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Heaven and earth are in motion with the debut album from composer and saxophonistGisle Røen Johansen (b. 1968) an active voice on the Norwegian jazz scene since the mid-nineties. Known for his expressive tone in groups like Element and Jazzmob, Kveldsragg is the first release under his own name.

The album features top players from the nordic jazz currents including members fromBushman’s Revenge and Element; Even Hermansen on guitars, Rune Nergaard on Electric Bass and Ingebrigt Håker Flaten on Acoustic Bass and ECM signed Gard Nilssen on drums. With special guests Bob Hoffnar on pedal steel, wordless vocals byMona Julsrud and vocals, lyrics by Harald Tusberg Jr.

The melodic tour-de-force of Kveldsragg that occupies the whole first side showcases Johansen’s post-bop background, in a multi-layered harmonical approach. While the B-side Morrasol is a new dawn, the album finishes with the haunting and beautiful voice of Harald Tusberg Jr. who’s lyrical tribute to the deciesed fellow musician Jon Klettewill leave you mesmerized.

Nina Simone rightly belongs in the Pantheon of exceptional voices, as an immense artist whose fervour and mastery of the piano made every performance a uniquely original work of jazz, soul and classical music combined.

A whirlwind of triumphs and frustrations characterized her life, perhaps explained by a mixture of exceptional gifts, a seriously classical piano education, and three critical episodes that came without warning: the Curtis Institute's refusal to accept her as a pupil; the departure of her husband and manager; and the suffering of black people in Sixties' America. These circumstances forged her into one of the most gifted vocalists of her generation, as well as one of its most controversial personalities, fascinating milli

The ground- breaking, unique jazz/R&B/pop group Brian Auger & The Trinity were formed from the ashes of Long John Baldry’s and Brian Auger’s previous group bandThe Steampacket, an R&B Revue collective, which also featured a then barely known Rod Stewart and Julie Driscoll.

Adding the UKs then greatest soul/pop singer Julie Driscoll to this new collective meant that not only did the band have a unique, beautiful voice and face to front the group – Driscoll also embodied everything about the 1960s fashionable It Girl; her sound, her clothes, hair styles and make up assured that nearly as many column inches were dedicated to her stylish demeanour as much as the band’s genre bending music.

The group were the one of the first too to intentionally set out to break down musical barriers – Brian himself specifically stated in the sleeve notes for 1968s ‘Definitely What!’ album that his concept “lies along a straight line drawn between pop and jazz and aims at the ‘fusion’ of both elements”. ‘Fusion’ at that time was not even a recognised musical term, reinforcing Auger’s credentials as an originator and innovator.

“Back then the jazz audiences were purists. They really looked down on rock and pop,” he explains. “I had people cross the road when they saw me coming, I was persona non grata at Ronnie Scotts because of themusic we were doing and the clothes we were wearing”.

Happily – audiences of the time didn’t take the same dismissive approach, Julie Driscoll, Brian Auger & The Trinity toured the US and had exploded onto American TV screens as guests of The Monkees, and also scored hits across Europe's pop charts via the singles ‘This Wheels On Fire’ & ‘Save Me’ – but simultaneously appeared on the UK’s ‘Top Of The Pops’ in the same month as headlining major European Jazz Festivals – a feat no other act has equalled since.

Between 1967 and ’70, Brian Auger experienced a four year run of unprecedented creativity – 1967’s Open with Julie Driscoll, 1968’s Definitely What!, 1969’s Streetnoise again with Driscoll and 1970’s Befour – taking the Hammond Organ in new directions with their thrilling fusion of club R&B, jazz and psychedelic cool, engaging both the underground and the mainstream, and bringing the group chart success in the UK and Europe. “I look back on my years with The Trinity as aperiod of discovery,” Auger concludes. “I didn’t know what would happen or where it would take me but we were breaking down barriers and going someplace new.”


King Britt “The Multi-Genre Maestro, Brian Auger is every producer and DJ’s secret weapon. A hero who deserves his flower now”

DJ Format “I have more Brian Auger records in my collection than any other British artist, which says more about my love of his music than words ever could"


FOR FANS OF:
Jimmy Smith, Aretha Franklin, The Spencer Davis
Group, Nina Simone, Georgie Fame, Traffic. Sly &
The Family Stone, Jimmy McGriff.

WRWTFWW Records couldn't be happier to announce the release of Yutaka Hirose’s never-heard before 11-track collection TRACE: Sound Design Works 1986-1989, available on double LP and double CD, with liner notes from the artist.

TRACE is a collection of 11 unreleased tracks produced by Yutaka Hirose between 1986 and 1989, during the Sound Process Design sessions, right after the release of his classic Soundscape series album Nova. Sound Process Design was Satoshi Ashikawa's label, home of the Wave Notation trilogy (Hiroshi Yoshimura’s Music For Nine Postcards, Satsuki Shibano's Erik Satie 1866-1925 and Satoshi Ashikawa's Still Way). Following Wave Notation, Sound Process Design worked with museums, cafes and bars to create site-specific soundscapes, starting with the sound design of the Kushiro Museum. Yutaka Hirose was called to work on these projects.

Rather than simply providing pre-recorded compositions, Hirose sought to create a "sound scenery". To achieve this, he participated in the conception of the space and paid particular attention to the accidental combination of sounds by placing the speakers, using a multi-sound source, and following the concept of "sculpturing time through sound".

The composer explains: "sculpturing time through sound means that time, the space itself, the sound played in it, and the audience all become one sculpture. It is close to the idea of a Japanese tea ceremony where you use all of your 5 (or 6) senses to taste the tea."

TRACE: Sound Design Works 1986-1989 is divided into two parts. The Reflection segment is based on an ambient soundscape. It narrates "a sleep that starts with the sound of water droplets at dawn and slowly disappears into darkness" and feels like a natural and soothing progression of Nova. It was played in entrance halls, at events, in cafes and bars. The Voice from Past Technology segment expresses the dream world born out of that sleep and is based on what Yukata Hirose calls hardcore ambient, environmental music with a noise approach. It was played in museums and science centers.

All in all, TRACE is a crucial addition to every Japanese environmental music fan’s collection, alongside Midori Takada’s Through The Looking Glass, Hiroshi Yoshimura’s Green, Satoshi Ashikawa’s Still Way, Motohiko Hamase’s Notes of Forestry, Inoyamaland’s Danzindan-Pojidon, and Yutaka Hirose’s very own Nova.

2022 sees Turin Brakes release their ninth studio album - Wide-Eyed Nowhere. Of Wide-Eyed Nowhere the band say "We surprised ourselves with what came out; a sweeter, groovier set of songs in no hurry to be anything but themselves. The South London 4-Piece comprising Olly Knights, Gale Paridjanian, Rob Allum and Eddie Myer recorded this new set of songs at Twin Palms - Olly"s garden studio - over the summer of 2021, choosing to let time infuse into the music and mature in a way it couldn"t in a pressurised commercial studio setting. "Friends would visit, kids would add a voice or two, bees would buzz and we"d get to sit in the South London sun while the music poured out of the speakers and floated across the lawn. Sometimes we decided it"s okay to just let it happen naturally, not to try too hard - just get out of the way let the songs take shape, and that maybe you don"t have to be in a bad place to make the deeper cuts." Turin Brakes released Mercury Prize shortlisted the Optimist Lp in March 2001 (achieving gold status in the UK), followed up by 2003"s Ether Song which featured the top 5 hit single Pain Killer (Summer Rain). The band has since moved on to rack up seven top 40 singles, seven top 40 albums and over a million record sales worldwide.

