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Edition of 100 copies only.

Side A: 'Vodou'. Head priest: Gran Sèvitè Jean-Daniel Lafontant. Vodou priests: Oungan Eddy Saint-Jean and Anperè Jean Céus. Vodou priestesses: Manbo Françoise Célestin, Manbo Christine Lamour, Manbo Marie-Marthe Similien and Manbo Jacqueline Thélus. Other participants: Ounsi and members of Sosyete Na-Ri-VéH. Percussionists: Ountògi and the drummers of The Sacred Temple Na-Ri-VéH 777. Side B: 'Rara'. All-female rara band: Forever Rara Fanm of Belair.

Grand Rue recordings made by AMé in front of the Atis Rezistans, Port-au-Prince on 21 December 2015, 4:54pm to 5:18pm. Vodou ceremony and all-female rara band recorded by AMé at Temple Na-Ri-VéH 777 in Port-au-Prince, 16 December 2015, 9pm to 1am. Edited by Philip Marshall with AMé in Cologne, 16 May 2016. Mastered by Zachary James Watkins at Stank House, 3 August 2016. Artwork by Stefan Fähler. AD&D by Don Wyrm.

With thanks to: Ghetto Biennale, Leah Gordon, Atis Rezistans, Gabriel Toso, the priests and priestesses, the members of the all-female rara band, the percussionists, Clocktower Radio and all the Haitian People.

An introduction to Vodou music and Rara, by Gabriel Toso:

"Tanbou prete pa janm fè bon dans" ("A borrowed drum never makes good dancing")

"Music is to Vodou what water is to our bodies or fire to our hearts: all embracing, all inflaming. The spirits of Vodou are called upon and energised by the inexhaustible rhythms of Africa. Brought by the slaves to the New World, and merged with indigenous and European traditions, their magical power is the soundtrack of Vodou itself, its life-force.

Dancing, singing, praying are all fundamental aspects of Vodou; but above all it is the drumming that plays a major role during the ceremonies, an invitation to the lwas (gods) to join and partake in the rituals. Like the heartbeat of an infant in its mother's womb or the vibrations of our planet, the percussions of the tanbou (drum) are at once instrument and creator. Different batteries of drums correspond to different rites, countless rhythms to a multitude of nations of laws. The drum is not only a musical instrument but a sacred object, an expression of the divine. Its sound guides the initiates to their appointment with the spirit world.

Rara festivals are yearly celebrations that begin following Carnival during the Catholic Lent season, when the activity of the Vodou temples is at its quietest. During those six weeks Rara bands parade for miles playing music, dancing, and performing rituals for Afro-Haitian laws, while wearing specific costumes and using a variety of musical instruments. Probably originated in Haiti during the colonial period, Rara bands and their vast repertoire of songs are both politically and socially engaging while keeping an amusing, irreverent, and at times risqué personality. Traditionally connected with a Vodou temple, Rara bands leave the ceremonial spaces to interact in the public sphere through parading, thus reminding both participants and spectators of the physical presence of the lwas." – Gabriel Toso, London, 3 November.

XXX is back with an Split 12“ EP. On the A side we have Spencer Miles and on the AA side Zakmina. Once again XXX brings artists from all around the globe together on 12“. Spencer Miles brings us some dark brooding tracks all the way from Oregon, while Zakmina from Lithuania adds up to the heat with two bangers that for sure will shudder the dancefloor. The artwork is by upcoming photographer Joost Termeer, who is based in Utrecht in the Netherlands. When he heard the track he thought of fire, which was the inspiration for the artwork. We couldn’t agree more.

