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Poltergeist has that strange power of attraction that these personalities with their icy, mysterious aura hold. As soon as Ari Girard (aka Poltergeist) appears, something happens, he catches the light and strikes the spirits.

Kämpfer LP is a ghost story where Poltergeist invites Joy Division, New Order, Talking Heads, The Cure, Can, Kraftwerk, Nine Inch Nails or Jeff Mills for its first album. At the Poltergeist banquet, the crows of cold wave and the barbarians of krautrock, the metallers of indus rock and the freaks of techno meet.

The epicentre is Berlin, the Wall, Lou Reed's Gotham, the Bowie/Eno trilogy and the toxic nights of underground clubs...

Kämpfer LP, Poltergeist's first album, reveals its dark and disturbing universe. Marked by a heavy, deep and majestic atmosphere, this project evokes, without ever saying it openly, the climatic urgency, the ineluctable destiny, the human obsession to be first, to leave a trace of its passage and the nightmares which agitate the nocturnal spirits.

Between frenetic synths, bewitching waves and marked foot, this implacable album marks the beginning of the Poltergeist era.

Scratching synths, a dark and heavy universe: we can understand Vitalic's crush, who decided to sign the project at the first listening on his label Clivage Music.

Shadow Kingdom Records is proud to present Savage Master's highly
anticipated fourth album, 'Those Who Hunt at Night' on CD and Red &
Black Tears colored vinyl'.One of the most exciting and electrifying bands
in today's occult heavy metal scene, during the first six years, Savage
Master swiftly built an impressive canon of work
Now Savage Master stands taller than ever and surveys those they leave in the
dust with their fourth full-length, 'Those Who Hunt at Night'. All too perfectly titled,
'Those Who Hunt at Night' sees Savage Master going in for the kill, keeping their
unyielding-as-steel sound whilst sharpening it yet further with their clearest and
most powerful production to date. In fact, that palpable professionalism
profoundly impacts that sound - timeless electricity, eternal glory, boundless
energy, authentically ancient but no tired ""retro"" retread, with the immediately
recognizable vocals of Stacey Savage leading the charge - so much so, one could
put the album alongside such early/mid '80s stunners as Judas Priest's Point of
Entry (moody and dynamic) or Jag Panzer's Ample Destruction (locomotion and
drama). Which is to say nothing of the subtle- but- crucial placement of vintage
synths across the 36- minute album, giving all nine songs a unique twist that
altogether make the record a unified experience. Still, from the impeccably
constructed hooks to the broader range of tempos they explore, Savage Master's
creativity here seems to know no bounds whilst keeping their core intact.

Written & produced by Peaky Beats

Limited to 300 copies
12" Black Label
Vinyl Only
No Repress

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

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

On 'Hurricane Clarice' stringband revolutionaries Allison de Groot &
Tatiana Hargreaves infuse centuries of matrilineal folk wisdom into a
soundtrack to environmental disaster
Produced by indie folk visionary Phil Cook, the duo's energetic sophomore album
features nine pieces, including two epic medleys (carefully selected from their
archival deep dives) as well as a few transcendent instrumental originals.
Recorded during an apocalyptic heat wave in Portland, OR, the album is a
testimony to the relation of community and climate in a dying world. The
Hargreaves- penned title track delves into the surreal world of Brazilian author
Clarice Lespector while the Canadian ballad "The Banks of the Miramichi"
references the "before times" of a polluted river used as a case study in the
environmentalist classic 'Silent Spring'. We turn inward in times of global or
personal crisis, seeking the wisdom of those before us — a human instinct
manifested literally on this record through the recorded voices of the duo's
grandmothers. Any artist unearthing old sounds takes traditional elements and
exaggerates here or there to fit a personal aesthetic or style–there is no authentic
rendition. With 'Hurricane Clarice', Allison and Tatiana propose a third way beyond
tradition and progress. Community might just save us all.

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

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

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

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

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

Numbers will release ‘Clear’, the debut album by FFT, on 24th June 2022.The result of three years of focused writing and programming by the London-based producer, ‘Clear’ is deeply psychedelic, defined by a mature sense of melody and structures crafted at a monumental scale.

