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Continuing the ‘first time on vinyl’ purge of the AMT archives. Here’s the band's classic 2006 album finally available on double vinyl for the first time. Housed in full colour gatefold sleeve.
‘Myth of the Love Electrique’ is another scorcher from these ridiculously prolific psych masters. This album is notable for being the debut of their newest band member: Kitagawa Hao. Kitagawa's presence doesn't dominate the recording by any means, but her contributions nicely complement the swirling chaos the group generates. Acid Mothers Temple always manages to find a breath of fresh air at the most opportune times, and this is no exception. While remaining a tight unit, bringing Kitagawa into the fold adds another dimension to their chaotic sprawl without having to sacrifice any of their strengths on this incendiary album.
“Comprised of four lengthy tracks, the album explodes with a start: "The Man from Giacobinid Meteor Comet." Kawabata Makoto's guitar quickly becomes a tangle of screams, a frenzied surge that drags the band along with it. The rhythm section is ferocious. Bassist Tsuyama Atsushi frequently ventures out to the stratosphere, but he also knows when to hold back or to provide a vaguely melodic foundation. Likewise, the amount of energy drummer Shimura Koji dedicates to his performance is a lesson in endurance. Divided into three movements, this track eventually cools down and then glides to a drone landing, alighting the listener breathlessly upon calmer ground.
Kitagawa's voice makes its first appearance on "Five Dimensional Nightmare," floating over a bouzouki arrangement that sounds like singing glass. This one is divided into three sections like the previous track, but starts airy and then goes into a drone as Tsuyama briefly takes over the vocals. From here, strings are tortured like fingernails on a blackboard before a guitar and Higashi Hiroshi’s water drop electronics restore balance.
As much as I loved the two previous tracks, the band forges ahead into something different on "Love Electrique." Kitagawa's presence is most felt on this track. Her voice streaks across the mix as blistering guitars and freaky electronics blast all over the place. Over the course of 20 minutes, it hits several different moods and textures on a truly transcendent journey.

Of the four tracks, only the live staple "Pink Lady Lemonade (May I Drink You Once Again?)" may seem a little redundant. Kitagawa, however, breathes new life into this standard by bringing her vocals to the fore over the entire track, as if restoring an element that previously had been missing. It's hard to call it a definitive version because so many other excellent versions already exist, but it is a great one in its own right. For fans who may be weary of this song after all of its appearances over the years, it is easy enough to stop the disc after gorging on the first hour of music, and it is still a welcome dessert if the mood should strike”

Red Hot Chili Peppers will unveil their new album and twelfth full-length offering, Unlimited Love Warner Records, on April 1, 2022. It notably marks their first recording with guitarist John Frusciante since 2006 and first with producer and longtime collaborator Rick Rubin since 2011. To herald Unlimited Love, the Los Angeles band just shared the first single and music video “Black Summer.”

“Our only goal is to get lost in the music. We (John, Anthony, Chad and Flea) spent thousands of hours, collectively and individually, honing our craft and showing up for one another, to make the best album we could. Our antennae attuned to the divine cosmos, we were just so damn grateful for the opportunity to be in a room together, and, once again, try to get better. Days, weeks and months spent listening to each other, composing, jamming freely, and arranging the fruit of those jams with great care and purpose. The sounds, rhythms, vibrations, words and melodies had us enrapt.

We yearn to shine a light in the world, to uplift, connect, and bring people together. Each of the songs on our new album UNLIMITED LOVE, is a facet of us, reflecting our view of the universe. This is our life’s mission. We work, focus, and prepare, so that when the biggest wave comes, we are ready to ride it. The ocean has gifted us a mighty wave and this record is the ride that is the sum of our lives. Thank you for listening, we hope you enjoy it.

ROCK OUT MOTHERFUCKERS!” - Anthony Kiedis, Flea, Chad Smith, John Frusciante

On lead track “Black Summer,” ethereal guitar underlines introspective lyrics as the rhythm unlocks a hypnotic drum groove highlighted by evocative bass. It quietly inhales only to exhale with a massive refrain, “It’s been a long time since I made a new friend, waiting on another black summer to end,” before a guitar solo echoes to the heavens and back.

Unlimited Love resumes a three-decade partnership with Rick Rubin Johnny Cash, Adele. Their creative collaboration spans legendary albums, including the diamond-selling Blood Sugar Sex Magik 1991, Californication 1999, By The Way 2002, and Stadium Arcadium 2006.

