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“The Vale” is in immersive electronic album of dark soundtrack work. It’s the first of several Everyday Dust releases scheduled for Castles in Space in 2021.

Everyday Dust is RJ McConnell. Based in Scotland, RJ ditched piano lessons when he realised I had no interest in being an instrumentalist. Instead he wanted to create his own musical works from the ground up. He goes on, “I was much happier working my way through music theory books on my own and applying my learning to my own music. We had a little home studio when I was a child. My Dad was also a musician and was involved in local amateur theatre where he prepared and operated all the sound cues on reel to reel tape. So from an early age I was messing around with tape machines, making tape loops and recording music. For years I tried to make the most interesting tones I could from a Yamaha home keyboard by passing it through my Dad’s guitar pedals, or recording to tape and playing it back at different speeds etc. My first proper synth was the Roland SH101.” He went on to study music and sound for theatre and worked for many years as a theatre composer before branching into larger events and eventually film and documentary work.

The Vale story starts in 2018. RJ again, “I was brought in as composer for an independent horror short that was being filmed in Istanbul. The film was a vampire movie, very atmospheric and beautifully shot. I was aware of being a Scottish composer on a Turkish film and therefore didn’t want to attempt in any way to make anything that sounded traditionally Turkish. I wanted to represent the idea of these ancient beings who had existed in one of the oldest cities in the world for centuries. I wondered how I could imply this “ancient” world with the instruments I had to hand. I recorded various old metal whistles, which were slowed right down to become eerie arcane horn blasts that sounded like they had come from another time. I also recorded lots of melodica, which was again slowed down to sound like wheezing old harmonium drones. I spent another day recording inside an old piano, plucking individual strings and also hammering them percussively with wooden beaters. Using synthesizers and effects as the “glue” to bring these sounds together I started to work on the cues for the film. I had scored most of the film by the time I heard it was being cancelled. The concept and story had been taken over by a streaming site who wanted to make it into a series - with a drastically different tone and style.

“Later that same year I had worked on a project that incorporated the folklore of a celtic water sprite who kept the waterfalls and streams running smoothly so they could turn the mills of the local village. In return the villagers would bring the water sprite bannocks (Scottish flatbreads) each day. I started to daydream about a darker, Lovecraftian twist on this story. Some Ancient One dwelling in the forests and controlling the water - the very life essence of the village - in return for offerings of the soul. The concept was filed away in the back of my mind for some months.

“The following year I was on a flight to visit my friend in Bodrum. He had been the producer and editor on the original disbanded Vampire film, and I found myself thinking about the project again. I wondered if the sound cue files were still on my laptop, which they were. It had been a year since I’d even heard them. Hearing the eldritch folk-tinged sounds of the whistles and plucked strings my mind instantly returned to the idea of the Lovecraftian folk horror story. I started jotting down notes and musical ideas and by the time I landed in Bodrum I already had the album title - The Vale. Having the album concept and prototype ideas to work with was a huge head start in making the album. Although all of the original cues were so dramatically developed and transformed that they really just served as the initial clay on the wheel.

“I used a Doepfer A100 modular synth to create the animalistic yelps, conches and horns that were improvised over the original cues as a response to the arcane “folk” world of the acoustic instruments. This half-acoustic half-modular landscape was the sonic scene-setter I needed to move onto the composition and musical journey of the album. I composed and developed most of the musical parts on an Oberheim Matrix 6 synthesizer. However all the percussion, rhythmic sequences and ornamental synth sounds were created from improvised modular sessions multitrack recorded. A lot of editing later, the soundtrack to the movie in my mind was finally there.

BLACK vinyl with deluxe origami fold out sleeve & obi strip & DL Card. CD Wallet. The third album from Dutch punk-laced noiseniks adds new maturity and a conceptual feel that pulls the extremes of their sound together. A psyche-fuelled journey into the id punctuated with rhythmic kabuki modal mood swings, thunderstorms, digital beeps, traffic noise, and just plain old beautiful cacophonous reverb-drenched sound when needed. The 'third chapter' refers to the last five years that the Dutch band have spent creating their "difficult" third album. Each song spins a yarn; there are plagues, dreams, wind and fire, 'mythical' characters, and the search for the secret government warehouse. Lead single, Tokyo Music Experience, resonates with a conveyor belt-propelled modal guitar, reflecting the halcyon days of Japanese super-productivity; a mesmerising mantra, infected with news bulletin on-the-hour bleeps underlining its time-sensitive nature; a pristine super-commercial anthem to drive loyalty and reinforce solidarity with the party! Having been described as creating "underground noise with a bracing, warped pop appeal" (Mojo), their new album is a coming-of-age post-classic with a unique worldview - inspired by Van Dyke Parks (Song Cycle) Scott Walker (3 & 4), Moondog (Elpmas), White Noise (An Electric Storm) and Beach Boys (Smile). If their previous effort (Tape Hiss) was their very own sketch of a sketch for an incomplete concept album, a noisy reaction to their previous life, then 'Excerpts From Chapter 3..', with all its interlaced intricacies, is the realisation of their transition from punk-spiked-pop to psyche-pop protagonists. Evolving, testing, infectious...

Residing at the base of Mount Yōtei on Japan’s geologically wondrous island Hokkaido - with it’s volcanoes, hot springs and national park - Masaki “mfp” Konagi is no stranger to natural beauty. Having resided in L.A. and Melbourne in the past, mfp (or mindfullpeace) settled in this natural haven as the place to set down some roots and create.

Having begun his musical journey over a decade ago, including an appearance on Gilles Peterson’s “Brownswood Electr*c 2”, we are proud to announce his debut full length album “Natural Law”.

Drawing on long time collaborators and friends from his travels, mfp has pulled on his foundation in hip-hop and pushed its boundaries to breaking point, embodying the true ethos of the genre as an ever expandable principle.

Featuring Melbourne stalwarts Simon Mavin (Hiatus Kaiyote) and ALIEN (Piette Aillion) plus Sydney’s Natalie Slade (Eglo), funk maestro sauce81 and hip-hop hero Stan Smith, mfp’s productions ebb and flow, building and releasing pressure, exploring discord and harmony through electronic polyrhythms and diverse explorations in slaps, swirls, lopes and kicks.

Masaki has also opened the very first organic food store in the area - Pyram Organics & Plants - embodying his, (and our) ethos in food and music as a way to bring ecological awareness to reconnect with nature and our planet for sustainable living.

To anyone who has heard the music of Kikagaku Moyo, it should come as no surprise that the band’s origins lie in hours upon hours of late-night jamming, illuminated by nothing more than the geometric patterns playing behind the band’s eyelids, resulting in a natural, free-floating sound, as of-the-earth as it is intergalactic. It may be surprising that the band sharpened their improvisational skills by busking on the streets of their native Tokyo. It may be surprising that the band’s overall sound may owe as much or more to the Incredible String Band as it does to Acid Mother’s Temple.