2022 sees Turin Brakes release their ninth studio album - Wide-Eyed Nowhere. Of Wide-Eyed Nowhere the band say "We surprised ourselves with what came out; a sweeter, groovier set of songs in no hurry to be anything but themselves. The South London 4-Piece comprising Olly Knights, Gale Paridjanian, Rob Allum and Eddie Myer recorded this new set of songs at Twin Palms - Olly"s garden studio - over the summer of 2021, choosing to let time infuse into the music and mature in a way it couldn"t in a pressurised commercial studio setting. "Friends would visit, kids would add a voice or two, bees would buzz and we"d get to sit in the South London sun while the music poured out of the speakers and floated across the lawn. Sometimes we decided it"s okay to just let it happen naturally, not to try too hard - just get out of the way let the songs take shape, and that maybe you don"t have to be in a bad place to make the deeper cuts." Turin Brakes released Mercury Prize shortlisted the Optimist Lp in March 2001 (achieving gold status in the UK), followed up by 2003"s Ether Song which featured the top 5 hit single Pain Killer (Summer Rain). The band has since moved on to rack up seven top 40 singles, seven top 40 albums and over a million record sales worldwide.

Screaming suburban blues straight from the pages of HeartattaCk magazine, Current exploded out of the early-’90s Midwestern emo scene in a fit of D.C. hardcore-inspired rage. Spread across three LPs, Yesterday’s Tomorrow Is Not Today compiles the quartet’s lone album, two EPs, split 7”s with Indian Summer and Chino Horde, miscellaneous compilation debris, and nine previously unissued alternates, including the infamous KLXU radio show. Remixed and mastered from the original tapes, Current’s complete discography is annotated in Leor Galil’s exhaustive survey, illustrated with period photos, flyers, and cut-n-paste sleeve art across 24 pages.

It’s time to testify, brothers & sisters and it’s about time. It’s so about time to put this gem out on vinyl. Properly! It was released twice on small editions before, but – no offense – they both sounded terrible. Now the tapes been re-mastered by Jürgen Hendlmeier and put right on wax, brand new artwork included. In our eyes this is one of the best and most powerful and pure garage rock albums ever. You have to hear it to know what I’m talkin about. GET DOWN – OR GET OUT! …and listen to a fine collection of soulful, rocking collection of raw songs that make you move(, unless you’re dead). With this album the Sideburns became the Finnish leaders of the new wave of Scandinavian Rock’n’Roll (along with the Hellacopters from Sweden, Gleucifer & Turbonegro [both from Norway]). The Hellacopters covered „Ungrounded Confusion“ from this album! This collection of songs is well inspired by bands such as the Sonics or the Wailers. And in the 90s and early 2000s more than ever before, bands everywhere are claiming the MC5 as their primary influence. Most bands, however, don't really get the sound right, or somehow lose the spirit of the music in a '70s rock haze. What makes the Flaming Sideburns feel authentic is that they understand the grooves that make this type of music work, and there's a ton of real enthusiasm behind it all. Songs like "Testify" are obviously inspired by Tyner and Co. but have a fresh energy that makes this old sound worth listening to. The mid-fi production also keeps the music sounding exciting and hot, without getting too heavy. They reach back a little in time to the mid-'60s with covers of the Wailers' "Out Of Our Tree" and the Electras' "Action Woman." Also super rocking is the wild "Jaguar Girls" and the spasm inspiring "Rock N Roll Boogaloo." If you like Detroit-style rock'n'roll with an unpretentious '60s edge to it, the Flaming Sideburns are for you. Track listing: La Bruta; Crashing Down; Close To Disaster; Rock n’ Roll Boogaloo; Testify; Out Of Our Tree; The Witch; Jaguar Girls; Ungrounded Confusion; You Weren’t Using Your Head; Women; Sailin’ Thru Cloud Nine; Sugar Ain’t That Sweet; Action Woman

Say ZuZu is an Americana rock band from New Hampshire - Originally
formed in 1991,Say ZuZu recorded and released nine full-length albums
before disbanding in 2003 and reuniting in 2019
The band's first release on Strolling Bones Records is Here Again: A Retrospective
(1994-2002) and includes highlights from the group's five studio albums recorded
during its touring heyday. A new studio record from the band is scheduled for
release in October 2022 on Strolling Bones Records. 'For those who haven't met
our music before, these are highlights from five records released between
1994-2002. The songs focus on the large internal lives of people in small mill
towns like ours. This record also chronicles a decade of growth from a fiercely
independent, self-produced New Hampshire band that flew under the radar during
the heyday of the 1990s alt- country movement. The title of the record, "Here
Again", is inspired by a song from our 1994 self-titled record. We've always sought
to write songs that hold up, personal songs that are durable and can stand on
their own in a variety of arrangements. "Here Again" is one of those songs. It's
also a fitting title for a record that's an opening salvo from a recently reunited
band with its first new studio record forthcoming in Fall of '22.' Here Again is set
for release on February 25, 2022 via Strolling Bones Records.

On the occasion of Christian Muthspiel's 60th birthday, In+Out Records is
releasing the album 'Simple Songs' for the first time on vinyl - limited to
999 copies worldwide and personally hand-signed by the jubilarian
Aside from Werner Pirchner's "Himmelblau", the nine duos which Christian
Muthspiel composed especially for this album form a cycle of duets in the mood
set by the first track, "Pas de deux tranquille". Muthspiel is featured on trombone,
piano, e- piano and once even on the recorder, alongside Steve Swallow, whose
distinctive sound on the bass guitar is perfectly suited for this project.
Overdubs, loops and other electronic effects were intentionally avoided in order to
focus on the pure quality of the playing. The underlying principle for all of the
compositions on this album was to keep it simple, both in terms of composition
and sound; to seek refinement in simplicity and to follow the natural, consistent
development of one small musical cell per song. The progression of keys, modes
and tempos from one piece to another also played an important role.
The liner notes to this album are by the Austrian writer Christoph Ransmayr, who
writes very pictorially: "When I hear the Simple Songs that Christian Muthspiel has
composed and then he and his companion Steve Swallow have made twirl and
soar and float, I am sometimes transported to a riverbank in summer, where the
branches of a wild elder tree, stones and grasses become the neck and body of a
bass guitar or the tuning slide and bell of a trombone played with thrilling ease."

