Поиск:mo do

Japanese experimental group Les Rallizes Denudes are the ultimate rock ‘n’ roll enigma. Sometimes referred to as Hadaka no Rallizes or even as Hadaka no Rarizu, each appellation a variant of the name “Fucked Up and Naked” which equates to being high on hard drugs, they are seen as noise-rock pioneers, yet sifting fact from fiction isn’t easy with their oddball tale. Emerging from the radical hippie communes of Kyoto during the late 1960s, the band was formed in November 1967 by university student Takashi Mizutani, taking the overamplified, distorted guitar of the Velvet Underground as a starting point. Early demo recordings apparently suffered from poor sound quality, leading the perfectionist Mizutani to retreat from the studio environment, meaning that most of the group’s output has appeared as live bootlegs, with the occasional studio demo surfacing as well. Performances were initially staged as part of avant-garde theatre, though the band’s propensity for super-loud noise soon put paid to such collaboration; the ever-changing membership saw Mizutani the only permanent force, despite his embroilment in the 1970 Red Army hijacking of a civilian Japan Airlines flight, enacted partly through bass player, Moriaki Wakabayashi, who defected to North Korea in its aftermath. Though perhaps not quite as notorious, fellow improvisational group, Taj Mahal Travellers, has a backstory of random international travels that is almost as intriguing as that of Les Rallizes; formed in 1969 by six experimental musicians and an electronic engineer, they embarked on a series of improvisational gigs across Japan, notably including an all-day marathon held at a Kanagawa beach, and made their way to Europe in 1971, where they crossed paths with Don Cherry and other likeminded practitioners. They later drove from Holland to the Pakistan border, acquiring santoors in Iran on the way to help broaden their already unpredictable repertoire. The Oz Days Live release is culled from the Oz Last Days festival held in the autumn of 1973, to benefit Tokyo’s Oz Rock Café, which had been closed following repeated drug busts. Here the Taj Mahal Travellers are suitably cosmic, their echoing jams featuring looped vocal chants, disjointed string instruments and sparse, off-kilter percussion; in contrast, the contributions from Les Rallizes are more standard examples of instrumental psychedelic rock, which veers more towards the acid rock end of the spectrum as the performance progresses.

Tibor Kocsis doesn't take a minute to introduce himself on his first EP for 030303 records; he presents himself with a slap in your face from the very first second. Title track Delta Ophiuchi is heavy duty dancefloor material... reminiscing of the very best of K Alexi Shelby's early works, just a little more focused and to the point maybe - an instant rush and an instant classic! Second track Nekorb is a little sweeter and more for the after hours. The remaining 3 tracks keep that same flow; a wonderful blend of Chicago, psychedelic British acid house and electronic minimal wave.

An official reissue of the 2017 double album by Caligula’s Horse, originally issued on Inside/Out Records. Caligula’s Horse are among the vanguard of the new generation of progressive rock artists. The Australian band has been often compared to the likes of Opeth, Haken and Porcupine Tree, and original copies of In Bloom on vinyl have already reached high prices on the collector’s market. The Svart reissue comes with a gatefold jacket and the 1000 copy pressing is split into two color variants, the more serene clear vinyl option and the more expressive blue and green marble edition.

An official reissue of the 2017 double album by Caligula’s Horse, originally issued on Inside/Out Records. Caligula’s Horse are among the vanguard of the new generation of progressive rock artists. The Australian band has been often compared to the likes of Opeth, Haken and Porcupine Tree, and original copies of In Bloom on vinyl have already reached high prices on the collector’s market. The Svart reissue comes with a gatefold jacket and the 1000 copy pressing is split into two color variants, the more serene clear vinyl option and the more expressive blue and green marble edition.

While Sass Jordan is celebrated as a multi-platinum selling premiere rock
singer, her 2020 album, Rebel Moon Blues, demonstrated that she sings
the blues with as much power and authenticity as she personified in the
rock world
Following up on the rave reviews garnered by Rebel Moon Blues, Sass continues
to mine her talent as a blues singer with 8 new tracks on Bitches Blues, on Stony
Plain Records.Reflecting on the impact the past two years has had on us all, Sass
has recorded songs that examine the visceral emotional territory of a pandemic,
and the multiple conflicts that the world is reeling from in the aftermath. "Still
Alive and Well' is Sass's triumphant take on a Rick Derringer song that leads off
the album. Her original song, "Still The World Goes Round" marks the mid-point
with a look at power structures, both within and without, while another new
creation" Change Is Coming" ends the collection with a trance- like chant that
offers an uplifting perspective.
As we have come to expect from Sass, the album features fierce guitar licks,
driving tempo's, the raw and soulful Sass Jordan rasp, and a glorious assortment
of rambling road dogs, known as the Champagne Hookers. This particular
collection of Hookers includes longtime associates and rebel rouser guitarists
Chris Caddell and Jimmy Reid, drummer Cass Pereira, keyboardist Jesse O'Brien
and the magnificent Mr. Steve Marriner on bass and harmonica.
Netherlands tour in June 2022.

A multicultural explosion of West African, French and Brighton sounds
Stranded Horse is a touring machine centered around composer, songwriter and
instrument maker Yann Tambour.Whilst he had developed his own kora playing
and teamed up with local player Boubacar Cissokho (cousin and protege of
erstwhile Tambour collaborator Ballake Sissoko) In terms of repertoire, there is
nothing to stop him from covering Joy Division, the Smiths or even Jackson C.
Frank and the moving "My Name is Carnival".Behind Yann Tambour and his band
Stranded Horse lies a faith in chance encounters, a belief that renewal is born out
of chaos. They strive to skirt conventions and labels and wed together
unexpected genres, rules and habits in an album of erratic wanderings, dance and
trance, at a time when more and more get walled off by reluctance and suspicion.
But a strange spell, it seems, was cast on our stranded horse since he chose to
hit the dancefloor for the first time the very year nobody could. Yann Tambour
was first known as Encre at the turn of the millennium. He was then whispering
and stacking orchestral samples into a kind of spoken word electronica with an
acoustic tinge. But in 2005, he decided to return to his early love for arpeggios
and dusted off his classical guitar, all the while growing a fascination for the kora,
an instrument symbolic of West-Africa.
But Stranded Horse doesn't forget to draw on the indie heritage that is still very
much present, as evidenced by "In A Sharper Fairway", which may remind the
most passionate folk fans of the folk- mindedness of Jackson C Franck. As for
the choice of English or French, it is a natural one, whether it is a question of
immersing oneself into the contemplative and poignant "Sparks Turn To Stone" or
entering the frenzied dance of the irresistible "Rumba du trépas", the richness of
the lyrics is reinforced by a voice stripped of all artifice, making each composition
sincere and authentic. The same is true when, with Youssou N'Dour's permission,
Stranded Horse adapts Star Band de Dakar's heady and vast "Thiely" from Wolof
to French.

A multicultural explosion of West African, French and Brighton sounds
Stranded Horse is a touring machine centered around composer, songwriter and
instrument maker Yann Tambour.Whilst he had developed his own kora playing
and teamed up with local player Boubacar Cissokho (cousin and protege of
erstwhile Tambour collaborator Ballake Sissoko) In terms of repertoire, there is
nothing to stop him from covering Joy Division, the Smiths or even Jackson C.
Frank and the moving "My Name is Carnival".Behind Yann Tambour and his band
Stranded Horse lies a faith in chance encounters, a belief that renewal is born out
of chaos. They strive to skirt conventions and labels and wed together
unexpected genres, rules and habits in an album of erratic wanderings, dance and
trance, at a time when more and more get walled off by reluctance and suspicion.
But a strange spell, it seems, was cast on our stranded horse since he chose to
hit the dancefloor for the first time the very year nobody could. Yann Tambour
was first known as Encre at the turn of the millennium. He was then whispering
and stacking orchestral samples into a kind of spoken word electronica with an
acoustic tinge. But in 2005, he decided to return to his early love for arpeggios
and dusted off his classical guitar, all the while growing a fascination for the kora,
an instrument symbolic of West-Africa.
But Stranded Horse doesn't forget to draw on the indie heritage that is still very
much present, as evidenced by "In A Sharper Fairway", which may remind the
most passionate folk fans of the folk- mindedness of Jackson C Franck. As for
the choice of English or French, it is a natural one, whether it is a question of
immersing oneself into the contemplative and poignant "Sparks Turn To Stone" or
entering the frenzied dance of the irresistible "Rumba du trépas", the richness of
the lyrics is reinforced by a voice stripped of all artifice, making each composition
sincere and authentic. The same is true when, with Youssou N'Dour's permission,
Stranded Horse adapts Star Band de Dakar's heady and vast "Thiely" from Wolof
to French.

An avant-garde masterpiece, a vocal-instrumental suite, a work of
collective improvisation, directly addressing the racial and political issues
of it's day, We Insist! Max Roach's Freedom Now Suite is one of the most
important artistic statements of the Civil Rights Movement and one of
the most groundbreaking jazz albums of all time
The second release from the newly launched New York City based jazz label
Candid Records, and produced by label co-founder, famed music critic and social
activist, Nat Hentoff, the album is a bold statement, focussed on civil injustices in
black history ranging from slavery to contemporary racial prejudices, and
featuring some of the finest jazz musicians ever, including Abbey Lincoln,
Coleman Hawkins, Eric Dolphy, Booker Little, and Michael Babatunde Olatunji.

Soul icon Otis Redding made immeasurable contributions to the form. As a singer-

songwriter, producer, arranger and talent scout, Redding was responsible for some of the

music’s biggest and most lasting hits during the 1960s, though his death in an airplane crash

in 1967 brought his life and career to a tragically premature end. He was born Otis Redding

Junior in 1941 in the small town of Dawson, Georgia, the son of a sharecropper and preacher,

and moved to the city of Macon at the age of two, where he learned to sing at the Vineville

Baptist Church. After singing in the high school band, he performed weekly gospel songs on

radio station WIBB, winning local talent contests after being inspired by Little Richard and

Sam Cooke. Since his father became ill with tuberculosis, Redding began supporting the

family at the age of 15, working as a gas station attendant, a digger of water wells, and

occasionally by playing piano with pianist Gladys Williams at the Hillview Springs Social

Club. Then, in 1958, Redding had a repeat prize run at a talent contest held by broadcaster

Hamp Swain, bringing him first into a group called Pat T Cake and the Mighty Panthers, and

later into Little Richard’s band (during a time when Richard switched rock and roll for

gospel). Moving to Los Angeles in late 1960, debut single “She’s All Right” was issued on

the Trans World label (a subsidiary of Al Kavelin’s Lute Records), credited to The Shooters

featuring Otis; following the birth of their first child and his subsequent marriage to Zelma

Atwood, Redding recorded the popular “Shout Bamalam” for Macon’s Confederate Records

(who swiftly reissued it on the Orbit label since some radio stations objected to the original

label’s confederate flag logo, during a time of terrible racial segregation in the South).