Though FFT has previously released a handful of tracks under various names, it wasn’t until 2017’s ‘FFT1’ EP on theUncertainty Principle label that his production talents began to fuse into a distinct and personal style, especially evident in FFT’s‘Regional/Loss’ EP on The Trilogy Tapes in 2019, multiple releases on Bruk Records and2021’s ‘Disturb Roqe,’also released on Numbers.Through it all, FFT has mastered a complex sense of mood catalyzed by sound itself: He builds patches and presets from scratch, and feels these synths and software have their own objectives and reactions, creating a kind of compositional feedback loop.The result is an album that brings to mind a collision of electronic pioneers like Delia Derbyshire and Bernard Parmegiani, 2000’s braindance, the Max-imized wares of an OPN or Objekt and the rough rhythmatics of SND or Mika Vainio

The layering of sonic elements and intentions is starkly audible across these nine tracks.They can be seismically concussive and grandiose, but granular and fluid - echoing the Icelandic volcanic eruption that features in the artwork photography byGeorge Cowan. ‘Clear (Eight-Circuit Mix)’sets a euphoric tone immediately accelerated by the jagged sounds and vocal textures of ‘Redeemer’. ‘3 Sided’ channels hyper-urbanity from its almost entirely analogue palette, and by contrast ‘Disturb Roqe 2’is bracingly digital, gyrating in random cycles between clustered percussion, metallic splinters of audio and artificial vocal tics.

Opening side two, ‘You’ve Changed’ adheres to a more abrasive core, while ‘Heal’ and ‘Heal (Alt Mix)’evolved out of linked pieces in FFT’s live sets that grew into complete tracks in the months before Covid-19.The significant intensity of ‘Heal’ in particular was refined during strobe-heavy live performances and is the album at its most turbulent, the claustrophobia interrupted by dazzling arpeggios.The overall impact of 'Clear' is cinematic and precise, marking the arrival of an impressive electronic musician who is not new but has come into his own as a fully developed artist

Originally released in 2017 under his pseudonym No Quantize, Bird Syndrome, the first album of the french artist NxQuantize, is now being reissued with an additional remixed version. As a symbol of a new beginning, the talented musician and producer based in Marseille changes his alias and joins the Omakase Recordings music label to give a rebirth to his trip-hop opus tainted with jazz and electronic music.


For this occasion, several artists who come from a broader musical spectrum have reinterpreted the Bird Syndrome’s nine tracks through a series of hip-hop, ambient, electronica and dance music remixes. The richness of this expanded release reflects the production process of NxQuantize next album, currently in progress...

(Emmanuel Top, Tom Hades, Kony Donales + original remastered) Zolex heads up our next Bonzai Classics vinyl release with his 1993 cut, Time Modulator. New remixes come from Emmanuel Top, Tome Hades and Kony Donales who add their own unique twists to a techno classic.

Zolex heads up our next Bonzai Classics vinyl release with his 1993 cut, Time Modulator. New remixes come from Emmanuel Top, Tome Hades and Kony Donales who add their own unique twists to a techno classic. Back in the mid-nineties, Frank Struyf was churning out top club hits on Dance Opera, Circus, Frank’s own Zolex Records and our very own XTC and Bonzai Records imprints. Despite his busy DJ schedule Frank still found the time to produce his own sounds. Many years of producing quality records followed and he is still twiddling the knobs and spinning sets to this day.