Formed in 1985 in Athens, GA by David Barbe (Bob Mould's Sugar),
Mercyland's blast of post-punk was ahead of its time
The band was nourished by a steady diet of the Minutemen's Double Nickels on
the Dime, Husker Du's Metal Circus, Meat Puppets 2, Dinosaur Jr's Yr Living All
Over Me, Volcano Suns, and Mission of Burma. There were few experiences as
exhilarating as seeing Mercyland tear up sweaty rock clubs like Athens' own 40
Watt on a Friday night. Mercyland frequently left clubbers up and down the east
coast in a meltdown. The group disbanded in 1991 and the nine songs marking
their first official collective release here are a necessary historical document of
the end of the criminally unknown band. The time for Mercyland to be better
known is now.

Supported by the world-renowned Aarhus Jazz Orchestra, multi-award winning quartet Kalaha present Tutku, an energetic fusion of jazz, Turkish psychedelic rock and 80's inspired synth-pop. Their most ambitious and adventurous record yet album pairs the self branded "Danish band with world roots" with a big band committed to embracing innovative contemporary jazz and guest star vocalist Hilal Kaya. Formed after an improvised set at 2013's STRØM Festival in Copenhagen, the four members that make up Kalaha share a collective passion for collaboration and an open-minded approach to music making. Each being active members of different corners of the Danish music scene, the result of their combined musical personalities is refreshingly modern cross between thoughtful songwriting and high level jazz-minded musicianship. While their 2021 release 'Mystafa' saw them collaborate with a number of vocalists, 'Tutku' sees the entrancing vocals of Danish/Turkish artist Hilal Kaya as the focal point of the record. Grounded by the driving sounds of Anatolian rock, the nine track work weaves between folk, spiritual jazz, and even disco, serving up a wealth of danceable grooves and rich harmony. Produced by Kalaha themselves, the production style shifts between the close, modern sound of a pop outfit and the expansive, reverberated sound of a 20 piece ensemble. Soaring over the top of AJO's intricate ensemble arrangements are an expansive network of electronic sounds, carefully designed and played by two of Denmark's leading synthesists, Jens "Rumpistol" B. Christiansen and Mikael "Spejderrobot" Elkjær. With careers including international recognition from UK trendsetter Gilles Peterson, their immersive sound-world of melodic synth solos and explosive dub-tinged sound effects transform Tutku into a large ensemble record unlike any other. Completed by legendary drummer Emil de Waal and in-demand guitarist Niclas Knudsen, Kalaha's striking and colourful visual identity shares the Middle Eastern influence of their music and enhances the psychedelic nature of their songs, invoking otherworldly imagery in the listeners' minds and rounding Tutku off as a cohesive, well thought out recorded statement. Line up>> Niclas Knudsen – Guitars, Emil de Waal - Drums amd percussion, Jens "Rumpistol" Christiansen - Synths & vocals, Mikael "Spejderrobot" Elkjær - Synths and Laptop, Hilal Kaya - Lead vocals, Plus: Aarhus Jazz Orchestra

"“The New Backwards” was conceived by Peter “Sleazy” Christopherson in 2007, revisiting stray tracks which hadn’t seemed to gel with the material he had chosen for the more somber “Ape of Naples” from 2005, COIL’s initial posthumous release, a sort of requiem and a kiss-goodbye to his then recently deceased partner John Balance.

Significantly different to its sister release, this album collects the brilliantly chaotic and outrageously rhythmic material from the original sessions for the album that was begun as early as 1993 and had originally been conceptualised as the follow-up to “Love’s Secret Domain”. These songs are as diverse and wild as the places they originated from, partly infamously spawned in Sharon Tate’s former home in the Hollywood Hills, the Nine Inch Nails home base in New Orleans and London’s Swanyard, remixed and restructured with the help of long-term friend Danny Hyde in Thailand, this collection has its own unique flow and an atmosphere not found on any other COIL release.

Both “AYOR” and “Backwards” had by the time the album was first released already become favourites in COIL’s manic live performances. Some of the other tracks had only leaked in demo versions and are here presented updated and polished as Christopherson and Hyde intended them to be heard. It is interesting to consider Balance’s vocal contributions, too. Whilst on the albums COIL did release at the time this material was first put aside (“Black Light District” and “ElpH”) his voice is all but absent, his vocal performances and his lyric writing here are arguably more closely indebted to the previous “Love’s Secret Domain” era, especially the epic “Copacaballa” is noteworthy in that respect.
The New Backwards” effectively became the final official COIL studio release of all new material whilst Peter was still alive and is here presented for the first time fully supervised by Danny Hyde, its co-creator.
The stunning cover uses a detail from artist Ian Johnstone’s “Cubic Raven” painting, licensed from the estate of IJ..

It is high time to rediscover this timeless album with the Infinite Fog release boasting eight further tracks of previously unheard material from the same sessions, rough working stages and surprising remixes which will surely delight the dedicated COIL archaeologists, as they shine yet another light on the creative process and on what could have been.

Recorded at Swanyard, London and at Nothing Studios, New Orleans, 1996.
Thanks to everyone there, especially Trent Reznor who made it all possible.
Written & Produced by Coil & Danny Hyde.
Remixed by Peter Christopherson & Danny Hyde, Bangkok 2007.
For that session Coil were: Peter Christopherson, Jhonn Balance & Drew McDowall.
Mastered by Jessica Thompson.
Front artwork by Ian Johnstone.
Artwork licensed from The Estate of Ian Johnstone.
Layout Cold Graves and Oleg Galay."

For the very first time, ITDR spaceship travels back in time to unearth 4 tracks from 'Genuine' (aka Chris Zippel) finest productions originally released on Ninetysix sounds in 1997. Celebrating the 25th anniversary of this project, 'Nu Ambient Grooves' is the ultimate mindtrip experience for downtempo, IDM and TB-303 lovers.

Presenting a brand new vinyl compilation featuring artists from the electic Funkiwala label – from Brasillian Afrobeat to Bengali Funk to Indo-Cuban-Nigerian Jazz to European Jazz Soul to traditional Baul Myticism - 3 newly released tracks by Phil Dawson, Cubafrobeat and Lokkhi Terra, with other tracks previously released digitally or on CD only - "if further proof were needed that London is a hotbed of cross-culturally inspired expression, it's new record label Funkiwala"Evening Standard

1. QUE BELEZA - Phil Dawson feat Nina Miranda and the +2s (Domenico, Moreno and Kassin)

A funky version of a Tim Maia classic from the legendary 'Racional' period. Guitarist Phil Dawson grooving with Brasillian musicians Moreno Veloso, Domenico Lancelotti and Kassin Alexandre (the +2s), vocalist Nina Miranda and co-producing with Marco Dalle Luche

2. ON A SUMMERS DAY - Archie the Goldfish -

A project co-led by trumpet player Graeme Flowers and guitarist Chris Bestwick. This track is a nod to the great Miles Davis electric albums of 50 years ago, taken from a 5-track EP "Water & Light' incorporating elements of jazz, drum & bass, funk and hip hop (released in 2021)

3. ENI AGEE - Cubafrobeat -

Formed out of the collaboration between London fusionistas LoKkhi TeRra ("probably the worlds best Cuban-Afrobeat-Bangladeshi group"Songlines) and UK's Afrobeat Ambassador Dele Sosimi ("A true legend"Clash), Cubafrobeat was initially the name of their critically acclaimed album from 2018 (" A total Stonking Blinder"All About Jazz). This has evolved naturally into an entirely new musical beast – and this is their first single.