But what’s perhaps most surprising about Forest of Lost Children, the band’s face-melting, recorded-ritual sophomore album, is how utterly centered and mature the band sounds, especially given their relatively short lifespan as a band. Boundless though they may be, Kikagaku Moyo here sound anything but lost, their child-like wonder manifested in a confident, courageous exploration of sound. Labels – psychedelic, folk, prog-rock, psychedelic-folk-mixed-with-prog-rock – do little to accurately reflect the spectrum of influences on display, let alone the more impactful realization of completeness in Kikagaku Moyo’s songs.



Easily one of the most shimmering crown-jewels in the rapidly expanding BBiB catalog, look for Kikagaku Moyo and Forest of Lost Children to be found taking shape in the expanded minds of listeners everywhere. - Ryan Muldoon

Goat Girl’s new album ‘On All Fours’ was produced by Dan Carey (Kae Tempest, Black Midi, Franz Ferdinand) in South London in early 2020. This new record sees the band veer away from the confrontational lyricism of their debut and indicates Goat Girl’s maturing perspectives in discussing the world’s injustices and social prejudices, using the music to explore global, humanitarian, environmental and mindful wellbeing.
Throughout ‘On All Fours’, Goat Girl’s frequent use of sci-fi synthesisers, off-beat chord progressions, analogue drum machines, diverse vocal styles and distinct, gritty guitars fuses a musical language that expresses both former characteristics and newer developments of the band’s sound and vision.

In 1968 Status Quo’s first hit record “Pictures of Matchstick Men” was released and the debut album soon followed. The single reached #7 in the UK, and remains the band’s only major hit single in the US, where it reached #12. Picturesque Matchstickable Messages from the Status Quo features several covers, including “Green Tambourine” by The Lemon Pipers and “Spicks and Specks” by The Bee Gees.

South London members Alan Lancaster (bass) and Francis Rossi (guitar) were the original members and founders of Status Quo. Formerly known as The Spectres and later renamed to Traffic or Traffic Jam they settled for Status Quo as their band name in 1967. The following years they were joined by John Coghlan (drums), Roy Lynes (keyboard) and Rick Parfitt (guitar).

Frolic Through the Park is the second studio album by American thrash metal band Death Angel. It was their last record to be released on Enigma Records before signing to Geffen Records in 1989. It was a critical success, with Loudwire ranking it number eight in their list of best thrash albums that weren’t released by Metallica, Megadeth, Slayer or Anthrax. It was also a commercial success, resulting in the band’s first world tour. Frolic Through the Park features the single “Bored”, which was used in the 1990 film Leatherface: The Chainsaw Massacare III and was played regularly on MTV’s Headbangers Ball. This LP is an expanded edition, containing a bonus D-side, making it a unique release. It is pressed on silver coloured vinyl and comes in a limited edition of 2000 individually numbered copies.

In his essay ‘The Meaning of My Avant-Garde Hillbilly and Blues Music’, Henry Flynt talks about how his music should be analysed as an intellectual tribute to the music of the autochtone, setting aside plain folk references, but adopting academic insights to mold the music one makes as a folk creature. Much of Flynt’s discourse applies to the music of Glen Steenkiste’s Hellvete. Over the past twenty years he has been thoroughly investigating both the ethnic musical language of various regions as well as the contemporary pioneers that preceded him as a drone musician, internalizing concepts such as e.g. deep listening or just intonation. Casting off any redundant ideas or sounds, and stripping down the focus to develop singular concepts, his working method lead to pieces such as ‘Droomharmonium’, in which he shapes the endless variations on a theme, emphasizing detail and nuance rather than multitude. The Indian harmonium here serves as the main device to worship ancient ghosts and masters, and to preserve a continuum in a tradition that touches both folk and avant-garde culture. The materialisations are sustained tone compositions which become a means of appreciation of the people and cultures that paved the way for forms of mutual escapism. This might well be the core of what Hellvete’s music is about. As much as it is a form of self-entertainment – like folk music in the old days – it also invites the listener to a shared experience of sonic reverie, it is a casual gift to the community.

This is certainly true for the pieces presented on this album. They were first presented in a smoke filled and darkened art space in Ghent, Steenkiste surrounded by only a couple of candles and just enough stage light to see him erratically moving to the rhythm of the piece, occasionally twiddling the knobs of a Doepfer synth that processed the prerecorded harmonium tracks. Unlike most of his other performances this piece embraced the audience in a trance that was similar to that of an old-school rave club. Flynt writes: ‘The music should be intellectually fascinating because the listener can perceive and participate in its rhythmic and melodic intricacies, audacity of organization, etc. At the same time, the music should be kinesthetic, that is, it should encourage dancing.’ ‘Voor Harmonium’ does exactly that; it builds on the artistic ideas that have long been established in Hellvete’s oeuvre, but the ecstatic nature of these pieces merges the usual spiritual transcendence with one of determined physical bliss. It encourages both mind and body to step into the sound, to be enraptured, to celebrate.

Gold Black Marble version....


Co-founder and label custodian Zanias makes her debut on Fleisch with a journey through climate catastrophe. Composed in Berlin and mixed in Queensland with the smell of bushfire smoke in the air, she addresses the primary anxiety of our time with four tracks designed to draw the body into movement and the mind into action. Body music elements are wrought with mournful melodies and studded with samples recorded from the fast-disappearing natural world, while her voice guides the way through the darkness.

To step out from trival sounds.
Jo IND strikes here again !

A side brinsg a quiet sweet tune, strings is the thema... With a veryu nice Josh Winks acid style for the start, meeting the cello effect... Sweet musical crazyness... with tonality variations and harmony richness... Acid as a musical instrument.


take your time and enter the universe of these 2 superb tunes : we splitted the listening of B side in two so you can hear this superb intro... Defenitly feeling the space in full with a 1m30 intro... before kicking in a mystical way...
The label visual of B side is an fatastic vision of someone falling ? flying ? in front of a soundwall ???
totally in the state of mind of this crazey tune...

Take a much-loved UK soul gem, Loose Ends classic from ‘85 ‘Hangin’ On A String’ and hand it to the godfather of house, Frankie Knuckles to work his unquestionable magic and there was no doubt the result would be a slice of house music heaven. South Street Records unlock the vaults once again, reissuing this melding of transatlantic minds presenting a triple threat that sees both Frankie’s 1992 Club Mix and the elusive Classic Club Reprise sit alongside the Loose Ends Original 12 Inch Mix, on either side of a 12 inch.

Taking the best of London’s soul and coupling it with the heart of Chicago, the master Frankie Knuckles purrs this one out across the highways with a slung-back house interpretation of ‘Hangin’ On A String’. A bumping beat, punchy bass line and effortless percussive touches give the perfect platform for Loose End’s vocal dynamics to provide a power, emotion and sincerity often lacking in modern dance music.