The Original Mix graces the A1 slot, with its dark drums and rolling techno vibe hitting the spot. Moody and twisty, the groove becomes infectious and hypnotic thanks to a combination of blippy, bleepy sounds and relentless strings. The energy levels rise after the break, causing chaotic scenes on the floor, an absolute stomper. French DJ and producer Emmanuel Top takes up the A2 slot, delivering a fine remix with his instantly recognisable signature sound. Responsible for so many acid laden moments throughout his career, Emmanuel Top remains an inspiration to many. On the remix here, the tension mounts as 303 lines fade up alongside a hybrid drum construction and hypnotic FX. The acid effect takes hold, dominating the groove, the perfect set builder to whip up the crowd. Over on the flip, Belgian artist Tom Hades offers up his interpretation, turning the original into a slamming slice of techno for the modern dancefloor. Undoubtedly, Tom is responsible for some of the best techno joints released in recent years. Here, he employs his skills to great effect, using banging beats and minimalistic sounds that drive a solid, dark room techno vibe. This one is a must have, no doubt. To complete the vinyl, we have French artist Kony Donales on remix duties. Kony is the owner of Cayden Records which has churned out top techno tracks since 2011. He is known for his minimal style and he definitely knows how to work a track. The remix here brings the essence of Time Modulator into the 21st century with a strong contemporary groove. Nice pounding kicks and crispy percussions set the rhythm loose as metallic hits join raucous percussions and FX. Top-notch stuff once again.

REMASTERED

Grönland Records announce a revised, remastered reissue of “Sleepwalkers” by DAVID SYLVIAN. Available as a gatefold 2LP with exclusive art print and as a gatefold digipack CD, this new edition also features the previously unreleased track “Modern Interiors”.

in the 00s, DAVID SYLVIAN produced two of his strongest and most solitary statements, BLEMISH and MANAFON. but those records don’t tell the whole story. during that the same period, SYLVIAN created an alternate body of work: a series of collaborations and side projects with leading talents of pop and improv, electronic and contemporary classical music. the best of these recordings are gathered here on SLEEPWALKERS, meticulously sequenced and remixed: the fruits of one-off meetings and lifelong partnerships, they jump from bliss to intrigue, romance to sensuality, as arch experiments lead into the lushest pop.

the single ‘world citizen – i won’t be disappointed,’ written with RYUICHI SAKAMOTO, is a sublime example, with an impeccable melody and lyric warmed by SYLVIAN’S gorgeous tenor. SYLVIAN has worked with SAKAMOTO for close to three decades. by contrast, on ‘pure genius,’ a collaboration with CHRIS VRENNA aka tweaker, he sounds like he’s walked into a heist flick, singing the part of a delusional, dangerous bedroom genius. as sylvian explains, tracks like this ‘give me a chance to write in a way that’s completely non-personal, playful. it’s an exercise of some kind, working within the parameters of a given assignment.’

intrigue of a different kind drives ‘sugarfuel,’ with music by JEAN-PHILIPPE VERDIN, aka READYMADE FC. the lyrics offered ‘an opportunity to grapple with a more overt sexual theme than anything i’d previously attempted, as suggested by a vocal sample in the original track provided, a threateningly insistent ‘i’m on your side.’ so i took that as my point of entry and ran with it. i would love to write more on this subject should i find the right context. you’re always aware of walking a thin line exploring sexuality with language alone. the failings of the great and the good are strewn all around.’

NINE HORSES’ ‘wonderful world’ strolls in on a black tie bassline and the echoing coos of swedish chanteuse STINA NORDENSTAM, whose high chirps brush hands with SYLVIAN’S lead; there’s the blistering ‘money for all’ by FRIEDMAN and SYLVIAN, an oblique response to the fallout of 9/11 and the war on iraq. this is followed by the last known recording of SYLVIAN’S singing voice in over a decade, ‘do you know me now?’, a live studio recording later augmented by JAN BANG, EIVIND AARSET and ERIK HONORÉ. it’s certainly a title that’s become more relevant over time as SYLVIAN, in the latter stages of his career, repeatedly comes face to face with a new generation of admirers fixated on the life and times of the band formed by his younger self. SYLVIAN is one of only a handful of musicians to have successfully moved on from overt pop beginnings into a domain all his own but is consistently plagued by the misguided desires or expectations of some unfamiliar with his evolution to do a u-turn, pick up where he left off in the late 90s. although this compilation, as well as his writing for NINE HORSES, adequately shows SYLVIAN’S traditional love of melody is
intact, that it’s consistently remained part of his output, there’s no denying his focus has shifted, evolved.
the refusal to embrace complacency, the need to cover new ground ‘as older generations of popular musicians have a moral duty to explore despite, or because of, the greater possibility of failure’ will, i believe, lead to a reassessment of his later work that embraces a sightly more complex relationship with what we’re referring to as ‘melodic’, accompanied by an exploration of improvisation without dogma or beholden to any ‘givens’ for which he’s not infrequently been castigated. for SYLVIAN, there are no such boundaries. it’s obvious that different facets of his work co-exist without conflict but not necessarily for the majority of his audience. again, this places SYLVIAN in the odd, rare, unenviable(?) position of moving forwards leaving many in his devoted audience behind as, should he decide to return to music, it’s unlikely he’ll be aiming to placate an audience in love with work that preceded the 00s. in fact we’ve no idea where new work, should it surface, may lead.