4. HARMONIUZINHO - Lokkhi Terra

Taken from their debut CD album "No Visa Required" (2010), this is one of the tunes that put Lokkhi Terra on the map. Recorded in Kishon Khan's home studio the track captures the beginning of this London band's journey.

5. KANDE REVISITED - Lokkhi Terra

This a reworking of Lokkhi Terra's version of a classic Bangla Folk song written by Hason Raja. Maintaing the spirit of unique sound clashes, the track combines a typical London Afro Funkiness with the sublime Bengali vocals of Aneire Khan, Sohini Alam and Aanon Siddiqua. The original version was released on their 2012 CD album "Che Guava's Rickshaw Diaries".

6. NUORACLE - Justin Thurgur

Originally released as a digital single, this release from Justin Thurgur, composed in collaboration with Kishon Khan, is a Cuban Jazz track that features driving Timba bass lines and Afrobeat inflected horns and is a nod to the Nuyorican Latin Jazz scene of the '50's, '60's and '70's, which has been a big inspiration to them.

7. EU TOPO - Beiju

Beiju is the combined work of two unique practictioners: Firstly, Adma Macedo Newport from Salvador da Bahia, a singer who has integrated the great Afro-brazilian musical traditions of her native city with that of those she's lived in on her travels. Secondly, Phil Dawson, a London-based guitarist and music writer who has collaborated with many stylistic originators internationally, including those from all four corners of Africa. .

8. SHADHO KI RE AMAR - Shikor Bangladesh All Stars

Taken from their debut album "Soul of Bengal" - This Folk super group is made up of legendary session musicians from Bangladesh. This track features the late great Baul Rob Fakir and is written by the great mystic, Baul Lalon Shah, whose songs are still be found throughout the Bengal today.

GA-20 clearly is on to something big. It's a movement, a new traditional blues revival. The dynamic, throwback blues trio are disciples of the placewhere traditional blues, country and rock `n' roll intersect. "We make records that we would want to listen to," says guitarist Matt Stubbs. "It's our take on the song-based traditional electric blues we love." Stubbs, guitarist/vocalist Pat Faherty, and drummer Tim Carman have been at the forefront of this traditional blues revival since they first formed in 2018. It's no wonder they skyrocketed to the top of the Billboard Blues Chart. According to Stubbs, "Since we started the band we've focused on the story, the melody, and on creating a mood. Playing live as much as we do,we're finding more and more that people are discovering how cool it all is.Traditional country, soul and funk music have all had these massive recent revivals, but traditional blues so far has not." With their new Colemine album, Crackdown, and an intensive tour schedule, that's all about to change. On Crackdown, GA-20's third full-length release, the band creates an unvarnished, ramshackle blues that is at once traditional and refreshingly modern. Expanding on their previous releases (2019's Lonely Soul and 2021's Try It_You Might Like It! GA-20 Does Hound Dog Taylor) GA-20 finds inspiration on the edges of the genre, where early electric blues first converged with country and rock `n' roll. The album's nine original songs include the loping, Louisiana-flavored Dry Run, the dirty, and bare-bones Easy On The Eyes and the melodic, garage-tinged Fairweather Friend. With tight, propulsive performances and a brevity and punk energy reminiscent of The Ramones, Crackdown is rowdy and fun, filled with instantly memorable, and well-crafted songs.

GA-20 clearly is on to something big. It's a movement, a new traditional blues revival. The dynamic, throwback blues trio are disciples of the placewhere traditional blues, country and rock `n' roll intersect. "We make records that we would want to listen to," says guitarist Matt Stubbs. "It's our take on the song-based traditional electric blues we love." Stubbs, guitarist/vocalist Pat Faherty, and drummer Tim Carman have been at the forefront of this traditional blues revival since they first formed in 2018. It's no wonder they skyrocketed to the top of the Billboard Blues Chart. According to Stubbs, "Since we started the band we've focused on the story, the melody, and on creating a mood. Playing live as much as we do,we're finding more and more that people are discovering how cool it all is.Traditional country, soul and funk music have all had these massive recent revivals, but traditional blues so far has not." With their new Colemine album, Crackdown, and an intensive tour schedule, that's all about to change. On Crackdown, GA-20's third full-length release, the band creates an unvarnished, ramshackle blues that is at once traditional and refreshingly modern. Expanding on their previous releases (2019's Lonely Soul and 2021's Try It_You Might Like It! GA-20 Does Hound Dog Taylor) GA-20 finds inspiration on the edges of the genre, where early electric blues first converged with country and rock `n' roll. The album's nine original songs include the loping, Louisiana-flavored Dry Run, the dirty, and bare-bones Easy On The Eyes and the melodic, garage-tinged Fairweather Friend. With tight, propulsive performances and a brevity and punk energy reminiscent of The Ramones, Crackdown is rowdy and fun, filled with instantly memorable, and well-crafted songs.

Fat Beats in partnership with Space Invadaz is pleased to release the 25 year anniversary edition reissue of Mood’s acclaimed 1997 debut LP, Doom. Originally released on September 23 of 1997, Doom was an important springboard for the careers of Talib Kweli, DJ Hi-Tek, Sunz of Man and Lone Catalysts. The 18 track LP is an artistically experimental album marked by stand out production and lyricism that remains on-point throughout.

Cincinnati rappers Main Flow and Donte kick apocalyptic rhymes that cite sacred scripture, ancient history, and politics. Both their rhyme schemes and chemistry are strong and prove to be equally compatible with DJ Hi-Tek, who made his production debut on this record, composing nine of the album’s 18 tracks, with newcomer Jahson handling the remaining production. Similar to the lyrical pairing, the production duo of Hi-Tek and Jahson are well matched, as they add a sense of darkness and mystery that shrouds the sonic backdrop throughout the album.

Doom is lyrically and sonically an outstanding body of work that stands out as one of the more noteworthy indie rap titles of ’97. In celebration of the 25 year anniversary milestone, this reissue comes equipped with remixes, including the J Dilla Remix for “Secrets of the Sand” which was never before featured on any previous album represses or reissues.

