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Post-minimalist American composer Rafael Anton Irisarri makes his Umor Rex debut with his new album, The Shameless Years. Inspired by a troubled socio-political climate, buried melodies punch their way through a bleak cover of noisy drones, periodically veering into some of Irisarri's most eerily pertinent music to date.

One of Rafael Anton Irisarri's most thematically and sonically cohesive records to date The Shameless Years came together in a relatively short burst of creativity starting at the end of 2016. Rediscovering some relatively older tools - namely Native Instruments' Reaktor, Absynth, and Kontakt software - Irisarri combined them with his collection of guitars, pedals, amps, and analogue processing gear, turning his Black Knoll Studio north of NYC into a powerful writing tool. Completed quickly by Irisarri's standards, let alone during a period of social upheaval in American society, the record faces down several key personal themes. The title, suggests Irisarri, could in fact be seen as a reflection of the era of shamelessness we're currently living in, a time of fake news and alternative facts.

Two tracks were completely remotely between Irisarri in New York and Umor Rex veteran Siavash Amini from his home in Tehran, Iran. This music came together at the peak of all the anti-Muslim and anti-immigrant rhetoric happening in the USA, not to mention the banning of Iranians from entering the country, explains Irisarri. The diptych with Amini, 'Karma Krama' and 'The Faithless', seems bathed in additional waves of sorrow and dread. The wash of symphonic stormclouds of synth drones and processed notes on the latter gradually appears and disappears over the course of thirteen mournful minutes.

'Rh Negative' marches gigantic guitars through towering valleys of scarred ambient noise dealing with Irisarri's own heritage, many of his ancestors having come to America to escape poverty and oppression. The refusal of modern America to extend similar sanctuary to refugees escaping turmoil weighs heavily on the composer. Elsewhere an emotional onslaught of notes buried in mounds of greyscale noise on 'Sky Burial' aims to deal with Irisarri's very own mortality - something he was recently confronted with following health scares, an accident, and a near-death experience in 2016. Pushing 40 as this album was being made, the composer is constantly aware that he's already outlived his own father, who died at the age of 32. Facing down both intolerance and the void, the epic soundscapes of The Shameless Years are a vast cry of emotion from Irisarri. The clock is ticking - gotta make the most out of it while you still can.

All songs written and performed by Rafael Anton Irisarri, except #5 & #6 written and performed with Siavash Amini. Design by Daniel Castrejón, photos by Camilo Christen. Mastered by James Plotkin.

Red Vinyl

The unmissable, head-twisting debut LP by Cairo’s 1127 returns on red vinyl pressing for those who missed its shockwaves for the first time back in summer 2019, Huge recommendation if you’re into Autechre, Arca, Croww w, Rabit...
Getting right under the skin with its hugely variegated palette of brutalist, rhythmic power electronics and evocative location recordings, ‘Tqaseem Mqamat El Haram 2016-2019’ resembles something like a soundtrack to a Neil Blomkamp flick set it Cario, Egypt, 2050 where stifling heat and pollution means everyone wears
breathing apparatus and hover cars sputter about its dusty sprawl. It’s surely one of the most shocking and transfixing sides from North Africa this side of the debut LPs by 1127’s peers, Myslma and Zuli, and should be prized by anyone with an ear for futurist rhythms and microtonal synths of a modern, Afro-futurist order.
Comprising collaged chunks from 1127’s archive arranged in a seamless, diffracted flow that recalls Autechre as well as the mutant adjuncts in Arca’s &&&& or Croww’s ‘Prosthetics MechaMix’, the results feel as though scraped from the insides of 1127’s skull, capturing and rendering the sounds of Cairo street raves ricocheting
with spasms of gristly noise, strafing into pockets of cutthroat flashcore and dropping out into smoky,
intimate scenes of Arabic dialogue, all threaded together with a distinctive taste for metallic microtonal synthlines and coruscating noise.

Scratch Sounds No 3 (Atomic Bounce), the accent in this record is on the sound of electronic funk.

The SCRATCH SOUNDS series is a resource for the musically minded turntablist practitioner.

My aim with this series is to produce a coherent set of original recordings with vocalists and instrumentalists, designed specifically for the scratch musician.

Taking inspiration from the library music catalogues of the 1960’s and 70’s, each record is themed in style or mood. By building a library of Scratch Sounds the creative process becomes streamlined, enabling you to select the record most fitting to your project or jam.



For each instrument I have provided a combination of skip-proof loops, chords, riffs and licks. This is to ensure that the format isn’t overly prescriptive and allows for a variety of playing styles and approaches. I recorded separate takes for each tempo so each side has a distinct set of sounds. One of the most rewarding elements of turntablism is sample discovery, for this reason i made sure there was ample material for your digging pleasure.



It is my belief that with the correct tools and mindset we can further strengthen the legitimacy of the turntable as a musical instrument.

Fold Unfold is the debut album by violinist Katrine Grarup Elbo from the Danish collective We like We. As a solo artist she steps out from the safety of group performance and presents a vulnerable portrait using only her classical training and analogue electronic setup.

Peaceful scenarios of natural beauty that hover like calm mist over cold streams are interrupted by spine chilling forces. Naked passages and electroacoustic electronics together create ripples in time as the pieces mold into flowers reaching for the outer edge. Elbo summons the most time stopping affairs using only the most basic of ingredients, as a true master. Clouds of uncertainty and reason echoes infinitely into the ether as she moves in and out of acoustic and manipulated sonic landscapes. Imagine Jocelyn Pook´s captivating Masked Ball piece from Kubrick´s Eyes Wide Shut with its clouds of mystery, suddenly turning unmasked and fragile, as if abruptly standing vulnerable in the shadows listening only to the reverb of the room and ones own breath.

The album was recorded and mixed at Saal 3, Funkhaus, Berlin with Antonio Pulli. In the 29 minutes runtime, we are presented with transportations through silent, almost Baroque sounding pieces towards overpowering, processed alterations of her violin that vibrates like echoes springing off the stars. A stunning debut with all its natural purity and intimacy.

This 4th full-length album by the legendary Congolese collective marks a new milestone in their already rich history, as the band have incorporated their own approach to electronic music into their new compositions. The album was produced by guitarist Mopero Mupemba, who also wrote about half of the songs. Mopero also took care of the often intricate programming, which is perfectly adapted to Kasai Allstars' peculiar rhythmic patterns drawn from traditional trance and ritual music. The album features Kasai Allstars mainstays such as vocalist Muambuyi (whose voice and personality inspired the making of multi-awarded feature film Félicité), vocalist and electric likembe player Kabongo, powerful singer Mi Amor, and instrumentalists Tandjolo and Bayila. Wonderful young vocalist Bijou makes a notable first appearance on several tracks. As is well-known by now, Kasai Allstars was born from the reunion of five bands, all from the Kasai region, but originating from five different ethnic groups whose diverse musical traditions were thought to be incompatible until these musicians decided to pool their resources and work together, an inspiring example of collaboration transcending ethnic and language barriers. Ever since the debut release in 2008, Kasai Allstars' music struck the imagination of music lovers and artists worldwide. They're particularly admired by avant-indie rock, electronic & hip hop musicians and media, who consider it as a kind of "primal rock", an accidental blend of trance and avant-garde. They're admired by artists such as Saul Williams, Questlove and Björk, have engaged in live collaborations with Deerhoof, Juana Molina and Konono Nd1, and have had their tracks remixed by the likes of Animal Collective, Deerhoof, Aksak Maboul, Jolie Holland, Shackleton and more.

Four Flies is proud and excited to present the first full-album release of the long-forgotten soundtrack composed by Armando Trovajoli for Piero Vivarelli's 1964 movie Il Vuoto.

Rightly considered by many to be a key figure, if not the key figure, in the history of Italian jazz, Trovajoli was responsible for fostering an appreciation and understanding of jazz among the generation of music listeners and musicians raised under Mussolini and Fascist nationalism. His outstanding work as a pianist, composer and conductor contributed immensely to the popularization of the genre among the general public and to the reduction of institutional bias against it.

The collaboration between Trovajoli and Vivarelli did not happen by chance. The latter, now regarded as one of Italy's "kings of the B's" for his work in the 'exotic-erotic' genre (Il dio serpente, Codice d'amore orientale, etc.), was a great music expert, a skilled talent scout for the Italian music industry, and a true lover of jazz.

Most of Trovajoli's score for Il vuoto has a refined smoothness that is clearly reminiscent of cool jazz – many tracks on the soundtrack are performed by a sextet featuring Trovajoli himself on piano, Carlo Zoffoli on vibraphone, Gino Marinacci on baritone sax and flute, Enzo Grillini on electric guitar, Berto Pisano on double bass, and Sergio Conti on drums and percussion. At the same time, Trovajoli explores other jazz styles or sub-styles in faster, more rhythm-oriented tracks influenced by bossa nova, samba, and even rock'n'roll, where instruments like drums and percussion, electric guitar, or flute take center stage.

This stylistic variety demonstrates both the maestro's versatility as a composer and the fine skills of the musicians who performed on the soundtrack. Like Trovajoli, they were all pioneers of Italian jazz and played in Italy's very first 'institutional' jazz orchestra: the Orchestra di Musica Leggera of the RAI (the Italian public broadcasting company), formed under Trovajoli's leadership in 1956 and credited as "his orchestra" in public performances and in the album The Beat Generation (RCA Italiana, 1960).

By making available for the first time ever almost all of the music recorded by Trovajoli for Il vuoto, this LP fills an important gap in the maestro's discography. Most importantly, it offers further insight not only into the history of Italian jazz, but also into the penetration of the genre into Italian film music, which was possible thanks to Trovajoli's mastery as a composer and to the virtuosity of the pioneering musicians who performed in his orchestra.

Divine Invasions is the sophomore release from Welsh electro post-rock duo Ritual Cloak. The album builds on the cinematic soundscape themes of their debut, with the addition of vocals scattered throughout the record.
Work on Divine Invasions began as soon as the first album had been finished back in September 2019. The first album saw sparing use of guitar, instead mainly writing around piano. When it came to writing the second, Sanders and Barnett didn’t want to fall into the same routine, choosing to embrace exploring new sounds, experiment with new effects, making guitars sound like synths and using vocals for the first time.
The title Divine Invasions is inspired by the Philip K Dick biography. Dick was plagued by nervous breakdowns and driven to near insanity by visions of God.
For Fans Of:Mogwai, Radiohead, Sigur Ros, Kiasmos

Astral Black welcome Eahwee (pronounced errr-wee)to the fold for his 'Solitude' EP. Through his production work with MC's such as Mutant Academy's Koncept Jack$on & High Focus' Coop, a handful of releases on Dallas-based label Sunday Dinner and a flurry of bandcamp beat tapes - the London-based producer has quietly made a name for himself on the international beat scene. With the release of 'Solitude', Eahwee joins the ranks of Astral Black alumni & his production peers Budgie, Shy One & JD. Reid amongst the labels forward-thinking-producer blessed catalogue.