UMC are proud to present the first ever vinyl release of ‘The Very Very Best Of Crowded House‘! An institution in their homeland, a two-album wonder in the U.S., and, during the last half of their ten-year career, bona fide stars in the U.K. and most of Europe, Crowded House recorded some of the best pop music of the late ’80s and early ’90s. Leader Neil Finn’s carefully crafted songs, meticulous eye for lyrical detail, and gift for melody are matched by few other songwriters. The songs of Crowded House & Neil’s songwriting acclaim have been championed by the likes of Ariana Grande & Miley Cyrus, Chris Martin & Eddie Vedder & most recently Fleetwood Mac, for which Neil is currently the touring guitarist/vocalist. The 2010 chart-topping compilation features all the band’s major hits including ‘Fall At Your Feet’, ‘Weather With You‘ & ‘Don’t Dream It’s Over’ plus many (many) more. The 19-track collection is cut across 2 x 180-gram black vinyl LPs featuring printed inners & essay. DL codes included.

“This album will be part of the everlasting impact the Tribe collective had on our culture, on our hope and possibilities.” - Herb Boyd

Strut and Art Yard present the first compilation bringing together the modern era recordings of Tribe, Detroit’s acclaimed independent jazz collective.

Tribe began as a musical ensemble in 1971 co-founded by Saxophonist Wendell Harrison and trombonist Phil Ranelin that soon expanded into a broad amalgam including a live collective and independent record label. Ignored by the mainstream, many African American jazz artists in Detroit and across the US began creating their own small imprints and Tribe emerged alongside other cultural entities to express selfdetermination goals in the city: saxophonist Ernie Rodgers with his sessions at Rapa House; John and Leni Sinclair’s Artist Workshop; Bruce Millan’s Repertory Theater; the Hastings Jazz Experience and the Strata Corporation led by Kenny Cox. Harrison’s ideas of independence, self-determination and education were central to the Tribe ethos: “I might be possessed with a drive to get the knowledge out,” explained Harrison, “because I see this as sustaining the future of the jazz diaspora, the jazz tradition.” Tribe album releases like Harrison’s ‘An Evening With The Devil’ (1972) and Harrison and Ranelin’s ‘A Message From The Tribe’ (1973) became early ‘70s milestones in Detroit jazz.

In 1977, Harrison teamed up with pianist/composer Harold McKinney to form Rebirth Inc., aided by Detroit cultural warrior John Sinclair, a continuation of the Tribe community ethos. Musically, it formed a link with radio station WDET and began an outreach program to teach children and to publish Harrison’s jazz instruction books. Harrison continue to record extensively as a leader with his own labels, WenHa and Tribe, documenting the collective through sessions led by Phil Ranelin, Harold McKinney, Pamela Wise and more.

The ‘Hometown’ compilation places the spotlight on this later era of Tribe and Rebirth Inc., with rare and previously unreleased recordings from Harrison’s WenHa / Rebirth Studios and the SereNgeti Gallery And Cultural Center. Among many highlights, Harold McKinney and his “McKinfolk” family of musicians contribute the pulsing ‘Wide And Blue’ and dance celebration ‘Juba’; Phil Ranelin re-works his classic ‘He The One We All Knew’; Poet Mbiyu Chui (Williams Moore), pianist Pamela Wise and percussionist Djallo Djakate spark on the uncompromising ‘Ode To Black Mothers’ and the rallying cry of ‘Marcus Garvey’: “If we ever get together we will astound the world.” Harrison himself evokes the power and majesty of juju on ‘Conjure Man’.

‘Hometown’ comes as a 2LP gatefold and 1CD digipak fully remastered by Technology Works from the original session recordings. Both formats include exclusive sleeve notes by journalist Herb Boyd with rare photos from Wendell Harrison’s personal archive.

Electronic pioneers Rick Smith and Karl Hyde announce the conclusion of their groundbreaking fifty-two week DRIFT series: a new single, a new album and their biggest ever live headline shows

Released on October 25th 2019, the new album DRIFT SONGS marks the conclusion of their hugely ambitious 52-week DRIFT Series. During that period, music, film and text pieces are created and published every Thursday as part of the band’s on-going, very public recording process; a unique and visionary space Smith and Hyde have created for themselves to exist within. By the end of the DRIFT series, more new music and film will have been released by Underworld in its one-year duration than in the last fifteen years.