[a] 1 Esoteric Manuscript (Remix) [feat. Micah9]

Opening with the buzz of a smartphone on vibrate, First Hate’s sophomore album Cotton Candy launches to life with “Someone New,” a synth-driven statement of intent. The Danish duo’s charged songs are rooted in a recognizable universe, but traverse a wide array of genre experiments and pop detours. Cotton Candy follows the quest of its protagonist stumbling through a crumbling world, winning and losing lovers, swinging from extreme highs to hopeless lows. The title alludes to transience and ecstasy, the surge of a sugar rush before nausea sets in, the way cotton candy dissolves into nothingness leaving only sticky fingers. Throughout, the productions glitter with synthetic detail and hypermodern finesse, effervescent but elusive. “Life is a rollercoaster and we’ve ridden the ups and downs.” During the recording sessions, a collage of Copenhagen musicians flowed through the studio. First Hate is a fixture of the city’s creative community, but ultimately exists in their own sphere, carving a niche as parallel universe pop stars, embracing sweet and bitter, risk and reward: “Sometimes the ones who love you most are the ones who hold you back.” Anton and Joakim grew up in Copenhagen and met when they were 15 through common friends on the street where they lived. “I didn’t enjoy being home so I used to stay at my friend Jakob's basement in an old church on Willemoesgade street,” says Wei. “His mom was the priest. She baptized Anton at age eight during his Jesus phase when he demanded a late baptism from his atheist parents. Jakob was friends with Elias who lived up in Anton’s end and they introduced us to each other. One summer my parents finally married after 20 years of dating. Joakim moved in for two weeks and we accidentally trashed the apartment while they were on their honeymoon. Later on Jakob, Elias, and two other friends, Dan and Johan, formed the band Iceage. Watching our friends’ growing success was a catalyst in creating our own project. At that point everybody in our friend group was making punk music, so the most punk thing we could think to do was start a pop duo.” The First Hate catalog comprises more than nine years of work, including their 2017 cult classic, A Prayer For The Unemployed, a collaborative album Dittes Bog, two EPs and several singles. All of the recordings are self-produced, until they are ready to be finished in the studio. “We have sort of a twin alliance. Like couples finishing each other’s spaghetti at restaurants, we finish each other’s music. Having people enter this sacred mix has been such a pleasure.” On stage Anton and Joakim embody the contrasting yet complimentary energies of yin and yang: Joakim pushing buttons, steering the ship, working synths and samplers with harmonious calm, while Anton’s body bullets around the stage, pounding out his kinetic dance moves. The name Anton means fragile flower, an apt metaphor for his stage presence. A fragile flower shooting through concrete. To behold a performer who consistently delivers such intense live performances is a rare pleasure. “Live means love. When everything is right. When we meet the audience heart to heart. Then the planet spins even faster.” First Hate has performed over a hundred shows across Europe, Asia, the U.S., and Russia, both as headliners and alongside fellow Copenhagen acts Iceage, Lust For Youth, Communions, Soho Rezanejad, Trentemøller and Grand Prix. “We are on a quest of love, yes it’s as cheesy as that.”

Boston-based progressive death metal outfit Revocation return from the Lovecraftian outer limits on new album, Netherheaven. Four years in the making, the Billboard-charting trio—featuring Dave Davidson (vocals/guitars), Ash Pearson (drums), and Brett Bamberger (bass)--meticulously explore the allegorical and literal aspects of Hell as they dig deeper into the darker, more diabolical side of death metal. In short, where the previous album, The Outer Ones (2018), jettison Revocation into the horrific maw of the cosmos, Netherheaven bores deftly through the nine rings of Hell to directly confront Lucifer and his multitudinous faces. The album's stunning Renaissance-style Paolo Girardi (Firespawn, Power Trip) cover art says it all. Revocation will release Netherheaven on September 9th. Indeed, as the adventurous triumvirate enter their 16th year, they show zero signs of slowing down or softening up. If death metal was looking for an Album of the Year, it's got a top contender in Netherheaven.

Boston-based progressive death metal outfit Revocation return from the Lovecraftian outer limits on new album, Netherheaven. Four years in the making, the Billboard-charting trio—featuring Dave Davidson (vocals/guitars), Ash Pearson (drums), and Brett Bamberger (bass)--meticulously explore the allegorical and literal aspects of Hell as they dig deeper into the darker, more diabolical side of death metal. In short, where the previous album, The Outer Ones (2018), jettison Revocation into the horrific maw of the cosmos, Netherheaven bores deftly through the nine rings of Hell to directly confront Lucifer and his multitudinous faces. The album's stunning Renaissance-style Paolo Girardi (Firespawn, Power Trip) cover art says it all. Revocation will release Netherheaven on September 9th. Indeed, as the adventurous triumvirate enter their 16th year, they show zero signs of slowing down or softening up. If death metal was looking for an Album of the Year, it's got a top contender in Netherheaven.

It’s nearing a decade since William Doyle released his Mercury Music Prize nominated debut album, Total Strife Forever, as East India Youth in 2014. A year later, he had toured the world and was releasing his second album, Culture of Volume, but it would be another four years before Doyle returned with his third full album, and the first official release under his own name. The dizzyingly ambitious Your Wilderness Revisited arrived in 2019 and was followed last year by the artpop masterpiece, Great Spans of Muddy Time. In the years between leaving the old project behind and re-emerging under his own name, Doyle self-released a string of ambient-leaning albums, The Dream Derealised, Lightnesses Vol I & II and Near Future Residence, which are now to receive a first vinyl pressing via Tough Love. The Dream Derealised is a collection of nine abstract, lo-fi pieces that were recorded during the summer of 2016, when focusing on creating them helped guide Doyle through a “difficult period of anxiety, panic and a regular dissociative feeling called derealisation.” At the time, doing something creative in a quick and immediate fashion felt vital to Doyle, carrying him to a new place: “I’m releasing them now as a cathartic measure, and as a message for others who may be going through difficult times themselves. What I told myself at the time, what I can tell you now: You are not in danger. You are not going insane. You are not alone.”

Trapped Animal Records are proud to present for the first time on vinyl, Stars and Rabbit's 2020 smasher 'Rainbow Aisle'. Remastered at Metropolis to lacquer and cut to 300 Purple Stripe 180GSM 12"s this is a very special package from Indonesian household names, Stars and Rabbit! // Press quotes : Alternative Fruit, UK - This fun and catchy album is laid back to back with classic numbers which each have a soul of their own. A friendly rock 'n' roll delivery mixed with classical melodies and homely closeness allows us to hear this band in person from wherever we happen to be. // Analogue Trash, UK - Reviewed (Little Mischievous) There’s a joy and innocence at the heart of Little Mischievous that is delightful and infectious, in large part down to the fun, rollercoaster vocals of Elda Suryani. Sounding like a cross between Nina Persson and Björk, her livewire performance is the perfect foil for Didit Saad’s equally electric lead guitar melody and the briskly bouncing arrangement. // Reviewed Naked King - They make up the central core of the song, as soft synths and lush strings wash in and out of perception, combining to confect a sweet sense of serenity. Though contemplative, Naked King looks outward and also seeks to engage the listener: the children’s choir and assertive guitar solo bringing the song to a euphoric crescendo, with Elda Suryani’s performance directing the song to ever greater heights. // Antenna, Japan - Stars and Rabbit were captivated by a variety of songs that sublimated 90s introspective alternative rock, mainly in Europe, such as Sigur Rós, Radiohead and Portishead. On one occasion, listeners like "Little Mischievous" show light guitar pops that can sing a long, and "Attic No.7" shows a jazzy, dark side like a trip hop. // Atwood Magazine, UK - Elda Suryani and Didit Saad make up the group and both employ signature rhythms and harmonies onto each song of theirs, and “Little Mischievous” is no exception with its slick guitar riffs and tantalizing vocal performance. // Beehive Candy, UK - Their new LP, Rainbow Aisle, a full spectrum of colors, showcasing their knack for groovy electro rock as well as intimate acoustic confessions. // Big Takeover, US - Wow, such a vocally and lyrically intriguing number! Yet again, there’s the ’90s alt-rock feeling, but the vocals are yes, mischievously impish; a teeny-tiny bit like SOAK vocally, but with a grainier, deeper timbre.