Redding cut the movingly emotive “These Arms Of Mine” at Stax studios in Memphis in

1962, backed by Booker T and the MGs, which surfaced on the subsidiary Volt label in

October, reaching the charts some six months later (and eventually selling a reported 800,000

copies). Subsequent singles “What My Heart Needs” and “Pain In My Heart”/“Something Is

Worrying Me,” recorded in September 1963, formed the bulk of debut album, Pain In My

Heart, which was padded out by standard cover tunes of songs such as “I Need Your Lovin’,”

Ben E King’s “Stand By Me” and Little Richard’s “Lucille.” The album, which surfaced at

the start of 1964, reached the top 20 of the US R&B chart and also hit the Billboard Hot 100;

this edition has an alternate track listing that includes the Trans World debut single tracks

“She’s All Right” and “Getting’ Hip,” as well as “Mary Had A Little Lamb,” the B-side to

“That’s What My Heart Needs.” Carefully remastered, spinning at 45 rpm for enhanced qudio quality.

Sam Cooke was such an important pioneer of soul music that he was commonly known as the king of the genre. His distinctive emotive voice is one of the most easily recognizable of all in popular music and his work paved the way for countless other giants, including Otis Redding, Marvin Gaye, Curtis Mayfield and Al Green, among many others. A native of Clarksdale in northwest Mississippi that was raised in Chicago, he was the fifth of eight children born to a Pentecostal minister. Beginning his career with his siblings as The Singing Children, he led gospel group The Highway QCs in his teens and then joined The Soul Stirrers, reaching greater glory upon going solo in the mid-1950s, when he scored the first of many number-one hits for the short-lived Keen label, and then reached a wider audience upon switching to RCA in 1960. My Kind Of Blues was recorded for the label in 1961 (just as Cooke was launching his own SAR Records imprint), being a collection of show tunes and jazz standards, delivered in a soulful blues style by Cooke atop lush orchestration, arranged and conducted by trumpeter and bandleader, Sammy Lowe. Highlights include a soave version of Duke Ellingston’s “I’m Just A Lucky So And So,” a cool cut of “Nobody Loves You When You’re Down And Out,” a stirring take of George Gershwin’s “But Not For Me” and a lovely rendition of Irving Berlin’s “The Song Is Ended.”

Playing in Dixieland jazz bands during his teens and then passing through some Kansas City jazz acts, New York-born alto saxophonist Steve Lacy became associated with the avant-garde jazz movement from the mid-1950s, playing on free jazz pianist Cecil Taylor’s influential debut LP and early work by the Canadian pianist Gil Evans, before serving a long tenure with the idiosyncratic improv pianist Theolonius Monk, whose work he would continue to reference throughout his career. Visiting Europe from the md-1960s, starting with a trip to Copenhagen with pianist Kenny Drew (who made the Danish city his home thereafter), Lacy later travelled to Italy to form a quartet with Italian trumpeter Enrico Rava (who had earlier played in Argentinian sax player, Gato Barbieri’s group), plus South African exiles and former Blue Notes members Johnny Dyani on double bass and Louis Moholo on drums. Lacy subsequently moved to Paris, which became his permanent base from 1970, leading a sextet there whilst also exploring the limits of the alto saxophone as a solo instrument. The disparate and often discordant album Threads was recorded in Rome at Mama Dog studio in 1977 for filmmaker-turned-record producer Aldo Sinesio’s Horo Records label; comprised of six of Lacy’s own compositions, the album saw Lacy supported by Alvin Curran on piano and Frederic Rzewski on flugelhorn, synthesizer and percussion, the pair both longstanding members of the experimental group, Musica Elettronica Viva.GO

Our story begins in Jerusalem 1980 – Zadik Zecharia – a folk musician whose speciality is the Zorna – a traditional kurdish woodwind instrument – recorded a cassette of kurdish melodies played on Zorna and Dola, a kurdish drum.

The tape was released independently and distributed mainly around the kurdish-jewish community in Israel. Zadik mostly performed at weddings and ha as / celebrations and was also known by the nickname “Iron Lungs”, because of his ability to take only a few pauses for breath during his long gigs.

In 2005, one tape found its way to “Something on the Road” – an underground CD-r Jerusalem based label which reissued the music on CD-r. Overnight, these intense melodies became a cult phenomena in the hipster-ish circles of Jerusalem and beyond. The kurdish melodies could suddenly be heard during dj sets, topping electronic beats, or adding drones to heavy experimental sessions. which later led “Something on the Road’s” founder to initiate a remix compilation with Jerusalem’s nest producers. One of them is your truly, Mule Driver. The remix has became a cult by its own.

Fast forward to present time, a conversation with Legowelt about folk music led Mule Driver to dig an unreleased longer version of this techno remix. As well as ask the mighty Legowelt for his interpretation, that turned out as a killer acid track followed by an EBM – electro belter by Juju (Juju and Jordash) and PRZ (Clone).

TAF KIF Records present their first release: Fools Gold Vol. I, a four track compilation with an eclectic selection of dancefloor-ready cuts for this summer.

Studio Barnhus' head honcho, Axel Boman, starts off the A side with a catchy bassline, hypnotic and nostalgic synths and ring modulated guitars. After being road tested for years, we are super happy to finally get to release his song "Oasis", a surfy summer heater in all its glory.

A2 comes from TAF KIF's own Velmondo, known for his work on Hivern Discs and Compost Records. He blesses us with "Echo Welt", a leftfield psychedelic excursion filled with Balearic vibes, krauty bubblegum beats and exotic percussion. What else could you ask for?

TAF KIF's MLiR, a usual name for those familiarised with the Studio Barnhus' catalogue, open the flip side with the mega sexy "It's Baby Time". Smooth operators in the house, baby!

Last but not least, Lusille delivers an afro fire starter called "Une Long Route", a secret weapon from the likes of Hunee among others. Very limited edition with just a few hundreds of copies, don't sleep!

Ever since the release of his first solo album more than 20 years ago, German musician and producer Christian Kleine has experimented with blending and contrasting the varying textures and approaches of post-rave IDM, breakbeats, shoegaze and punk. His latest album offering, Touch & Fuse, shows he's continued to refine and perfect that combination, which is less a conscious concoction and more of a natural outcome of the music he likes. From the edgy Aphex-isms of 'Val 2' and the heavily filtered breaks of 'Reverse Angle' to the slowed down grunge meets pure electronics of 'Return of the Underground', this is unique, accomplished stuff.

Oslo-based American-Norwegian trio Buster Sledge releases their first
studio album Call Home in May 2022, following up on their self-recorded
and self-released debut Spirit (2020)
Fiddle, banjo, guitar and three voices are the vehicle for lyrical storytelling against
an orchestral background anchored in the acoustic music traditions of the United
States. Hailing from northern California, lead vocalist and songwriter Michael
Barrett Donovan mixes themes from personal experience with folk and country
music archetypes to breathe new life into time-tested song structures. Banjoist
Mikael Jonassen and guitarist Jakob Folke Ossum both share a thorough
appreciation for the fundamentals of bluegrass music, clear melodies and
harmony- singing through the lens of being trained jazz musicians. In eleven
tracks, Call Home tips its hat to artists such as Norman Blake, The Punch
Brothers, Tim O'Brien and John Hartford. Buster Sledge was the first group to
record in the recently relocated Globus Studio of Sjur Lyseid (Little Hands of
Asphalt) and his influence from behind the mixing board pushed the band into a
slightly-augmented acoustic sound with more streamlined arrangements which is
a suiting duet with the album art by William Hay that realizes a scene of a rider
overlooking a large river-valley in impressionistic swaths of color.
Banjoist Mikael Jonassen, from Bodo in the far north, is Norway's first and only
higher-education certified banjo player. Despite beginning with an electric banjo
and playing exclusively fusion jazz, Jonassen currently focuses his efforts on
Scrugg's style acoustic banjo and the playing of Bela Fleck and has taken several
trips to the US to learn from the masters. Jakob Folke Ossum, jazz- guitarist
turned flat- picking aficionado, discovered the sound of acoustic flat- picking
through Tony Rice and Bryan Sutton and meticulously taught himself from
records and videos. Fiddler Michael Barrett Donovan made a living as a musician
in New York City doing a master's in classical composition while touring with a
Grateful Dead tribute band. The three met in a comment section on a bluegrass
forum after Donovan moved to Norway in 2019. The rest of the story you'll have
to ask them at a show sometime. Buster Sledge has been on stage in many small
venues in southern Norway, don't miss them the next time they come to town!

1998'S CLASSIC SECOND STUDIO ALBUM OF SYMPHONIC, OCCULT
BLACK METAL
PRESENTED ON DOUBLE GATEFOLD VINYL & ON THE VINYL FORMAT FOR THE
FIRST TIME.Opera IX are a symphonic black metal band formed in Italy by
guitarist Ossian & released their debut album 'The Call of the Wood' in 1995 &
over subsequent years have become regarded as one of the most revered &
important Italian bands of the genre. The band's sound is an eclectic concoction,
moving beyond straight-forward black metal, mixing elements of thrash, doom &
death metal with symphonic elements, even folk influences. Opera IX is known for
their strong occult themes blended with topics of paganism & are also known for
being one of the first examples of a black metal band with a female vocalist.
'Sacro Culto' was the band's second album, originally released in 1998. Lead
singer Cadaveria used more melodic vocal experimentation this time with almost
operatic passages sitting alongside the trademark black metal style whilst further
evolving the central themes of occultism & paganism.
This edition of 'Sacro Culto' is presented on double gatefold vinyl & on the vinyl
format for the first time.