Flip it over to find the Classic Club Reprise - straight up sunset business with Frankie side-lining the vocals to let the instrumentation sing with added trademark flourishes in true spiritual style. Finally, the Original 12 Inch Mix gets a well-deserved inclusion which, back in 1985 was a true game changer bridging a multiplicity of scenes in the UK with its use of drum machines and synthesizers whilst maintaining that pure soul vibe. A track that topped the US Billboard R&B chart, making Loose Ends the first ever British band to do so, it’s a UK soul classic drenched in drum machine hits, soaring synths and crunchy guitar licks that’s infused with an ‘80s electro style and a quintessentially London flavour.

‘A Mind of Your Own’ is the debut release from The Bright Siders, the duo of acclaimed songwriter and musician Kristin Andreassen and NYC child psychiatrist Kari Groff, MD. Brimming with uplifting and empowering songs, the album invites its listeners to think deeply on feelings and emotions that come with growing up, while focusing on resilience and mindset.
Along with a slew of all-star guests including Ed Helms, The War and Treaty, Oh Pep!, The Hokes (a.k.a. Punch Brothers), Gaby Moreno, and more, The Bright Siders bring profound sensitivity and vivacity to songs about friendship, bullying, anger, acceptance of others, and coping with sadness and change.
This music is sure to spark meaningful conversations and bring families closer as they explore the beauty and complexity of their emotional lives together.

Fabrizio Lapiana continues to offer up deep musical escape from these troubling times with another expertly crafted techno EP, Cantamen, on his own Attic Music label. It features four of his own original cuts and builds on the success of his latest release, Collective Chaos, back in March.

For more than a decade, this Italian artist has been at the forefront of a techno scene that deals in deep and rolling drums, well sculpted synths and cavernous grooves that are rich in ambient detail. His Attic Music label has been at the centre of that thanks to careful A&R and always innovative releases, while he has also released on cult imprints such as M_Rec Ltd, ARTS, Figure Jams and Out-Er and many other collaborations.

Sleek opener 'Demons' is a mind melting and widescreen deep techno groove. Groaning synths creep across the face of the track as all manner of earthy and organic motifs drift by, as if you're racing through an underground network of caves. It's music for the mind as well as the body, and the hugely atmospheric 'Cantamen' is just the same - fizzing synth details and alien life forms fill the airwave with tension as the smooth and supple kick drums pound away down below.

The hypnotic masterclass continues on 'Kura' with rattling snares and harder hitting drums making you move your body before coarse claps and a majestic arpeggiated synth hook repeats up top and takes you to another level of rapture. Last of all is the fantastic 'Back Home', which has a skeletal electro groove run through with late night sci-fi pads. Its vast sense of cosmic infinity leaves you feeling floating adrift amongst the stars.

These are four evocative and cinematic techno tracks that take you into another dimension.

“The earth shall rise again...”
AMOR/LEMUR finds the Glasgow quartet AMOR in partnership with Norwegian improvising ensemble LEMUR to hopeful and ecstatic effect. Conceived before the onset of Covid 19 but finished during spring lockdown, their eponymous EP is the most loose, alive and elevated recording in AMOR’s catalog. AMOR/LEMUR takes the template of throbbing avant disco expanded upon on previous recordings for Night School and lifts it into new

territories, with new tonalities and unexpected turns on the journey. More than anything, the expanded, near- cinematic expression of human connectivity feels like a lightning new energy to grasp in the dark.

Following a revelatory concert in Glasgow in January 2020 wherein the two sets of musicians met and performed together for the first time, a recording session was arranged the following day, resulting in the most elevated permutation of AMOR’s art to date. Each track was built upon a rhythmic bedrock of percussion and drums performed by Paul Thomson and samples/synthesizer by Luke Fowler. Thomson used bamboo Javanese gamelan (most notably on For You) and scrap metal, as well as traditional percussion and drums while Fowler incorporated processed ambient field recordings recorded in enclosed acoustic spaces around Glasgow. Singer/pianist Richard Youngs contributes some of the most bright and mindful work of his career. Acoustic bass player Michael Francis Duch, whose lush playing as ever provides the elastic spine to each song, scored the string parts for LEMUR on piano at home in Norway. The addition of swelling strings and drones fills out the AMOR sound significantly, lending a sonorous tone to 8 minute, epic closer For You or an ascending melodic introduction to Stars Burst that feels like a new morning dawning on a world saved from certain death. With the circumstances of lockdown forcing the musicians to work differently, a thread of optimism and utopia grounded in the moment weaves through these tracks. Unravel reveals a spine tingling vocal from Youngs. It’s a song about the simultaneously grounding and ecstatic effect of love, feeling connected to others. It’s a simple message, “I’m finding myself in your smile, always unravels me” speaks of ego death, the dissipation of the material into a nirvana of pure energy, the power of surrender. This isn’t a quasi-religious message, this is the power of each other, a love song to connection in a temporary age of isolation. Stars Burst is a play on the inner and outer cosmos, with narrator Youngs exploring wonder to a pounding galloping rhythm and snake-charming synth. It’s an open dance, with the group locked in together for the wild ride. Fear is the centerpiece of the record, starting with drones and scraped overtones before swirling synth notes filter upwards to meet reverberating minor chords. Over 8 minutes of tight but loose playing, Youngs is the shaman instructing us to use Fear as a celebration of the moment, embrace it and jump into the unknown. The only way to overcome your fear is to feel it, use it as an energy. The use of the studio as an instrument throughout side 2 is particularly important, with the dubbing and mixing prowess of engineer Paul Savage (who mixed unattended due to lockdown restrictions) and tape manipulations performed by Jason Lescallet coming into play. For You closes out with a largely instrumental, evolving composition that uses many of the abstract and novel aspects of this permutation to aid the trance. It’s massive, an unfurling creature with unexpected tonalities and serious heft.

Stain (1993) is the third album by Living Colour, released after previous albums Vivid MOVLP596 and Time’s Up MOVLP553. The album features a much heavier and aggressive Living Colour, containing elements of thrash metal and industrial music. Produced by Ron “Bad Brains” St. Germain, Living Colour’s Stain showcases the band’s darker side even more, as samples were now added to the sonic mix. Living Colour’s pessimistic viewpoint can be found in tracks such as “Go Away,” “Ignorance Is Bliss,” and “Never Satisfied,” while “Postman” pulls no punches in its depiction of a deranged killer. The explosive “Ausländer” is one of the album’s best tracks, as is the melodic rocker “Leave It Alone” and the superb ballad “Nothingness”. Stain is available as a limited edition on translucent red vinyl. Only 1000, individually numbered copies are available. The package includes an insert with pictures and credits.