DRIFT SONGS expands and enhances a selection of the recordings the duo have released since they began their audio/visual experiment in November 2018. The album will be released as a single CD, double vinyl and crucially an all-encompassing box-set featuring the music, visuals and text pieces released throughout the entire 52-week DRIFT.

DRIFT SONGS is Underworld’s first album release since 2016’s Barbara, Barbara we face a shining future (“an album full of heart, soul and brilliant noise” The Observer ) and the first physically released music since 2018’s Q award winning collaboration with Iggy Pop, Teatime Dub Encounters (“Born of the friction from a restless need to create… others of their standing may choose the wallowing legacy of safety. These guys do not.” NME ).

Underworld are Rick Smith and Karl Hyde. The press say they are: “Electronic heroes” The Observer “Hugely ambitious and unimaginably relentless” Q “True mavericks” Prog “Thrillingly relevant” The Times “(Underworld) boast a breadth and attack largely lacking in contemporary laptop electronica ” The Guardian
“The Drift experience is one of a torrent of ideas, with its own internal logic… (where) instinct, experience and chance lead to a strange kind of harmony” Mojo

* The original sister label to Ram Records from the old Ram HQ studio in Essex, Liftin Spirit Records now celebrates it’s 25th year with a special ‘RELOADED’ limited vinyl series of remastered classics, alongside rare and previously unreleased tracks since the beginning in1992.

* DATs from artists such as Andy C, Ant Miles, Shimon, Joint Venture, Interrogator and Red One have been located in the archives. Also from the Ram & Liftin HQ came tracks for the Deep Seven label in 1993 and all these rare DAT masters have been located and now re-cut by Simon, the original Ram & Liftin vinyl masterer at ‘The Exchange’. Initially, Deep Seven remasters will present on a printed white label and unreleased tracks will have a black label.

* Our second release in the Deep Seven series comes from ‘Ironik’. An alias from Ant Miles in 1993 that produced two Hardcore tracks in the form of Believe In & 4 AM. Re-mastered from the original DAT and pressed on 180g vinyl.

Promotion across chosen internet websites and Hardcore 12” vinyl communities.

* The original sister label to Ram Records from the old Ram HQ studio in Essex, Liftin Spirit Records now celebrates it’s 25th year with a special ‘RELOADED’ limited vinyl series of remastered classics, alongside rare and previously unreleased tracks since the beginning in1992.

* DATs from artists such as Andy C, Ant Miles, Shimon, Joint Venture, Interrogator and Red One have been located in the archives. Also from the Ram & Liftin HQ came tracks for the Deep Seven label in 1993 and all these rare DAT masters have been located and now re-cut by Simon, the original Ram & Liftin vinyl masterer at ‘The Exchange’. Initially, Deep Seven remasters will present on a printed white label and unreleased tracks will have a black label.


* What can we say about Desired State? Their alter ego to Origin Unknown and an absolute force in the 90’s. Andy C & Ant Miles’s Hardcore roots grew into the emerging Jungle/Drum & Bass scene with huge success. Deep in the original RAM HQ archives was a DAT tape containing two tracks from 1992. Never before heard, let alone released, these breakbeat gems were created in the golden era of Hardcore. 27 years later they get a full master and release on Liftin Spirit Records, that are sure to please collectors of Oldskool Hardcore and early Jungle alike.

Promotion across chosen internet websites and Hardcore 12” vinyl communities.

How could we describe multi-instrumentalist Penelope Antena ? From her Lo-Fi sounding EP ‘Down the Habit Hole “, to her soul infused duo “Honey Drips” with Swiss producer Deheb, to the fragile and tormented melodies of “33-1 Oak” her first single out on the new Parisian label Kowtow Records.

Penelope can proudly say she takes from her mother Isabelle Antena when it comes to cross musical genre. Though the commun thread between all the worlds she cleverly navigates, would definitely be her vocals. Experimenting instinctively with different techniques, Antena uses her voice as a harmonic lab of emotions. Sometimes intimate, sometimes haunted. Always Original.