Graeme Martin and Liam Karima made the new pet deaths album to be
both explored and sat with
In age of dull disconnection and constant refreshing, unhappy ending, the London
duo's second full- length effort, was deliberately and acutely considered to be a
journey of its own; nine new songs but one whole immersive piece for the listener
to climb inside, in the quiet of reflection, in the sobering commute to and
from.Following on from the sparkling celestial folk of the band's 2019 debut To
the Top of the Hill, unhappy ending is the next step in pet deaths' somewhat
remarkable journey. Setting out to make their new album, the band had one
question in the forefront of their collective mind: Is life an unhappy ending, or do
we become part of a bigger movement to more positive things?
Across the album's nine tracks, this conundrum is explored in many and
meaningful ways, their subtle take on melancholic folk- pop conjuring a
bewitching atmosphere that hangs over every inch of the album. unhappy ending
thrives within the world it creates for itself, one of distinctive colours and shapes
that feel intimate and familiar but always slightly off- kilter, as if you've
momentarily stepped into someone else's dream. It sings of love and loss and the
unwieldy connection between those two things, in ways that feel quietly radiant
and beguiling, caught in an alluring contrast. Recorded at a residential studio in
Oxfordshire which they used as a retreat from the business of London – fleshedout and toyed with over time with their acclaimed producer Ian Davenport
(Slowdive, Gaz Coombes, Radiohead's Philip Selway) who encouraged the duo to
lean into the wilder parts of their creativity. Inspired, musically, by the spiritual
moments of Alice Coltrane, the freeness of Miles' 'Bitches Brew', with a sprinkling
of Talk Talk's 'Spirit Of Eden' in its colourful unravelling, unhappy ending is an
enveloping experience, touching upon universal themes but all shone through the
lens of Karima's signature perspective.
Tour in May & June in support of the release - dates in Newcastle, London, Bristol,
Manchester & Sheffield.
Pet Deaths previously supported the likes of Elbow and Arab Strap.
Support from So Young Magazine, Chris Hawkins (BBC 6 Music), DIY Mag, Clash,
Huw Stephens (BBC Radio 1)

Beginning life in 2018 in the home of songwriter Myles McCabe experimenting with shouty, electronic bedroom pop ME REX are equipped with multitudes of “surging gargantuan hooks”, McCabe was quickly joined by longtime friends Kathryn Woods (guitar/vocals), Phoebe Cross (drums/vocals) and Rich Mandell (bass/keys/vocals). In 2021 the band released their debut album Megabear: a record built from 52 short tracks intended to be played in shuffle mode in order for the listener to create their own perfect combination of songs. In 2022 they dove headfirst into follow-up EP Pterodactyl which saw them change pace and tact throughout — constructing delicate vocal layers with luscious swathes of guitars and keys to build a bridge between their raw DIY past and a bright, creative future. Across all four songs on new EP, Plesiosaur, ME REX focus their attention on catchy choruses and snappy rhythms. With Toilet of Venus acting as an extension of Lager Door, the former track looks at present struggles as opposed to the latters inherent nostalgia, Jupiter Pluvius looks theologically at the idea of projecting strength and power onto inanimate objects, all wrapped in sharp wordplay and vibrant fuzzed out guitars and keys that are addictive as hell. Described as “nothing short of an artistic triumph” by Brooklyn Vegan— as well as seeing praise from Pitchfork, DIY, Rocksound, Line Of Best Fit, BBC 6Music, Radio X, Amazing Radio, Audiotree, The I Paper and Baby’s Alright— ME REX are showing no signs of slowing down.

The ever-prolific ZOMBI return once again with a brand new classic rock covers album! ZOMBI & Friends, Vol. 1 sees the band faithfully covering tracks ranging from The Doobie Brothers, to The Alan Parsons Project, Dionne Warwick, and Neil Diamond! ZOMBI & Friends, Vol. 1 features guest appearances from members of The Sword, Trans Am, Pinkish Black, Zao and more!

Eccentric, hilarious, disgusting and downright brutal - this is the PREPUCE EP from Arizona's ATOLL. Essential listening for fans of Stillbirth, Devourment, Party Cannon and Vulvodynia.

One of Swedish Death Metal most sought after albums, and rightfully so! Therion’s relatively unknown beginnings as a “standard” Death Metal band seem to be misunderstood by many Metal listeners. Although the general consensus seems to be that “Beyond Sanctorum” is just “straight up Death Metal” while their later releases are neoclassical style, upon closer inspection, the opposite seems to be true. Although “Beyond Sanctorum” uses mainly instruments and performance aspects of standard Death Metal, the songs are alreafy composed in a style more similar to actual classical music. “Future Consciousness” starts the album off with a churning Morbid Angel style intro alternating with dark tremolo melodies and some heavy groove. Other bright spots include “Cthulhu”, featuring deep, cavernous doom sections evoking the famous sunken city, alternating with frantic fast passages. “Enter the Depths of Eternal Darkness” goes from a sludgy opening section to fiery death metal, with some eerie lead guitar moments and is also quite satisfying. “Symphony of rhe Dead” has an early The Gathering feel, that bursts into Death Metal later on. The highlight of this album is definitely “The Way”. This is where the bands developing symphonic style is most obvious, so “Theli” fans should definitely hear this song first. We cannot recommend it enough - “The Way” is not only the best song on the album, but one of the best examples of adventurous, progressive (yet uncompromising) Death Metal one is ever likely to hear. This album released around the time when Death Metal was abandoning its primitive roots and going off into more complex territory. For anyone willing to take the time to really listen to music beneath surface level aesthetics, this is actually a surprisingly complex and rewarding listen. This album is light years ahead of their debut.

The dawn of Symphonic Therion glooming at the horizon, yet still drenched in Dark Metal execution! Though it was their fourth full-length, and we had been given a sampling of their symphonic/gothic direction with “Symphony Masses: Ho Drakon Ho Megas”, “Lepaca Kliffoth” might remain the most memorable masterpiece of the band’s career along the follow-up “Theli”. A transitional phase between the band’s Death Metal roots and the hybrid of symphonic, gothic metal which they would carry forward for the rest of their career. This is an extremely dark album. The band retains their fascination with obscure occult magick and prophecies within the lyrics, and the music revolves around killer mid-paced Metal riffs drenched in the vocal libations of Christofer Johnsson. The album starts off strongly with “The Wings of the Hydra”, and from there on the serpent has snaked about your spine. An addictive piece with an obvious Celtic Frost influence, chanting vocals, simple synth tones and arabesque guitar melodies which evoke the mythical age of the song’s namesake. The album’s ‘hit single’, “The Beauty in Black” is glorious and gothic, it uses a pair of operatic vocalists (male and female), a sort of predecessor to the revolving door of guest musicians the band would use on their later albums. Other excellent tracks include the charging “Riders of Theli”, the crushing doom of “Black” which would have fit almost perfectly on “Into the Pandemonium”. The rest of the album is equally dark and enchanting, with other standouts being the title track and “Evocation of Vovin”. Synthesizers, flutes multiple vocalists, and the core of the band are all clear and precise throughout, yet it still carries a very raw and dark, ominous tone to it which trumps the later studio efforts. This may not be quite as symphonic as many Therion fans demand of their material in recent years, but it clearly marks the point where this band transformed from a innovative Death Metal band into the Gods of Gothic Metal. There are very few parallels to something like this, and it belongs in the collection of any fan of quality Occult Metal.

The legendary reggae powerhouse is back with a brand new studio album, "New Day," the follow up to their 2018 Grammy nominated effort, "As the World Turns." The album release is the focal point of celebrating "50 Years of Black Uhuru" as 2022 marks 50 years since the band's formation in 1972 in Kingston, Jamaica. Flash forward 50 years from 1972, millions of albums have been sold, 8 Grammy nominations and 1 Grammy Award, and the band finds themselves looking back on the accomplishments and forwards to a "New Day" dawning. Marketing Highlights: - Nationwide headlining tour supporting the album in major markets in May - Summer European tour anchored around a Festival play at Reggae Land Festival in Milton Keynes, UK with Shaggy, Julian Marley, Inner Circle and more - Full Press Campaign supporting the album release - Extensive multi-phase online digital marketing campaign

The legendary reggae powerhouse is back with a brand new studio album, "New Day," the follow up to their 2018 Grammy nominated effort, "As the World Turns." The album release is the focal point of celebrating "50 Years of Black Uhuru" as 2022 marks 50 years since the band's formation in 1972 in Kingston, Jamaica. Flash forward 50 years from 1972, millions of albums have been sold, 8 Grammy nominations and 1 Grammy Award, and the band finds themselves looking back on the accomplishments and forwards to a "New Day" dawning. Marketing Highlights: - Nationwide headlining tour supporting the album in major markets in May - Summer European tour anchored around a Festival play at Reggae Land Festival in Milton Keynes, UK with Shaggy, Julian Marley, Inner Circle and more - Full Press Campaign supporting the album release - Extensive multi-phase online digital marketing campaign

This limited reissue of Arjen Lucassen’s (of Ayreon fame) second solo album from 2012 comes in a gatefold jacket and features the original booklet. The story of “Lost in the New Real” follows Mr. L, a twenty-first century man who was cryopreserved at the moment of clinical death from a terminal disease. The album begins as Mr. L is being revived at a point in the distant future, when technology has advanced enough to cure his disease. Mr L finds himself in a world that has drastically changed — to the point that the line between what’s real and what’s not is no longer clear. Arjen Lucassen as “Mr. L” Vocals, instruments, music, lyrics Rutger Hauer as “Dr. Voight-Kampff” Instrumentalists Arjen lucassen: all instruments, with the exception of those listed below Wilmer Waarbroek: backing vocals Ed Warby: drums Rob Snijders: drums Ben Mathot:violin Maaike Peterse: cello Jeroen Goossens: flute Elvya Dulcimer: Hammered dulcimer on “Battle of Evermore”

Swedish heavy metal band 220 Volt formed in 1979 by guitarists Thomas Dreven and Mats Karlsson. 5 years later, they released their second studio album Power Games on the CBS label. During that same year, 220 Volt performed with Nazareth for
12 concerts, which enlarged their fanbase immensely. Upon the release of Power Games, 220 Volt received critical acclaim for their songwriting skills and high production values.

Power Games is available as a limited edition of 1000 individually numbered copies on crystal clear & white marbled vinyl and includes an insert.

Gene Pitney was a musician’s musician. Having begun his career as a songwriter, he was not content merely being the faceless pen behind his peers’ success, becoming a singing star in his own right. He did this during a time when America’s shores were being invaded by a wave of British talent led by The Rolling Stones and The Beatles. Pitney turned the tables by finding success in the UK and went on to enjoy a 45- year career. 1962 was Pitney’s breakout year in the US. He shot to Number 4 in April with the Burt Bacharach and Hal Davidpenned hit (The Man Who Shot) Liberty Valance, intended as the theme for the John Wayne
flick of the same name. He followed that up with his highest-charting US single, Only Love Can
Break A Heart. It would go on to be covered by numerous artists, Dionne Warwick attempting
her own version in the late Seventies. He left behind a four-decade career that saw him notch
up 16 US Top 40 singles and 22 in the UK. His legacy is also evident in the hits of others, like
Orbison, Bobby Vee and Ricky Nelson. This collection showcases the best of Pitney’s early
work, and gives an insight into one of America’s most gifted musicians, a man who found his
own voice.

In a pre-Rock world, no female vocal group came within touching distance of the
Andrews Sisters in terms of success. Between 1938 and 1951 they notched 90
Top 30 hits in the USA and appeared on countless other best-selling singles by
artists such as Bing Crosby, Dick Haymes, Danny Kaye, Ernest Tubb, Carmen
Miranda and Burl Ives. The Andrews Sisters were the most plagiarised of all
female singing groups and influenced many artists, including Mel Tormé, Les Paul
and Mary Ford, The Four Freshmen, The Pointer Sisters and Barry Manilow. It’s
time to celebrate the works of this wonderful trio and enjoy their incredible tones
and harmonies so grab yourself a Rum & Cola and get down with some Boogie
Woogie!