The interplay between the band borders on intergalactic once again—yet elevated to another stratosphere altogether. Unlimited Love represents the united spirit of four individual souls still fearlessly exploring the future of their eternal friendship and musical congregation.

This summer, Red Hot Chili Peppers will launch their first tour in support of Unlimited Love. They’ve invited a dynamic cohort of guests along for the ride at select dates, including Anderson.Paak & The Free Nationals and Thundercat and will be playing stadium dates in the UK in June 2022.

Utter presents the second full-length album by enigmatic duo Vādin - a collaboration between sound artists and performers Christian Duka and Lucie Štepánková (aka Avsluta). “Black Tortoise” is a voyage accompanied by the uncanny, the shadow-dwelling specters and arcane symbolism derived from ancient Chinese astronomy.

“Astrologia” opens the album with an eerie torrent of droning voices and glassy, percussive interventions, leading into the patiently unfolding opening of the “The Presence” with it’s ominous narrative riding the swelling, thunderous rhythms culminating in swarms of hallucinatory chaos. The doom of “Calliope” follows, infused with cavernous, beastly vocalisations which lure the listener into “The Furnace”, a drowsy kaleidoscope of rhythms weaved together with Štepánková’s mother-tongue narration. And further on still, into the make-believe world conjured up by the buzzing and swarming objects overheard on “Plateau”.

Available on limited vinyl and digital formats. A special fold-out pamphlet is included with physical copies.

Spoken word by Lucie Štepánková. Mixed at SAE Institute by Christian Duka and mastered by Rashad Becker at Clunk. Transferred and cut by Helmut Erler at D&M.

Artwork designed by Marco Maldarella.

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ (more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a homemade mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke. It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long-playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds, mixed by King Tubby and Mr Prince Phillip Smart and another set of scorcher Bunny Lee rhythms.

Sounds like supergroup. Rarely have outstanding figures of such a variety of musical styles collaborated on one album to pay homage to a nearly forgotten artist, one of the few black Beatnik poets, Bob Kaufman.

"All Those Streets I Must Find Cities For" by The Plastik Beatniks is an attempt to acoustically reanimate Bob Kaufman, to return the Beat to him in a transatlantic collaboration. It is a shimmering psychedelic, at times jazzy concept album, sometimes reminiscent of Krautrock or hip hop, about a Beat-era poet who was as great as he was forgotten. It takes spoken word to a new level, as a transatlantic showcase of musical avant-gardes and a joyful "sound archaeology" of modernity, in which the tracks of the "Plastik Beatniks" meet the best voices of America.

The 12 wildly different songs and audi collages, on the transatlantically-produced album, "All the Streets I Must Find Cities For," is based on lyrics by Beat author Bob Kaufman. They were originally part of the radio play "Thank God for Beatniks," for which author Andreas Ammer ("Ammer & Einheit"), Notwist‘s Markus Acher and Micha Acher and loop maker Leo Hopfinger ("LeRoy") formed "The Plastik Beatniks." On the eastern side of the Atlantic they composed music and crafted soundscapes. On the west side of the ocean, they asked three of the most renowned singers, activists and producers in the U.S. to recite or sing Bob Kaufman's poetry.

Punk-pop icon Patti Smith immediately signed on to read Kaufman's poem "Ginsberg (For Allen)". Free jazz vocalist Moor Mother passionately performed Bob Kaufman's "War Memoir". American jazz clarinetist, composer, singer and “International Anthem” labelmate Angel Bat Dawid, a legitimate successor to Sun Ra, polyphonically read and sang such poems as "The Sun is a Negroe" and "West Coast Sound 1956" and included some clarinet solos on top. Also on the album, Bob Kaufman himself recites his previously unknown poems "Hollywood Beat", "Would You Wear My Eyes", and the "Jail Poem" "All Those Streets I Must Find Cities For". Beat chronicler Raymond Foye, who still lives at the Chelsea Hotel in New York, contributed an interview he conducted with late beatnik Allen Ginsberg about Bob Kaufman. Completing the circle was hip-hop artist Adam "DoseOne" ("13&God"), who once gave Markus Acher a well-thumbed volume of Bob Kaufman, whom he admired. He contributed some raps. Thus 12 tracks emerged, as diverse as the artists, poets and musicians who contributed to it. More than an album. An epitaph. A work for the eternity of Beat.