Slyder Smith first swaggered onto the stage as lead guitarist with glam-tinged power popsters, Last Great Dreamers. After releasing four studio albums and one live album on Ray Records & having toured extensively throughout the UK & Europe with LGD, Slyder now takes centre stage leading Slyder Smith & The Oblivion Kids (Tim Emery, Bass and Rik Pratt, Drums) in an honest outpouring of grit, glamour and emotion. Stepping out of the shadows and into the spotlight, the self-confessed ‘frustrated lead singer’ has been forced to delve deep into his own psyche, to carefully craft lyrics and melodies that speak from the heart. Slyder’s emotive vocals are powerful, yet melancholic, the perfect balance of light and shade sitting effortlessly within the sonic landscape of his varied rhythm guitar sounds and highly melodic & anthemic lead lines. “This album has been a real labour of love for me, I’ve really put my heart & soul into it. Over the last year or so I’ve been working very hard developing my guitar playing, music & lyric writing pulling myself in all sorts of directions, really stretching myself. I feel I have accomplished what I set out to do, create songs from the heart in no specific genre & perform them to the best of my ability on the record. I guess for years I have been a frustrated lead singer so I have relished the opportunity to showcase what I can do vocally too.” – Slyder Smith - Stage left, Slyder is joined by Tim Emery, a towering enigma, whose stylish bass lines are the only thing to outshine his impeccable apparel and at the back sits the Oblivion Kids’ powerhouse and beat master, Welshman, Rik Pratt. A man of few words but whose presence is palpable in this rock steady rhythm section. But this is no ordinary guitar-based rock album; together with producer Pete Brown (George Harrison, Siouxsie & the Banshees, Marc Almond, The Smiths and Sam Brown), Slyder has allowed the songs to dictate the direction they have gone in; discovering melodies and hook lines along the way. Making use of Hammond organ and piano with the help of Neil Scully (Richard Davies & the Dissidents), a 1950s Phillicord organ, lap steel guitar & even a bit of banjo. A chocolate box of sonic sensations offering up a little something for everyone - from heavy riffage with walloping drums akin to the brothers Young to the anticipated sleaze rock shades of Hanoi Rocks. However, this band is not afraid to step away from their rock roots, instead, with nods to the likes of The Doors, Velvet Underground, The Stranglers and The Kinks from the past and the alternative rock sound of Manic Street Preachers, The Oblivion Kids have reimagined an 80s synth pop classic and mastered singalong pop, gothic, dark Americana, and dare I say it, funk rock?! There are a few firsts for Slyder on here too in the form of an instrumental track with a western feel and to a duet featuring the ethereal vocals of Nina Courson (Healthy Junkies). The result is an idiosyncratic 14 track album of outstanding versatility. A Charming debut, I’m sure you’ll agree.

5 Year Anniversary Repress of the seminal debut album, on Black Ice vinyl with special Black Foil Gatefold packaging. Original Sales Text Below: The new project from The Dillinger Escape Plan's Greg Puciato, Telefon Tel Aviv/Nine Inch Nails's Josh Eustis and programmer Steven Alexander, The Black Queen have announced details of their debut album. 'Fever Daydream' will be released on 5th Feb, supported by a couple of new live dates: one on the day at Complex LA in Glendale, California and one on 5th February at Oslo in Hackney, London. The band have also unveiled a video for featured track 'Maybe We Should' Setting down somewhere between goth soaked synth pop, shoegaze and the neon bathed desolation of the Blade Runner soundtrack, Fever Daydream showcases frontman Greg Puciato's unquaestionable artistic talent. An album of Raw Nerves, dense textures and confessional fervour for fans of Depeche Mode, Nine Inch Nails and Joy Divison. The ten song Fever Daydream was written, recorded and produced by the band themselves, with Justin Meldal-Johnsen (Beck, M83, The Naked and Famous) executive producing and offering insight along the way. With the level of talent, innovation, and the air of mystery that surrounds the band, it is an unexpected journey through sound merging the past and laying groundwork for a hauntingly beautiful future. Band Members: Greg Puciato Josh Eustis Steven Alexander

Glenn Astro and Hulk Hodn (to some known as mighty Hodini) release their new full-length record “Ghosts” via Kommerz Records on August 26th.
Producers Astro & Hodn‘s first joint album “Turquoise Tortoise” in 2018 combined uptempo beats, hiphop and spaced out lo-fi slow jams effortlessly. On “Ghosts” the duo develops their exploration of new
aesthetics even further through synthesized soundscapes and numerous collaborations with young talent from all over the world. Artists such as Danish neo soul discovery AGGi, King Krule collaborator Gal Go, Kamohelo from Studio Barnhus band Off The Meds, Berlin-based voice experimentalist Yosa Peit and many more deep dived into the collaboration and transformed the album into a sonic multiverse.
New Release Information
Glenn Astro and Hulk Hodn are connected through a long lasting musical friendship. With their Detroitinspired house releases they gained wider recognition by critics and listeners alike. Nevertheless,
they’ve never been one dimensional artists. Berlin-based Glenn Astro‘s diversified approach to production as showcased on labels such as Ninja Tune and Tartelet bridges the gaps between ambient, hip-hop, techno and bass.
Meanwhile Cologne‘s Hulk Hodn gained the status of a German underground hip-hop legend. Through his records and shows with rapper Retrogott he gathered a cult-like following besides dropping high quality projects with other beat makers such as Hubert Daviz and Twit One and rappers such as Eloquent. Most recently he dropped the instrumental LP “Sparklez” on Sichtexot sub Casual Low Grind.

The remarkable nine track debut from USELESS USERS is a lesson in style and eloquence. The band is comprised of former Sarah Records alumni, (members of Action Painting! and Secret Shine, and featuring Even As We Speak). This is sonically adventurous Pop Music, packed with melody, dreamscape swashes and élan. Bold and opulent, and brilliantly constructed, Useless Users are pushing the boundaries of preconception, poised to grasp attention and reward the listener. "Reminiscent of Pulp's Fire Records Years, in both chord choice and vocal delivery" The Quietus "..the odd twist or two along the way." Whispering and Hollering "... a real gem, a moody piece with debts owed to late Sixties psych" A Pessimist Is Never Disappointed RIYL - The Associates, Bowie, Dreampop...

Born of chance meetings in Accra, the band brings together a Burundian producer and vocalist, Betina Quest; with a Ghanaian singer-songwriter, Eli A Free; and a German percussionist and multiinstrumentalist, Ma.ttic. Nyamekye Junction take their name from a bustling junction in the Ghanaian capital, where a number of major roads merge, embodying the musical approach of the band: a singular sound at the junction of their cultural heritages.