Grammy award-winning blues icon returns to his Delta blues roots for the
most captivating musical statement of his long and legendary career
Charlie's first new solo studio release in seven years is stripped-down and semiacoustic, driven by his deft guitar playing, while also featuring the masterful harp
and soul-deep vocals for which he is famed.
'Mississippi Son' is front porch country blues that is at turns raucous and languid,
haunting and impossibly soulful. The track listing includes Musselwhite originals
and songs by Charley Patton, Yank Rachell and Big Joe Williams. This warm,
intimate recording is loaded with feeling and exhilarating, timeless music.
Essential listening for any blues fan.
Blues Matters feature interview plus review confirmed
ADVERTISING: Blues Matters, Blues In Britain, Blues & Rhythm

Scared to Dance, the debut LP from Scotland's Skids, will be re-issued by
Last Night From Glasgow
In addition to featuring a remastered version of the original album a second LP of
bonus tracks will be included making this the definitive vinyl version of Scotland's
definitive punk album.This record may have been recorded over 40 years ago but
the songs resonate as much, if not more, today.
Featuring the glorious "Into The Valley" and "The Saints Are Coming"

Mekons + Freakwater = FREAKONS.Freakwater and the Mekons have
joined forces to sing songs about coal mining
FREAKONS, the eponymously-titled album on Fluff & Gravy Records , is the first
fruit of this visionary musical union.The Mekons and Freakwater have been
friends for decades, forged in the punk rock/ art school crucibles of late '70s
Leeds and mid '80s Louisville respectively. Both bands mined British folk and
American classic country music for three- chord songs whose lyrics fit the
nihilism or political rage or outlandish joy of the moment. Many of these songs
were about coal mining. Traditional songs about heroic union organizers, deadly
mine disasters, wailing orphans, or mining's grim history of economic and
ecological devastation fit seamlessly alongside each band's original material.
And so it is with FREAKONS.
Deep pit mines, strip mines, mountaintop removal, collapsing slag heaps. Deadly
work, poisoned water, and fantastic songs. Always fantastic songs. This is where
the FREAKONS were born, from the very bowels of the earth.
The Mekons' Jon Langford & Sally Timms and Freakwater's Janet Bean &
Catherine Irwin are joined here by the stellar string and vocal harmonies of Jean
Cook (Ida, Tara Jane O'Neil, Skull Orchard) and Anna Krippenstapel (The Other
Years, Joan Shelley, Freakwater), along with special guest, the beloved guitar
genius Jim Elkington (Jeff Tweedy, Richard Thompson, Eleventh Dream Day,
Horse's Ha, Skull Orchard, Freakwater, The Zincs).
Belgian painter Jo Clauwaert created the album's intricate gatefold cover. Images
from song lyrics and related history emerge and recede again in this gorgeously
illustrated artistic fever dream.The story of coal mining is one of ongoing pillage
and ecological devastation. It is also a story of heroic workers, struggling in
blighted circumstances to feed their families. The songs and the culture that have
risen from the mines deserve our attention. A portion of the profits from the
FREAKONS record will go to Kentuckians For The Commonwealth, a grassroots
organization dedicated to creating a better future for the Appalachian region.
Kentuckians For The Commonwealth (KFTC.ORG) works to end mountaintopremoval coal mining, and to promote political candidates who care about social,
environmental and economic justice and the transition to clean, renewable
resources

What is possible in the field of electronic music? What can you get out of
a cutting-edge ecello, that he helped to develop, from the instrument
itself? What possibilities do loop machines, samplers and many other
technical innovations offer? The classically trained cellist, who embraces
experiment, moves without gravity into the pulsating core of a musical
universe, that has expanded exponentially in recent years, on his solo (in
the true sense of the word) album

Green Vinyl Edition - PNFG is frustrated but delighted to bring you a half
of a double treat from The Bathers!In 2022 we aimed bring you the debut
album "Unusual Places To Die" on vinyl and cd - some 35 years after it's
initial release on Go Discs
Accompanying this remastered album we also intended to produce "More
Unusual Places To Die" an 8 track EP featuring early recordings, providing an
incredible insight into the mind and music of Chris Thomson.Both records and
CDs were to be remastered by fellow "Friend Again" Paul McGeechan.
Sadly due to insane problems obtaining licensing contracts from Island Records
via Universal Music, we have taken the decision to make some changes to the
project.The 8 track Mini LP is now a fully-fledged album featuring 12 tracks (14
on CD) Some new never before released tracks, fully remastered and some
alternative versions of previously available tracks. This album is now entitled -
Summer Lightning.

Album first released 1983 and now re-released on 180 Gram vinyl
The Heptones are a Jamaican rocksteady and reggae vocal trio. They were a
significant force in that played a major role in the gradual transition between ska
and rocksteady into reggae with their three-part harmonies.
The Heptones: Barry Llewellyn, Earl Morgan & Dolphin ‘Naggo’ Morris
Recorded at Black Star Recording Studio, 46 Spencer Road, Tottenham, London,
N17 9UU, UK
Includes extensive sleeve notes.
Promotion across social media platforms
Advertising in, Echoes, Record Collector Magazine and Riddim

Creme White Vinyl - On the cover of their debut album "Wilde deutsche
Prärie" (Wild German Prairie) from 2018, we saw a burning house
surrounded by apparently insane figures
Almost four years later, on the cover of their second album, the band is standing
on the dike in Husum. In the background we see the Nordsee Hotel, which burned
out in the year of the debut's release. The looks of the band members reveal
friendly determination, which is very North German in its nonchalance.
Nevertheless, I don't doubt for a moment that Swutscher still know how to set
their surroundings on fire, even leave a trail of destruction. Their reputation is
legendary. Every person who has experienced Swutscher live knows that it is not
only a spiritual but also a physical experience. Reason down and thus lead it into
a wonderful dissolution of boundaries. This LP format is released on ltd ed cream
vinyl.
PR Agency (Print/Online/Radio GSA): Community Promotion PR Agency (Print/
Online/Radio Worldwide): La Pochette Surprise Marketing: Print/Online: 2500€ /
Radio: 2000€ / Social Media: 3000€ / Ads: 3000€ PrintAds: Westzeit Cover
(Feb2022), Musikexpress, Visions, OX Fanzine, Flight13 Mailorder, Schall TOUR
DATES Präsentiert von DIFFUS, OX FANZINE, BYTEFM 20.4. A- Wien - Rhiz 21.4.
München - Heppel & Ettlich 22.4. CH-Basel - Hirscheneck 23.4. Stuttgart - Club
Cann 28.4. Düsseldorf - KulturSchlachthof 29.4. Husum - Speicher 30.4. Hamburg
- Molotow 05.5. Kassel - Goldgrube 06.5. Münster - Gleis 22 07.5. Bremen - Tower
08.5. Hannover - Bei Chez Heinz 17.5. Köln - Bumann & Sohn 18.5. Nürnberg -
Muz Club 19.5. Chemnitz - Nikola Tesla 20.5. Dresden - Groove Station 21.5.
Berlin - Urban Spree Separater PR Report verfügbar

Creme White Vinyl - On the cover of their debut album "Wilde deutsche
Prärie" (Wild German Prairie) from 2018, we saw a burning house
surrounded by apparently insane figures
Almost four years later, on the cover of their second album, the band is standing
on the dike in Husum. In the background we see the Nordsee Hotel, which burned
out in the year of the debut's release. The looks of the band members reveal
friendly determination, which is very North German in its nonchalance.
Nevertheless, I don't doubt for a moment that Swutscher still know how to set
their surroundings on fire, even leave a trail of destruction. Their reputation is
legendary. Every person who has experienced Swutscher live knows that it is not
only a spiritual but also a physical experience. Reason down and thus lead it into
a wonderful dissolution of boundaries. This LP format is released on ltd ed cream
vinyl.
PR Agency (Print/Online/Radio GSA): Community Promotion PR Agency (Print/
Online/Radio Worldwide): La Pochette Surprise Marketing: Print/Online: 2500€ /
Radio: 2000€ / Social Media: 3000€ / Ads: 3000€ PrintAds: Westzeit Cover
(Feb2022), Musikexpress, Visions, OX Fanzine, Flight13 Mailorder, Schall TOUR
DATES Präsentiert von DIFFUS, OX FANZINE, BYTEFM 20.4. A- Wien - Rhiz 21.4.
München - Heppel & Ettlich 22.4. CH-Basel - Hirscheneck 23.4. Stuttgart - Club
Cann 28.4. Düsseldorf - KulturSchlachthof 29.4. Husum - Speicher 30.4. Hamburg
- Molotow 05.5. Kassel - Goldgrube 06.5. Münster - Gleis 22 07.5. Bremen - Tower
08.5. Hannover - Bei Chez Heinz 17.5. Köln - Bumann & Sohn 18.5. Nürnberg -
Muz Club 19.5. Chemnitz - Nikola Tesla 20.5. Dresden - Groove Station 21.5.
Berlin - Urban Spree Separater PR Report verfügbar

Creme White Vinyl - On the cover of their debut album "Wilde deutsche
Prärie" (Wild German Prairie) from 2018, we saw a burning house
surrounded by apparently insane figures
Almost four years later, on the cover of their second album, the band is standing
on the dike in Husum. In the background we see the Nordsee Hotel, which burned
out in the year of the debut's release. The looks of the band members reveal
friendly determination, which is very North German in its nonchalance.
Nevertheless, I don't doubt for a moment that Swutscher still know how to set
their surroundings on fire, even leave a trail of destruction. Their reputation is
legendary. Every person who has experienced Swutscher live knows that it is not
only a spiritual but also a physical experience. Reason down and thus lead it into
a wonderful dissolution of boundaries. This LP format is released on ltd ed cream
vinyl.
PR Agency (Print/Online/Radio GSA): Community Promotion PR Agency (Print/
Online/Radio Worldwide): La Pochette Surprise Marketing: Print/Online: 2500€ /
Radio: 2000€ / Social Media: 3000€ / Ads: 3000€ PrintAds: Westzeit Cover
(Feb2022), Musikexpress, Visions, OX Fanzine, Flight13 Mailorder, Schall TOUR
DATES Präsentiert von DIFFUS, OX FANZINE, BYTEFM 20.4. A- Wien - Rhiz 21.4.
München - Heppel & Ettlich 22.4. CH-Basel - Hirscheneck 23.4. Stuttgart - Club
Cann 28.4. Düsseldorf - KulturSchlachthof 29.4. Husum - Speicher 30.4. Hamburg
- Molotow 05.5. Kassel - Goldgrube 06.5. Münster - Gleis 22 07.5. Bremen - Tower
08.5. Hannover - Bei Chez Heinz 17.5. Köln - Bumann & Sohn 18.5. Nürnberg -
Muz Club 19.5. Chemnitz - Nikola Tesla 20.5. Dresden - Groove Station 21.5.
Berlin - Urban Spree Separater PR Report verfügbar

Features all-analogue mastering from the original tapes by legendary engineer Bernie Grundman (himself a former employee of the label), as well as unsurpassed audiophile pressing on 180-gram vinyl at Quality Record Pressings, presented in a Stoughton Printing old-style tip-on jacket.