The Master Scratch Band was first break-dance / hip-hop / electro funk band in Yugoslavia in 1984. The band members were Zoran Vracevic, Zoran Jevtic and Milutin Stoisiljevic, previously known as Data and Sizike. Jugoton, the biggest label in Yugoslavia, published Data 7'' and MSB's 'Degout' 12'' with limited edition cassette containing two bonus tracks. Impossible to find on the collectors market, Fox & His Friends team in collaboration with Jugoton / Croatia Records is releasing a full, complete version of the rare "The Breakwar" tape, with tracks "Tonight" and "Pocket" never pressed on vinyl. All tracks are sourced from original studio tapes. With the kind help of Zoran Vracevic on credit list and liner notes, this is now the ultimate Master Scratch Band album, released originally in a year 1984 when break-dance was in the peak of its popularity in Yugoslavia. While Data was synthpop, Sizike mellow synth-disco recorded in private studio, this release is pure breaks and hip-hop electro, done old-school way in one of the best studios in Yugoslavia, Enco Lesic's 'Druga maca' in Belgrade. MSB used impressive electronic gear and were helped by huge list of famous musicians and guests: Duca Markovic from hit-show 'Hit meseca' (Yugoslavian Top Of The Pops); Japanac on bass, Max Vincent of Max & Intro on synths, Dudu Vudu from Du-Du-A, Goranka Matic as photographer and many more. MSB sampling technique and choices are unique: from obscure industrial records to freestyle; from found-sounds to cut-up breaks and even real prank-calls. This is document of time that still sounds fresh and needs to find it's new, young audience of hip-hop history researchers, break-dancers, b-boys, b-girls and DJ's. When you know that it's produced in 1984 Yugoslavia, far away, but actually, so close to its USA & EU brothers and sisters, it's even more mind-boggling. Thanks to Fox & His Friends and Jugoton CR collaboration, this gem is waiting for your freezes, footwork and electric boogie moves. ----- Equipment used: Commodore 64 Computer, Roland MC-4B Microcomposer, Prophet Pro-One, RSF Cobol II Expander, Korg Mono-Poly Synthesizer, PPG Wave 2.3 Synthesizer, PPG Waveterm Computer, Boss DE-200 Digital Delay, Drumtraks Digital Drum Machine, Roland TR-808 Rhythm Composer, Electro Harmonix Vocoder, Linn Drum MKII, Juno 60, SH-101, SVC-350, VP-330 Vocoders, Polysix & MS10, Simmons drum module.

Limited edition cloudy clear vinyl. Combining processed recordings of wind and water with analog synthesizers and chamber orchestra, Elori Kramer's The Blue of Distance is an audio dissertation on the role technology plays in our relationships to geography and nature, unspooling into an examination of memory and longing across seven sections that layer filmic minimalism over churning electronic soundbeds. Half of the suite was written in the Adirondack mountains during summer amid lakes, rivers, and moss-laden forest floors, while the other half was conceived on a frozen Lake Superior island in deep winter, creating a subtextual dialogue between the two extreme settings. Kramer, who was born in 1990 and grew up alongside the internet, uses her music to explore nature in the actual and the virtual world, through direct experience and facsimile alike, focussing and blurring the line between the two. "Looking back at my videos of that summer-- which is where the processed audio came from-- I tried to remember what it had felt like to be there," she recalls, "thinking about questions of reality versus imagination; physical versus digital; and the ways in which memory shifts through our minds and technology." The title The Blue of Distance was derived from Rebecca Solnit's book A Field Guide to Getting Lost, referring to the phenomenon of faraway mountains appearing blue due to light particles getting lost over distance. "If we were to go up to the mountains that appear blue from far away, we would see that they weren't actually that color." she says. "This beauty is made possible because of their distance," much in the same way that the splendor of a lush season is only fully realized in the throes of a bleak one, and the joy of an event can only be felt when it has long since been consigned to remembrance. R.I.Y.L Kaitlyn Aurelia Smith, Philip Glass, Steve Reich, Josiah Steinbrick, Emily Sprague

Blues singer and harmonica player Brian Knight (1939-2001) is counted as one of the initial members of The Rolling Stones. Co-founder of Brian Jones first band together with Ian Stewart and Dick Taylor (later Pretty Things) among others. Musical disagreement with Jones, who fancied Bo Diddley and Chuck Berry while Knight was a Muddy Waters follower, led to his departure from the group - later to be replaced by Jagger and Richards. He formed his own "Blues By Six" band, frequently with Charlie Watts on drums, and spent the following years touring and playing London clubs. In the seventies he continued with Bradford-Knight Blues Band. Always a high profile act on the English blues circuit Knight has performed with many known artists through the decades, as Rick Wakeman, Peter Green, Paul Jones, Zoot Money, Ronnie Lane, Charie Watts, Chris Farlowe...and many more. After two successful decades of touring and performing he finally got to record his debut in 1981on the independent label PVK Records. The album is a mix of standard blues and rock numbers as traditional "white blues", sometimes reminding of early British R&B from Cyril Davies or Alexis Korner. It features Dick Heckstall-Smith (Colosseum) on sax, Peter Green on guitar and Stones own Charlie Watts on drums

This limited edition vinyl release is a double disc pressing on 180g
heavyweight, translucent ORANGE vinyl. The beautiful record sleeve is a gatefold design to fit both LPs.
This vinyl is a limited release to 1000 pressings; each vinyl is hand numbered.
Kate Rusby’s album, Hand Me Down, started life a few years ago whilst she was rehearsing for the Jo Whiley Show on BBC Radio 2. Jo asks her live music guests to perform songs of their own plus any cover version of their choice, Kate’s choice at that time was Oasis’ “Don’t Go Away”; on her second visit to the show she chose by ‘Friday I’m in Love’ by The Cure.
“As a folk singer, it’s what I do, re-interpret existing songs, but usually the songs are much, much older. After playing a version of Oasis’ ‘Don’t Go Away’ on the BBC Radio 2 Jo Whiley show, about 5 years ago, it dawned on me that not just the very old songs are handed down through the generations, but also favourite songs of any age, of any generation.
Songs are precious for many different reasons. With ‘Don’t Go Away’ proving so popular on the last album and hearing the reaction when we performed it on tour, I decided, “Right, that’s it! I am doing a whole album of covers.”
It was always the plan to make this album this year, lock-down just made it more intimate. We have laughed and we have cried, we have danced and we have sung. All of that is here, engrained in every track.”

Among the heroes and innovators of 70s spiritual/progressive/funk/jazz, Doug Carn has always flown a little under the radar. He has long plied his trade with patience and dedication, releasing absolutely stunning albums that are cherished by cognoscenti but lesser known even to the jazz mainstream, even as his influence can be detected among his colleagues. Carn"s newest project, his entry in the Jazz Is Dead album series helmed by Adrian Younge and Ali Shaheed Muhammad, takes his unique and timeless art and places it within the context of a musical culture that has always taken cues from his "70s classics. There"s no mistaking the musical mind that created legendary albums like Infant Eyes and Adam"s Apple, but the encounter of that with the distinctive jazz-hip hop-funk-noir that is the Younge/Muhammad/JID trademark creates something worthy of comparison to Carn"s past work but which could only have been made right now.

fter a small digital break, here is new record from the Comic Sans' vaults. First world appearance for Low Khey with 10 tracks exploring the 90-100 bpm side of experimental bass music. Call it mutant dancehall, deconstructed dub or industrial riddims, it's difficult to describe precisely in which genre the release falls.