Regarding Bob Kaufman - of course the FBI kept a file on him – first as a sailor, then a communist, and finally a Beat poet. As one of the mainstays of the movement, he edited the literary magazine "Beatitude" in San Francisco and defined "Beatnik" to Allen Ginsberg: half rhythm, half sputnik. Bob recited his poetry loudly on the streets (when he wasn't sunk into years of silence in protest of the Vietnam War) and in the bars and bagel shops of North Beach. Once, he almost landed a pop hit ("Green Green Rocky Road"), which then made Dylan's companion Dave van Ronk famous. That Kaufman is today less known than his friend Allen Ginsberg may be because he was a black Beat poet, and also a Jew. This was not compatible with fame in the US of the 1950s. Though Kaufman had the same publisher, City Lights, as Ginsberg, he was frequently arrested and jailed, and was treated with electric shocks until he developed serious mental heath issues. There he wrote his "Jail Poems". The seventh of these lent this album its name:

"Someone whom I am is no one / Something I have done is nothing Someplace I have been is nowhere / I am not me What of the answers / I must find questions for? All these strange streets I must find cities for, Thank god for beatniks."

Mikael Åkerfeldt, mastermind of Swedish band Opeth, has recorded the original score for the new Netflix series Clark, directed by renowned film-maker Jonas Åkerlund. Clark is the incredible story behind Sweden’s most notorious gangster Clark Olofsson, whose infamous crimes gave rise to the term “Stockholm syndrome.” The score for this 6-part series will be released as a Standard CD Jewelcase & Gatefold 180g 2LP vinyl via InsideOutMusic/Milan Records.

Produced by Dan Austin, (Biffy Clyro, You Me At Six) 2021’s Fatal Mistakes made No 5 in the UK national album chart which is the 6th top 10 for Del Amitri and the highest charting album since Twisted in 1995. The album also made No 2 on the Independent album chart and No 5 on the vinyl album chart. Fatal Mistakes also achieved the band’s highest chart position in Germany to date Throughout their first chapter, Del Amitri released a succession of hits - including ‘Nothing Ever Happens’, ‘Always The Last To Know’ and ‘Roll To Me’ - which became international radio staples, propelling a career that accomplished five UK Top 10 albums and 6 million sales. Justin speaks about the track When Iain presented me with this psychedelic swamp blues it called out for the stream-of-consciousness treatment. Sadly I’m no Dylan and this pathetic attempt to summon the spirit of Subterranean Homesick Blues refracted through the streets of Glasgow ended up in the outtakes pile. The only thing I can say in mitigation is that it’s ALL TRUE, EVERY WORD.

Deluxe double 12'' vinyl housed in a 2 pantone sleeve Including insert with liner notes Akuphone is pleased to present the first compilation dedicated to musician John Bolloten, aka The Rootsman. As a precocious punk, he formed his first band, State Oppression, in his teens. Yet he is best known for his dub music, a genre that gave him international recognition. Largely influenced by the rhythms of North Africa and the Middle East, he built his musical identity around samples from these regional repertoires. His encounter with Bryn Jones - better known as Muslimgauze - further defined his artistic path. This selection offers an overview of his work from 1996 to 1998, a prolific period when Into The Light, 52 Days To Timbuktu, Union Of Souls (with Celtarabia) and Distant Voices (with Pachakuti) were released. A visionary production that predicted today's growing international predilection for the musical heritage of the MENA regions. The compilation is enriched with an explanatory preface by Mabrouk Hosni Ibn Aleya and illustrated with rare archival photos- all of which are contained in a superb jacket designed by the artist Ghiya Haydar.

The Logic of Chaos is the latest release of Elisa Batti for the label One Instrument that gathers music composed over a period of 3 years. Fascinated by the idea of developing pieces with strict and limiting guidelines, the confined environment gave her the possibility to explore and expand the creativity and the freedom of composing. Each single piece has a specific story and is recorded with a different instrument.

“Asa” is produced together with Sebastian Josef Brunnlechner while composing the sound design for an installation. The piece comprises repetitions of a few simple loops layered and arranged over a carpet of long notes played with a bow. The bow has been intentionally played slowly in order to obtain as many overtones as possible. The short pizzicato melodies consist in small and simple repeated loops that appear and disappear dissolving with the other sounds. The intention behind this track is to let the beautiful sound of the instrument speak for itself evoking a dreamy atmosphere.