Her first LP Antelope - entirely self-produced - comes as proof that the music she makes changes and evolves to perfectly match her personal story. After a painful heartache, Antena settles alone in her parents house, lost in the woods somewhere in the south of France. Surrounded by her grand father’s instrument (Marc Moulin- great Belgian Composer from the 70’s ) she writes this 10 tracks album field with melancholia and broken love. Like on the branches of the Cedars around her house, It’s a folky electronic breeze that hallows onto this record.

New sound, same familiar feeling when listening to Antena (be it Mother or Daughter) : acoustic and electronic have rarely been so intertwined, beautifully combined. And if Bandcamp placed her song “Abuse” as one of the best of 2018, 2019 is sure set out to be a good year for this multi-facetted artist with narrative propension.

The only cover tune on Carlton Jumel Smith's "1634 Lexington Ave." album is not really a cover at all, since it was first cut by Carlton himself already 10 years ago. The sultry 2009 edition of "I'd Better", that was put out on the short-lived UK Soulchoonz label, is a nice piece of programmed mid-tempo modern soul. The new version, now getting a 7" single treatment on Timmion, still sounds miles away from the polished earlier effort.

It starts off with a nice guitar led beat before settling into a sweet Tighten Up groove, a funky road which still has plenty curves to explore, even for Cold Diamond & Mink, who are certainly not lifting water from this particular well for the first time. What remains naturally is Carlton's ultra-soulful vocal performance, and a message of manning up to the max, staying true to your word in front of something divine.

It's not that often you hear a more recent version of a song sounding so that you would think it's the old version. Essentially, what you get is a beautiful piece of xover soul, with timeless swagger, and an instrumental with soulful legs of its own.

The Beartone label continues to make moves with a six superb release from the boss himself Bearface (A.K.A. Panasa from Afrobeat duo Bana Kuba). Renowned for his slick final house on a range of top labels, here he offers four more such cuts that will melt the mind.Opener Outers is a slippery and sleek number with icy hi hats and rugged basslines. It’s heady tackle that really gets under your skin.Veda ups the pace with more super well programmed drums and deft little hi hats and drum fills as well as some warped vocals that bring a brilliantly freaky feeling.Milenial then gets down and dirty, with kinetic kick drums and rasping synths, popping cow bells and a relentless sense of groove.Closing things out is Cause, a deep, bubbly number with underlapping bass, gloopy synths and a dry, catchy groove that gets you locked.All in all this is another first class EP.

Support from: Vlad Caia (SIT), Mahony, David Gtronic and Moskalus.

Body Beat: Soca-Dub and Electronic Calypso (1979-98) comprises 17 obscure Soca B-side versions, dubs, instrumentals and edits as well as vocal tracks influenced by disco, boogie, house-music, soul and the more conscious lyrics of roots reggae. This compilation traces the soca genre from its explosion in the late 1970s right up to the period just before contemporary soca became established around the end of the 1990s. TIP!!

Compiled by Soundway Records label founder Miles Cleret and DJ/collector Jeremy Spellacey, Body Beat, as with many compilations on the label, explores the fringes of this often maligned (by outsiders) genre. Boiled down to the bare bones of the matter though: soca is party music.

Soca was originally a re-invention of Calypso music; a genre that in the 1970s was fast becoming usurped around the Caribbean by Jamaican reggae and American soul, funk and later disco. The originator of soca (or sokah as he called it), the calypsonian Lord Shorty, began experimenting and modernising on the formulation of calypso in the early 1970s. His first album featured a strong emphasis on East African rhythms and a punchier recording style that emphasised the beat, and introduced arrangements that often owed as much to American funk and soul as to calypso.

So here you go - seventeen slabs of soca crossover, rapso, electronic calypso, and Caribbean ‘soca-soul’ for your enjoyment - and bound to fit well into modern, open-minded DJ sets alongside the resurgence of burger-highlife, digi-reggae, soukous and zouk.