Let's just imagine that Vybz Cartels' beats met Adrian Sherwood's punk dub sound design and that the whole thing was supervised by the evil twin of DJ Python. The big space left to the drums and the precise use of robotic sound-effects give a hyper-mechanical aspect to the riddim tracks which are aired by several interludes made of weird FX making it sound like futuristic commercials for spaceships or intergalactic bitcoin exchange.

The whole project has hidden references to artificial intelligence and problems that human are facing regarding the technology. The world in wich Low Khey lives is dominated by machines, and mankind is having a rough time to say the least! But there is hope for our Homo Sapien friend... If only he kept in mind this simple advice : Never. Trust. A. Cyborg.

Following the stellar trip through Woo’s Arcturian Corridor , Quindi Records continues to explore intimate, inviting sounds with an experimental bent by facilitating the return of overlooked Italian duo Cabaret du Ciel.
Initially formed in 1986, Cabaret du Ciel’s debut album Skies In The Mirror was a low-key and extremely rare cassette release of spellbinding electro-acoustic ambient music created by Gian Luigi Morosin and Andrea Desiderà. A reissue on Hybride Sentimento in 2018 brought renewed attention to the startling music contained within this unique project.
The Breath Of Infinity is an album comprised of new works recorded over the past year, either as new pieces or reworked from old ideas with the assistance of Giorgio Ricci. Morosin and Desiderà’s natural instincts as multi-instrumentalists shine through across the record as they did on Skies in the Mirror , although these tracks were in fact composed as raw live takes using electronic workstations (with a little additional fretless bass provided by a close friend Giampaolo Diacci on “Different Suns” and “Climatic Variations”).
There is a crisp, digital timbre to the worlds Cabaret du Ciel shape out on The Breath Of Infinity – utopian pastureswith an air of optimism similarly expressed in the first waves of ambient electronica. Folk traditions exert a guiding influence on the sparkling, ethereal melodies and full-frequency harmonisation, but this is music enamoured with timeless plateaus rather than hackneyed interpretations of the past, present or future.
It’s also an album of variety. “Different Suns” tumbles with a pastoral, elemental earthiness thanks to the interwoven rhythmic murmuring of percussion and live bass, while “Lakota” pivots in sharply rendered bio-mechanical formations.
There’s a widescreen bombast to “Theatre Azure” which calls to mind mid-90s US electronica, while “Meredith” reclines in a blissful bath of plush 80s FM synthesis. “Sunset Parade March” has a distinct sense of propulsion thanks to its overdriven, broken techno rhythm and “Highlands” skips with an infectious energy despite not using any formal
kind of percussion, but even in these more kinetic moments a preference for mellow musicality maintains the dreamlike mood.
Consider The Breath of Infinity like an archipelago, where each track functions as its own distinct island of ideas while being intrinsically interconnected to the others. In a similar fashion to acts such as Ultramarine (who appeared as remixers on Quindi 001), Cabaret du Ciel emphasise the musicality in their electronic music, shaping out an
evocative, imaginative environment to idly glide through or attentively explore.

La Locura de Machuca is the story of one man’s bizarre odyssey into Colombia’s coastal music underground, and the wild, hypnotic sounds he helped bring up to the surface.

One night in 1975, a successful tax lawyer named Rafael Machuca had his mind blown in Barranquilla’s ‘Plaza de los Musicos’. Overnight he went from a high ranking position in the Columbian revenue authority to visionary production guru of the newly formed record label that bore his name, Discos Machuca, and for the next six years he devoted his life to releasing some of the strangest, most experimental Afro Psychedelia Cumbias ever produced. La Locura de Machuca is the story of one man’s bizarre odyssey into Colombia’s coastal music underground, and the wild, hypnotic sounds he helped bring up to the surface.

The Colombian music industry was thriving in the mid-seventies, but while homegrown bolero and vallenato tunes were doing well on the charts, it was imported African records that were setting crowds on fire at the picos – the sound-systems that fuelled neighbourhood parties – and wherever those records were played there were always a handful of groups who were inspired to plug traditional Cumbia directly into the electric currents coming from across the Atlantic.

It was these obscure bands, who fused Colombian and African rhythms with the swirling organs and psychedelic guitars of underground rock, that fired Machuca’s imagination. While the label made its money releasing popular hits by legends such as Alejandro Durán and Aníbal Velásquez, that money was poured back into a unique run of experimental releases by fringe artists such as La Banda Africana, King Somalie, Conjunto Barbacoa, and Abelardo Carbono, one of the godfathers of Champeta Criolla.

When Machuca couldn’t find groups to realise his particular vision, he simply created them himself. Drawing on a fearsome roster of musicians associated with the label, he assembled bands that lasted only as long as it took to record an album ,and unleashed the results – complete with arrestingly unusual album covers – under a series of different names such as Samba Negra or El Grupo Folclórico. This unorthodox approach led his longtime recording engineer, Eduardo Dávila, to describes Machuca’s productions as the “B-Movies of Colombian music.”

The story of Doctor Machuca and his eccentric exploits tells of one of Colombia’s most atypical and peculiar record companies; a defining pillar of Afro-Caribbean psychedelia. His productions have come to represent the roots of Champeta and set the pedigree standards for Afro and Costeño avant-garde. The seventeen tracks on La Locura de Machuca, harvested from the darkest, strangest corners of the Discos Machuca catalogue, sound like little else recorded before or since.

Fifth part of Machine Funk project. Machine Funk is a twelve vinyl records project created by Cygnus and Alek Stark, the mind behind Fundamental Records, 808 Box, Electric Eclectics and now Electro Records. Machine Funk is based on the classic cyber-punk comic book created by Barry Windsor Smith. Essential electro music full of vocoders and analog machinery, produced by Cygnus!

On to my short review. I have to admit that I'm biased in favour of Charles Tolliver. He plays with a combination of strength and sweetness that goes beyond mere language. The fact that he is self -taught is more miraculous. This particular recording has the best sound quality I've ever heard. The clarity is stunning and all the music is magnificent. The recording is so good, one can hear the sound of a musician's fingertips accidentally brushing across the bass strings, for example. Alvin Queen is always brilliant on the drums. This group has a synergy that just goes so deep, it feels like they're reading each others' minds. But I can't recommend this enough. It's some of the best recorded jazz I've ever experienced.

Shame follow up their wildly acclaimed debut with a James Ford-produced peek into the riddled mind of the band's frontman, Charlie Steen. There are moments on Drunk Tank Pink where you almost have to reach for the sleeve to check this is the same band who made 2018's Songs Of Praise. Such is the jump Shame have made from the riotous post-punk of their debut to the sprawling adventurism and twitching anxieties laid out here. The South Londoner's blood and guts spirit, that wink and grin of devious charm, is still present, it's just that it's grown into something bigger, something deeper, more ambitious and unflinchingly honest. The genius of Drunk Tank Pink is how these lyrical themes dovetail with the music. Opener Alphabet dissects the premise of performance over a siren call of nervous, jerking guitars, its chorus thrown out like a beer bottle across a mosh pit. Songs spin off and lurch into unexpected directions throughout here, be it March Day's escalating aural panic attack or the shapeshifting darkness of Snow Day. There's a Berlin era Bowie beauty to the lovelorn Human For A Minute while closer Station Wagon weaves from a downbeat mooch into a souring, soullifting climax in which Steen elevates himself beyond the clouds and into the heavens. Or at least that's what it sounds like. From the womb to the clouds (sort of), Shame are currently very much in the pink.