“Slow Fall” sees the collaboration with the pianist Marko Ivic and has an improvised approach. While Ivic was playing the piano Elisa Batti was processing the sounds on the fly. The piece is based on a minimalistic procedure, where continual loops create a scenographic effect.

“Taiga” includes different patches of the Moog Mother-32 and is an emotive landscape where sounds rise and disappear again, leaving space to thoughts and images.

The EP ends with “Ecstatic” created with the Korg Minilogue. It was part of a commissioned dance piece that afterwards has been readapted for the release. The final outcome sees a more complex and erratic behaviour.

Elisa Batti’s work induces a state where time stands still whilst simultaneously being in motion. Her sound palette is broad and expresses a high artistic achievement.

Imperfect Stranger is the pseudonym of Glasgow based soundtrack composer and producer Kenny Inglis. “Everything Wrong is Right” is his debut solo album for Castles in Space.
Born in 1975, Kenny didn't listen to much music, unless it was the opening credits to a TV show or a film score that had caught his ear. "I loved the pre-title music on a lot of those 80's U.S. TV shows. From the family orientated stuff like The A-Team, to darker dramas such as The Equalizer. My mother would let me stay up to watch the opening sequence of the latter then send me to bed because the story would be too heavy for a kid. That left me with this hanging sense of ambiguity as to what would happen in that hour after the titles came up.”
Exposure to a work colleague’s tiny project studio in a kitchen cupboard was a lightbulb moment for him and the experience of utilising music technology as a way of writing and producing entire tracks stirred a wave of determination to chase a career in music using the opportunities that technology could offer. Kenny figured the best way to move forward was to start a small project studio and learn his craft as a recording engineer. "It was a bit of a shock to the system. I literally had no idea how to work any of the equipment. Kenny focused on learning as much about the craft as he could whilst winging his way through recording and mixing everyone from the likes of singer/songwriters to bands, to voiceovers artists and anything in between. "Eventually, I stopped writing the music I thought people would want to hear, and started writing the music I wanted to make. I didn't come from a music loving background, but I was always obsessed by the way music and film would interact - how music brings this atmosphere and tone to even the most mundane visual stuff. I wanted to capture that. I wanted to grab some of that ambiguity I felt from the TV shows of my childhood and make it into a project of some sort". That project was Spylab. A dark, downtempo project with a cinematic edge. The initial demo consisted of three tracks, with the melancholic 'This Utopia' leading the playlist.
"At the time you did demos on normal cassette tapes. I remember having this endless battle with the bias control to try and get the best sound I could on these little tapes. Ten went in the post one Monday morning, and the following Monday there were three offers from three different labels. Studio K7 were interested in a singles deal, as was Flying Rhino in London. But then there was an offer from a Chicago based label by the name of Guidance Recordings. They wanted an album, and were offering a $15,000 advance. It wasn't a difficult decision to make"
Writing and recording Spylab 'This Utopia' began in 1999. The album took a whole year to produce. The album was to catch the attention of Mary Anne Hobbs at Radio One. At the time Mary Anne was presenting The Breezeblock - a late Sunday night show with an eclectic playlist of alternative electronic music. Picking out the album's title track 'This Utopia', Mary Anne would go on to play it no less than 8 weeks in a row. A request for Spylab to DJ on the show was to follow. "I had never DJ'd before. I think I had a week to figure out how to do that and put a playlist together. I'm not entirely sure how I pulled that off.” In March 2001 the Spylab album was finally released to a hoard of excellent reviews. A North American live tour would follow. From the launch party in Los Angeles, to a sell out show at SXSW in Austin. "I then started a new project under the name Cinephile. It had some of the core elements of the Spylab sound but it was deeper, more cinematic.” Kenny received news that a track from the previous project Spylab had been requested by HBO for the first episode of a new TV drama called Six Feet Under. This was to become a major turning point in Kenny's career. The Spylab track 'Celluloid Hypnotic' dropped during a poignant party scene of the first Six Feet Under episode. Within a couple of days Kenny was getting requests for music from other music supervisors. "It was a chain reaction. The Six Feet Under sync was like the tip of an iceberg. One day I called CBS in America and they put me on to the CSI music supervisor and I managed to get on a call with him. I sent the Cinephile stuff out and within a few months I got this fax through from CBS - a quote request for one of the tracks for a potential use on CSI. It changed my life."
The tone and style of Kenny's music sat perfectly with the CSI score requirements. So much so he found himself part of a pool of incidental writers who worked on all three aspects of the franchise - CSI, CSI: NY, and CSI: Miami. This would continue until 2013, when the last of the series would come to an end.
"I was juggling a bunch of stuff for those ten years. Writing material for CSI, whilst releasing new Cinephile stuff and playing live. As Cinephile continued to gather pace, one of the tracks from Kenny's efforts on CSI was chosen for the Hollywood trailer for the Samuel L. Jackson film 'Lakeview Terrace'. Further trailers would follow, from Gangster Squad to Dead Man Down, Spike Lee's Undisputed Truth, to Fifty Shades Freed.
At the same time, Kenny picked up his first factual commissions in the UK, and this too would be the beginning of a regular run of fully scoring factuals and documentaries. By 2021, six of these had won BAFTAs. He also would find himself soundtracking adverts for the likes of Nike, Audi, and American AirlinesIn early 2020, Kenny made a return to focusing on his own music under the pseudonym Imperfect Stranger. A tweet from Colin Morrison from Castles In Space regarding a charity compilation album 'The Isolation Tapes' caught his eye. Kenny had made a start on his debut album as Imperfect Stranger and submitted the track 'Hymn To The Sun' (which would become the lead track on the album). Further discussions ensued, and the album found a home on CiS. "I had been doing TV and film stuff for almost ten years. It paid the bills and was as close to a 'real job' as I'd had, but I yearned to get back to writing for myself, so doing an album for Castles in Space was a joy.
“The music I write is like a diary. There's an authentic narrative to everything i do. I don't write tracks for the sake of writing. I write tracks to diarise and process the stuff that I've lived through, and the experiences that have come along with the passing years. That's what makes me tick. It's a very public and vulnerable way of expressing myself. If people want to know the real me, all they have to do is listen."