Attraverso is the debut album of new ambient trio PCM. The band consists of Francesco Perra (P) who also records solo as Perry Frank, Pop producer and sym- phonic ambient composer Matteo Cantaluppi (C), and sound designer/engineer and PCM creative director Matteo Milea (M). The album was conceived after a brief studio session exposed that each member brought something unique to their collaborative take on ambi- ent's many sub-genres. Attraverso, in concept, is meant to mimic four long-form journeys through human inner consciousness utilizing an amalgam of drone, modern composition, guitar ambient, and Koyaanisqat- si-eque arpeggiated kosmische musik. Each track title is the word "Attraverso" with three of the four being represented in different languages.
Attraverso is out October 18th on limited edition 180-gram ultra clear vinyl and gatefold compactdisc.

* The original sister label to Ram Records from the old Ram HQ studio in Essex, Liftin Spirit Records now celebrates it’s 25th year with a special ‘RELOADED’ limited vinyl series of remastered classics, alongside rare and previously unreleased tracks since the beginning in1992.

* DATs from artists such as Andy C, Ant Miles, Shimon, Joint Venture, Flatliner, Interrogator and Red One have been located in the archives. Also from the Ram & Liftin HQ came tracks for the Deep Seven label in 1993 and all these rare DAT masters have been located and now re-cut by Simon, the original Ram & Liftin vinyl masterer at ‘The Exchange’. Initially, Deep Seven remasters will present on a printed white label and unreleased tracks will have a black label.
* The year is 1994 and the awesome combination of Flatliner & Ant Miles gave life to the infamous tracks ‘The Big Bang’ / ‘No Boundaries’. Release no 9 on RAM records tore up sound systems at every Rave in the country. A follow up was on the cards and ‘Flatline’ was born. Put to one side to make way for the Big Bang/No Boundaries remixes, somehow it never resurfaced again... until now!
* A similar story evolved for the A side ‘Just Stop’. A track made in the latter part of 1995, Flatliner comes with yet another amen monster, but this time taking things on more of a rolling Drum & Bass vibe. A golden nugget to own on vinyl for any true Jungle/Drum & Bass fan.

Originally released in 1978 on the obscure label out of Mississippi, Commercial, Let Me Be Your Lover is now reissued and available again for this first time. This is a timely reissue of this ultra-rare LP that is fetching prices upwards of £600 online.

The album includes the absolute monster album version of the modern soul/crossover classic Gonna Find A True Love, which was reissued on Miles Away earlier this year. The album version of this track gives the 7” a run for its money.

“This album features the hit track ‘Gonna Find a True Love’. When we first heard this song, it really hit home and inspired us. The beat is uplifting and irresistible. This song is so very relatable not only to us but to others throughout the world and it’s still relevant today!! It’s hard to resist the song’s tempo! Go ahead - grove to the beat and find yourself a true love!” Estus Patterson, 2019

Let Me Be Your Lover is an album is undeniably deep, soulful and passionate and now fully licensed from Estus and Lester Patterson.

After an intrepid new phase in the label’s history - initiated by the “Solidarity Forever” series and followed by releases from Katerina, Mujaji The Rain, Gladkazuka and also Matias Aguayo’s “Support Alien Invasion” (w/ “Crammed Discs”) - Cómeme is happy to announce a new release by a wonderful and unique artist, who chooses to walk adventurous paths beyond nowadays musical normativity, and media spectacle: JOE.
(You might already be acquainted with his releases on the ever - exciting “Hessle Audio” label) On his first EP on Cómeme, JOE invites us to “Get Centred” via fresh sounds, perfect beats, and unusual time signatures – difficult to play, and easy to dance!

A1 GET CENTRED
New rhythms inspire new dances and new ideas, and already at the very first bars you realize that this record can be both a joyfully twisted dance floor work out as also beautiful listening experience - with its shifting arpeggios and trippy crescendos. Reminiscent of minimalist milestones it crosses the artificial barriers between body, mind and soul, satisfying those in need of getting centred, in times of accelerated alienation...