In Eli’s words, ‘Dasein’ (from the German for ‘existence’, ‘being there’), captures “the need to live in this moment here and now with a heart full of gratitude” while exploring a number of interlinked themes, including the importance of one's environment – cultural and political, as well as physical - in situating, shaping and explaining each individual’s identity.

The band adeptly channel a wide range of influences, from the Ghanaian legends Ebo Taylor and Osibisa through to US mainstays such as Nina Simone and Erykah Badu; with equal regard given to UK innovators like Benjamin Clementine and Mala. The resulting debut EP ‘Dasein’ is a stunning collage which showcases the band’s impressive range and evolving sound by traversing a diverse range of moods, rhythms and textures.

The lead single ‘GMT’ (short for ‘Ghana Man Time’) is a dancefloor-ready track that carries a deft political message. Driven by a weighty bassline alongside punching drums and percussion, for a rhythm section that would be at home in any broken-beat set, the song explores and emphasises differing conceptions of time between the West and Africa with a playful irony.

FIRST PRESSING ON WHITE VINYL*Regenerator is the fifth full-length from the Rochester, New York-based trio King Buffalo.

Written and recorded by the band with mixing and engineering by guitarist/vocalist Sean McVay and mastering by Bernie Matthews, the seven-song outing is the third in King Buffalo’s stated ‘pandemic trilogy,’ following 2021’s The Burden of Restlessness and
Acheron.

Both of those albums – like 2018’s Longing to Be the Mountain, 2016’s
debut, Orion, and the various EPs and other offerings they’ve made over the last eight years – made bold declarations about who King Buffalo are as a band, and Regenerator is no different. As McVay, bassist/synthesist Dan Reynolds and drummer Scott Donaldson continue to explore the outer reaches of modern psychedelic
music, melding progressive rhythms, drifting atmospheres and
accompanying surges of electricity, this new collection only further establishes them as one of the brightest lights shining in underground rock today.
As the third of three, Regenerator inherently ties together the previous two LPs, and as the band unfold the leadoff title-track across nine and halfminutes, it becomes clear just how truly they have marked out their own sonic presence.

The later melodic highlight “Mammoth” – with McVay’s most confident vocal performance yet – shimmers with hope that somehow doesn’t come across as desperate; on “Hours”, the group engages classic space rock, and the closing “Firmament” acts as a summary
for all three albums, marking the final installment of this trilogy as the
essential cornerstone of King Buffalo's work to date.

Regenerator is available on 180.gr white vinyl (including download) and CD.

The Maghreban has been making Dance music and related genres under various names since the mid 90s, spanning Jungle, Hip Hop, Rave, House and Techno; on labels like Versatile, Black Acre, Eglo Records, R&S Records and his own Zoot Records.

This is his second full length LP under this project and is a refinement on his first. He has worked with the jazz saxophonist Idris Rahman to craft something more cohesive perhaps and more rooted in Jazz and Techno as well as Eastern music. There are also vocal collaborations with Nah Eeto, Omar and Abdullah Miniawy.

Airplay from Benji B, Gilles Peterson and Tom Ravenscroft on BBC Radio. DJ and Radio Support from Ben UFO, Nina Kraviz, Mosca, Otik, Eclair Fifi, Totally Enormous Extinct Dinosaur, Martyn Bootyspoon, Appleblim, Krikor, Photonz, Gramrcy, and many more.

Favourable reviews so far in Uncut & DJ Magazine: "His most expansive statement so far..Innovative and Irresistable", Reveiws to come in Mixmag, The Wire and other publications.

Produced mainly by Jerry Corbetta (Sugarloaf) and Dolenz, “Demoiselle” features solo recordings
made between 1981-1992 and includes previously unreleased material. Originally planned for release
in the early 1990s, the album never received a record deal for a number for reasons. Dolenz privately
released nine of the recordings in 1998, but they were only available for a short period of time via mail
order. This new and definitive version of Demoiselle has been remastered from the original master
tapes. It includes 3 previously unreleased bonus tracks and presents the material in a different
sequence. Available on CD and Vinyl, the CD comes in a deluxe digisleeve and features a big 32 page
CD booklet with extensive liner notes, lyrics and previously unseen photos. The LP version comes in a
gatefold sleeve and is pressed on 180g Red Vinyl.

"After 11 pm, you stop hearing regular rock on the classic hits radio
station and start hearing more strange stuff, one-hit wonders from 1976,
or really minor singles from artists I thought I didn't like because I just
hadn't heard this one weird song before," says Bloomington, Indianabased singer-songwriter Damion - Rather than let those offbeat classics
fade into the twilight on his late-night drives, Damion returned home and
went straight to the Tascam cassette machine - Inspired by both the
sound and the bleary-eyed ambiguity, the result of that late-night
recording is the bronzy Special Interest, a record bathed in memory and
the antigravity of '70s AM radio
Once he had finished demoing songs at home, Damion brought the nine tracks
that would make up the album to his preferred studio, Russian Recording, and
worked with Ben Lumsdaine and Lewis Rogers to polish them up. Aesthetically,
Damion aimed to fit within the limits of the era that inspired the songs.
"Recording to cassette tape, you either have to play the part right or learn to love
the way it sounds wrong, so even in the studio we abided by those same
limitations," he says. Rather than limitations, the structures and styles of vintage
rock perfectly suit the album's lithe falsetto, eerily familiar melodies, and hazy
storytelling--the listener immersed in a soup of poetic fragments, Damion himself
always at a beguiling arm's length. On lead single and opener "Company Man",
resonant acoustic guitar and Super Ball bass provide a platform for Damion's
knowing ability to split the difference between confident swagger and laid-back
charm. The singer-songwriter pulls joy out of musical echos and lyrical wordplay,
in part coming from his love of classic songwriters and long history as a
performer. "I am mostly inspired by singer- songwriters like Carole King, Todd
Rundgren, etc.

Nine-piece West Africa-via-Melbourne ensemble Ausecuma Beats and improvised collective Zeitgeist Freedom Energy Exchange, also known as Z*F*E*X, reveal a new collaborative EP out August 19 via Music in Exile.

Call it a match made somewhere in musical heaven, the minds behind Ausecuma Beats, comprised of members from Senegal, Mali, Cuba and Guinea, found they melded easily with Z*F*E*X following weeks of recording and sharing material remotely together.

Z*F*E*X themselves, an ensemble comprised of drummer Zeke ‘Ziggy’ Zeitgeist, keyboardist and producer Lewis Moody, bassist Matthew Hayes, and a rotating cast of guests, are prolific musicians themselves with weighty credentials spread across their base locations of Australia, the United Kingdom, and Europe.

Thus, from a backyard shed in Dandenong North, Australia, some of West Africa’s finest would record simple percussive tracks, which then surfed the airwaves via studios in Melbourne, Berlin and London, to finally land back on listeners doorsteps as a forthcoming collaborative EP, Deep Heat/Tropical Storm.

Starring two guest vocalists who are some of the most invigorating in their respective scenes - Latin America via Berlin star Gotopo, and Melbourne’s own Rara Zulu - the EP’s beginnings in percussive exploration are transformed into a must-have record of all bangers.