Limited Edition 100 Only Red Vinyl LP - Hand Signed and Numbered / Quantity: 100 - Beth Blade and The Beautiful Disasters are a melodic Hard Rock band based out of Cardiff, South Wales. The four-piece provide monster riffs, huge choruses and a dose of old school rock and roll attitude. With aggressive muscle and melodic sensitivity, this band is reigniting the flame of British Hard Rock. They have an unmistakable modern presence whilst keeping the spirit of old school rock and roll alive. The band have been a non-stop force to be reckoned with, building a strong pedigree touring with Marco Mendoza and The Electric Boys, and have supported old and new legends such as Kee Marcello, Y and T, Dan Reed and Danny Vaughan, Ricky Warick and Damon Johnson, Massive Wagons, Those Damn Crows, Tyketto and Graham Bonnett. They are no strangers to festivals either having performed at Hard Rock Hell, Planet Rockstock, Monsterfest and most notably with KISS on the globally renowned KISS Kruise in the US. The band's first two albums received glowing reviews across the rock press and resulted in international radio airplay including heavy rotation on major networks in the UK. Beth herself has sung backing vocals on the last two Thunder albums with the latter reaching number 3 in the U.K. Top 40 Album Chart and number 1 in the U.K Rock Chart in March 2021. The band are currently working on album number 3 and have a number of live shows and festivals already booked alongside The Treatment, Mason Hill, Collateral and will be hitting the road again on a UK tour with Swedish Rockers Thunder Mother. The band is fiercely determined and has the grit to surpass their previous accomplishments through intense live performances and a passion for rock and roll that is unrivalled.'

The Lost Daughter is a critically acclaimed 2021 psychological drama film written and directed by Maggie Gyllenhaal in her feature directorial debut, based on the 2006 same-titled novel by Elena Ferrante.

The film stars Olivia Colman, Dakota Johnson, Jessie Buckley, Paul Mescal, Dagmara Domińczyk, Jack Farthing, Oliver Jackson-Cohen, with Peter Sarsgaard, and Ed Harris. Colman also serves as an executive producer on the film. The film follows Leda (Colman) who is on a solo-vacation at the seaside and becomes consumed with a young mother and daughter as she watches them on the beach. When a small, seemingly meaningless event occurs, Leda is overwhelmed by memories of the difficult, unconventional choices she made as a mother and their consequences for herself and her family. The seemingly serene tale of a woman’s pleasant rediscovery of herself soon becomes the story of a ferocious confrontation with an unsettled past.

The Lost Daughter premiered at the 78th Venice International Film Festival, where Gyllenhaal won the Golden Osella Award for Best Screenplay. At its opening night world premiere, the movie received a four-minute standing ovation from Venice Film Festival attendees. The film also received three nominations at the 94th Academy Awards for Best Actress (Colman), Best Supporting Actress (Buckley), and Best Adapted Screenplay.