A2 LINE TO EARTH
Triplets are back and here to stay! Such as in this percussive creature Joe unleashes onto the festive crowd. This very catchy jam is clever and intense drum programming at its best, with its swirling toms that seem to float in the air. We feel them activating different body parts for futuristic popping, whereas the relentless boogie rhythm that lays the foundation for this track gives us material to twist our legs in sync to the beat.

A3 RIO LEA
Joe closes this EP with “Rio Lea” - an elegantly swinging jam that smoothly and slowly builds up to a melodic meditation. Its many decorative elements seem all - necessary to make this work and are always falling rightly into place. You can imagine this a perfect fit for a long drink on a spacecraft, watching meteorites pass by, as we are sure it will also work in a bus on headphones late at night, watching the rain rolling down the windows...

Death & Leisure is proud to announce the sophomore album from the very special Autumns.
6 tracks of raw sneering electronics. Coming out in spring.
Autumns is the solo project of Christian Donaghey, From Derry, Ireland, an outlet for electronic post-punk with a lethal pulse. After a brace of rough demos without preliminary hype, the project emerged fully formed on Karl O’Connor’s (aka Regis) illustrious label Downwards back in 2014, the youngest act in a new vanguard of artists that included the likes of Tropic of Cancer, DVA DAMAS and The Kvb.

– Extended Autumns biography here-

Autumns is the solo project of Christian Donaghey, From Derry, Ireland, an outlet for electronic post-punk with a lethal pulse. After a brace of rough demos without preliminary hype, the project emerged fully formed on Karl O’Connor’s (aka Regis) illustrious label Downwards back in 2014, the youngest act in a new vanguard of artists that included the likes of Tropic of Cancer, DVA DAMAS and The Kvb.

Preceding releases for Clan Destine Records, iDEAL Recordings and DKA Records have seen the project engaged in a rough trade of transgressive noise, dysfunctional metal dance and DIY punk angst, yet each of these milestones has represented a different proposition. 2016’s ‘A Product of 30 Years of Violence’ saw the project moving into vast glacial spaces after propulsive post-punk discord of 2015’s ‘Das Nichts’. 2017 presented a further progression into Autumns’ journey from his post-punk beginnings to producing some of the tautest and no bullshite electronic music around with the release of his debut album ‘Suffocating Brothers’ on Clan Destine Records. Gaining radio play from selectors like Trevor Jackson, Regis, Debonair and Giant Swan.

Alongside progressive appearances on cult labels the project has developed a notorious high-intensity live show, having played and toured with artists such as Silent Servant, Veronica Vasicka and Wire, performing to audiences from Los Angeles to Beirut, and Moscow to Berlin. Autumns’ has also ventured outside the typical music world by taking up projects such as performing alongside Samuel Kerridge at the 2016 edition of Paris Fashion Week for Downwards, creating a sound installation at Void Gallery, and improvising a desolate live score to David Lynch’s ‘Twin Peaks: Fire Walk With Me’. Earning Autumns a fierce reputation not only as a live act, but as a multi-disciplinary artist.

Following contributions to labels such as Amok Tapes, Touch Sensitive, Veyl (Maenad Veyl) and Earwiggle (Sunil Sharpe), as well as remixes for Strange Therapy, Infidel Bodies, and Clan Destine Records. 2019 see’s Autumns’ experimentation in the studio go much deeper, with the release of his sophomore album ‘Shortly After Nothing’ on Oliver Ho’s (aka Broken English Club) innovative ‘Death & Leisure’ label, alongside a heavy touring schedule, a collaboration with post-punk legend Eric Random, the launch of his radio show ‘Dyslexia Tracks’ on Dublin Digital Radio and more upcoming releases to surface throughout the year.