Across the 12-tracks here on 'Solitude', Eahwee contorts a gold-mine of 70's soul samples into a psychedelic reflection on isolation & the human experience, presented in the form a life affirming 17-minute long mixtape. From the exultantly ethereal sounds of 'Duuduu' & 'Windough' to the heart string pulling 'Naybahuud' & 'Rarecandy', Solitude is a testament to how Eahwee has developed his craft into an effortless touch. Though largely instrumental, peppered along the way are a handful of vocal performances in the form of guest appearances from Blah Records commander-in-chief, Lee Scott, the mafioso memoirs of extra terrestrial MC Melanin 9 and neo-soul sage, Ninjah Aragniz – who closes off proceedings with the infinitely loop-able summer anthem 'yah yah'.

The 7" vinyl edition is limited to 100 copies and includes tracks 'LOOOL', 'Shame' & "yah yah' featuring Lee Scott, M9 & Ninjah Aragniz respectively, alongside their instrumentals. Whilst the cassette edition, limited to 30 copies, features all 12 tracks in full on the A-side, with all 12 instrumentals on the B-side.

The Artwork, a comment on working with the best & worse of human nature, comes courtesy of Eahwee himself with yypography & additional design by Morgan Hislop.

With unfettered access to the Zappa Trust and all archival footage, ZAPPA explores the private life behind the mammoth musical career that never shied away from the political turbulence of its time. Alex Winter’s (Bill & Ted’s movie franchises, The Lost Boys) assembly features appearances by Frank’s widow Gail Zappa and several of Frank’s musical collaborators including Mike Keneally, Ian Underwood, Steve Vai, Pamela Des Barres, Bunk Gardner, David Harrington, Scott Thunes, Ruth Underwood, Ray White and others. The soundtrack is a perfect complement to the film available as a limited edition 5-LP 180-gram vinyl set for the Zappa completist. Showcasing 69 total songs, there are 12 previously unreleased recordings from the Zappa archive along with his 1978 Saturday Night Live performance; 24 additional Zappa songs from his extensive catalog spanning four decades; songs from Zappa’s labels Straight / Bizarre Records like “No Longer Umpire” by Alice Cooper and “The Captain’s Fat Theresa Shoes” by The GTO’s; 2 classical compositions by Edgard Varese and Igor Stravinsky; and 26 Original Score cues newly composed by John Frizzell for the documentary – all of which give the universe a sonic exploration into the musical brilliance of Frank Zappa. A 2LP edition on 180-gram clear vinyl will also be available, collecting together eight of the unreleased recordings from the Zappa archive, the SNL performance and 13 recordings from Zappa’s extensive recording career.

With unfettered access to the Zappa Trust and all archival footage, ZAPPA explores the private life behind the mammoth musical career that never shied away from the political turbulence of its time. Alex Winter’s (Bill & Ted’s movie franchises, The Lost Boys) assembly features appearances by Frank’s widow Gail Zappa and several of Frank’s musical collaborators including Mike Keneally, Ian Underwood, Steve Vai, Pamela Des Barres, Bunk Gardner, David Harrington, Scott Thunes, Ruth Underwood, Ray White and others. The soundtrack is a perfect complement to the film available as a limited edition 5-LP 180-gram vinyl set for the Zappa completist. Showcasing 69 total songs, there are 12 previously unreleased recordings from the Zappa archive along with his 1978 Saturday Night Live performance; 24 additional Zappa songs from his extensive catalog spanning four decades; songs from Zappa’s labels Straight / Bizarre Records like “No Longer Umpire” by Alice Cooper and “The Captain’s Fat Theresa Shoes” by The GTO’s; 2 classical compositions by Edgard Varese and Igor Stravinsky; and 26 Original Score cues newly composed by John Frizzell for the documentary – all of which give the universe a sonic exploration into the musical brilliance of Frank Zappa. A 2LP edition on 180-gram clear vinyl will also be available, collecting together eight of the unreleased recordings from the Zappa archive, the SNL performance and 13 recordings from Zappa’s extensive recording career.

The debut single from The Resonaires! A group featuring members that have been apart of some of the pivotal artists of the soul revival movement: Sharon Jones, Charles Bradley, Lee Fields. Now striking out on their own with the powerful vocals of Saundra Williams, The Resonaires hope to strike a chord with their debut single "Standing With You"!

Liverpool’s legendary Death Metal pioneers Carcass (who still tour
extensively to this day) are often credited with shaping the entire
death metal genre.

Pushing boundaries with their shocking imagery whilst evolving and innovating with each new album. Heartwork is widely renowned as the best Carcass album with its melodic intricacies.

These albums have been specially recreated using ‘FDR’ - full dynamic range mastering - pressed from the original master tapes, allowing the music’s nuance to shine through and giving these classic albums a more ferocious and dynamic sound, enabling the listener to immerse themselves in the full audio heaviness

Ziad Rahbani’s cult album, “Bennesbeh Labokra...Chou?” originally
released in Lebanon only and mixing arabic music with Jazz, Bossa Nova and other western influences, is hailed as an absolute classic.
The album is the soundtrack to his eponymous play and has been highly soughtafter by DJs and collectors around the world. Curated by Lebanese-born music
expert Mario Choueiry from Institut du Monde Arabe in Paris, the album is
reissued on vinyl for the first time since 1978, featuring original gatefold sleeve,
remastered audio and a 2 page insert with a new introduction by Choueiry.
“Bennesbeh Labokra... Chou?” is a skilful blend of Arabic music and Bossa-nova
- “First Introduction” - the recurring theme of the album, groove - the funky
beat of “Second Introduction” and the jazz vibe of “Variation’s 3 and 4.” It’s also
interesting to hear an early version of “Al Bosta” which would grace Fairuz’s
1979 album “Wahdon” in a faster, funkier version.
With a knack for cinematic orchestrations reminiscent of Lalo Schifrin, Ziad
Rahbani also brings more complex arrangements to the album on such tracks
as “Variation 5” making the album such a rich listening. Undoubtedly one of
the most important albums recorded in the Middle East

Darkhan Music is proud to present Vector Seven’s latest darksynth album
“Electric Blood”! “Electric Blood” is a homage to horror movies from the
70’s, 80’s and 90’s.
Musically this electronic gem is a fine blend of different genres such as Synthwave, Rock, Metal, French House and 80’s movie soundtracks. Now, for the first
time ever on vinyl & CD.

Driften is a room that you enter. It holds no space for distractions. It holds no riffs, nor melodies, nor choruses. You enter it.
You close the door behind you. You’re Blindfolded. You’re probably naked too. You’re alone, or with someone dear to you. You’re at your most perceptive (a state only you know how to achieve) You rely on us.
Jenny Wilson is a musician and producer.
Chris Ekvall is a translator of fiction and a singer/guitarist in Octopus Ride

Bob Mintzer has the knack. Whether he developed it during his brief
association with the Thad Jones-Mel Lewis Orchestra, his two years with the Buddy Rich Big Band, or his time with Jaco Pastorius’ Word of Mouth Big Band is unclear.
What is certain, however, is that the great tenor saxophonist has continued to perfect his instincts for orchestration and counterpoint over the years.
With ‘Soundscapes’, the maestro now returns as leader of the WDR Big Band with ten newly arranged pieces. “At WDR, there is, after all, a tradition that the chief conductor implements a project of his own writing at some point during his tenure,” he explains. “So I pulled together some of the things I’ve written for the band over the last five years, as well as a number of brand new numbers, for this recording.”
‘Soundscapes’, an amalgam of moods, grooves and complex textures, not only showcases Mintzer’s work for this widely acclaimed ensemble, but he does double duty. After all, he is also featured as the main soloist on tenor saxophone and the Electronic Wind Instrument (EWI), while spotlighting other outstanding soloists - such as long-time WDR members Paul Heller on tenor saxophone, Karolina Strassmayer and Johan Horlen on alto saxophone, Ruud Breuls
and Andy Haderer on trumpet, and Andy Hunter on trombone. Recorded in December 2019, the album is certainly among the very best of Mintzer’s long career.

Maya Dunietz is a prodigy pianist, an avant-garde sound artist, an award winning composer and mom to four.
A dubious character, a local legend and an inspiration for a generation of musicians. This is a unique kind of jazz. Glimpses of folk lullabies, African scales and rhythms, moments that border with free jazz, and homage to the old school traditions of stride, blues and to the great Thelonious Monk. Maya blends her infinite influences into a mind expanding groovy, never-dull journey.
This EP is Maya’s first solo release; with her as the leading voice and visionary.

When pianist Paul Bley passed away on January 3, 2016, we lost one of the most important improvisers/innovators of modern jazz. He was
instrumental in the surge of free jazz in the 60s.
He established his iconic style and remained influential throughout his life in both avant-garde and mainstream jazz.
The album here is the sequel to SteepleChase’s 1986 LP ‘Live’ from the live recording of March 26, 1986 at Copenhagen’s famous Jazzhus Montmartre.
“If you appreciate Bley’s quintessential lyricism and Lundgaard’s singing lines, this one and the other (‘Live Again’) are noteworthy albums.” - A.G., Compact
“The beautifully clear recording captures Bley’s incisive touch to perfection... recommended to both confirmed Bley addicts and anyone in need of a representative introduction to the startlingly focused genius of the most lucid of romantics.” - Michael Tucker, Jazz Journal International

Numbered white cassette in a black album case. The cassettes includes a booklet, printed on PEFC paper, with two lost phot of of Black Replica supplied by the artist last summer. Includes unlimited streaming of Black Replica via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. From Bandcamp website edition of 100

Daughters of Darkness is a 1971 English-language Belgian horror film. Directed by Harry Kümel this cult erotic vampire film stars Delphine Seyrig, Danielle Ouimet, John Karlen, and Andrea Rau. The film was well received, and a retrospective poll by Time Out in the early 2010s placed the film at number 90 in their top 100 horror films.

Its score was created by multiple award winning composer François de Roubaix. It has long been a much sought after title, with De Roubaix’ son Benjamin commenting that the “composer achieves a perfect balance and the result is a bleak and eerie soundtrack that stands on a par with the music of Ennio Morricone in A Lizard in a Woman’s Skin or - in a different style - that of Isaac Hayes for Shaft”. Parts of score would eventually be sampled by several hip- hop artists, including American rapper Lil Wayne on his song “President Carter”.

American rock band The Flamin’ Groovies were established in 1965, and are still active today: that marks an impressive career spanning over six decades. Jumpin’ In The Night is their sixth studio album, released in 1979. Although it initially didn’t fare well commercially and eventually led to a change in personnel, the album was a critical success and still is received well among music critics and fans. Mark Deming of AllMusic called the album tighter and tougher than its predecessor. The production by Roger Bechirian and vocalist/guitarist Cyril Jordan flatters the guitars and emphasises the band’s “wall of guitars”, ultimately making it an excellent pop rock effort.

The album is available as a limited edition of 1000 individually numbered copies on translucent green coloured vinyl, and contains an insert.