Expect the duelling minds of two highly respected acts to reveal a combined EP of complex compositions that remain wholly accessible thanks to addictive harmonies and melodies. Emotionally thrilling, and easy to love, listen and dance to.

For Oleg Azelitskiy, known as DJ Slon, the nineties and the first half of the aughts were an era of "firsts". First squat parties on the banks of the Obvodny Canal and more legitimate ones at Tunnel, first proper techno club in Russia. First DJ sets, first vinyl records in his collection, first radio shows at Port FM. He is a true veteran of the Russian techno movement, who carried his love for the genre through three decades and inspired more than one generation of musicians. Album Nr. 1 is the first edition of his music on vinyl. It comprises the music that Azelitskiy made during 1995 - 2005, except for the track My 40th Vesna, produced in 2010.

Azelitskiy's love for techno was born out of contradictions. Thanks to the Soviet synth band Zodiac and the French pioneer Jean-Michel Jarre, he had loved electronic music since his childhood. When he grew up, he got into the dark, introspective pieces by Einsturzende Neubauten and Bauhaus. Not only does the wide-ranging palette on Album Nr. 1 reflect its creator's taste, it echoes the changing times of the Russian nineties. It was the time when confrontations with criminals were inseparable from the parties and get-togethers bustling with local artists.

His affection for various genres led to many monikers and projects, all represented here on Album Nr. 1. He recorded most of his music as DJ Slon. Then there was a project Zhutkiy Lazer (Scary Laser), where Azelitskiy made music that was more experimental but still techno-oriented, with the occasional help of his friend Aleksey Gaponenko (Lazer became a proper solo project of DJ Slon in 1999). There are also tracks under the aliases Mass Fatality, which combined techno and synth-pop, and Razrushiteli Mozgovych Uliev (Brain Hive' Destroyers), with its more direct tight techno tracks.

The music of DJ Slon sounds fresher and more alive on Album Nr. 1 than ever before.
Noticeably, this record, first and foremost, is dance music. As a voice on one of the album tracks boldly states, we came to dance.

- 2022 repress -

Mysterious duo 999999999 finally make their debut on their own new label, NineTimesNine, delivering three hypnotic and deadly acid techno stormers.

"Art is awe, art is mystery expressed," writes Kaitlyn Aurelia Smith. "Art is somatic, even if it is experienced cerebrally. It is felt." The central mysteries of Smith's ninth studio album, Let's Turn it Into Sound, have to do with perception, expression, and communication: How can we communicate when spoken language is inadequate? How do we understand what it is we're feeling? How do we translate our experience of the world into something that someone else can understand? For Smith, a self-described "feeler," the answers are inspired by compound words in non-English languages, translation, sculptural fashion, dance, butoh, wushu shaolin, and other forms of sensory and somatic experience. Just like fashion uses lines, shapes, colors, textures, and silhouettes to communicate on a sensual level separate from the conscious mind, Let's Turn it Into Sound strives to use sound to communicate what words alone cannot. "The album is a puzzle," Smith says. "It is a symbol of receiving a compound of a ton of feelings from going out into a situation, and the song titles are instructions to breaking apart the feelings and understanding them." The energized "Is it Me or is it You" comes from traversing the gaps between how you see yourself and how another might see you, through a filter of their own projections. The hushed sense of revelation that brackets "There is Something" refers to the feeling of walking into a room and being subconsciously aware of the dynamic present. All the while, Smith interprets these feelings through sound. This auditory interpretation process, driven by earnest curiosity, led Smith to record some thoughts and questions that popped up along the journey in Somatic Hearing_a booklet which accompanies the album. Over three frenzied months, recording alone in her home studio, Smith allowed herself to pursue new experiments to accompany her usual toolkit of modular, analogue, and rare synthesizers (including her signature Buchla), orchestral sounds, and the voice. She created a new vocal processing technique, and gave herself permission to pursue a pacing that felt intuitive, rather one that followed typical song structures. She walked around in the windiest season with a subwoofer backpack and an umbrella, listening to the low end of the album amidst 60mph gusts. She listened to herself, and, in doing so, to an inner community which suddenly opened to her. Underlying the album is a dynamic relationship between what Smith describes as six distinct voices, each a multifaceted storyteller. By acknowledging these characters, she was acknowledging her whole being: the woven plurality of self, the complex process of noticing and resolving inner conflicts, and the joy of finding harmony in flux. "I started to feel so embodied by all of these characters. This is all the felt, unsaid stuff my inner community wants to communicate but it doesn't have the English language as its form of communication, and so this album was a form of giving space to let it talk and not judge it and just let it play." By not adhering to expected song structures, each song feels even more like a conversation, with each character getting to express themselves in full.

"Art is awe, art is mystery expressed," writes Kaitlyn Aurelia Smith. "Art is somatic, even if it is experienced cerebrally. It is felt." The central mysteries of Smith's ninth studio album, Let's Turn it Into Sound, have to do with perception, expression, and communication: How can we communicate when spoken language is inadequate? How do we understand what it is we're feeling? How do we translate our experience of the world into something that someone else can understand? For Smith, a self-described "feeler," the answers are inspired by compound words in non-English languages, translation, sculptural fashion, dance, butoh, wushu shaolin, and other forms of sensory and somatic experience. Just like fashion uses lines, shapes, colors, textures, and silhouettes to communicate on a sensual level separate from the conscious mind, Let's Turn it Into Sound strives to use sound to communicate what words alone cannot. "The album is a puzzle," Smith says. "It is a symbol of receiving a compound of a ton of feelings from going out into a situation, and the song titles are instructions to breaking apart the feelings and understanding them." The energized "Is it Me or is it You" comes from traversing the gaps between how you see yourself and how another might see you, through a filter of their own projections. The hushed sense of revelation that brackets "There is Something" refers to the feeling of walking into a room and being subconsciously aware of the dynamic present. All the while, Smith interprets these feelings through sound. This auditory interpretation process, driven by earnest curiosity, led Smith to record some thoughts and questions that popped up along the journey in Somatic Hearing_a booklet which accompanies the album. Over three frenzied months, recording alone in her home studio, Smith allowed herself to pursue new experiments to accompany her usual toolkit of modular, analogue, and rare synthesizers (including her signature Buchla), orchestral sounds, and the voice. She created a new vocal processing technique, and gave herself permission to pursue a pacing that felt intuitive, rather one that followed typical song structures. She walked around in the windiest season with a subwoofer backpack and an umbrella, listening to the low end of the album amidst 60mph gusts. She listened to herself, and, in doing so, to an inner community which suddenly opened to her. Underlying the album is a dynamic relationship between what Smith describes as six distinct voices, each a multifaceted storyteller. By acknowledging these characters, she was acknowledging her whole being: the woven plurality of self, the complex process of noticing and resolving inner conflicts, and the joy of finding harmony in flux. "I started to feel so embodied by all of these characters. This is all the felt, unsaid stuff my inner community wants to communicate but it doesn't have the English language as its form of communication, and so this album was a form of giving space to let it talk and not judge it and just let it play." By not adhering to expected song structures, each song feels even more like a conversation, with each character getting to express themselves in full.