Thescore is composed by Dickon Hinchliffe, founding and former member of Tindersticks. Dickon’s unique style of composition and arrangements developed from his classical study of the violin and song writing and recording in bands.

The Lost Daughter is available as a limited “Peal it like a snake, don’t let it break” edition of
750 individually numbered copies on orange marbled vinyl. The LP features alternative artwork designed by Yelena Yemchuk, a Ukranian professional photographer, painter and film director, best known for her work with The Smashing Pumpkins. The vinyl package includes an inset with pictures and liner notes by both Maggie Gyllenhaal and Dickon Hinchliffe.

“I’ve been playing since I was 11 years old,” says Charlie Gabriel, the most
senior member of the legendary Preservation Hall Band. “I never did anything in
my life but play music. I’ve been blessed with that gift that God gave me, and I’ve
tried to nurse it the best way I knew how.”
 While he’s faced plenty of challenges nursing that gift for more than 78 years,
none likely rank with last winter’s passing of his brother and last living sibling,
Leonard, lost to COVID-19. For the first time ever, Gabriel put down his horn,
filling his days and weeks instead with dark reflection, a stubborn despondency
broken now and then by regular chess matches in the studio kitchen of Hall
leader Ben Jaffe, working overtime to bring his friend some light.
 One such afternoon also included Joshua Starkman, sitting off in a corner
playing his guitar and half-watching the chess from a distance. When Charlie
returned the next day, he brought his saxophone. “I was just inspired to try it, to
play again. It had been a long time, and a guitar makes me feel free. I do love the
sound of a piano, but it takes up a lot of a space, keeps me kind of boxed in.”
That day was to be the first session for ‘Eighty Nine’, almost entirely the work of
Gabriel, Jaffe and Starkman, recorded mostly right there, in the kitchen, by Matt
Aguiluz.
 Charlie Gabriel’s first professional gig dates to 1943, sitting in for his father in
New Orleans’ Eureka Brass Band. As a teenager living in Detroit, Charlie played
with Lionel Hampton, whose band then included a young Charles Mingus, later
spending nine years with a group led by Cab Calloway drummer J.C. Heard.
While he’s also fronted a bebop quintet, played and/or toured with Ella
Fitzgerald, Tony Bennet, Aretha Franklin and many more, this is the first time his
name appears on the front of a record, as a bandleader.
 Since 2006, Gabriel has been a member of the Preservation Hall Jazz Band,
featuring prominently on ‘That’s It, So It Is’, and ‘Tuba to Cuba’. ‘Eighty Nine’ was
different, and not simply due to a smaller ensemble. “We had no particular plan,
or any particular insight on what we were gonna do. But we were enjoying what
we were doing, jamming, having a musical conversation,” Charlie says, further
musing, “Musical conversations cancel out complications.”
 The album includes six standards and three newer pieces on which Gabriel is a
writer: ‘Yellow Moon’, ‘The Darker It Gets’ and ‘I Get Jealous’. The record also
marks Charlie’s return to his first instrument, clarinet, on many of the tracks. “The
clarinet is the mother of the saxophone,” he says. “I started playing clarinet early
in life, and this taught me the saxophone.”
 Finally, ‘Eighty Nine’ includes three tracks of Charlie singing. “I always sung, but
it wasn’t my forte to become a singer,” he says. “The truth is, people often
develop a real relationship with a song once they hear the words. Sometimes I
enjoy singing them.”
 First pressing on translucent gold Loser Edition coloured vinyl