Chicago blues exponent George “Buddy” Guy released multiple albums with renowned vocalist Junior Wells. One of those albums is this live acoustic album, Last Time Around: Live at Legends. The sessions were recorded in 1993 at Buddy’s world-famous Chicago blues mecca Legends. It features acoustic renditions of songs like “She’s Alright”, “I’ve Been There”, “Hoochie Coochie Man” and “Key To The Highway”. Originally recorded in 1993, the album was released in 1998, the same year that Wells passed away. It is now available on vinyl for the very first time.

Toxik is an American thrash metal band, formed in 1985 Peekskill, New York. They released two studio albums before breaking up in 1992, and reforming in 2013. Their first album, World Circus, was released in 1987 through Roadrunner Records. It was one of the first albums to introduce progressive thrash metal, and ended up on College Music Journal’s “Best New Metal Album of the Year” list.

The album, featuring the original tracklisting of the 1987 edition, is available as a limited edition of 1500 individually numbered copies on light green coloured vinyl, and contains an insert.

Shocking Blue was a Dutch rockband from The Hague that was at their peak in the sixties and seventies and gained major cross-Atlantic success. The band was founded in 1967 and after recruiting vocalist Mariska Veres, they soon became huge. With their single “Venus” they became the first Dutch band ever to reach the first spot on the American Billboard Hot 100. The band had a series of subsequent hits but decided to call it a day in 1975. Their influence reached well beyond their generation: even bands like Nirvana and The Prodigy used Shocking Blue’s ‘Love Buzz’.

3rd Album is, strangely enough, not their third full-length album but their fourth. It was originally released in 1971. This reissue comes with six bonus tracks consisting of singles and b-sides.

This release is available as a limited edition of 1500 individually numbered copies on turquoise coloured vinyl.

Shpritsz (derived from a colloquial German word for “syringe”) is the second studio album by Dutch rock and roll and blues group Herman Brood & His Wild Romance. The album produced two singles: “R & Roll Junkie” didn’t chart, but biggest hits, charting in Europe as well as the United States. Shpritsz remains one of Brood’s most critically and commercially successful albums. In a 2008 poll by leading Dutch music magazine OOR, Shpritz was voted the fourth- best Dutch album of all time.second single “Saturday Night” ended up becoming one of his

Aged only 15, Lulu burst onto the pop scene in May 1964 with “Shout”, her unforgettable cover of the Isley Brothers’ timeless favourite. On EMI’s Columbia label she enjoyed a string of hits produced by Mickie Most, including US # 1 “To Sir With Love”, “The Boat That I Row”, “Me, The Peaceful Heart”, “I’m A Tiger”, and the joint winner of 1969’s Eurovision Song Contest, “Boom Bang-A-Bang”.
After Lulu recorded the title song for James Bond film “The Man With the Golden Gun”, David Bowie produced her versions of his songs “Watch That Man” and “The Man Who Sold The World”, the latter a UK # 3 hit. And in 1993 collaboration with Take That on “Relight My Fire” reached # 1.
Pressed on 140g vinyl, this 13-track set contains her best-loved hits.

a a1. SHOUT Lulu and The Luvers











[radio version]

Color Vinyl

Formed in 1977 by Tomata du Plenty (vocals), Tommy Gear (synthesizers, vocals), David Brown (electric piano) and KK Barrett (drums), the Screamers were deeply linked to Los Angeles' first wave punk scene, yet their music and high-energy performances stood apart – defying classification and evoking intense audience reactions.

"These songs were recorded a few months after the Los Angeles punk scene began. These five statements of intent transcend Punk and project forward into the future: to the analog synth wave of the late '70s and beyond, to the present day, four decades later, when they finally receive an official release. Sourced from the original reel-to-reels, they are a revelation compared to the countless copies that have been circulating by multiple generations of tape-traders. Here, for the first time, is the Screamers' initial and legendary manifesto.

The Screamers concept was simple, yet audacious: take the spirit and the look of Punk – the pseudo-psychotic aggression, the spiky hair, vacant stares and barely concealed sadomasochism – and match it to a different configuration than the typical '60s rock template. As launched, the Screamers featured two keyboard players (Tommy Gear and David Brown), a drummer (KK Barrett) and an intensely charismatic singer (Tomata du Plenty). The idea was to be confrontational – to evoke (as Tomata described in an early interview) a state of anxiety.

Forty years later, this release builds on the groundswell of interest in the Screamers that has been occurring in the early 21st century. There are web sites with detailed histories of the group and several bootlegs of demos and live material from 1977-79. The video of '122 Hours of Fear' – perhaps their peak moment, recorded at Target Video in August 1978 – has now passed over 650,000 views online. This is the Screamers' time, and the time is now."

– Jon Savage (excerpt from the liner notes)

On April 23, 2021, Degiheugi will present his 8th album entitled "Foreglow". This record with multiple influences, ranging from samba to Afrobeat through soul and French chanson, is a real ray of light that makes you want to escape and takes you far from home. Once again, the unstoppable digger and beatmaker surprises us and shows us how well he masters the art of sampling.

First time on vinyl

Tomahawk, the rock band featuring Duane Denison
(The Jesus Lizard / Unsemble), Trevor Dunn (Mr.
Bungle / Fantômas), Mike Patton (Faith No More /
Mr. Bungle, etc.) and John Stanier (Helmet /
Battles), return with their first full-length album in
eight years, the highly anticipated ‘Tonic Immobility’.
“‘Tonic Immobility’ could just be something in the air
we’re feeling,” says Denison. “It’s been a rough year
between the pandemic and everything else. A lot of
people feel somewhat powerless and stuck as
they’re not able to make a move without second
guessing themselves or worrying about the
outcomes. For as much as the record possibly
reflects that, it’s also an escape from the realities of
the world. We’re not wallowing in negativity or
getting political. For me, rock has always been an
alternate reality to everything else. I feel like this is
yet another example.”
‘Tonic Immobility’ is the fifth studio album and
Tomahawk are one of the biggest Mike Patton
projects outside of Faith No More and Mr. Bungle
(whose recent album is still charting around the
world)

Sci-Fi and library funk specialists Eleven76 return with an otherworldly breakdance double-sider. Their debut album 'Space Voyage' for Warner's music library covered extra-terrestrial spheres and found its way into many films, TV programmes and documentaries. The scarce promo vinyl copies on Mocambo Records are already priced collector's items among DJs. This 45s contains two hot slices of insect-themed outernational grooves with tropical and arabian flavours. Vintage synthesizers and hot tape-recorded drums continue to lead Eleven76's mystique travels through unknown funk territories, all while frenzied percussion-heavy break beats keep b-girls and b-boys moving on the floor.

Goldlettered label & brown paper sleeve.

The first in a series of various artists to be released by Details Sound - The Spirit Of The Age Vol. 1 is a personal attempt to represent "the spirit" of this moment, an eye on the sea, where the initial intention of powerful and dynamic body music is changing, leaving room for a more contemplative and reflective way of dancing, where large places give space to the little ones, taking back the original spirit of being together. On the A side, Anatolian Weapons opens with A Series Of Changes - a progression of looped vocals and acidic basslines that culminate in a full, liberating rhythm. Following A Hand Modern Cage focuses on a more hypnotic and evocative soundtrack that can perfectly match an atmospheric opening. On the flip Gamma Intel’s Note To My Love deliver a mix of broken and electro rhythms that are part of the artist signature sound, ending with an intricate weave of melodic basslines. The last track Dense And Ragged is signed by the renowned london-based duo Vactrol Park who set the mood for a distopyan trip in 2049.

The always-innovative John Beltran surprises us with his first release on a Romanian label. The circularity of Energy Circle, the beauty of The Cycles EP, sets a typically Beltran soundscape, a melodic mood for this three-pieced beauty. The Sun Also Rises on the flip side, making it the rather bright beast of the release, while the marching B2 – Going Uphill Fast (hope on the horizon) — is a granular techno classic, closing Eufonic Records' first release on a very Detroit note.

UFC Records back with their second release with a four tracks Ep produced by label´s co-ower R.I.P. Bestia. The four tracks are original tracks produced between 2020 and 2021 years. Side A of this EP contains two tracks more oriented for the dance floor, like "Chordal Constellations" where the psychedelic electronic of the 90's is fused with the minimal sound of the first 2000's and "VCO Ray”, where vocoder vocals are mixed with deep techno lines.

On the other side the Ep opens with "Khae!”, psychedelic breakbeat-techno accompanied by ethereal vocals, to finish with "VCO HardCore Foundation", a piece of breakbeat influenced by the Nu Skool Breaks that ends in an acid and breaks explosion.

BAR07, a double A side featuring an 11-minute mind bending rollercoaster by JEANS and the debut of Blond, a new moniker by Oceanic, delivering the perfect spring / summer track.

Gordon Koang, South Sudan’s enigmatic superstar and ceaseless fountain of infectious, upbeat pop music, kick starts 2021 by revealing a series of remixes from his recent Unity album, this time partnering with two of the undisputed leaders of electronic music in his adopted home city of Melbourne, Australia - Sleep D and Andras.

Stranded overseas after civil war tore apart their country over six years ago, Gordon and his cousin Paul Biel Kueth, who were on tour performing to expatriate communities in Australia, were forced to apply for humanitarian protection and made the heartbreaking decision to leave their families stranded at home, on the chance that citizenship would be granted and reunification made possible.

After languishing on the outskirts of Melbourne’s suburbs for many years, Gordon met the Music in Exile label, a not-for-profit run by members of Melbourne’s flourishing music scene in order to create more opportunity for the city's numerous refugee and migrant musicians. He immediately assembled a band and tracked his eleventh full-length album, Unity (his first recorded album featuring performances in English and made widely available).

In the midst of a successful run of singles and festival performances around Australia, the Covid-19 pandemic hit, derailing Gordon’s newfound success and growing status as the darling of Melbourne’s vibrant music scene. Forced to find alternatives, Gordon reached out to some of his newfound friends in that city’s community. The result - this set of startling remixes by some of the finest voices in electronic music today.

Gordon, who was born blind in a small village in South Sudan’s Upper Nile Valley, began composing on the thom, a five-stringed instrument sometimes referred to as a Sudanese banjo, He started busking on the streets of Juba, accompanied by his cousin Paul Biel, who would sell homemade cassettes and CD’s. His anthems of peace, love and unity struck a chord, and before long Gordon found himself as something of a folk hero and a voice for peace in a country torn by ongoing conflict.

Now resettled in Australia, Gordon records and releases music in order to support his family back home in East Africa. He still awaits Australian citizenship, and forges on in the hope that this may one day be granted, allowing him to reunite with his wife and family in his newfound home.

Unity is Gordon’s eleventh full-length album and first to be recorded in Australia. It was produced by Stefan Blair and Liam Parsons of Melbourne lo-fi legends Good Morning, and features an ensemble cast of Australian performers. South Sudan and Y Dah are taken from the album, reimagined here by Andras and Sleep D. The remixes were a gift to Gordon and his family, with no fees paid or royalties due - all proceeds go directly to Gordon to help him reunite with his family.