Shame follow up their wildly acclaimed debut with a James Ford-produced peek into the riddled mind of the band's frontman, Charlie Steen. There are moments on Drunk Tank Pink where you almost have to reach for the sleeve to check this is the same band who made 2018's Songs Of Praise. Such is the jump Shame have made from the riotous post-punk of their debut to the sprawling adventurism and twitching anxieties laid out here. The South Londoner's blood and guts spirit, that wink and grin of devious charm, is still present, it's just that it's grown into something bigger, something deeper, more ambitious and unflinchingly honest. The genius of Drunk Tank Pink is how these lyrical themes dovetail with the music. Opener Alphabet dissects the premise of performance over a siren call of nervous, jerking guitars, its chorus thrown out like a beer bottle across a mosh pit. Songs spin off and lurch into unexpected directions throughout here, be it March Day's escalating aural panic attack or the shapeshifting darkness of Snow Day. There's a Berlin era Bowie beauty to the lovelorn Human For A Minute while closer Station Wagon weaves from a downbeat mooch into a souring, soullifting climax in which Steen elevates himself beyond the clouds and into the heavens. Or at least that's what it sounds like. From the womb to the clouds (sort of), Shame are currently very much in the pink.

Germany Exclusive on Smoke Marble Vinyl, only 1000 copies available. Shame follow up their wildly acclaimed debut with a James Ford-produced peek into the riddled mind of the band's frontman, Charlie Steen. There are moments on Drunk Tank Pink where you almost have to reach for the sleeve to check this is the same band who made 2018's Songs Of Praise. Such is the jump Shame have made from the riotous post-punk of their debut to the sprawling adventurism and twitching anxieties laid out here. The South Londoner's blood and guts spirit, that wink and grin of devious charm, is still present, it's just that it's grown into something bigger, something deeper, more ambitious and unflinchingly honest. The genius of Drunk Tank Pink is how these lyrical themes dovetail with the music. Opener Alphabet dissects the premise of performance over a siren call of nervous, jerking guitars, its chorus thrown out like a beer bottle across a mosh pit. Songs spin off and lurch into unexpected directions throughout here, be it March Day's escalating aural panic attack or the shapeshifting darkness of Snow Day. There's a Berlin era Bowie beauty to the lovelorn Human For A Minute while closer Station Wagon weaves from a downbeat mooch into a souring, soullifting climax in which Steen elevates himself beyond the clouds and into the heavens. Or at least that's what it sounds like. From the womb to the clouds (sort of), Shame are currently very much in the pink.

Shame follow up their wildly acclaimed debut with a James Ford-produced peek into the riddled mind of the band's frontman, Charlie Steen. There are moments on Drunk Tank Pink where you almost have to reach for the sleeve to check this is the same band who made 2018's Songs Of Praise. Such is the jump Shame have made from the riotous post-punk of their debut to the sprawling adventurism and twitching anxieties laid out here. The South Londoner's blood and guts spirit, that wink and grin of devious charm, is still present, it's just that it's grown into something bigger, something deeper, more ambitious and unflinchingly honest. The genius of Drunk Tank Pink is how these lyrical themes dovetail with the music. Opener Alphabet dissects the premise of performance over a siren call of nervous, jerking guitars, its chorus thrown out like a beer bottle across a mosh pit. Songs spin off and lurch into unexpected directions throughout here, be it March Day's escalating aural panic attack or the shapeshifting darkness of Snow Day. There's a Berlin era Bowie beauty to the lovelorn Human For A Minute while closer Station Wagon weaves from a downbeat mooch into a souring, soullifting climax in which Steen elevates himself beyond the clouds and into the heavens. Or at least that's what it sounds like. From the womb to the clouds (sort of), Shame are currently very much in the pink.

Far heavier than their previous record. That’s evident from the get go, as they bash their way through the opening track “Give Me Your Hand,” a rhythm-heavy number fueled by fiery guitar solos, strident vocals, and a hard rocking sound. Yet the band still takes some interesting excursions along the way. “Good Lord,” for instance, encompasses Latin rhythms, a Southern rock segment, space rock passages, and even pop. The Beatles get a nod on “Any Way,” and funk goes psychedelic on “Get One Together”. Still it’s a hard rocking extravaganza. In later years, Charge’s reputation among prog rock fans soared, more so than their self-titled album.

Charge! is available as a limited edition of 1000 individually numbered copies on silver coloured vinyl.

INDIE EXCLUSIVE, LTD PURPLE VINYL! Among the heroes and innovators of 70s spiritual/progressive/funk/jazz, Doug Carn has always flown a little under the radar. He has long plied his trade with patience and dedication, releasing absolutely stunning albums that are cherished by cognoscenti but lesser known even to the jazz mainstream, even as his influence can be detected among his colleagues. Carn's newest project, his entry in the Jazz Is Dead album series helmed by Adrian Younge and Ali Shaheed Muhammad, takes his unique and timeless art and places it within the context of a musical culture that has always taken cues from his '70s classics. There's no mistaking the musical mind that created legendary albums like Infant Eyes and Adam's Apple, but the encounter of that with the distinctive jazz-hip hop-funk-noir that is the Younge/Muhammad/JID trademark creates something worthy of comparison to Carn's past work but which could only have been made right now.

Here in solo instrumental mode, the entire record consists of just one instrument, the pipe organ, and represents absolute liberation of the imagination.All Thoughts Fly radiates a melancholic beauty, and is distinguished by fluid transitions of contrasting elements; calmness and drama, harmony and dissonance, much like the place that inspires the music. About the album Anna explains"there's a sadness and wilderness that inspired me to write this album, also a timelessness. I believe that this park has survived not only due to its beauty but also because of the iconography, it has been liberated from predictable ideas and ideals. The people who built this park truly set their minds and imagination free. All thoughts fly is a homage to this creation, and an effort to articulate the atmosphere and the feelings that this place evokes inside of me. It's a very personal interpretation of a place that I lack the words to describe. I'd like to believe Orsini built this monumental park out of grief for his dead wife, and in my Sacro Bosco I used this story as a core for my own inspiration: love as a foundation for creation."

“The greatest thing about being a musician is experiencing it with other people,” says Ed Riman, the Brighton-based Eurasian singer, songwriter and sound-scapist who records as Hilang Child. “Whether that’s playing with others, creating together, sharing a vision, whatever, I just think in all aspects it’s a totally elevated experience when you’re not alone.” Proof rings out with force and feeling on Hilang Child’s superlative second album, ‘Every Mover’, released on Bella Union.