The roots of Naima Bock’s music are far reaching. Born in
Glastonbury to a Brazilian father and a Greek mother, Naima spent
her early childhood in Brazil before eventually returning to England
and various homes in South East London. This heritage combines
with more recent pursuits in Naima’s music. From the Brazilian
standards that the family listened to while driving to the beach, to the
European folk traditions she tapped into on her own, and the pursuits
that interest her today - studies in archaeology, work as a gardener,
and walking the world’s great trails - Naima’s music draws from
family, the earth and music handed down through generations.
 Naima’s debut album, ‘Giant Palm’, is undoubtedly infused with the
Brazilian music of her youth and regular family visits. She found
inspiration in “the percussion, the melodies, chords - and particularly
the poetic juxtaposition of tragedy and beauty held within the lyrics.”
 By the age of 15, Naima was embedded in the music scene of SouthEast London, eventually forming Goat Girl with school friends and
touring the world. After six years playing bass in Goat Girl, Naima left
the band to try something new. She set up a gardening company and
started a degree at University College London in archaeology
because, as she jokes, “I liked being near the ground.” During this
time, she wrote music, played guitar, learned violin, worked with evershifting South-London collective Broadside Hacks, and met producer
and arranger Joel Burton through Memorials of Distinction labelhead
Josh Cohen. Joel’s burgeoning interest in Western classical music,
global folk music, and experience in large scale arrangement and
orchestration informed the collaborative process that eventually
culminated in ‘Giant Palm’.
 Recorded with the help of over 30 musicians (including Josh Cohen
on synth / electronics) by Dan Carey of Speedy Wunderground at his
studio space in Streatham, South-East London, and engineered by
Syd Kemp, the songs on ‘Giant Palm’ represent a snapshot of a
specific feeling, of brief moments in Naima’s life that make up a larger
whole.
 The expansive yet delicate arrangements highlight Naima’s love for
the collectivist values of traditional folk music, in which songs belong
to everyone, and singing can take on countless forms without the
need to exactly replicate something. “All the other representations
that I’d had of singing felt so unattainable,” she recalls. ‘Giant Palm’
finds Naima bucking these expectations to let her unique voice and
sense of communal creativity flourish.

Nicki Bluhm's creative confidence and authentic vocals are front and
center on 'Avondale Drive', her sophomore solo album and the follow up
to her critically-acclaimed 2018 release 'To Rise You Gotta Fall'
The native San Franciscan who now calls Tennessee home possesses a
gorgeously emotive voice and her clear-eyed perspective on life informs the 10
tracks on the new release.
Produced by Jesse Noah Wilson and recorded in East Nashville, the new album
features a cast of musical luminaries including Oliver Wood, James Pennebaker,
Jay Bellerose, Jen Condos, Erik Slick, Erin Rae, Karl Denson and AJ Croce. The
album combines nostalgic country- rock with distinctly modern lyricism– an apt
contrast for the process of studying one's past in order to make a better future.
Stand out tracks include a duet with Oliver Wood on "Friends", the folksy "Juniper
Woodsmoke, the reflective "Learn to Love Myself and "Wheels Rolling," a
windows-down, hit-the-gas banger that ends the album.

In his tenth year with Acid Jazz, the ever-prolific Matt Berry
has crafted a psych masterpiece. Once again proving that
his artistic progression and ambition knows no bounds.
Following the acclaim of last year’s Top 30 album
‘Phantom Birds’ (★★★★ The Times), Acid Jazz release
‘Blue Elephant’, Matt Berry’s sixth studio album with the
ground breaking label.
Recorded during the summer of 2020, ‘Blue Elephant’ is
testament to Matt’s exceptional musicianship, production
skills and songwriting prowess with every instrument
played by Matt - including guitars, bass, a variety of
keyboards and synthesizers (piano, Wurlitzer, mellotron,
Moog, Hammond, Vox and Farfisa organs) - with the
exception of drums (supplied by Craig Blundell), on
arguably his best album to date.
This music soundtracks an album that explores themes
surrounding today’s close scrutiny in all its bewildering,
objectifying and unnerving experiences. Very much a
conceptual and, therefore, continuous long-player, the
album’s infectious grooves come to the fore on standout
tracks ‘Summer Sun’, heavy-psych instrumental ‘Invisible’
and the three-part ‘Blues Inside Me’, which encompasses
a psych journey through a late ‘60s and early glam filter,
mixed with the propulsive ‘Like Stone’.
‘Blue Elephant’ is available on digipack CD, blue vinyl,
black vinyl and audio cassette.

The Spy from Cairo (aka Moreno "Zeb" Visini) returns with his 5th studio album on Wonderwheel Recordings: "Animamundi" features some special collaborations from his travels & live shows from over the past few years. The album reflects the move from his home in NYC to his mother's home in a quiet village in Italy to take care of her in her older age. It's been a difficult transition with Italy's challenging experience with the pandemic, including some of the strictest measures enforced on the public. He recalls by stating "This album was conceived between 2020 and 2021 in Italy, between lockdowns, restrictions, and various pandemic mandates. Its message is of hope and positivity - a reminder that we are all spiritual beings… Free spiritual beings… and that freedom can't be broken."