Kerbside Collection's third album "Smoke Signals" released in late 2018 is a real winner. Continuing in a down home, instrumental approach, but this time crafting newer ideas and flavours into their spectrum of warm, analogue, dusty rare grooves from much more Fender Rhodes electric jazz elements, to New Orleans sprinklings alongside their 60's inspired West Coast style.

"Cajun Jollof" is one the key tracks and was already released in its original form on a 7inch vinyl on Spasibo Records from St. Petersburg/Russia. Now French dub expert Grant Phabao takes "Cajun Jollof" on a surefire ska tip, while TwoDee delivers a down low dub version.

Júlio Cruz follows up his ¦rst solo EP on the label with this 4-
tracker dipping into some gritty electronic sounds. After the
production of the record has been delayed by almost exactly
one year due to corona, we are more then happy to ¦nally
share this beauty with you.

Fifth UK album by the Hollies and their second released in 1966. Retitled Stop! Stop! Stop! for the US and Canadian markets and issued with a different, full-color cover image of the group in the US. This reissue grasps the original feeling of the first album entirely composed of original material, with more adventurous arrangements and more personal, folk-rock-influenced compositions.

4 tracks from the 2011 Mixmode release (and the more rare City Boy ) available again !

In many ways, DJ Black Low's debut album, Uwami, shows the signs of an artist's first offering in any musical genre. Showcasing fluency in a broad range of styles and stuffing a number of ideas to the record's brim is the 20 year-old producer's attempt to both introduce himself to a wide listenership and stamp a recognizable sound in their minds. In other ways, somewhat out of the young South African producer's control, Uwami goes against the grain. The album comes at a time when South African electronic music is being fundamentally disrupted. Amapiano, the electronic music movement which first gained popularity with a small, core group of followers, now dominates the mainstream. Well-known and pervasive, amapiano borrows from a diverse palette of musical styles which are popular in South Africa's largely Black townshipsjazz, kwaito, dibacardi, deep and afro house among them. Instead of pandering to the seemingly insatiable local appetite and growing global penchant for amapiano though, on Uwami DJ Black Low seeks out the limits of the sound du jour and tries to stretch them. On his solo productions, he uses the samples and compositional norms that make amapiano hits the bedrock on which to experiment and improvise. With collaborators, DJ Black Low improvises within the boundaries of listener-friendly grooves. The sound he creates has foundations of what could easily have progressed into captivating amapiano songs on their own. But he uses improvised but structured electronic percussion and distortion sounds to drive the tracks in a particular direction. What remains is something like a deconstructed amapiano. For a young producer living in the townships of the greater Pitori area of South Africa's Gauteng province, there were few avenues available for Radebe to pursue a career in music. His trajectory shows the vulnerability of this pursuit. "I had started producing in 2013 and it so happened that I lost my equipment in 2014. I couldn't afford to buy equipment. In 2017, a friend of mine who had been making music found a job and decided to quit music. He gave me his equipment and I was able to start producing again. That's when I started getting back to it. I tried to pick up where I had left off, with hip hop and commercial house but I found that amapiano was the popular music. I liked it, so I started producing it."

KNTXT kicks off 2021 by welcoming exciting new talent ONYVAA to its ranks. The much vaunted DJ and producer debuts with her Lost Angeles EP, a superbly powerful four tracker that is perfectly at home on this agenda setting label.

ONYVAA is an LA based artist who has been on a swift rise up through the global techno ranks in the last couple of years. She brings classy Detroit, melodic and dub influences to her music, and her raw analog aesthetic always helps ensure her stylish tracks bring plenty of atmosphere to go alongside her strong modular live-sets. Now, she steps up with a much anticipated debut on Charlotte de Witte's KNTXT label having struck up a personal friendship with the influential artist.

Says ONYVAA, "Lost Angeles was inspired by my time back home in LA and things feeling a bit foreign to my everyday life pre-covid. I’m super grateful for all of Charlotte’s support and really proud to be a part of the KNTXT family. Hoping to play these tracks out on the dance floor soon!"

Opener 'The Way It Is' wastes no time in laying down a heavyweight techno groove that is run through with edgy, laser-like synth riffs. It's an all consuming wall rattler that will blow clubs away. 'Lucid' is a darkened techno roller again lit up with expertly designed synths that are bright yet menacing as distant vocal sounds add another layer of tension. It's an all out acid attack on 'LXD' which places you at the heart of a rave, strobe lights flashing, smoke in the air, darkness enveloping you. The title track closes out at hyper speed, with turbocharged drum programming, interwoven bass and clanking industrial motifs all getting you thoroughly in the zone.

Says Charlotte, "I met Shelby for the first time after a show in Athens. We visited the city the day after and instantly became friends. Whenever the opportunity would arise, we’d spend time together. I love being around the ball of energy that is Shelby and I’m beyond excited to have her and her music on my label. Expecting big things from her!”

This is a fantastic new signing for KNTXT and surely the start of even bigger things for ONYVAA.

black vinyl in mirrorboard gatefold jacket with die-cut! Much like the New Orleans-born artist who created it, Second Line is an unapologetic genre bender that pushes boundaries, expands possibilities, and shatters expectations. It's more than just an album: Second Line is a cohesive sensory experience that questions traditional ideas of sound, production, and visual aesthetics as they relate to music. Its interlocking parts tell an epic story about the quest for artistic expression, with Dawn describing her project as "a movement to bring pioneering Black women in electronic music to the forefront." She elaborates: "You never see women appreciated as producers and artists alike _ especially Black women in the electronic space. The time is now for us to start recognizing their talent, not only in electronic music but in all genres. I wanna be the reason why a young Black girl from the South can be whoever she wants to be musically, visually, and artistically." Second Line cuts to the chase with its opening suite of dancefloor bangers, immediately displaying Dawn's mastery of layered production and melodic hooks. Second Line treats Louisiana Creole culture, New Orleans bounce, and Southern Swag as elemental, allowing Dawn to weave in and out of house, footwork, R&B, and more. As she says, "I am the genre." The story of Second Line centers on Dawn's persona King Creole, assassin of stereotypes, a Black girl from the South at a crossroads in her artistic career. To move forward, she decides to look back, but where previous album New Breed took influence from her father, Second Line is illuminated by Dawn's mother. Her proud repeated proclamation of "I'm a Creole Girl" introduces the ecstatic dancehall pop of "Jacuzzi," and later, on the cinematic album centerpiece "Mornin | Streetlights," she answers Dawn's question of how many times she has been in love. Intimate conversations like this between the two are interlaced throughout Second Line, giving credence to how the protagonist came to be, and direction to build a lane forward. It's no surprise that King Creole's story parallels Dawn Richard's. As a founding member of Danity Kane, and later with Diddy's Dirty Money, Dawn was able to explore the ins and outs of commercial pop music. As a solo artist, she opted to selfrelease her music. Over the span of five critically acclaimed full-length albums, Dawn has made the message clear that she will not bow down or bend to industry norms. All the while, she's built her resume with enough extracurriculars to make your head spin: Cheerleader for the New Orleans Hornets? Check. Animator for Adult Swim? Check. Owner-operator of a vegan pop-up food truck? Check. Martial arts expert? Check! Second Line embodies the heritage of soul music and the roots of New Orleans, all surrounded by the influences of electronic futurism. "The definition of a Second Line in New Orleans is a celebration of someone's homecoming," says Dawn. "In death and in life, we celebrate the impact of a person's legacy through dance and music. I'm celebrating the death of old views in the industry. The death of boxes and limits. I'm celebrating the homecoming of the Future. The homecoming to the new wave of artists. The emergence of all the King Creoles to come." Dawn Richard is bold, confident, purposeful, and a King throughout Second Line. Are you ready to dance?

Satomimagae is a songwriter, singer, producer and composer residing in the environs of Tokyo, Japan. Hanazano is Satomimagae's fourth album and first for RVNG Intl. Her last albums Kemri (2017), and Koko (2014), were released on Chihei Hatakeyama's White Paddy Mountain. A tribute to everyday mysticism, Hanazono (translated as "flower garden") is an ecology of simple, cyclical refrains and elegiac entreaties cross-pollinating with ludic and layered folk vibrations. Each song on Hanazono is dedicated to a simple theme, object or image, out of which grows uncomplicated melodies wrapped in layers of textural warmth, like a flower subtly moving in sway with its environment. Accompaniments of avian calls and electric guitar strata, added by Hideki Urawa, who also mixed Hanazono, suggest a spacious firmament above this burgeoning bed of earth. An ecology of simple, cyclical refrains are bathed in humming ethers, elegiac entreaties cross-pollinating with ludic and layered folk vibrations. These are songs, lyrically light footed and tunefully mellow. Every element has its place, blooming in synchronicity with its sphere. Hanazono realizes a shift in the artist's habitually intimate and introspective tendencies. Though there are perceptible shades to this space_suggestions of isolation and vulnerability_there is a balance of light which resonates outwards. There is a sense of seeing the world around with wide-eyes, and belonging to it. This way of looking and being is reflected in the folktale relief print illustration which covers the album, setting a scene of sanctuary and insight for this green, growing patch of sound.

Before fronting classic post-punk group The Sound, Adrian Borland was a Wimbledon teenager enamored of Iggy Pop and the Velvet Underground. With friends, he formed The Outsiders. In 1976, they home-recorded Calling On Youth, a searching full-length that straddles nihilo-punk argot (“Terminal Case” and “I’m Screwed Up”) as well as smudged glam balladry (“Start Over” and “Weird”). Its release in 1977, on the group’s own Raw Edge label, with Borland’s cityscape abstraction on the cover, marked the first independent punk full-length in the United Kingdom.

The Outsiders, featuring bassist Bob Lawrence and drummer Adrian “Jan” James, were punk in the moment before punk cut ties with solos and five minute songs. (Close Up, released in 1978, is more streamlined.) Like the Saints or Crime, they still trafficked in rock ’n’ roll. Calling On Youth, though, announces Borland as more than a precious teenage bandleader. The nervous introspection, wiry leads and negative space that he would refine solo and in The Sound, Second Layer and Witch Trials glistens throughout Calling On Youth, beckoning rediscovery.

This is Gianni and Erika third album, after two works released by Voodoo Rhythm Records and produced by Jim Diamond, musician and producer for two iconic bands from Detroit, The Dirtbombs and The White Stripes.

The record features former Screaming Trees vocalist - and acclaimed solo artist - Mark Lanegan and Chilean multi-instrumentalist Alain Johannes (Queens Of The Stone Age, Spinnerette, Ten Commandos, The Desert Sessions).

“The title track of the new album was born during our last day of re-cordings” - says Gianni Blacula and Switchblade Erika.. “Alain is an enthusiast of strings instruments, and on the last day he arrived at the studio with a Neapolitan mandola he bought in the historical centre of Naples. We were astonished about how a traditional instrument as the mandola can get a rock sound, so we followed up went to the recording room. Alain at the mandola and vocals and us on guitar and drums. There was suddenly the right atmosphere that to Alain reminded “ the Desert Sessions” , so much that the song came out at the first take. Then Alain wrote the lyrics and the last line “Beast Must Regret Nothing” affected us , we have chosen it as the title of the album because it totally reflects his mood, and it does taste of Devils!”