The series highlights gems from Contemporary's extraordinary catalogue and features artists who both defined and expanded the sound of West Coast jazz.

1957's The Poll Winners was the first of five all-star trio sessions featuring the dazzling interplay of guitarist Barney Kessel, drummer Shelly Manne and bassist Ray Brown. For The Poll Winners, Kessel, Manne, and Brown did not record together simply because they all happened to have won first place on their respective instruments in the Down Beat, Playboy, and Metronome polls.

Their collaboration was due to mutual respect, and their sensitivity to one another's musical requirements. Here, in a set composed mainly of pop and jazz standards, they represent the ultimate in their fields, constituting a rhythm section that also provides brilliant solo interludes by all three members. Collectively, Kessel, Manne, and Brown won dozens of polls over the years; this record eloquently tells you why.

All Good Things create cinematic epic rock that celebrates the underdog, lifts the fallen, and all out gloats in victory. Pairing post-apocalyptic pump-up rock with powerful lyrics, AGT crafts a massive, bombastic sensory assault of anthemic heavy rock, summoning vistas associated with gaming or blockbuster movies. Their worldwide 'For The Glory' hit has accumulated more than 50 million streams, now their full length debut album 'A Hope In Hell' is set for release on August 20th.

Having kicked off in Galway and then quickly on to Brisbane, we travel across the pond to Durham, to pick the brains of one dance music’s freshest minds and most exciting talents, Tommy 2000, for the all-encompassing GTOWN 003 - ‘2K Musik’.

5 tracks that will travel the length and breadth of your brain; from the epic opener and lead single, ‘Whales’, to the algebraic break sequences of ‘T-2000’, Tommy’s follow up to his debut EP on DJ Haus’ Dance Trax is about as mature a sound you could expect from any artist, let alone an 18 year old just dipping his toes in the water.

‘Whales’ leads the way as an almost orchestral breakbeat builder-style track that reaches its peak gradually and really takes us for a ride as we step into the world of 2K Musik. Following on from that, is the most classically-conventional track of the lot, ‘Baff’. The four to the floor backbone lulls the listener to be sucked into what is an entirely unique club track they’ve never even come close to hearing before. That is then spun on its head entirely when Tommy’s almost bookmark sound comes into play on the title track, ‘2K Musik’. Hammering us with breaks and unapologetic bass, this marriage of old school sounds with entirely dynamic arrangement and all around ingenuity tells us exactly what 2K Musik is all about.

We swap over to the B side then, without much of a break for air, and kick off with the ever-nautically themed ‘Tuna’. At this point, it’s more than evident that Tommy 2000 is entirely worthy of his placement as an artist that’s here to stay, as if he’s pulled us underwater to listen to what the sea creatures have to say to us. Totally transforming even more modern sounding breakbeat drum patterns and bending them to his will, GTOWN003 is almost like a portal into the mind of a music genius, not just an EP you sit down and listen to; this is an immersive exhibition into the world of Tommy 2000. The final stop on the line is ‘T-2000’. You want to stop and get off, but you can’t. Everytime you think you’ve got this track figured out, you haven’t. Snares coming crashing down and attacking the breaks just as you’ve began to comprehend the synthlines and pads that eb and flow off of each other as this crescendo takes us home and back to reality, as the needle lifts on what is only the beginning for one of dance music’s brightest stars on one of its realest labels.

GTOWN003 - 2K MusiK by Tommy 2000 lands on G TOWN RECORDS on June 24th. Are you Ready?

CLEAR VINYL 2XLP SET IN GATEFOLD SLEEVE

First time on vinyl. Originally released as a CD only album on Riot Season back in 2008 and out of print ever since. Fourteen years later it's finally getting the double vinyl release it fully deserves.
Now expanded, and with new artwork 'Pink Lady Lemonade - You're From Outer Space' really could be Acid Mothers Temple’s first 'summer album'.
Here, Acid Mothers Temple's most representative song 'Pink Lady Lemonade' is dismantled and reconstructed as a blissful ecstatic psychedelic trip where chaos and silence intersect.
These were the first Acid Mothers Temple & The Cosmic Inferno studio recordings since the addition of Pikachu, drummer and vocalist with Osaka grenade-girl duo Afrirampo. The popular AMT standard "Pink Lady Lemonade" showcases a 21st century acid rock update on the 60s San Francisco psychedelic sound.
This one doesn't reach in the red status often - it’s a more out-there trippy ride. But when it does finally soar, Kawabata's guitar has never sounded more alive.
"Pink Lady Lemonade, You're soooooooooo sweeeeeeeeeeeeeeet!"
Acid Mothers Temple & The Cosmic Inferno :Pikacyu : drums, voice, cosmic shaman Tabata Mitsuru : bass, voice, malatab Higashi Hiroshi : synthesizer, dancin'king Shimura Koji : drums, latino cool Kawabata Makoto : guitar, voice, electronics, speed guru Audrey Ginestet : voice, cosmos

Winston 'Niney' Holmes AKA The Observer, must be one of Reggaes finest Roots Rebel producers. Capable of making some of the heaviest, innovative music, not only in sound but also in the Cultural/Political sense.
Born George Boswell, Montego Bay, Jamaica 1951, and name checked 'Niney' due to losing a thumb in a workshop accident. He began his career in music by organising bands to play at school dances. But his first steps learning the musical ropes came working under the tutelage of producer Bunny Lee around 1967, organising sessions for Bunny's stable of artists. He moved on to work alongside Lee Perry at Joe Gibb's 'Amalgamated' label setup, where on Lee Perry's leaving in 1969 to start his own 'Upsetter' label, Niney became chief engineer.
Inspired by Perry's success it wasn't long before his own 'Destroyer' label was under way. It was 1970, and his first production entitled 'Mr Brown' by DJ's Dennis Alcapone and Lizzy, proved to be a minor hit, but his own 'Blood and Fire' track released in December of that year would become a major hit. After initial problems with it's likeness to Bob Marley's track ' Duppy Conqueror' being ironed out, it's reissue on his now named 'Observer' label, saw it go on to become, Jamaican Record of the Year 1971. Far out selling Bob Marley's track to the tune of 30,000 copies in Jamaica alone. A roots classic...
Niney's reputation for building great roots tracks, was furthered with more success working with singer Max Romeo. Issuing cuts such as 'Beard Man Feast', the great 'Reggae Matic' and 'Aily Ailaloo' and renewing his friendship with Lee Perry on the track 'Rasta Band Wagon', who's production credit read Perry, Niney, Maxie. In 1973, Niney began working with Dennis Brown, who was already an established star from an early age, they found a chemistry that went on to produce some of Dennis' finest work. The 1973 hit 'Westbound Train' was followed in 1974 by 'Cassandra', 'I am the Conqueror' and the timeless 'No More Shall I rOam'. Another important connection around this time was the great King Tubby who Niney would take his tapes along to and even record some of his tracks at Tubby's house, 18 Drummlie Avenue, Kingston, which doubles as his Studio of Dub.
It's these tracks that we are concentrating on here. Tubby would strip the tracks back to the bone and rebuild then sometimes leaving off the hook line. Whether that be the horn line or keyboard line and adding effects over the top that could disguise the cut even more. Even Niney stating that when Tubby had finished with a cut, he found it hard to recognise the track himself. Its these tracks as dub plate specials that Tubby would play on his Hometown HI-FI Sound System and it's these such tracks that we have compiled for this release. Dub Plated that have not seen the light of day since tragically the great Osborne Ruddock AKA King Tubby was gunned won and murdered on the 06th December 1989. For a few dollars and a gold chain, reggae music has lost one of it's most creative, inventive forces.

Niney also cut tracks with many other Reggae giants such as Gregory Issacs, Michael Rose, Junior Delgado, Horace Andy and Delroy Wilson to name but a few. As in house producer at the legendry Channel Studios and supervising sessions at Dynamic and Randy's Studio 17, his magic touched many. DJ, Arranger, Producer, his Roots Rebel music still stands the test of time.
Hope you enjoy the set.....

Cabaret Voltaire’s ‘The Covenant, The Sword and The Arm of The Lord’, as originally remastered in 2013, now reissued on White vinyl. Known for being the harder, more experimental album of their “Pop” period, ‘The Covenant, The Sword and The Arm of The Lord’ was originally released in 1985 and includes the classic ‘I Want You’. The album embodys Cabaret Voltaire’s industrial electro-funk sound and their punk ethos.

Cabaret Voltaire were very much ahead of their time, harmonising dance music, techno, dub, house and experimental electronics, making them, without a doubt, one of the most influential acts in electronic music.

“...The Covenant, the Sword and the Arm of the Lord is an exercise in paranoia with anxiety coded into the jittery sample-heavy structures of the music itself.” - Spectrum Culture

Perhaps the best Soul / Funk LP Athens of the North has ever released and you know we have high standards, not one filler and mostly unreleased tracks – Essential LP

The Up Tights were formed by Henry Bradley in Forrest City, Arkansas in March of 1967 while most of the band members were attending Lincoln High School.They took their name from the Stevie Wonder song "Uptight - Everything's Alright." Playing at school functions, they quickly branched out to playing bigger shows and headlined the 1968 St. Francis County Fair in Forrest City.

The Up Tights first recorded for Action Records in Memphis as Noble and the Up Tights. The 45 featured an original song by singer, Izear "Ike" Noble Jr. titled "Don't Worry About It."

Henry Bradley was drafted into Vietnam in 1968. He served in the 1st Squadron, 11th Armored Cavalry Regiment. While he was away, the Up Tights continued with Henry's brother, Arthur, taking over all the guitar duties. The band also hired a manager named John Mitchell. In 1968, the band met Joe Lee, who owned Variety recording studio in Jonesboro, Arkansas.

For the band's first recordings at Variety, Lee chose two originals by Noble titled "Look a Little Higher" and an updated version of "Just a Dream" which Lee released on his Alley Records label in 1968. Lee continued to record the band over the next several months. He liked to experiment in the studio and produced many versions of the group's original songs, adjusting the mix and adding elements to each unique take.

For the group's second Alley release, they appeared simply as Ike Noble on the record label. Lee brought in a local songwriter named Charles "Jamie" Holmes, who had previously written for Alley records and Joe Keene's studio in Kennett, Missouri

The resulting 45 from this collaboration was "It's Bad" backed with "That's What I Get," two Holmes originals. Another Holmes original was unreleased at the time, but available here titled "There's Gonna Be a Better Day Coming." Stax Records was interested in signing the group and wanted to re-cut "It's Bad" at their studio, but ultimately the label passed since they generally had a policy of working with Memphis based groups.