After years of mythology, misinterpretation and procrastination Nurse With Wound’s Steven Stapleton finally chooses Finders Keepers Records as the ideal collaborators to release “the right tracks” from his uber-legendary psych/prog/punk peculiarity shopping list known as The Nurse With Wound List, commencing with a French specific Volume One of this authentically titled Strain Crack Break series. Featuring some Finders Keepers’ regulars amongst galactic Gallic rarities (previously presumed to be imaginary red herrings) this deluxe double vinyl dossier demystifies some of the essential French feee jazz and Parisian prog inclusions from the alphabetical “dedication” inventory as printed the anti-bands 1979 industrial milestone debut.

When Steven Stapleton, Heman Pathak and John Fothergill’s anti-band Nurse With Wound decided to include an alphabetical dedication to all their favourite bands on the back of their inaugural LP the notion of creating a future record dealers’ trophy list couldn’t have been further from their minds. By adding a list of untravelled European mythical musicians and noise makers to their own debut release of unchartered industrial art rock they were merely providing a suggestive support system of existing potential likeminded bands, establishing safety in numbers should anyone require sonic subtitles for Nurse With Wound’s own mutant musical language. Luckily for them, the record landed in record shops in the midst of 1979’s memorable summer of abject apathy and its sound became a hit amongst disillusioned agit-pop pickers and artsy post-punks, thus playing a key role in the bourgeoning “Industrial” genre that ensued. On the most part, however, the list , like most instruction manuals, remained unreadable, syntactic and suspiciously sarcastic... As potential “real musicians” Nurse WIth Wound became an Industrial music fan’s household name, but in contrast many of the names on The Nurse With Wound List were considered to be imaginary musicians, made-up bands or booby traps for hacks and smart-arses. It took a while for the rest of the record collecting community to catch on or finally catch u

Since then, many of the rare, obscure and unpronounceable genre-free records on The Nurse With Wound List have slowly found their own feet and stumbled in to the homes of open-minded outernational vinyl junkies, D’s and sample hungry producers, self-propelled and judged on their own merit, mostly without consultation of the enigmatic NWW map. But, to the inspective competitive collector’s chagrin, one resounding fact recurs, NWW got there first! Via vinyl vacations, on cheap flights and Interrail tickets, buying bargain bin LPs on a shoestring while oblivious to the pending pension worthy price tags after their 40 year vintage, Stapleton and Fothergill, even if you’ve never heard of them, were at the bottom of the pit before “digging” became paydirt. And NOW at huge international record fairs that occur in massive exhibition halls (or within the confines of your one-touch palm pilot) amongst jive talk acronyms such as SS, PP, BIN, DNAP and BCWHES the coded letters NWW have begun to appear on stickers in the corner of original copies of the same premium progressive records accompanied by a customary 50% price hike to titillate/coerce the initiated as dealers extort the taught. Like “psych” “PINA” or “Krautrock” did before, “NWW” has become a buzzword and in the passed decades since its first publication The List has been mythologised, misunderstood and misconstrued. It’s also been overlooked, overestimated and under-appreciated in equal measures, but with a growing interest it has also come to represent a maligned genre in itself, something that all members of the original line-up would have deemed sacrilegious. Bolstered by the subtitle “Categories strain, crack and sometimes break, under their burden,” all bands on the inventory (many chosen on the strength of just one track alone) were chosen for their genre-defying qualities... A check-list for the unchart