Gianni and Erika got in touch with Alain for the first time in September 2019, during a Spanish tour, while they were looking for inspirations for their new record.

In the same moment Alain was on a European tour which ended in Italy. The collaboration was born in a spontaneous way, for a mutual esteem between the Devils and the famous producer and musician. The album have been recorded in Naples, Italy, with a two weeks session in a historic studio equipped with a large tracking room with truly unique acoustics. Alain actively collaborated in the production of the album taking part to creative process and helping them with the arrangements.


The Devils formed in Naples in 2015 and their first two albums “Sin,You Sinners!” in 2016 and “Iron Butt” in 2017 were produced by Jim Diamond (The White Stripes, The Sonics and the Dirtbombs), pub-lished by Voodoo Rhythm Records. From 2016 the duo constantly tour, and has played everywhere doing over 400 shows between Europe and Canada. The Devils are the sound of desolation and chaos; their style is primitive, filled with sex, sin and rock’n’roll. They are wild, loud and sexy.

The name of the band was chosen has tribute to the movie “The Devils” by Ken Russell and they have been on tour with Jon Spencer, The Sonics, Boss Hog and The Monsters, and has open act around Europe for Mudhoney, Nashville Pussy, Guitar Wolf, Kid Congo and many more.

Basil Kirchin, a forgotten genius of post-war British music, was an influential jazz drummer, creative free-spirit and pioneer of Musique Concrète. Kirchin wrote a lot of albums, Mind on the run is one of the most representative Library record he wrote with fellow John Coleman. A milestone in british avantgarde.

The Mental Traveller - A Soundtrack by Noa Erni

If music can take our mind to any imaginable place, on endless individual journeys, Noa Erni's "The Mental Traveller" is the infinite soundtrack. A soundtrack for mental wandering and soul searching, a blend of rap, jazz and hip-hop beats. "The Mental Traveller", an album assembled like a literary anthology, offers musical arrangements and unique narratives where epilogue and prologue of each track merge seamlessly. Far beyond the horizon of compiling single tracks, "The Mental Traveller" is a journey of sound and unity. Inspired by David Axelrod and William Blake, Ahmad Jamal and Flying Lotus - just to name a few - this work aims to be a tribute to these legends' legacies of past, present and future, detached from trends, norms and classical narrative structure.

Swiss-born producer and computer conductor Noa Erni has been crafting obscure jazz and hip-hop behind closed curtains (a.k.a. his flat in Berlin, Germany) for years - free from external pressure and as an adjunct to his day jobs as sommelier and co-owner of local fine wine store "Friedenauer Weinhandlung". On April 30th, 2021, Kommerz Records will release Noa Erni's debut album "The Mental Traveller" on 12" vinyl as well as on all digital platforms. The project features internationally renowned artists such as Count Bass D (alternative rap pioneer, who worked with Snoop Dogg, MF Doom (R.I.P.) and Retrogott), Miles Bonny (New Mexico-based singer and trumpeter), S. Fidelity (hip-hop producer signed to German tastemaker label Jakarta Records) and more. Erni's guests meld seamingly with this unapologetic and experimental album showcasing stand out performances on vocals, instruments and production.

While the album sounds like it was played by a jazz outfit with years of stage experience, the truth surprises and is even more exciting: Noa crafted the songs in countless hours of experimenting with a midi keyboard, various instrument plugins and perfected reverb settings. It was not one and the same band but one and the same person. Just a few tracks include actual live instruments: drums by Max von der Goltz on "The Mental Traveller Theme" and "Uncertainty", bass by Roman Klobe on "Longitude" and flugelhorn by Miles Bonny on "Train Ride".

Ed Banger Records presents "Born a loser" , MYD's first album. Featuring Mac de Marco, Juan Wauters & Bakar.
14 songs, Double Vinyl edition. Includes " The Sun ", " Together we stand ", " Moving Men " & "Born a loser".

After contributing to the genesis of the label, the pioneering techno artist Zadig returns to KR3 with a 6-track EP inclusive two remixes by Adriana Lopez and Mod21.
Silent Warrior is an intense, deep and emotion-filled work dedicated to the memory of a beloved friend. A personal outburst that focuses on the hypnotic and triggering effect that music can have on each of us.

LTD Yellow LP+MP3

Breites Lächeln, Unmengen von Charisma, Talent ohne Ende und sehr klug: Jon Batiste Der Instrumentalist,
Sänger, Tänzer und Künstler Batiste ist Bandleader in der Show von Stephen Colbert, Aktivist in der BlackLive-Matters-Bewegung, Julliard-Absolvent und nicht zuletzt Sprössling einer Musiker-Dynastie aus New Orleans. Vater, Onkel und allein 30 seiner Cousins sind Musiker. Seine Wurzeln liegen im Jazz, aber sein
jugendliches Temperament vereinigt diesen mit R&B, Soul, Rap und überhaupt allem, das in kulturellen Kontext mit seinem künstlerischen Ursprung steht. Heraus kommt ein bewegendes Album, mit er nun auch
in Europa für Aufsehen sorgen wird.

It is with great joy that we present the Mr Bongo edition of Marcos Valle's 1983 self-titled masterpiece. A pure vintage that features the ultimate Brazilian-boogie cult-classic ‘Estrelar’ and iconic 80s cover art that sees a gloriously sun-drenched Marcos dressed in a pink v-neck t-shirt surrounded by a generous selection of deadly-looking neon cocktails.

The album was produced by the legendary Lincoln Olivetti and Marcos' brother Paulo Sérgio Valle. It showcases a real who's who of Brazilian music at the time, with stellar performances from vocalists and musicians such as Rosana, Serginho Do Trombone, Robson Jorge and Oberdan Magalhães to name but a few. This was Marcos’ second album, after having moved back to Brazil from his time living in Los Angeles, and that US influence is evident through its prominent boogie, soul and funk sounds. It also features collaborations with the US singer-songwriter, composer, pianist, keyboardist, and record producer, Leon Ware, who co-penned three tracks including 'Estrelar'. To complete the album there are tracks such as 'Fogo Do Sol', which is pure AOR / Balaeric vibes, and tracks that are more MPB and pop-inspired, making a well-balanced track list for both home-listening pleasure and dancefloor business.

What could we do to give one of Marcos' most celebrated albums the treatment it deserved and produce the most definitive re-issue possible? The answer was to enlist the services of Miles Showell, Abbey Road Studios Mastering and lacquer-cutting engineer and all-around audio-magician, to cut a special half-speed master edition. Miles had previously worked his half-speed magic on our Arthur Verocai album re-issue, and once again we are totally blown away by the richness which Miles has brought out in his mastering technique. He has enhanced the listening experience and taken this wonderful album to another level.

To celebrate the release we have pressed up several vinyl versions; both standard master, and Miles' half-speed mastering editions on Black vinyl, alongside special limited edition Rose and Mint-Green coloured vinyl variants that were inspired by the audacious-looking cocktails on the cover - sheer 80s excess!

It is with great joy that we present the Mr Bongo edition of Marcos Valle's 1983 self-titled masterpiece. A pure vintage that features the ultimate Brazilian-boogie cult-classic ‘Estrelar’ and iconic 80s cover art that sees a gloriously sun-drenched Marcos dressed in a pink v-neck t-shirt surrounded by a generous selection of deadly-looking neon cocktails.

The album was produced by the legendary Lincoln Olivetti and Marcos' brother Paulo Sérgio Valle. It showcases a real who's who of Brazilian music at the time, with stellar performances from vocalists and musicians such as Rosana, Serginho Do Trombone, Robson Jorge and Oberdan Magalhães to name but a few. This was Marcos’ second album, after having moved back to Brazil from his time living in Los Angeles, and that US influence is evident through its prominent boogie, soul and funk sounds. It also features collaborations with the US singer-songwriter, composer, pianist, keyboardist, and record producer, Leon Ware, who co-penned three tracks including 'Estrelar'. To complete the album there are tracks such as 'Fogo Do Sol', which is pure AOR / Balaeric vibes, and tracks that are more MPB and pop-inspired, making a well-balanced track list for both home-listening pleasure and dancefloor business.

What could we do to give one of Marcos' most celebrated albums the treatment it deserved and produce the most definitive re-issue possible? The answer was to enlist the services of Miles Showell, Abbey Road Studios Mastering and lacquer-cutting engineer and all-around audio-magician, to cut a special half-speed master edition. Miles had previously worked his half-speed magic on our Arthur Verocai album re-issue, and once again we are totally blown away by the richness which Miles has brought out in his mastering technique. He has enhanced the listening experience and taken this wonderful album to another level.

To celebrate the release we have pressed up several vinyl versions; both standard master, and Miles' half-speed mastering editions on Black vinyl, alongside special limited edition Rose and Mint-Green coloured vinyl variants that were inspired by the audacious-looking cocktails on the cover - sheer 80s excess!

Stahlschrank sind Sun Ray (Fred und Luna) und Brain Emo (Ufo Hawaii).

Nach ihrer Erfolgssingle „Egal ist sehr gut“ peitschen Stahlschrank mit ihrer zweiten Veröffenlichung „Karin / Inge“ ihr Konzept des Elektrodadakraut weiter nach vorne. Ein Musikstil, der noch nicht vollständig erforscht und entwickelt ist.

„Karin“ ist eine Reflexion über die Vergänglichkeit des Daseins und eine moderne Parabel über Kontrolle und Unterwerfung.

Die Single-B-Seite „Inge“ ist die zweite Exkursion in das Stahlschrank-Konzept des „Electronic Irritainment“.

„Inge“ ist eine Reflexion über das Ringen des Individuums vor dem Hintergrund zeitgenössischer Clubkultur, die sowohl die Grenzen der Studioumgebung als auch die Geduld der Nachbarn ausreizt.

Stahlschrank arbeiten derzeit an ihrem ersten Longplayer, möglicherweise ein Vierfach-Album.

Punk Dancehall fusion .. A Collision between African Headcharge and CRASS.. Born from the ashes of an early 1980’s Northampton based anarcho collective of musicians & artists – with a shared love of reggae and a punk neo industrial ethos – came REDUCER – We had to do things with an edge – to cut through the shit – that post punk new wave safe pop with a renewed knife of Joy & Righteous Anger – love & hate – life & death – banged out in a massive industrial reggae punk soundscape – our gigs were audio visual shock & awe – total commitment to the moment and the creativity – video projection,, incence & pyrotechnics, covering the venue walls with backdrops – it was a fully immersive experience. We never sought music business recognition- we weren’t in the music business! We were in the experience business! We recorded about 30 odd tracks in all, in order to try & catch the passion, energy & raw power of when we played live, the tracks were recorded over a period of 7 years. Each one unique, unrehearsed, spontaneous & improvised – one take, one mix onto cassette and a vershun if wanted & were done – capturing the raw passion & life energy that was pouring through us. About 5 years ago years we decided to set up a website & release what felt at that point may have been our 1st, last & only chance to get something on vinyl, & set up a website in order to tell the remarkable story of what happened in that little town in the Midlands 40 years ago and after we decided to digitize our archive of recordings and put them on the site and other platforms just as a “We were here & We did this” statement of public record – incredibly a Reducer Renaissance was born – the website mushroomed & we got US Radio airplay, we suddenly sold out our 1st vinyl release – Product & 35 years on a new audience got to hear & see what the myths & legends are about and they want more so, here it is, 5 tracks 5 videos. 35 Years old – Sounds like it was Recorded Yesterday. Think you’ve heard everything? You haven’t heard Reducer.