As the band grew in popularity, they began appearing with and competing with Memphis legends, the Bar-Kays. The group's biggest show in Arkansas was an opening slot at Barton Coliseum, one of the largest venues in the state, in Little Rock in mid-1969. As a result, the band was offered a spot on George Klein's "Talent Party" television show on WHBQ in Memphis in July of 1969..... Further Sleeve notes on back of the LP

For decades, the voice of Jean Carne has been a crucial part of the American musical landscape, tying together generations of Jazz, Gospel, and R&B artists. Many will recognize Carne from her output in the early 1970s, alongside her then-husband Doug Carn, for the lauded Black Jazz label. As a solo artist, backing vocalist, and vocal coach, she has contributed to and collaborated with the likes of Norman Connors, Doug Carn, Dexter Wansel, Phyllis Hyman, Lonnie Liston Smith, Michael Jackson, and many more. At 74, she shows no signs of slowing down. Her latest collaboration with Ali Shaheed Muhammad and Adrian Younge is a clear demonstration of the continuous referencing of the past to illuminate the future.

Applied Magic is proud to present the first full EP of one of the most promising duos out there: Last Men On Earth.

And not only is it their first EP - it will also be the first Applied Magic release available on vinyl. What a way to celebrate catalog number ten!

Applied Magic is proud to present the first full EP of one of the most promising duos out there: Last Men On Earth.
And not only is it their first EP - it will also be the first Applied Magic release available on vinyl. What a way to celebrate catalog number ten!

Originally hailing from Argentina, with Euge holding it down in Buenos Aires and Seba making waves in Tulum, they have been on a roll this year, releasing some incredibly well-produced and sparkling music along the way.
With tracks on Frau Blau, Amancay and most recently the incredible "Kakra" on Nandu's Out Of Options label, they have been supported by everyone from Dixon to Mano Le Tough, Trikk, and last not least Applied Magic labelhead Aera.

Pixel has actually been the highlight of Aera's sets for a while now, setting a unique vibe with its mix of breakbeats and a wistful melody that won't leave your head for a long time.

Here PT. I & II are the perfect flipside to this gem.
Part I is straight dancefloor fire. Distorted synths, big drums, and high-pitched crazy vocals driving you into a frenzy, with PT. II the introspective counterpart, a beautiful cinematic journey.

This time, the artwork is provided by Malaga based graphic designer Miguel Angel Salido.

Ever get the feeling you’re being manipulated? Ever get the feeling you’re manipulating things? Somewhere between these two questions exists this seismic slab of dark post-disco drama from Leipzig duo New Hook: ‘Manipulation’.

The original version of ‘Manipulation’ has recently been released on Underground Pacific album ‘The Only Good Wave Is A New One’. But there’s more to story… Now redeveloped and reworked, ‘Manipulation’ has been manipulated into this epic club missile on Riotvan. Electrified and strident in its swagger, this new version maintains the duo’s sultry, provocative vocal but carries much more dancefloor weight. Every bit as sharp and to the point as the name New Hook suggests, it’s also been blessed with an equally forthright twist from dark disco don Curses who brings a little added funk to the bassline, manipulating the already manipulated ‘Manipulation’ with his own unique flare.

Now it’s time for your turn to manipulate it in the mix…

In a genre belonging to crooners like Marvin Gaye, Sam Cooke, James Brown and Otis Redding, authenticity is a requirement.
Enter Anduze, a unique vocalis whose riffs evoke the retro sounds of the aforementioned artists, but reverently done his way
– a fresh brand, re-imagines and crefted into a modern depiction of the era.

Anduze was raised on his father’s native land of St. Croix in the US Virgin Islands. His distinctive upbringing still lines the
threading of his creative fabric, which continues to expand into all corners of taday’s musical landscape.

It’s been over a decade since Anduze last released a full album. A lot has changed and progressed since then. He left behind the LA/Hollywood nights in exchange for a better quality of life in Athens, Greece. Also, during this span, he’s been a multi-featured artist on collaborations with producers such as Satin Jackets, Art of Tones, LTJ Xperience, Gramatik, and more…

However, his most noteworthy ascent is as lead singer (and songwriter) of Austrian act, Parov Stelar, with whom he tours
worldwide. Still, with all his accomplishments within the electronic world, it was time for Anduze to get back to his own sound – SOUL.

Using the pandemic as an opportunity, instead of a crutch, Anduze recorded “Aura,” a nine-song album that blurs the lines of
soul, funk, pop, folk, and R&B, with 20 contributing musicians.
If you like Prince, Michael Jackson, Marvin Gaye, Lenny Kravitz, Terence Trent D’arby etc…this album takes influences from
all their best moments and combines them into one mighty explosion that is simply, ANDUZE.
These days he is also living the new life of his song in collaboration with LTJ Xperience entitled Bad Side which has been
included in the new game update for Play Station GTA 'Los Santos' starring the DJ producer Moodyman and in the soundtrack of the new series And Just Like That, a popular follow-up to Sex And The City, which aired worldwide.

A lot has been said and repeated about the interiority of this club music - how the joyful tremor of the "Raingurl" refrain holds hands with such soft and doubtful verses. How special it is that house music so of New York can contain storytelling cultivated so far away. That repetition is born of people all over the world going out, and staying in, with this music as a compass; songs that define so many late night hangs for crews of friends, singalongs in DJ booths, contemplative 5am walks home from the club. What can get lost in that repetition, in the shifting canonization of these recordings as symbols of any one scene or moment, is what was behind the pair of round glasses reflecting so tirelessly outwards. Yaeji, an exceptional friend only at the very beginning of finding her path as a cross-disciplinary artist and collaborator. Yaeji wrote this music while going out nearly every night of the week to DJ and support her own NYC community of friends at their turns behind the decks. These tracks originated from explorations in dancefloor anonymity, growing from seeds planted by sharing her first musical experiments online.

Drummer "Drummie" Joe Isaacs had already created history as the house drummer at Studio 1 in Jamaica on countless pre-reggae classics before moving to Canada in 1968 and is credited with slowing down the fast pace of ska during the rocksteady era. With Risco Connection, Isaacs released a series of choice reggae / disco covers, from 'Ain't No Stopping Us Now' and 'Good Times' to 'I'm Caught Up (In A One Night Love Affair)' and 'It's My House' as limited 12" singles on his own Black Rose imprint. "Arriving in Canada, we were one of the first set of musicians out of Jamaica coming here," explains Isaacs. "With Risco Connection, we wanted to try something new, songs that would have a crossover between disco and the rocksteady feeling and the right lyrics. We had trouble getting them well distributed widely at the time but people still picked up on the sound." 'Risco Version' brings together all of the vocal versions, dubs and extra tracks from the singles. Both formats feature an interview with Joe Isaacs and liner notes by journalist Angus Taylor. Audio is restored by Sean P and fully remastered and cut loud and proud by The Carvery.

After an extended interval between releases, Data Arts Group owner/operator Document Swell (real name Simon Cotter), presents his first full length LP "Hybrid Emotion". Document Swell's first musical contribution to Data Arts Group is also the first vinyl release for the label and brings DAG into the new world of 2022 and beyond. Song-writing, and sound sketches for "Hybrid Emotion" took place over a time span of approximately 5 years in various bedroom studios and life-phases throughout northern Melbourne/Naarm, as well as small setups in the Berlin localities of Templehof and Schöneberg. Arranging and mixing was completed in Northcote, throughout that period of ample time in Melbourne's Covid-19 lockdowns. The album spans a rich tapestry of ideas and moods which can be perceived as something between Document Swell's classic playful dance floor style to a more reflective and brooding tone.

The opening track "River Heart", is built of rudimentary pitched percussion, warm Juno pads and randomised Blofeld synthesis to construct an electronic impression and nostalgic sense of life by the river. The title track "Hybrid Emotion" brings the album closer to the realm of the club with relaxed house grooves and moody but spirited melodies, along with hybridised vocal samples."Why Then Here" pushes the album's character towards something less human, with a more synthetic affection portrayed by repetitive vocal samples and individualistic synth tangents. "Now and Then" realigns the trajectory to a warmer and more predictable landscape with chugging Balearic rhythms, glassy synths and jottings of lush electric guitar. On the flip side, "Day of Thunder" drops things down into an animated variety of industrial darkness, with heavy weight kick drums, metallic percussion and bleak vocal messaging. "Little G", an ode to a well loved cat, lightens things up instantly with playful synth noodlings, disco beats and clatter from pots and pans. "Vergangenheit" exhibits Simon's explorations into the acid world, with 303 squawks, cassette crunched drums and shadowy synth pads. The closing track "Epic Sands" ends the album, not with an end note, but a sense of ongoing possibilities.

"The album features the two sides of Mingus' compositional genius: the beautiful balladry that I always feel has a bit of a film-noir feel to it, alongside those joyous upbeat numbers that are filled with an organized chaos that categorizes much of the bassist's best work. ... Throw in the fact that it also features Jaki Byard (who is just phenomenal on this recording and remains criminally underrated), Booker Ervin, Dannie Richmond and Eric Dolphy and you have some of Mingus' finest sidemen driving his compositions to the fantastical places they seemed preordained to go. ... Mingus, Mingus, Mingus, Mingus, Mingus is a record that has more than stood the test of time and is an everlasting testament to the talents of Mingus and the players who had the ability to follow his musical vision." — The Jazz Record

Mingus, Mingus, Mingus, Mingus, Mingus was Charles Mingus' last major studio recording of the 1960s (the solo Mingus Plays Piano would also be released the same year in 1964) and it's a real treasure in the great jazz bassist's discography

Two of the tracks ("Celia" and "I X Love") were recorded at the sessions for The Black Saint And The Sinner Lady, while the rest were laid down eight months later with a group that included Booker Ervin, Eric Dolphy and Jaki Byard (Byard also played on the two earlier tracks). Both sessions featured groups of 11 players, all of whom were in top form in performing Mingus' notoriously complex compositions, writes jazzrecord.

All but two tracks on Mingus, Mingus, Mingus, Mingus, Mingus were re-interpretations of songs from the bassist's earlier catalogue, only "Celia" rates as a new original number, and "Mood Indigo" is a cover of the famous tune by Mingus's hero Duke Ellington. If you happen to have lost your Mingus decoder ring, the remaining tracks correlate to their past counterparts as such:


For Mingus, Mingus, Mingus, Mingus, Mingus Mingus collaborated with arranger/orchestrator Bob Hammer to score the music for the large ensemble of brass and saxophones. Recorded January 20 and September 20, 1963 in New York City.

The groove-obsessed Sdban Ultra label are pleased to present an outstanding new collection of musical gems from Belgium's thriving jazz scene, compiled by Belgian DJ and eclectic connoisseur, Lefto.