In 2018, Riman delivered a serene, textured debut album in ‘Years’, rich in sound and feeling. Lauren Laverne, Q, MOJO and others lavished praise but the “isolating process” of making the album left Riman hungry to find alternative ways of working. Meanwhile, the “lonely, pressured” aftermath of ‘Years’ found Riman grappling with “rough selfesteem and anxiety issues,” amplified in part by social media’s “fulfilment narratives.” Duly, he set out to navigate and overcome these mindsets, drawing deeply on his own insecurities and those he recognised in others.

These themes converge emphatically on ‘Every Mover’, an album steeped in everyday emotional states and crafted for cathartic, communal performance. Drawing on a rich spread of collaborators, sounds and themes, Riman uses his frustrations as the impetus to transform the brimming promise of ‘Years’ into upfront and expansive new shapes. “I wanted it to sound a bit gutsier than the first album,” he says, succinctly, “heavier and closer to the kind of stuff that hits me when I go to shows or blast music in the car. I started out in music as a drummer playing for pop or beat-driven artists and grew up listening to louder stuff, but a lot of the music I’ve made as Hilang Child has been more ethereal. I wanted to bring it back to a place that feels more ‘me’ and make more of a thing of having big hypnotic drums, aggressive bass, ripping distorted instruments and a general energy to it.”

‘Good To Be Young’ serves swift notice of this leap, its banked synths and twinkling sound clusters leading to an assertion of fresh force when the main beat lands and a congregation of friends - AK Patterson, Paul Thomas Saunders, Dog in the Snow, Ellen Murphy, members of Penelope Isles - unite for the gang-vocal refrains. “It’s all iridescent colour I’m on,” Riman exults, a claim lived up to on the full-flush folktronica of ‘Shenley’.

A reflection on spiralling insecurity, ‘Seen The Boreal’ ups the ante again with its monkish chorales, looping samples, spectral woodwinds (from multi-instrumentalist John ‘Rittipo’ Moore, of Public Service Broadcasting and Bastille previous) and ecstatic chorus, Riman transforming a meditation on hindsight’s limiting effects into a spur to look forwards. And surge forwards he does with the glittering synths, spacey guitars and Krautrock propulsion of ‘King Quail’, developed in jam sessions with dream-pop wonder Zoe Mead (Wyldest) in her basement studio.

Brought to a sublime close with ‘Steppe’, the resulting album projects its own epiphanic force. Thankfully, most of the main parts were recorded pre-lockdown between East London, Gateshead, Brighton, Wandsworth and elsewhere, before mixing proceeded remotely. Meanwhile, alongside indie-pop trio OUTLYA’s Will Bloomfield (percussion/coproduction on ‘Play ’Til Evening’), visual design collective Tough Honey (accompanying videos) and other collaborators, Riman’s bond with co-producer JMAC (Troye Sivan, Haux, Lucy Rose) proved crucial. “It felt freeing to work collaboratively and have that push-andpull of ideas,” says Riman. “Even the moments where we didn’t see eye-to-eye made it feel like I wasn’t alone, with someone else working just as passionately on the project.”

LP pressed on red transparent vinyl.

“Me and My Friends” play truly genre-defying music which is soulful,
poignant and gloriously danceable.
The UK-based quintet create a timeless sound with a global outlook, subtly referencing everything from vintage Ghanaian highlife to classic Jamaican roots, via influences from Brazil and beyond. Performed with an infectious energy, the result is instantly recognisable and totally irresistible.
Their joyful sound has garnered radio play on BBC Radio 2, 4 and 6, as well as plaudits from the likes of Quantic and Steve Lamacq.

A ‘satire about satire’, WASTELAND is a wild Burroughsian adventure melding science-fiction, absurdism and magical realism, calling fora revolution against the reductive ‘good versus evil’ narratives of popular satirical music. Arguing that through experimenting with the form of the song lyric (our most widely disseminated form of creative writing) we can build more nuanced popular discourse around the implicit forms of bias that ail us, WASTELAND presents complex characters changing their minds–along with their bodies and places in spacetime. Set in an unearthly liminal space populated by shape-shifters, time-travellers, talking genitalia and ectoplasmic spectres, the prose text evolves as the characters do: warping into cut-ups, soliloquies and even plays.Created over two years, the album draws from LICE’s rise in ‘the punk world’ (sharing stages with IDLES, The Fall, Squid, Fat White Family, Girl Band etc.) and eventual disillusionment with the limits of its prevailing ideas.

WASTELAND is a concept album structured as an experimental short story, taking cues from Brian Catling, William Burroughs and Kurt Vonnegut Jr. Its core argument is that, through reworking the prevailing forms of satirical song lyrics, we can build more nuanced popular discourse around the implicit forms of bias that ail us–the song lyric being the most widely disseminated and commonly ‘engaged with’ form of creative writing there is. In this allegory for crises in society and art (from commodification to ideological state apparatuses), the moral, physical and temporal transformations of its characters are paired with the text’s transformation: breaking from prose into cut-ups, soliloquies and even plays. In the wild, liminal space of the Wasteland, this story

Six studio albums, four original motion picture scores, and a plethora of side projects... Sébastien Tellier writes with every breath, composes melodies to the whim of his obsessions like his musical peers Robert Wyatt, Todd Rundgren or Ariel Pink. ‘Simple Mind’ is a lush though very minimalistic resume of some of his most beautiful compositions ; a classic live-recorded album where old and more recent songs will find a confined listener caught in a wave of domestic bliss.