It is with extreme pleasure that we, Basement Boys Records proudly announce our 100th single release and 30th year in the music business as an active recording label!

Holding down our 100th release is the legendary multi-faceted singer/songwriter/producer Byron Stingily. As one third of the Chicago-bred, world renown trio, Ten City and as its primary lead vocalist, Byron’s velvety falsetto graced such House Music staples as “Devotion”, “That’s the Way Love Is”, “My Piece of Heaven” along with scores of other classic House music favourites. As a solo artist, Byron went on to create such memorable House jewels as “Get Up” & “It’s Over” a classic collaboration with the Basement Boys for his project on Nervous Records.

“We Belong Together” contains four mixes. The Monday Night Vocal Dub and Instrumental are up first, with percolating congas and swinging violins that accentuate the well-paced drums and percussion of this delectable mix. The brassy horns sing in tandem with Byron as he tugs on the heartstrings with his romantic, chromatic vocal adlibs and signature riffs. The sugar-laden strings and sparkling pianos brings to mind the 90's Ten City production of Marshall Jefferson.

DJ/songwriter/musician/producer, Maurice Fulton is one of House music’s true originals, back where he started. Maurice had the first release on Basement Boys Records with Sticky People "Kong". A man with a mind-blowing complexity behind all that is deep, dark and funky.

Fulton’s mix takes a more soulful tech approach employing a host of electro sounds. A fervent polyrhythmic vortex of percussive wind chime effects, married with classic snares, tom toms & hi-hats, deep sub bass and a meaty kick all define this masterful alignment of electro and acoustic elements. At the midway point, Maurice turns the suspense-filled symphonic intro from the previous mixes into this electro breakdown groove fest sure to drive dancers into a frenzy complete with Byron’s heartfelt lyric.

Closing it out the Main Mix in all its glory, hi-powered, dense bottoms and percussive elements, sweet R&B “boogie” style chords, neatly placed horn accents with Byron slaying the lyric as he always does in his exquisite, soulful pleading falsetto telling the object of his affection, “We Belong Together”.

"Matasuna" brings together two important pioneers of funk on its latest release: "The Meters" from "New Orleans"and "The Watts 103rd Street Rhythm Band" from "Los Angeles". The song "Giggin' Down 103rd" by "The Watts 103rd Street Rhythm Band" was first released as a single in 1968 (as Misspress) and is now available again for the first time. The song "Sing A Simple Song" by "The Meters" even premieres as a 45! Both tracks have been remastered to offer the best possible sound.

The A-side opens with "Sing A Simple Song" by "The Meters", a cover version of a song by "Sly & Family Stone" written by "Sly Stone". In direct comparison, "The Meters" cover sounds much more energetic and powerful. The ingredients are simple but effective: heavy drum breaks, funky guitar riffs, deepe bassline and a lively organ. A killer instrumental joint that exudes roughness & funkyness from the first second to the last!

On the flipside "The Watts 103rd Street Rhythm Band" follows up in similar fashion with the song "Giggin' Down 103rd". Instead of an organ like "The Meters", the band offers a super thight horn section backed by killer drums, guitars & bass. A special spicy recipe that thematically fits perfectly for this Funk45!

"The Watts 103rd Street Rhythm Band" was formed by "Charles Wright". Charles, a musician & composer born in 1940 in "Clarksdale, Mississippi", moved to "Los Angeles" in the 1950s. There he played as a singer & guitarist in various doo-wop groups. Beginning in 1962, he formed his own band, "Charles Wright & The Wright Sounds", which was joined in the following years by other musicians who would become known in the future band. The name "The Watts 103rd Street Band" was established in 1967. That same year they signed a record deal with "Warner Bros. Records" and released their first album. More LPs were released in the following years.

The band played mainly cover versions of popular R&B hits in the early years, but began to create their own songs and form their own sound in the late 1960s, which would have a strong influence on other musicians at the time.

Starting in 1969, the first members left the band to work on other projects. Charles also left the band in 1972 to further his solo career and release various albums.

In 1965, the group "The Meters"was founded by "Art Neville"with three other musicians in the musical epicenter of "New Orleans". They quickly made a name for themselves in the local scene. The musician "Allen Toussaint", who was to become one of the most influential record producers of the 1960s, discovered the band and signed them to his label "Sansu Enterprises". They first played as a backing band at live and studio performances of artists of the New Orleans scene, before getting their own record deal with "Josie Records". On this label they released three albums, before releasing more in the following years on "Reprise Records" and "Warner Bros. Records". The band officially disbanded in 1977 and reunited a few years later in 1989.

Since then they have been on stage in different formations as "The Meters", "The Funky Meters" or "The Meter Man".

Their innovative musical style, which was influenced by traditional New Orleans second line music, West African rhythms, Soul and rReggae, set a standard that would influence many musicians. Also, their music had a significant impact on the Hip Hop community, which sampled their songs hundreds of times.

'Without You' is the second release from Athens of the North house band, it's a lovely deep house side with obvious influences. 'Without You' came together while warming up some new gear that had landed in the studio during lockdown and as often happens when you're not trying too hard something just comes together. For the vocal we had a multitrack tape of Avelino Pitts from the band Gold (Sadly he passed a few years ago) and Edinburgh singer Lucy (more to come from her soon). While we may be known for disco and funk AOTN crew grew up in the early 90s, so house is our bread and butter, so you will be hearing more.

On the flip side is something we have been wanting to do for some time, I always loved Mary Love's 'Come Out Of The Sandbox' but felt the structure of the track was a little tricky to play out. We went ahead and restructured the track as well as adding synth parts and created a 12-inch mix that never was (but should have been). We brought to the mix to Ady Croasdell at Ace Records (who currently own the rights) and asked if he would let us release the track legitimately, thankfully Ady liked it and kindly gave us the green light, so delighted that it's not only out but licensed correctly.

Production of the album “Klezmer Explosion” by Moritz Wei Klezmer Trios & Friends on CD & vinyl. In terms of content, the album opens up its own compositions, traditional pieces & songs and compositions from the
international Yiddish Music and Klezmer scene.
If the first pieces are still in the trio formation, different guest musicians gradually join the line-up and form an 8-person ensemble in the finale. MWKT has been walking the tightrope between tradition and innovation from the very beginning. “Klezmer Explosion” is another attempt to draw an arc from the past into the future.
On the one hand you will find traditional pieces and songs from the repertoire of great revivalists of the past century G. Feidman, the Klezmatics and Ch. Alberstein. In return, new (klezmer) compositions by M. Wei , I. Trenev, N. Waltersdorfer and H. Eisel stand for a contemporary approach to the world genre
“Klezmer”

Immortalised, smooth psychedelic soul from The Isley Brothers that's every bit as powerful as it was in '83. Much loved and often sampled in the hip hop world, with 'Footsteps In The Dark' most famously sampled by Ice Cube and 'Between The Sheets' by Notorious B.I.G.

A huge record for sample spotters and funk / soul lovers alike, they don't get much more iconic than these two tracks - now fully remastered and reissued for the modern dancefloor.

Large / dinked centre hole.

*Repress*

Robert Rental is an artist as influential as he is overlooked. An anchor of the early British DIY and post-punk scene, his name is most frequently uttered alongside illustrious collaborators such as Thomas Leer and Daniel Miller. Dark Entries and Optimo ally to illuminate some of Rental’s early solo works with an expanded reissue of his debut 7” Paralysis /A.C.C.. Both labels have previously excavated Rental’s catalog; we reissued the collaborative LP with Glenn Wallis in 2017, and Optimo released a collection of demos in 2018.

The double A-side Paralysis /A.C.C. 7” was self-released on Regular Records in 1978, around the same time as Leer’s Private Plane/International 7”. The record is a perfect document of the DIY ethos. It was recorded with the assistance of Leer in the council flat that Robert lived in, using an assortment of budget electronics: a Roland drum machine, a Stylophone, an Electroharmonix DrQ, and a TEAC A3440 4-track recorder. The record’s sleeves were surreptitiously photocopied after hours at the offices of Virgin Records by Robert's partner Hilary Farrow, and the labels were hand-stamped The initial print run was a scant 650 copies. With its prominent notes of Krautrock, prog, dub, and ambient, Paralysis /A.C.C. points to a then-emergent musical form. “Paralysis” makes its four and a half minute runtime feel like an eon, an endless morass of processed vocals and mournful melodies underpinned by the static whirrings of synthesizers. “A.C.C.” is an angular pop song that is at once both fractured and droning, like a skipping record that sounds incrementally more warped with each iteration. The original 7” material is joined here by three previously unreleased tracks. Instrumentals “G.B.D.” and “Ugly Talk” evidence Rental’s outre-prog and melodic electronic sides, respectively. Sitting between the instrumentals is “Untitled”, a sparse gem that layers Rental’s gently processed vox with guitar and drum machine, beautiful in its simplicity.

The Paralysis EP has been remastered for vinyl by George Horn at Fantasy studios. The record comes in a sleeve with the original xeroxed 7” artwork. Also included is a four page booklet with lyrics, photos, and archival press material.

Proving a saviour in these testing times, Bollywave supply a four-track feast of Bollywood edit delights. Something to stick a smile on your face and get those dormant limbs moving, it’s a feel-good blowout of fragrant firepower.

Dynamite Cuts are proud to have the opportunity of presenting this amazing Dj dance floor diamond, by the legendary funk n soul band S.O.U.L. “Burning Spear” is an upbeat Drum and Bass groove with a super funky flute and all time classic sample. Sampled by hip greats like Pete rock & C.L Smooth & Organized Konfusion to name a few, a pure rare-groove club anthem, I remember those nights, funky-ing down to this awesome rhythm.
Dynamite Cuts’ issue of this monster, is a double-sider of the ultimate versions of “Burning Spear”. The A side cut is taken from the superb “What it is?” LP. On the B-side is the rare and more collectable version; slightly different, more percussive recording which was released on 7” in 1971 on the Musicor record label, but sadly on the hissing, breakable styrene, and not on the lovely VINYL. You’d be lucky to find a copy that doesn’t hiss, pop and crackle. But with thanks to; Mr Simon Watson, who had a mint stock copy almost un-played; and to the A-Lister Dynamite Cuts’ mastering magicians - Andy Pearce (de-noises) and Stuart Hawkes (remastering to get that full-on funk effect). Now what are the chances of that!!!
The name S.O.U.L means Sounds Of Unity and Love, consists of four men from Cleveland, Ohio USA, the band was formed around 1970.
Lee Lovett, a Libra - Lead singer, Bass and Baritone;
Gus Hawkins, a Scorpio - Vocals, Saxophone, Flute
Paul Stubblefield, an Aquarius - Vocals, Drums
Walter Winston, a Pisces - Guitar.