'Lefto presents Jazz Cats volume 2', released 24th June, features a balance of known and obscure artists. From the thrilling frenetic grooves and innovative soundscapes of Bandler Ching and the electronic influenced Stellar Legions (Andrew Claes from (STUFF.), to the jazz fusion collective L?p?GangGang and weaving musical odyssey that is M.CHUZI, 'Lefto presents Jazz Cats volume 2' is a melting pot of the best musical talent coming out one of the smallest countries in Europe. In addition, there's the beautiful unease of One Frame Movement, the laidback 'acoustic electronica' of Boombox Experiments, the classic funky jazz stylings of Cargo Mas and the cinematic The Brums, making 'Lefto presents Jazz Cats volume 2' an essential release for any jazzhead with a passion for new sounds.



"By collecting all the music for 'Jazz Cats volume 2', I come to the conclusion that we are living in an era of very talented individuals and collectives. Even more so than 4 years ago. I have the impression that the Belgian jazz sound is more diverse, with more influences and more creativity. There was a time that jazz would be the starting sample to create a beat for rappers, today it is electronica, rap or afrobeat that influences our youth to create a sound or style that suits their vision of what jazz sounds like in 2022. So, once again it is with extreme pleasure that I present to you some of the best present and next generation of jazz cats this little country has to offer."



2018's 'Lefto presents Jazz Cats' included tracks from some of Belgium's biggest hitters including Black Flower, STUFF., and Glass Museum who have all gone on to receive global acclaim. The album was given the accolade of 'Album of the Week' on Worldwide FM and also received further radio support from Jazz FM in addition to numerous glowing reviews.



Tastemaker, selector, curator, DJ and producer, Lefto is one of the most important and respected tastemakers around the world with a record collection of over 15,000 records. Cutting his teeth on jazz and new beat, a genre that moulded the shape of electronic music in 80s Belgium, Lefto formed his early tastemaker know-how via his dad's record collection.



Creating his fine ear for music and the cutting edge at Belgium's legendary Music Mania record store in his hometown Brussels, he has been a resident on Belgium's leading radio station Studio Brussel and currently hosts a show on Kiosk Radio (BE) and The Lot Radio (US). He also curates his own stage at the Dour Festival and hosts his own nights in Gent. World renowned, he regularly blesses sound systems from Tokyo to Seoul, Singapore to Manila, Kazakhstan to Germany, San Francisco and Los Angeles, with residencies in Amsterdam and New York.

Limited version 2LP on red vinyl in gatefold sleeve. An outstanding new collection of musical gems from Belgium's thriving jazz scene, compiled by Belgian DJ and eclectic connoisseur, Lefto.

The groove-obsessed Sdban Ultra label are pleased to present an outstanding new collection of musical gems from Belgium's thriving jazz scene, compiled by Belgian DJ and eclectic connoisseur, Lefto.



'Lefto presents Jazz Cats volume 2', released 24th June, features a balance of known and obscure artists. From the thrilling frenetic grooves and innovative soundscapes of Bandler Ching and the electronic influenced Stellar Legions (Andrew Claes from (STUFF.), to the jazz fusion collective L?p?GangGang and weaving musical odyssey that is M.CHUZI, 'Lefto presents Jazz Cats volume 2' is a melting pot of the best musical talent coming out one of the smallest countries in Europe. In addition, there's the beautiful unease of One Frame Movement, the laidback 'acoustic electronica' of Boombox Experiments, the classic funky jazz stylings of Cargo Mas and the cinematic The Brums, making 'Lefto presents Jazz Cats volume 2' an essential release for any jazzhead with a passion for new sounds.



"By collecting all the music for 'Jazz Cats volume 2', I come to the conclusion that we are living in an era of very talented individuals and collectives. Even more so than 4 years ago. I have the impression that the Belgian jazz sound is more diverse, with more influences and more creativity. There was a time that jazz would be the starting sample to create a beat for rappers, today it is electronica, rap or afrobeat that influences our youth to create a sound or style that suits their vision of what jazz sounds like in 2022. So, once again it is with extreme pleasure that I present to you some of the best present and next generation of jazz cats this little country has to offer."



2018's 'Lefto presents Jazz Cats' included tracks from some of Belgium's biggest hitters including Black Flower, STUFF., and Glass Museum who have all gone on to receive global acclaim. The album was given the accolade of 'Album of the Week' on Worldwide FM and also received further radio support from Jazz FM in addition to numerous glowing reviews.



Tastemaker, selector, curator, DJ and producer, Lefto is one of the most important and respected tastemakers around the world with a record collection of over 15,000 records. Cutting his teeth on jazz and new beat, a genre that moulded the shape of electronic music in 80s Belgium, Lefto formed his early tastemaker know-how via his dad's record collection.



Creating his fine ear for music and the cutting edge at Belgium's legendary Music Mania record store in his hometown Brussels, he has been a resident on Belgium's leading radio station Studio Brussel and currently hosts a show on Kiosk Radio (BE) and The Lot Radio (US). He also curates his own stage at the Dour Festival and hosts his own nights in Gent. World renowned, he regularly blesses sound systems from Tokyo to Seoul, Singapore to Manila, Kazakhstan to Germany, San Francisco and Los Angeles, with residencies in Amsterdam and New York.

BBC 6 MusicAlbum of the Yearas chosen by

DJ Craig Charles

★★★★Mojo

★★★★★Blues & Soul

★★★★★UK Vibe

9/10 DJ Mag (Single I Miss You)

"One of the very best soul voices I've heard for a very long time"

Craig Charles (BBC 6Music)

"Delivered with a vocal dripping with yearning and desperation"

4/5 Mojo

"A high octane soul masterpiece"

Blues & Soul,5/5Album of the Month

"Undoubtedly the album of the year"

5/5 UK Vibe

Burundian soul singer JP Bimeni is set to release his first music since his BBC 6 Music award winning album Free, from 2018. Give Me Hope is a slice of horn heavy, Afro tinged, Stax inspired soul and is the first taster of a new album set for release in early 2022

Give me Hope is the title track from his new album, featuring his band The Black Belts, set to drop on February 4thon Lovemonk Records.

A supremely funky number it boasts bassline and powerful horn arrangements, and gives a taster to a new work that dots between classic '60s Motown, psychedelia and Afro-funk.

Joona Toivanen Trio makes their We Jazz Records debut with their new album "Both Only", out 25 Feb 2022. A landmark work for the long standing group, the album showcases a new sound for the band, trekking deep into new ideas for an acoustic jazz piano trio. Since their formation as teenagers in mid-1990's, the trio of pianist Joona Toivanen, bassist Tapani Toivanen and drummer Olavi Louhivuori (of Superposition, Ilmiliekki Quartet and Linda Fredriksson "Juniper") has developed their remarkably coherent band sound step by step, touring the world over. Nowadays, the trio is geographically split between Gothenburg, Sweden (Joona), Copenhagen, Denmark (Tapani), and Helsinki, Finland (Olavi), but the unit has never sounded so together as one, and as adventurous as on "Both Only".

"Both Only" by Joona Toivanen Trio is a cocoon, a welcoming shelter of sound that opens up naturally for the listener to inhabit. The album is moody and introspective, even dark at times, but by the time you get to the closing track, "This and This", you'll likely notice something hopeful brewing up. This is not music dealing with nostalgia or a world lost. Instead, it's a body of work with delicate dynamics, taking a minute just to listen and to look inwards to learn something, to move forward.

The first single "Enlightened" is perhaps the most traditional piece on the album, yet it flows like a vessel beyond genre, conveying a mood, a feeling and an idea. Listen to how the piano, bass and drums discuss, how the groove moves with the instruments having their clear roles but also supporting each other and documenting a musical aging process exactly as that of a quality bottle of red wine. As a song like "Direction" proves, the melody is there all the way, yet there is nothing obvious about how it's carried by the trio. Things remain surprising, fresh and moving at all times. "Except For" keeps its intensity, while nearly erupting into a full on 4-to-the-floor banger. Nearly! The key here is how the energy sustains itself, building the intensity within the music.

"Both Only" is a powerful statement from a band ready to renew itself time and again, and one willing to do it slowly, outside of the hype. This process makes the impact enduring, nuanced and lovely.

WJLP37 Joona Toivanen Trio "Both Only" is available on vinyl as a black vinyl edition and as a LP+7" bundle also including WJ0716 "Except For (7" Edit)" / "Keyboard Study No. 2".

“More excellent poetic soundscapes from We Jazz! Love the flow through the tracks here – textural pieces moving into more rhythmic jazz abstractions. Beautifully recorded too.”
Quinton Scott — Worldwide FM

“Following on from the excellent Linda Fredriksson album We Jazz extend the journey with this innovative Joona Toivanen Trio set.”
Paul Bradshaw — Straight No Chaser

“You’ll look in vain here for extravagant splashes of color or bright swathes of sound, but what you will discover are a finely-chiselled set of compositions that make the most of the trio’s limited palette: flint-sharp melodies hewn from the ice, crisp and crackling rhythms.”
Cal Gibson — Ban Ban Ton Ton

“Incredible album from Joona Toivanen Trio and a strong start to the new year from We Jazz.”
Kerem Gokmen — Dubmission

“Encapsulating a new movement in jazz.”
Jay Scarlett — Sounds Supreme

“Interesting listen on the shortest day of the year. They have a very definite and saturated style.”
John Chacona — All About Jazz

“Airplayed the track”
Tom Ravenscroft — BBC6 Music

“Jazz album of the year released already in February?”
Ralf Sandell — Hufvudstadsbladet

“★★★★★”
Iida Simes — Voima Magazine

Höga Nord Rekords kindly welcomes Teecwa back to the label, following up his last full length-album “Beyond the Altai” with “Elysian on Moon Lake”. He is still exploring the intersections between house, electro, techno and dub and once again he manages to harness the analogue electronics in his machines to produce modern psychedelia.

“Elysian On Moon Lake” is rawer, less airy and not as sparkling as his last album. This is a tighter, and slightly darker experience than Teecwa’s previous work, maybe caused by being in quarantine for extensive time during production, letting some of the dreaminess aside for the harsher reality in a pandemic world. Still, you get a mind-altering experience in a lot of tracks since the album starts off in a lighter tone than how it later develops. Switching from the A- to the B-side works as a rite of passage going from dusk to night; the sun rays through the blinders are replaced by neon light dancing on the walls and ceiling.

Regarding the dramaturgy of “Elysian On Moon Lake”, this album has movielike qualities; a well-directed piece from the opening impact and setup through the confrontational part where intensity builds up to the climax in “Hythmdoser” to the cooling down effect of the peaceful closer “Celestial Trails”. The trip eventually ends up in a safe and happy place after the cathartic finale.

This is not a just collection of songs, this is an album made to experience in full length without interruptions.

“I’m closing a chapter in my life,” Barbie Bertisch says to me from a park bench in Greenpoint, “I spent the last four years working towards gaining confidence around my ideas and my creative perspective. This feels like a culmination of that process” The “this,” in question is Bertisch’s debut record Prelude, a collection of eleven songs that chronicle 5 years of Bertisch’s life. The legendary musician Anna Domino describes the record best: “Prelude is a record of layers and depths. The melting phases and soaring distances.”