"Animamundi" is a reconfirmation that The Spy from Cairo overcomes all obstacles & delivers a diverse progression of his iconic "Arabadub" sound, with the help of collaborators like Andalucian vocalist Carmen Estevez, Mexican vocalist Mambe Rodriguez on the heavy hitting "Criminal," Egyptian vocalist Adii Small on "Beautiful Baraka," and former touring band member, the multi-instrumentalist and vocalist Fatima Gozlan from Hungary. The music can vary from heavy deep electronic synths and live eastern instrumentation with Zeb playing oud, saz, chiftelli, bass, percussion, and other instruments, all along giving it his signature dub mixing style.

The songs take inspiration from a wide range of musical traditions and cultures, including Turkish (on "Cosmic Pasha," "Qanun in Dub" – using the qanun, an instrument popular across the Middle East, with a sound between the European harp and a dulcimer – and "Black Sea," which utilises a typical Dabke melody), Egyptian ("Mizmirized," sampling riffs from a mizmar), Indian ("Seeds of Culture), and Sufi ("Divination," a devotional composition), fusing these reference points with healthy doses of cumbia, funk, reggae, psychedelic, and dub. Thematically, "Animamundi" deals with some of the struggles Zeb – and all of us – have faced the last two years, through the lens of his personal experiences. Yet, the tone of the record manages to remain positive, like an uplifting dance through the world's sounds; after all, "Animamundi" means "soul of the world" in Greek. With album art by Sam Angeli and layout design by Marcial Arts, this beautiful album is a truly well-rounded worldwide collaboration.

"Animamundi" will be released digitally on March 4th, 2022, with the LP to follow shortly after.

Rarely do two types of music meet on a level where they threaten to cancel each other out - let alone create something even more meaningful in their mutual vanishing. But the music created within the seminal Murder Ballads (Drift) by Martyn Bates (Eyeless in Gaza, & parallel solo career) and Mick Harris (Napalm Death, Lull, Painkiller, Scorn) creates just such a world. Murder Ballads (Drift) evolves Martyn Bates vocalisations / storytelling song-voices, by turns expressed as labyrinthine layers, calls and responses, muted and distant echoes, sung whispers and counter-melodies, ultimately resulting in a mesmeric conversation of musical inferences and correspondences. Murder Ballads (Drift) created the post-isolationist frame of reference, innovating and extemporising into a truly original dazzlingly unique form.

Mick Harris traffics in the isolationist ambience of Lull, while Martyn Bates is the emotive voice of literate cult-pop duo Eyeless in Gaza. The unlikely pair - one given to terminally frigid drone, the other to impassioned, bittersweet voicings - finds common ground in folk music's most macabre tradition, the murder ballad. These ghoulish parables are awash in blood and tears, the strands of love, hate, birth, death, sin, and salvation entwined within like the roots of an ancient tree. Mothers callously kill their children; suitors slay their maidens without remorse; and fate exacts its cruel price from all.

The archaic murder ballads that leak from Bates' vocal cords are intensely sad and carnal. They tend to leap off cliffs of hollow effects or drone darkly, offering neither a robust delivery nor an element of irony to take the edge off. The archetypal characters that live and die in them give life's full tragedy back to Harris' electronically numbed "post-isolationist" dreaming.

Drift (originally released in 1994) plays out an unbreakable and timeless cycle of bloody folklore (people) and hypnotic soundscapes (the god who watches). The effect is chilling yet engrossing. Where most ambient music has barely enough courage to ring the doorbell and run, Murder Ballads slips through the cracks of the unconscious and does its work with remarkable ease.

All the more reason to listen thoughtfully.

In 2021 - re-emerging nearly twenty years after its initial inception, and first time on vinyl - somewhat surprisingly, Murder Ballads (Drift) still remains/exists in an area overlooked by other artists, an area that truly still remains the sole province of M.J. Harris / Martyn Bates.

The multi-talented Johnny “Guitar” Watson was known for his guitar skills and was one of the hottest blues artists during the 1950s. His 1977 funk album A Real Mother For Ya produced the same titled international hit song and features “Nothing Left To Be Desired” and “Lover Jones”. Also included is the 2020 Ben Liebrand Oldskool mix as a bonus track, which was not available on the original album. During his career, Johnny “Guitar” Watson influenced Jimi Hendrix amongst others and earned a Grammy nomination for best contemporary blues album. Sadly Johnny “Guitar” Watson passed away while touring Japan in 1996.