Amazonia is a music project with renowned award winning photographer Sebastiao Salgado about the Amazonian Forrest. The exhibition is commissioned for the Philharmonic Paris (starting there on April 7th) with 52 minutes of brand new music composed by JMJ especially to accompany the photos. The exhibition will then travel to other cities across the globe including Rome, Sao Paulo, Rio de Janeiro and London. More cities will follow in 2022. JMJ will deliver a Binaural Surround Sound Version on top of standard audio.

GEORGIA's new kaleidoscopic hyper-music-entity "State Effect (Accel)" expands the NYC's duo project in a high-dimensional phase space—and does so within their all-kind-of-music frame.

State Effect (Accel) is happening this very moment, it is a positive cry for change—a brilliant plan.

This record is "viscous" — whatever I do, wherever I am, it sort of "sticks" to me.

It is "nonlocal" — its 'accelerated' effects are globally distributed through a huge tract of time. It forces me to experience time in an unusual way.

It is "phased" — I only experience pieces of it at any one time.

It is "inter-objective" — it consists of all kinds of other/multiple entities but it is not reducible to the sum of its parts.

This music reveals the present and its psychic dimension, no titles could have been more relevant.

Justin Tripp and Brian Close's new kaleidoscopic hyper-music-entity expands their GEORGIA project in a high-dimensional phase space. A great work of cognitive music mapping that plots all the states of a system — Lovely bubbly HTML.

The eight tracker long playing make extensive use of the vocal participation of Paris/Berlin-based artist/DJ MARYLOU aka OISEAU DANSEUR and Gabi Asfour of visionary NY fashion collective threeASFOUR.

Magical is a fusion of a dozen genres, where every song opens up like a Russian doll, splitting into real songs within the song.
Hundreds of details are part of the different sonic worlds in which each song progresses.
Magical is no doubt hard to decipher for very good musicians, but it's easy to dance to for very normal people.
Since the orchestral introduction of the first song your senses will be automatically taken on a journey between irony and sadness, emotional intensity and vibing, extreme nerding and introspection. Magical is a dream that, through sound illusion, makes you meditate on the meaning of life, death and love, three fundamental topics in the album lyrics.
The album is a leap into a future where no tradition is missing.
Just a perfect way to discover the surprising world of Ze in the Clouds.

Ze in the Clouds is a cutting edge multi-instrumentalist and producer.
He created his own compositional style as the result of his jazz origins and his continuous studying and evolution. He shares his thousand faces without any stylistic boundaries with people and musicians who have the same vision.
Born in the Po Valley of Northern-Italy at the end of the last millennium, from a very young age Ze attracted the attention of promoters and artistic directors of the new avant-garde scene linked to jazz and electronic music. JazzMi and Jazz:Re:Found, the two most influential Italian festivals to focus on this kind of artistic proposal, immediately understood the potential of his amazing talent, showcasing him in their lineup. Jazz:Re:Found, captivated by his unique and inimitable style, decided also to reward his genius by inaugurating the catalog of the new record label project "Time is The Enemy" with his debut album.

** 140gr Vinyl // limited edition // introduction text written by the artist on the back cover// die-cut hole in the rear // printed in cmyk **

"Ayni is the immersive debut ep of Sara Berts, producer and composer based in Turin, who self-described the record as a gift from the plants and for the plants.

The field recordings flowing through the whole record come from the Peruvian Amazon forest, where she spent 3 months in 2019 while seeking personal healing.
All the other sounds come from the Buchla Easel and were recorded in Italy during the suspended time of the 2020 strict lockdown.
Two different times and spaces linked together through isolation and uncertain feelings for the future.
However, Ayni doesn't contain any element of darkness but is inspired by a sense of redemption and healing arising from these events.
A tense but positive attitude flows through all the tracks of the ep, giving back a feeling of harmony and peace.
A thoroughly immersive record that deserves a deep listening to explore and appreciate all the different shades of sound and emotion it contains."

We started First Word Records in late 2003. The core team is based in London, but our roster is comprised of artists from all over the globe. As we look ahead to our 20th anniversary, and hit our 200th release, this EP is a collaborative effort from some of our current artists.

As a label, we've often championed musicians that create sounds that fall within the cracks of more defined-genres. Our aim has always been to highlight unique talent where we find it, and ultimately find things we deem worthy of inclusion in the great mixtape of life! Quite often the links may not seem apparent, but we feel blessed to have been able to slowly build a family of artists that not only have great respect for each other, but will quite often collaborate together without any prompts from us. This collection of music is a series of examples of that. 'A Family Affair'.

For this vinyl EP, there is a heavy dancefloor vibe, with four tracks that nestle within the realms of broken beat.

Following her debut EP 'Light It Again' for us in late 2020, Allysha Joy's track 'Better' is re-visited by the don Kaidi Tatham, who reworks the track in his own inimitable way; starting on a half-tempo neo-soul vein, before switching to his trademark fusion of bruk, boogie and jazz mid-way.

After a lengthy absence we're delighted to welcome back Quiet Dawn and Sarah Williams White, with a collaborative piece between the two entitled 'One By One'. You can expect longer projects from them both later in the year, but here's a little vibe to wet your whistle. This, the 'Bruk It' version doing exactly what it says on the tin.

On the flipside, we have a delicious rub of Takuya Kuroda's 'Fade' featuring the vocals of Corey King and taken from Takuya's highly-acclaimed LP 'Fly Moon Die Soon'. The remix work on this one courtesy of a killer combo in their own rights, KEARL aka Earl Jeffers (Darkhouse Family) and K15 (Profusion).

Speaking of K15, this EP closes out with his interpretation of Teotima's 'But I Can't' originally from their 2019 album 'Weightless'. Taking elements of the original vocal from Ellie Rose Rusbridge, K15 transforms this one into a dreamy boogie-tinged groove - previously supported by Mary Anne Hobbs and the like.

Two of these tracks have never been available on vinyl before, whilst the other two are brand new tracks being released for the first time on any format.

Despite the troubles globally faced in 2020, it's safe to say that The Allergies bucked the trend and came back by ultimately having a rather glorious year. Releasing their fourth stu-dio album, achieving the 'A List' on BBC Radio 6 Music and Radio Eins in Berlin, climbing high in the NACC US college charts, and generally receiving critical acclaim from a world that had an understandable appetite for some joyful and fun music in their lives.

2021 shows no signs of things slowing down. The heat continues for their 2020 album Say The Word with Pioneer, Liptons and IAMS all taking Allergies tracks for their global advertis-ing campaigns. Rather than rest on their laurels, though, the guys went full lockdown crea-tive and have their fifth album due for release in September, 2021.

"Jumping Off" was the first new track from the album to be debuted at the end of 2020 – A self-sampling version of their 2018 track "Main Event". As with all Allergies tracks of late, the limited 7" release caused a Discogs feeding frenzy.

Now, The Allergies power forward with the first single of the 2021 album campaign – An absolute dancefloor destroyer featuring legend of the mic, Dynamite MC, entitled "Lean On You".

The Allergies first hooked up with Dyna on previous album Say The Word for the fan favour-ite "Hot Sensation". But, scheduling clashes with Dynamite's own album release meant that a single outing for that track was not possible.

No such issues this time round means The Allergies kick off their 2021 album with a serious club and radio contender to move things to the next level.

It's a stylistic new lane for the Bristol-based beatmakers. Their trademark heavy drum chops now flowing on half time tempos, with blues guitars riffs front and centre. The perfect back-ing, then, for the UK rap legend to find his theme and raise the roof.

The 7" is backed by "Working On Me" – A classic Allergies-style screamer with a taste of funky swamp rock, updated for your favourite dancefloor/kitchen/outside space, with five other people…

Banoffee Pies Records 16th Original Series release comes via a 4 track Split EP collaboration between Kincaid, and Zenzizenz, the ambient moniker of techno producer Viers. After a long year behind us, and likely ahead, this record takes a temporary step into the calm and adds reflection to the blurred months that passed.

The release is a collection of textural bumps and melodies opening with Kincaid's 9 minute "Slow Stumble Home" - an aptly titled down tempo trip through a confused space, layered with composition, like a Playstation home screen theme on Mushrooms. Calm follows with two tracks from Zenzizenz - "Returning From Home", a steady meditation through rumbling sounds soon shift to a new mood on the B side. "Falling Off" offers a more lethargic wandering mood through the marshland before BP016 comes to it's close with "Single Cell", the 2nd Kincaid track, which concludes with a chaptered 4x4 structure and slow bursts of energy within. Time to absorb. Love BP x

Ibiza Records brings you Archives Vol 11 EP with those flavours of the early 90s when the scene was emerging from hardcore into Junglism thus the creation of Jungle...

This 4 track of gems from Potential Bad Boy n Noise Factory taken from Ibiza's vast back catalogue showcases their musical talent...

A reliable traditionalist with a penchant for bittersweet songs of heartbreak and loss, Ashley Monroe pulled a complete 180 for her spectacular new album, Rosegold, riding the joyful emotional wave that followed the birth of her son to create her most ecstatic, blissed-out collection yet. Written and recorded over the past two years, the record finds the GRAMMY-nominated Nashville star pushing her sound in bold new directions, drawing on everything from Kanye West and Kid Cudi to Beck and The Beach Boys as she layers lush vocal harmonies atop dreamy, synthesized soundscapes and sensual, intoxicating beats. Monroe worked with a variety of producers on the album, letting the tracks dictate her direction rather than any arbitrary adherence to genre or tradition, and the result is a record as daring as it is rewarding, an ecstatic, revelatory meditation on happiness and gratitude that tosses expectation to the wind as it celebrates our endless capacity to love, and to be loved, even in the midst of chaos and tragedy.Born in Knoxville, TN, Monroe first began turning heads in Nashville as a teenager, when she arrived in town with a notebook full of mature, emotionally sophisticated songs that belied her young age. A jack-of-all-trades, she picked up work behind the scenes at first, singing on sessions at Jack White’s Third Man Studios and penning tunes that would appear on albums by the likes of Guy Clark, Carrie Underwood, Jason Aldean, and Miranda Lambert. Monroe and Lambert forged a close personal bond through their collaborations, and in 2011, they teamed up with fellow Nashville journey woman Angaleena Presley to launch the critically acclaimed trio Pistol Annies, which would go on to top the Country Album charts, crack the Top 5 on the Billboard 200, and earn a GRAMMY nomination for Best Country Album. Monroe’s solo output was equally lauded, with NPRhailing her work as “subtle and breathtaking” and Rolling Stone praising her writing as “riveting and sharp-witted.” Over the course of three studio albums, Monroe would land her own GRAMMY nomination for Best Country Album, share bills with the likes of Vince Gill and John Prine, and perform everywhere from The Tonight Show and Conan to Late Night and The View.