Forty years after Nurse With Wound’s first record, Finders Keepers Records, in close collaboration with Steve Stapleton remind fans of THIS kind of “lost” music, that there once existed a feint path which was worn away decades before major label pop property developers built over this psychedelic underground. As long-running fans and liberators of some of the same records, arriving at the same axis from different-but-the-same planets, Finders Keepers and Nurse WIth Wound finally sing from the same hymn sheet resulting in a collaborative attempt to officially, authentically and legally compile the best tracks from the list, succeeding where many overzealous nerds have deferred (or simply, got the wrong end of the stick). Naturally our lavish metallic gatefold double vinyl compendium would only scratch the surface of this DIY dossier of elongated punk-prog peculiarities hence out decision to release volume one in a series which, in accordance with Steve’s wishes, focusses exclusively on individual tracks of French origin, the country that unsurprisingly hosted the highest content of bands on the list. Comprising of musique concrète, free jazz, Rock In Opposition, Zeuhl School space rock, macabre ballet music, lo-fi sci-fi, and classic horror literature inspired prog, this first volume of the series entitled Strain Crack And Break throws us in at the deep end, where the Seine meets the in-sane, introducing the space cadets that found Mars in Marseilles.

Like the Swedish flat-pack record shelves that attempt to house the vast amounts of vintage vinyl that goes into a multi-volume compilation like this, its time to prepare your own musical penchants and preconceived ideas about DIY music and hear them slowly strain, crack and b

Fusing hard bop and soul jazz and to create a seriously funky concoction, alto saxist Lou Donaldson’s classic 1967 soul-jazz album gets a vinyl reissue, his 16th and funkiest Blue Note record. Recorded at The Van Gelder Studio, Englewood Cliffs, New Jersey, on 7 April 1967. Featuring the young George Benson on guitar, plus Lonnie Smith on organ, Melvin Lasite on cornet and Leo Morris (AKA Idris Muhammad) on drums. Features the classic title track plus two other superb Donaldson originals (‘The Thang’, ‘Rev Moses’), plus Lonnie Smith’s effervescent ‘Aw Shucks’. A breezy, uplifting funk-fest from start to finish, with good grooves and great solos. The beginning of a long and fruitful partnership between Lou Donaldson and Lonnie Smith. Featuring a classic cover design by Reid Miles and liner notes by Del Shields.

Ross Alexander first came to our attention with Memorias Vol.1 - Bugandan Sacred Places, released back in 2017 on Sucata Tapes, it featured a mind altering mix of recorded sounds from a series of visited sites considered sacred within the Bugandan kingdom and session recordings with Ugandan musicians Albert Sempeke and the Nilotika Collective layered with his own original composition using the Yamaha DX7 and programmed FM synthesis. The result being an unique reconfiguration of new age vocabulary with East African traditional sensibilities. The tape quickly sold out and the new Volume of Memorias presented here arrives now on the mother label Discrepant, on Vinyl with an expanded sound palette appropriate to the format.

Memorias Vol.2 - High Atlas To The Sahara Desert is the logical progression of Volume 1. - based on a series of field recordings Alexander made during a trip through the High Atlas Mountains and into the Sahara Desert in 2018. The aim of the trip was to visit a gathering of nomadic musicians at an oasis close to the Algerian border. Like Memorias Vol1. the recordings made on the trip were then later processed, layered and arranged with original compositions. Where Vol1. had clear nods to New Age music this volume explores the more ambient side of 80’s Industrial sound.

The Summer sun is shining. New possibilities and a new signing for FireScope. Miles Atmospheric aka Miles Sagnia is a U.K. producer whose absorbing compositions have garnered him with releases on A.R.T., Finale Sessions and his own Atmospheric Existence Recordings.

Four works make up Sky Healer. As with all Miles Atmospheric’s productions, there is a liberated and untethered touch to the entire quartet. From a steady kick and rusted clank, “Exoplanetology” sets sail. The track soars on rising strings, muffled samples feeding back indecipherable messages to terra firma. Bright bars introduce “Our Future”, notes shimmering in their radiance as dew drop splashes of percussion form. Xylophonic keys, energetic drums and silken tones coalesce to create the aquatic journey that is the “Waters of Life” before “See The Light.” Snapping drums from the bedrock from which a plethora of tones and textures grow. Sweetened lines ascend to bring perfect balance to this superb finale.

With Sky Healer, Miles Atmospheric accomplishes a very difficult feat. Not only has the British musician produced a body of techno that is organic and unencumbered but also, he has sculpted soundscapes to escape to.