation. Future Nostalgia was the most streamed album in a day by a British female artist globally, in the UK & UK. Dua spent more weeks at the top of the album and radio chart than any other artist last year. Future Nostalgia will go platinum in the UK at the end of Feb, just ahead of its first birthday at the end of March.

Future Nostalgia (The Moonlight Edition) features four previously unheard tracks ‘We’re Good’, ‘If It Ain’t Me’. ‘That Kind of Woman’ and ‘Not My Problem (feat. JID)’ and will include the top 10 smash hit single from Miley Cyrus Feat Dua Lipa ‘Prisoner’ which has reached 250m streams worldwide. Also on the album is ‘Fever’ with Angèle, which spent three weeks at #1 in France and 11 weeks at #1 in Belgium and J Balvin, & Bad Bunny ‘UN DIA (ONE DAY) (Feat. Tainy)

We’re Good is the incredible lead single from the deluxe album and both creatively and sonically pushes boundaries of what people expect from Dua. The official video, released on 12th Feb at 5am GMT with a huge global promotion confirmed, follows the story of a lobster in a tank on the Titanic, escaping when the ship sinks. We’re Good is the focus release.

Since the release of her first single in 2015, Dua Lipa has become one of the music world’s hottest young artists. Her eponymous debut album has eclipsed 6 million sales worldwide, with single sales reaching 80 million and the video for her break-out hit “New Rules” (“the song that changed my life,” she says), made her the youngest female solo artist to reach one billion views on YouTube. She made BRIT Award history in 2018 as the first female artist to pick up five nominations, with two wins for British Breakthrough Act and British Female Solo Artist. She then went on to receive two Grammy awards for Best New Artist and Best Dance Recording for “Electricity,” her collaboration with Silk City the following year. At the end of 2019, Dua performed her Number 1 global hit single ‘Don’t Start Now’ at the MTV EMAs, ARIAs and AMA’s in the lead up to the release of her latest album, Future Nostalgia. Her sophomore record was released in March 2020 and surpassed 294 million streams in its first week and has now exceeded 6 billion streams across all of its tracks. The platinum selling album Future Nostalgia has been nominated for 6 Grammy Awards including Album of the Year & Best Pop Vocal and also holds the record for the most streamed album in a single day by any British female artist. Dua has also had the longest run of 3 tracks in the top 10 by a female artist since 1955 and spend more weeks at #1 in the UK than any other artist in 2020.

2021 is shaping up to be another huge year for Dua Lipa, with a 12 date UK Tour, the Grammys and Brit awards in May. Get ready to hear the name Dua Lipa on everyone’s lips.

Next up for Shall Not Fade's new Killer Cuts series is London-based DJ and label boss Tom Frankel. The up-and-coming producer has gained attention and respect for his slick techy house cuts that take from a range of classic house and UKG sound palettes. He makes his debut on Shall Not Fade with Milestones EP, six tracks of skippy house that reminisces early 90s raves.

The record meshes modern sounds with nostalgia; "Better Perspective" is a pulsing laid back house track but with a swerving bassline that gives it edge. Frankel experiments with the sounds of a warehouse rave in a nod to dancefloor romance, "Mandy Cuddles" - melding the classic M1 house piano with searing jungle vocals that cut through the melody like a laser.

Showing the cheekier side of his production, "Slippery Nipple" pays homage to filter house, a skippy garage bassline bringing it up to date. The funkiness of this one is unavoidable, making even the most static hips move; onto "Peak District", a throbbing 90s style roller to keep the pace going.

The two final tracks dabble in the darker end of Frankel's sound palette; "Tapas" adds heavy bass and percussive organ stabs to a clean house sound while "Cuckoo Land" is a deep, sweeping club track that formed a spaced out end to an otherwise high-intensity EP.

Global pop sensation Ava Max—who has already accumulated more than 4 billion career streams—has released her highly-anticipated debut album Heaven & Hell. The record features eight new tracks alongside her previously released hit singles “Sweet But Psycho,” “Who’s Laughing Now,” “So Am I,” “Salt” and “Kings & Queens,” the latter of which spent five weeks at #1 on European airplay and is currently #21 on Top 40 radio.

“Heaven & Hell represents light and dark, good and evil, and the devil and angel on your shoulder,” said Ava on the meaning behind the album. “I’m discussing the dualities of the challenges we face each day. Some songs have darkness; other songs are more positive. Heaven & Hell is the middle ground.”

Ava has also revealed the video for her track “Naked,” which was directed by Hannah Lux Davis (Ariana Grande, Halsey, Doja Cat).

“It’s about the real emotions we go through,” said Ava on the meaning behind the track. “If you don’t know my mind, soul, and heart, you’ll never know me by seeing me naked. We are more than our physical bodies. That’s what I wanted to show.”

A truly international artist, Ava sealed her pop superstar status with the blockbuster success of the RIAA 3x-platinum certified hit, “Sweet but Psycho.” Currently boasting over 2 billion global streams and counting, “Sweet But Psycho” was named among the New York Times’ “54 Best Songs of 2019,” spent three weeks in the top 10 of Billboard’s “Hot 100,” peaked at #3 at US Pop Radio and earned Ava her first-ever Teen Choice Awards nomination for “Choice Pop Song.” The song was joined by an official video that has more than 600 million views on YouTube.

Produced by GRAMMY® Award-winning super-producer Cirkut (Maroon 5, Miley Cyrus, The Weeknd) and co-written with Madison Love (Camila Cabello), “Sweet But Psycho” hit #1 on both Spotify’s “United States Viral 50” and Billboard’s “Dance Club Songs” while becoming one of “The Top Most-Shazamed Songs of 2019.” The song’s stateside success followed the track’s remarkable popularity abroad, including four consecutive weeks atop the UK Singles Chart and #1 rankings on charts in nearly 20 countries.

Dubbed an “Artist You Need to Know” by Rolling Stone, Ava has been feted with a wide range of media attention including high profile features in Vanity Fair, Billboard, FORBES, PAPER, and more. The pop star first took over TV with performances of “Sweet but Psycho” on CBS’s The Late Late Show with James Corden, NBC’s TODAY, and the Ellen DeGeneres Show, as well as a summer performance of her RIAA-certified gold single “So Am I,” on ABC’s Jimmy Kimmel Live. Ava became one of 2019’s most honored performers, including “Best New Artist” nominations at both the 2019 MTV Video Music Awards and the 2019 MTV Europe Music Awards. The latter was highlighted by both Ava’s first-ever win for “Best Push Artist” and show-stopping live performances of both “Torn” and “Sweet But Psycho,” streaming now.