Recorded in 1959 at the height of the Latin Jazz Era, This is Mongo Santamaria's second album for Fantasy Records. A deep and fascinating investigation of Afro-Cuban roots run by the great percussionist and a
quite large group featuring Paul Horn on flute, Emil Richards on vibraphone, Al McKibbons on bass and of course lots of multicolored percussion and vocals split by a bunch of masters players including
Armando Peraza and Willie Bobo.The album opens with the redolent melody of "Afro-Blue" one of his most beautiful compositions which later became a classic Jazz standards with historical renditions by
the likes of John Coltrane, Abbey Lincoln and Oscar Brown Jr.

Music For Dreams proudly presents a limited Edition 7” from LIPS LIPS LIPS A 2 track release of tracks from his forthcoming album ‘Life Is Pretty Surreal’ (Co-Produced by Peaking Lights’ Aaron Coyles)

Behind LIPS LIPS LIPS is Danish musician, electronic producer and songwriter Søren Løkke Juul (previously Indians and Søren Juul, both on 4AD).

The A Side, In All Eternity, was written in 2015 on piano. It’s a love songthat seems arrested in a state of estranged wonder or bittersweet bliss. Piano stabs rise in a towering, stadium-leaning riff while the metronomic beat float beneath and strings swirl in supporting arcs.

Side B ‘Lifetime Girl’ is a more electronic indie dream pop love song reminiscent of early Air meets Beck in a Nordic forest.

With the debut album, LIPS LIPS LIPS launches an ambitious project of lush and melodic electronic structures layered around hypnotic vocals. The music is yearning and melancholic yet warm and hopeful. Rarefied yet expansive. Cerebral yet wired with pop charm.

Anessential difference from Juul’s previous work here has been the sense of easeand spontaneity with which the creative processes have flowed. According to Juul, this new sort of feet-on-the-ground freedom has helped develop a more physical side to his music.

While he hasn’t totally jettisoned the ethereal or spiritual qualities of earlier days, LIPS LIPS LIPS represents a much more pronounced rhythmic vision, materialized at the hands of Aaron Coyes (Peaking Lights), whose well- accomplished dub-engineering is layered deep into the texture of the album.

All recording on the album was carried out during a week-long refuge in co-producer Frederik Nordsø’s cabin in Sweden. The team included Juul, Nordsø, Coyes and label head and co-producer Kenneth Bager.

2x Grammy nominated band Gojira have announced details of their long-awaited new album, FORTITUDE, which will be released April 30th via Roadrunner Records and have released the forthcoming album’s first single, “Born For One Thing”. FORTITUDE stands is Gojira’s first album in five years and the follow-up to 2016’s Grammy nominated LP MAGMA.

Recorded and Produced by Joe Duplantier at Silver Cord Studio - Gojira’s Ridgewood, Queens, headquarters – and mixed by Andy Wallace (Nirvana, Rage Against The Machine), FORTITUDE is a collection of songs urging humanity to imagine a new world—and then make it happen. The band initially laid the foundation for FORTITUDE last year with the surprise release of the 2020 single “Another World.” NPR hailed the track as “an apocalyptic banger,” while STEREOGUM declared, “Gojira are one of this century’s most important underground metal institutions.” Voted by fans as the #1 release on REVOLVER’s “5 Most Anticipated Albums of 2021,” FORTITUDE continues Gojira’s career-long tradition of harnessing their music as a vehicle for environmental activism with songs like “Amazonia” and “The Chant” not only surveying critical cases, but also catalyzing listeners to take action.

On 2016’s MAGMA, Gojira found strength—and crossover success—through a singular commitment to self-reflection. The intensely personal record, penned in memory of the Duplantier brothers' late mother, was a painful significant turning point for the French group. The album earned the band two GRAMMY nominations - ‘Best Metal Performance’ and ‘Best Rock Album,’ and upon release, MAGMA took the #1 spot on BILLBOARD’s ‘Hard Rock Albums’ chart, a first for a French band. MAGMA also asserted itself as one of the most acclaimed albums of 2016, earning METAL HAMMER’s coveted “Album of the Year” title while also landing on ROLLING STONE’s “Top 20 Metal Albums of 2016,”

Originally released in 1961 on Prestige label, this album stands as one of Steve Lacy's earliest Monk's music explorations. A reflective journey through the visionary world of the high priest of Bop

featuring the great Don Cherry on trumpet, the solid Carl Brown on bass and the marvelous Billy Higgins on drums. An historical studio session based on a Monk/Ellington split track list including four Monk's compositions and two lesser known Ellington pieces. After sixty years, it's still pure joy, listening to the soprano sax master matching with Cherry's harmolodic pocket trumpet.

Wah Wah 45s make a welcome return to the world of re-issues. Having started out over two decades ago releasing dance floor funk from Benny Poole, Cheyenne Fowler and The Googie Rene Combo, and later re-releasing obscure Kompa-funk from Haitian pianist Henri Pierre Noel, they now turn their attention to an overlooked early 90s acoustic soul gem.

About thirty years ago, music teacher and budding producer Alex Boyesen found himself working as part of the Haringey Music Workshop - a community programme and outreach project funded by the local council in Haringey, North London (coincidentally the area in which the Wah Wah head office is now based!).

"Anyone could come and get lessons for free - ranging from piano, sax, guitar, drums, bass, singing and workshops including choral, jazz band and more." Alex Boyesen

It was during that time that Alex came across a young Sam Edwards.

"One day I went into one of the rehearsal rooms and there, by herself, was this girl playing a piano and singing. It was the most incredible voice I had ever heard."

Before long, the pair were playing all over London as a duo with Alex on guitar and Sam on vocals.

"Sam had never had professional training, she was simply an utter natural."

The Haringey Music workshop was connected with other projects in the borough, in particular a community project called the Selby Centre. Here they ran training programs for young people and one of these was a music business course. The idea was that they found an artist, recorded them and then promoted them. One way or the other they ended up picking Alex and Sam to be on their roster.

"My good friend Nixon Rosembert was brought in to oversee the recordings and they hired the Islington Music Workshop to do the recording. We got musicians from the Haringey Music Workshop to play on the sessions and spent a day recording two songs -American CarsandLife. The training workshop had created a label called Progression Music and out the record went."

Three decades later and out of the blue Alex started to get interest again in the record he'd almost forgotten about all those years ago. It had become something of a sought after gem on Discogs, and there seemed to be an interest in that 'acoustic soul' sound once again.

"I got three people asking if they could re-release it and finally here we are with Wah Wah 45s doing the business after all these years."

It was Hospital Records and Wah Wah 45s founder, Chris Goss, who first brought the idea of releasing this record to the table.

"This is a really special record for me, picked up 30 years ago, from a young James Lavelle at Honest Jon's in Ladbroke Grove. Sam Edwards would go on to perform and write songs with North London's Izit, the acid jazz collective fronted by Tony Colman - with whom I have built a music company, these past 25 years. Alex Boyeson worked with Tony at the Haringey Arts Project, who produced a one-off vinyl release of Alex's two compositions back in 1991. Thanks to Alex and Tony, we have been able to clean-up the original audio, uncover photos and lyric sheets to present, with real love and affection, these two lost gems from a bygone era." Chris Goss, Feb 2021.

The project was then expanded by Dom Servini, who got heavy disco legend Ashley Beedle and co-label owner and erstwhile producer Adam Scrimshire in to take on remix duties.

"When approached by Dom Servini to reworkAmerican CarsI had no idea about the history of the original song. After a good listen myself and studio partner Darren Morris set to work and all I can say that it was a lovely experience keeping the vibe of the original but giving it a spaced out feel in true Afrikanz On Marz fashion." Ashley Beedle, Feb 2021.

"Remixing without multi-tracks always brings a bunch of challenges, getting the balance between the bass and drums in the original and what you want to do with your own version. The song really dictates certain things to you.

But it was such a pleasure to explore that with this beautiful song and vocal performance. So many ways to approach it. I just wanted to draw out more of the melancholy in the original and make it an absorbing experience." Adam Scrimshire, Feb 2021.

Perhaps the last word should be given to Alex himself, who's very much enjoying the new lease of life that his music with Sam is getting.

"As I write this we are trying to locate her, she's somewhere singing something, that's all she ever did. Thanks for being part of my life Sam and I am so glad that this small bit of that time is being remembered." Alex Boyesen, Feb 2021.

At first glance, Sarah Louise might seem an unlikely candidate
to credit technology as inspiration for her new album, Earth Bow.
After all, she has lived in rural Appalachia for the last decade,
foraging numerous species of wild mushroom, concocting
medicine from plants she gathers, and performing what she
terms “Earth Practices” to deepen her relationship with the
natural world. But it is precisely her ability to find connections
between false binaries that makes this album so novel and richly
immersive.
Louise conceived Earth Bow as an interconnected ecosystem,
meant to evolve, interact and grow. Known for her inventive
guitar playing, vocal harmonies and electronic experiments,
it was her use of the SP-404SX sampler that became a primary
inspiration for the album’s woven nature. “Improvising with the
404 during live shows allows me to collaborate with the music
as a living system, almost the way generative music works,” she
says. “I kept finding more and more samples that worked together
and realized I wanted to connect the entire record—and
that there were many ways it could be connected.”
Through this process, what began as eight core songs
blossomed into two sweeping suites. Samples—denizens of
her electronic forest—move around the record with changing
context like words in a sestina or phrases in the I Ching,
revealing new connections with each listen. Mesmeric sounds
abound on Earth Bow, from analog synth tones, to digitally
manipulated sonics that she stretches and layers with a painterly
touch. These electronic sounds inhabit the same environment as
field recordings, ceremonial percussion, guitars and empathic
vocals, weaving together her vast and borderless influences into
an enveloping world. “I want this record to take people on a
journey through the wonders of our incredible planet, to help
people feel held by the mysteries of nature,” she enthuses. “I
believe music can heal.” After a string of celebrated releases on
Thrill Jockey, Sarah Louise is self-releasing Earth Bow on her
new imprint of the same name.

Party tribe in a balkantek style !! At least something to complete the famous Balkantekl 001 in the miw ! And the Pin Up and the Resh G stuff...
DON'T MISS you deejay of the "bad vibes Full-stop" !!

Julien Sénélas, Jérôme Vassereau and Soia present a new version of In C, Terry Riley's seminal work : a musical interpretation with two modular synthesizers (11 oscillators) and a graphic interpretation of the original score (53 shapes). Composed in 1964 by Terry Riley, In C is considered as the founding work of the minimalist movement. Like the 11 acoustic instruments that can be heard on the most famous version recorded in 1968, 11 oscillators from two modular synthesizers are used here. The illustrator and visual artist Soia has created an alphabet of shapes, which represents each of the 53 musical cells that make up In C. A visual and electronic reinterpretation of this evolving composition, among the most accessible and generous of contemporary music.