Alfredo "El Inca" Linares is one of the best and most beloved musicians in the history of salsa. Fans love his piano playing because of his authentic Cuban feel and 'swing' combined with progressive arrangements and uncompromising phrasing. "Lo Que Tengo" is full of rock solid dance floor killers and no filler, recorded in 1980 with some of the cream of the crop of contemporary Venezuelan salsa musicians (members of Mango, Madera, El Trabuco Venezolano, Los Dementes, Los Melódicos, Dimensión Latina, Guaco, and La Salsa Mayor) and launched there on the indie label A.L.G. Records as ¡Con Todo!, and then a year later on the much larger Velvet Records with a different cover. This a classic Alfredo Linares album, but with the updated studio sound of 1980s Caracas. With five perfectly paced salsas, one funky cha cha chá, a steamy bolero and a dance-friendly Latin jazz number to top it off, there is something for everybody on this record. Thankfully today's generation can now enjoy this rarity at a fraction of the cost of an original copy. Presented in its original artwork and pressed on 180g vinyl. Good to know: Alfredo "El Inca" Linares is one of the best and most beloved musicians in the history of salsa. Fans love his piano playing because of his authentic Cuban feel and 'swing' combined with progressive arrangements and uncompromising phrasing that puts one in mind of Eddie Palmieri. As a composer, arranger and band-leader Linares is highly respected as well. Ever since the 1960s in Lima Peru when his career began, his records have always been on point, being super tight, sharp, and hard as hell, what salseros call salsa brava con afinque. It's no surprise that Lo Que Tengo is exactly that: full of rock solid dance floor killers and no filler, played with verve and flair. Unlike some of his other records that were patched together from various sessions made in different studios (sometimes even in several countries!), this album has the advantage of being produced, recorded and mixed by Alfredo Linares all in one studio and block of time, and backed by hand-picked seasoned professionals who Linares had already played with, both in the studio and on stage, lending it a consistency and sonic integrity that is excitingly manifest in every groove. The album was recorded in 1980 in Caracas with some of the cream of the crop of contemporary Venezuelan salsa musicians (members of Mango, Madera, El Trabuco Venezolano, Los Dementes, Los Melódicos, Dimensión Latina, Guaco, and La Salsa Mayor) and launched there on the indie label A.L.G. Records as ¡Con Todo!, and then a year later on the much larger Velvet Records with a different cover. The LP was also released in Colombia (INS, 1982) and the US (Gallo, 1984), both editions utilizing the Velvet Records cover. During this time Linares had been in Venezuela for some five years and was under contract with a nightclub in Caracas. Through being on the salsa scene there he became friends with the band Mango and even guested on an album with them in 1976. After the contract was up Linares was a free agent again and he was able to draw on his friendship with Mango and assemble a band to back him, first for the Colombian/Venezuelan production Salsa de Verdad (Fonodisco, 1976) and then again with ¡Con Todo! / Lo Que Tengo. One of the distinctive aspects of Alfredo Linares tunes is the 'break' (la cierre)-there are always plenty of dramatic hand-clapping breakdowns followed by an infectious tumbao (sustained vamp) section that sends shivers up the spine and makes the dancers go crazy. In addition, Linares always lets his musicians stretch out, especially in the percussion section. Again, Lo Que Tengo is no exception: there are so many examples of typical arrangements here that one could call this a classic Alfredo Linares album, but with the updated studio sound of 1980s Caracas, which was awash in petro-dollars at the time and so had the latest equipment and a strong consumer base for the salsa market. The album's title tune (originally credited on the Venezuelan edition as 'Lo que tengo que crear'-'What I Have To Create') is by Mango's timbalero José "Cheo" Navarro and sums up Linares' central career philosophy: the musician lives every day to create music, to spread joy and create a party, without complications, wherever he goes. With five perfectly paced salsas, one funky cha cha chá, a steamy bolero and a dance-friendly Latin jazz number to top it off (note the bluesy piano solo from Linares and the sublime vibes of Mango's Freddy Roldán), there is something for everybody on this record. Thankfully today's generation can now enjoy this rarity at a fraction of the cost of an original copy.

Dafuniks is a full live band based on a core of samples and Breakbeats plus various vocal appearances. It will blow your mind with references to the cradle of hip-hop and inspiration from the 60’s and 70’s Funk and Soul.

A mixture of electro, techno, house and nods to the soundtrack works of John Carpenter

Miami Beach Witches, which is the name of the album, has a sound that has been inspired by the goth and emo music culture from the 90's and 2000. Sonically filled with the high and lows of the teenage angst in a mixture of electro, techno, house and nods to the soundtrack works of John Carpenter. Visually wise, the world is filled with female teenage witches practicing witchcraft while having to deal with their everyday school drama. Sort of like the world depicted in the Netflix series: The Chilling Adventures of Sabrina, but in a more modern setting. It's faded, blurry and sometimes smoky like the mind of a teenager trying to deal with his life in high school.

2023 Restock

Within the elusive confines of this film awaits an unreleased album that defies categorisation by a musician who in a different time and space would be revered amongst some of the most important exponents of progressive rock, dark ambient, Krautrock and pioneering synthesiser composition - not to mention sound design and art-house film scores. As a protégé of François Bayle and Luc Ferrari who had studied classical music before immersing himself in found-sound manipulation and oscillators, Alain Pierre quickly became an enthusiastic go-to man for sound sculpture and technical studio proficiency in Belgium’s small film industry.

To the many generations of dedicated fans of the visual work of Philippe Druillet it might seem virtually impossible to adequately “score” the alien, futurist landscapes of the man who many called the “space architect” (on account of his space age reductions of Gothic cathedrals, Art Nouveau, and Indian temples), but once you have heard the sonic reactions of Alain Pierre on this the first-ever dedicated Druillet documentary, Ô Sidarta, complete with his own equivalent sound palette, it will be difficult to “hear” Druillet’s world via any other composer. Despite Druillet’s truly incredible record sleeve designs for projects like cosmic disco ensemble Black Sun, concept albums such as Attention by Jean-Pierre Mirouze (composer of Le Mariage Collectif), Parisian metal bands like Sortilège, gatefold portraits of Jimi Hendrix, later period albums by William Sheller and most relevantly on albums by Igor Wakhévitch (Docteur Faust, 1971) as well as separate releases by both Richard Pinhas and Georges Grünblatt (both from the cosmic prog outfit Heldon), it is fair to say that this criminally unreleased album by Alain Pierre would conjure up the closest synergy between sound and vision that either artist would come close to.

The almost twelve of continuous music that Alain Pierre supplied for Ô Sidarta in 1974 fortunately appears in its entirety, unedited, as it does here for the first time ever away from its original broadcasts. Broadcast on Belgian and French TV that autumn, the film received a warm reception from Druillet fans, prospective film producers and space rock fans lucky enough to catch the short feature.

Throughout his career Alain’s commitment to conceptual music excelled within both cinematic realms as well as with the live arena. Never shying away from the constraints of transporting heavy synthesiser technolog and unpredictable analogue equipment to public spaces, Alain took his self-initiated “live” work very seriously. It was within his lesser-documented performances that you would find the closest sound to the music on Ô Sidarta, proving that the Druillet collaboration was naturalistic and conceptually close to Alain’s personal stylistic agenda. A rare recording of a one-off concert at the Université libre de Bruxelles in October 1976 reveals a very similar set of movements and soundscapes found on Ô Sidarta. This rare artefact has been included on the second side of this record under its original title Notions de physique intérieure (Notions Of Interior Physics) and stands as a perfect companion piece to Ô Sidarta - complete with a very similar “kit list” including the welcome addition of an Arp Sequencer, a Korg Vocoder and a Theremin (a back line whose total would far surpass any stationary studio of the era never mind a live show!).

By looking back at his original composition for one of his very first solo soundtrack commissions, Ô Sidarta, you can hear that back in 1974 Alain had already successfully managed to combine more unlikely musical influences, experimental techniques, and previously unheard soundscapes and studio tricks in to one twelve-minute score than most musicians fail to cram in to a whole discography. But still there is so much music yet to be discovered and Ô Sidarta is just the tip of the iceberg in the middle of a cosmic sea. Much like a character from one of Philippe Druillet’s books, Alain Pierre is a rogue pilot, steering his own ship in to the unknown, uncharted, unnoticed and quite unbelievable.