Raised in Buenos Aires and Miami, Bertisch has called New York home for most of her adult life. When she started piecing together Prelude, she was in her Brooklyn kitchen. It was early quarantine. Stuck at home instead of DJing at clubs, she found the space to parse through the archives. What she previously considered unworthy of attention in the era of distractions, finally made sense as a whole once all the noise was turned down. Compiling a list of songs in various states of completion, Bertisch dreamed up an album, a chronicle in growth and healing frustrations of the past, an honest account of someone trying to find her own voice. That in and of itself was a journey. It took years for Bertisch to accept that she was an artist. “I felt like I was surrounded by men who ruled every space. I constantly felt like I had to ask permission to enter, always around bands but never the girl in the band” she says.


Prelude is an introspective record. It explores all of the valences of being and feeling. Some songs are chaotic and choppy. Others are soft and searching. There is rage and innocence, and moments of forced stillness, like capturing the aftermath of panic attacks, as in “After The Storm”. Bertisch also focuses on rhythm, bass guitar being her main instrument, and no stranger to the power of the beat. The record also draws on influences as varied as Kaitlyn Aurelia Smith, Cocteau Twins, Berlin School, and pioneering producer François Kevorkian. Both sonically and conceptually, Prelude is a portrait of who Bertisch is as a person.“Is This What You Wanted?” is fiery, a pointed provocation to domineering figures from her past. It’s full of strobing, strident synths, and heady lines of bass. It gives off the same vibe as a fire alarm, as a big room dance track that subverts your expectations of what it means to dance in a sea of bodies. “28,” the record’s opening track is more peaceful. It’s all languid keyboard arpeggios with the occasional flourish of a cascading synth effect.


Since most of the songs already existed in some form or another, Bertisch’s job on Prelude was to refine and reimagine music that had previously been private. She spent time rearranging, rewriting, adding elements newly available to her, such as the saxophone, and pushing the limits of the rough mixes to mold the universe she envisioned. Along the way, Bertisch grew more excited about her abilities as a musician. The resulting record is one that is inherently confident.


Prelude is also a homespun release. It’s coming out on Bertisch’s own label, Love Injection Records, which she runs with her partner Paul Raffaele. The two also DJ and make zines under the name, which started in 2015. Love Injection is a love letter to New York. Prelude is a word of encouragement to those struggling with self-actualization. The record was mixed by Justin Van Der Volgen and mastered by Walter Coelho. Love Injection Records holds the remix tradition in high regard, and they’ve enlisted reworks by some of Barbie’s favorite producers. It’s all a labor of love for Bertisch. Prelude is her: Barbie the musician.
©℗ Love Injection Records 2022

After an initial link up last summer, Altrimenti Records present four more remixes of cult Italian synth maestros Cabaret Du Ciel. Once again the focus is on experimentation, testing unusual crossovers between artists, eras and styles in pursuit of compelling new sounds.
The results across all four of these versions are distinct from each other, and distinct from wider trends in dance music.
First up, Benedek approaches 'Great Plains' as a low-tempo space-boogie excursion. Following in the wake of his releases on Leaving Records, L.I.E.S. and People's Potential Unlimited, the LA-based artist lays down thick slabs of Moog while retaining the ethereal swirl of the source material.
Rome's L.U.C.A. (aka Francesco De Bellis) has established his new wave-inspired sound on his own Edizioni Mondo label, not to mention working in other projects such as MAT101 and Jollymusic, and he brings a sprightly, motorik energy to 'Climatic Variation'.
Lorenzo Fortino's 'Suspacid Revisitation' version of 'Lakota' is aqueous and psychedelic, but remains elegant and understated in its execution. The emergent producer has already released on Wo-Land and most recently Miniera, and this remix ably embodies the entrancing qualities inherent in his sound.
The remix package concludes with a playful, leftfield electro diversion from elusive Montreal-based producers Sentena. Hailing from an emergent scene orbiting the Doo label and projects like SnP 500 and Fashion, their crooked take on machine music perfectly meets the adventurous aims of Altrimenti in testing out crossovers of styles and creative processes.

‘Self Oscillation’ is made up of 5 club-ready psychedelic workouts swaying with natural momentum, from
Ecuadorian superstar Nicola Cruz, who makes his 2nd appearance on London’s Rhythm Section INTL.

The internationally renowned producer, Nicola Cruz, has been instrumental in pioneering the sound of Andean music over the last decade. Born and raised in Ecuador, Nicola has found his own unique way to tap into Latin America’s illustrious musical past to create something utterly contemporary. His previous projects have had the 4 elements running through as major themes: Fire and lava erupted during his sophomore album, Siku, with an Ecuadorian volcano doubling up as a recording space. And now, with his second Rhythm Section release, we are met with sounds of flowing water that Nicola describes as “aqueous explorations”. On this EP, ‘Self Oscillation’, Nicola Cruz fuses experimental production techniques with underwater, bass-heavy constructions. Moods change like the tides; from euphoric highs with acid riffs and latin drum patterns, the music quickly dives to moody submarine basslines and dark, frenetic rhythms.

‘Self Oscillation’ sees Nicola’s production move to new heights as he expertly bridges the gap between natural and mechanical sounds. With the help of iconic 80s and 90s synths and the retro colours of a Roland Space Echo, his newest work is a hybrid of electronic dance music and a synaesthetic image of nature. In the spirit of his previous EP on Rhythm Section INTL, ‘Self Oscillation’ showcases the synergy - or rather ongoing battle between the organic and inorganic, the analog and digital, civilisation confronted and confounded by nature. It’s within this dichotomy that Cruz revels, and manages to say so much, without words.

The Ice Warriors is the 39th story arc of the series Doctor Who consisting of 6 parts and ran in the 5th season. Parts 2 and 3 are considered lost and were animated for DVD release in 2013.

Plot: The TARDIS materializes on Earth, where humanity is fighting a new ice age. At Brittanicus Base, scientists are trying to use an ionic device to combat the advance of a glacier. When a giant humanoid creature is discovered nearby in the perpetual ice, additional complications arise as the ice warrior comes to life after thawing. It is the captain of a spaceship from Mars that crashed centuries ago. Varga also wants to revive his comrades and conquer Earth, since life is no longer possible on Mars. The Doctor and his companions must not only prevent Varga's plans but also save the base's crew from the approaching glacier....

On three LPs in a deluxe box set, fans can now relisten to the four surviving original TV episodes from 1967. The 140 gr. LPs come in the special color Molten Ice vinyl. Elaborately illustrated sleeves on top.

KU is paying tribute to one of the most acclaimed and iconic records in
the NMS catalogue, with a 2LP vinyl release, with brand new artwork & a
bonus remix
The re-release is an opportunity for new fans to be exposed to this masterpiece
LP, old fans to explore a NMS classic through fresh ears, and for the band to
reflect back on the record they made nearly 15 years ago.
Reissued on double vinyl.Featuring Dionne Charles.
New cover art.
Includes a bonus track.
Limited edition of 800 copies.

2 Vinyl Disc - Swirl Color - Live archive release
Chuck Berry, the songwriter and guitarist now known worldwide as the Father of
Rock & Roll, came from humble beginnings. The complete Concert. Mastered
from the Analog Tapes: There was no shortage of historic rock music festivals in
1969, from highs of Woodstock to the crashing lows of Altamont. Meanwhile,
interest was steadily building on another front. A full-fledged 1950s rock and roll
revival was brewing, and the idiom's pioneers were experiencing a Renaissance.
No longer viewed as over-the-hill relics, they stood as vital sources of real rock
and roll. Combining the two contrasting demographics at one event was a rare
sight to behold, but the Toronto Rock 'n' Roll Revival 1969, held that September 13
at the University of Toronto's Varsity Stadium, represented that unlikely hybrid.
That afternoon the Father of Rock & Roll returned to lead the apostles of rock into
the next decade. After decades of inferior releases, for the first time, this
historical concert is presented in its entirety. Includes, School Days, Carol,
Memphis, Nadine, Rock & Roll Music, Johnny B. Goode, I'm Your Hoochie Coochie
Man, Too Much Monkey Business, Sweet Little Sixteen, Goodnight Sweetheart
Goodnight and more. Double LP Pressed on Swirl Color Color Vinyl.

'Mellow Moon' is the debut album from Alfie Templeman - an album that
"feels like something of a miracle, landing somewhere between an
otherworldly trip and a joy-filled ode to life back on earth"
Like all journeys, the change in mood is palpable throughout Mellow Moon, with
songs like the nostalgic '3D Feelings' or 'Broken', which is about "all the little
wobbles of being a teen and figuring yourself out," that bristle with the energy of a
life being lived again.
There's nuance in there, too. Candyfloss suggests that life can sometimes appear
too good to be true, something Alfie has felt since was a kid. "There's always a
downside to the cool shit," he says. "Candyfloss is what it all appears to be until
you get deeper into it."
The result is an easily accessible comfort place. Across 14 tracks Alfie closes his
eyes and imagines another world, one where he's at ease and not distracted by
life's many challenges.
Inspired by modern influences like Steve Lacy, Khruangbin and Leon Bridges, as
well as Alfie's constant cosmic guide Todd Rundgren, Mellow Moon flows with an
ease that belies its difficult creation. "It's a moment in my life that I want to
remember forever. I've put so much effort into this and it's a real experience to
listen to."
Acting as both an intimate diary entry and a communal call to arms, Mellow
Moon is Alfie's most complete work to date and a platform from which he will
surely use to propel himself further into the stratosphere. If ever proof were
needed that music is a salvation or a transportative force, this is it.
Live sessions with Radio 1, Radio 2 and Virgin have now aired.
TV performances confirmed with Sunday Brunch (22 May) and Blue Peter (20
May), the week prior to album release (EMBARGOED!!!!!).
135M total global career streams

Sean Thompson's Weird Ears self-titled full-length debut centers the
seasoned singer-songwriter/guitarist in the immediacy of he present
moment - Born and raised in Nashville, Thompson cut his teeth playing in
a slew of projects around the city's rock, folk, and experimental scenes
both as creative collaborator and session player, spanning from the
experimental math-rock of Gnarwhal to the psychedelic country rock of
Teddy & the Rough Riders, Promised Land Sound, or Skyway Man, to
more Recently joining singer-songwriter Erin Rae as a one-man-righthand band
When asked about the connective throughline in his projects, Thompson doesn't
hesitate: "From Gnarwhal to now, I've always wanted to make something that
feels alive." Taking equal inspiration from the improvisational grooves of the
Grateful Dead as well as the craft of songwriters like JJ Cale & Joni Mitchell,
Thompson's songwriting debut marks the arrival of a unique voice grounded by
wide-reaching, generous ears.