SLEEPWALKERS also spotlights the innovators who contributed to MANAFON and BLEMISH. CHRISTIAN FENNESZ hangs a crackling, shimmering curtain behind the vocal on ‘transit,’ matching his signature mass of sui generis sounds to sylvian’s stately performance. and the title track began with an instrumental handed to SYLVIAN by MARTIN BRANDLMAYR of POLWECHSEL, soon after the first recording session for MANAFON. spite crackles in the gaps between the percussion, and onkyo artists TOSHIMARU NAKAMURA and SACHIKO M set the stage for the scathing lyrics in the chorus.

it cuts close to the bone and so do the two spoken word cuts, ‘angel’ and ‘thermal,’ produced by SAMADHISOUND recording artists JAN BANG and ERIK HONORÉ (and featuring ARVE HENRIKSEN on trumpet). SYLVIAN describes the latter work as a ‘love poem’ to his daughter. ‘‘thermal’ reflects on a period when our time in sonoma, ca was coming to an end. we’d stayed in temporary accommodation which had lulled us into a false sense of security. we had pear, apple, lemon, and figs trees growing in the yard. a small but exotic paradise. a cocoon. but the cracks were beginning to show in the relationship between ex-wife INGRID CHAVEZ and i which is where i think this underlying sense of anxiety, which runs throughout the poem, is derived from, coupled with the need to provide physical and spiritual stability to the children, the youngest of whom was just under two at the time. the poem is addressed to her. our world was dissipating, coming apart at the seams, but we were an island unto ourselves.’

‘five lines’ marked the start of a new partnership with acclaimed young composer DAI FUJIKURA, who at the time of recording was also working on remixes of MANAFON for what became DIED IN THE WOOL. the string quartet was performed by the celebrated ICE ENSEMBLE and written for SYLVIAN, who FUJIKURA cites as an early influence. says SYLVIAN, ‘the composition moves through numerous changes in time signature but as i had no knowledge of what these were i just relied on my gut instinct, and responded, as i always do, with what felt right to me, composing an entirely new melody in the process. some months later i was working in a studio in london and dai dropped by. i rather tentatively asked if he’d like to hear a rough mix of the song as it stood, painfully aware that my contribution might make no sense to him at all but, to my relief he loved the result.’

there’s one further new addition to this collection, the first official release of a track composed in response to the tsunami in fukushma, ‘modern interiors’, featuring SYLVIAN once again in collaboration with BANG and AARSET.

like 2000s EVERYTHING AND NOTHING, SLEEPWALKERS is a retrospective of a particular decade when SYLVIAN was free of major label interference and could follow his own instincts without having to explaining himself – but it’s also an eye-opening complement to his solo releases. as SYLVIAN explains, ‘some collaborations seem to be a one-off exchange but you can never be too certain of that fact. others have been long term. in this respect, RYUICHI comes to mind. there’s others with whom you hope to continue working as you feel you’ve barely scratched the surface. other times offers come out of the blue, welcome, inspired. regardless, it’s wonderfully explorative to have so many possibilities to juggle with. each collaboration seems timely. it’s as if there’s a rightness to the exchange at a given moment in time.’

in the meantime, we hope you enjoy the work presented here, personally selected, remixed and sequenced and entirely remastered. these are the orphans, abused, estranged, exotic, migrating from diverse corners of the globe, brought together under one roof which they're learning to share despite their differences.

‘as many of you will already be aware, despite relatively continuous work on solo albums, i’ve maintained strong ties with a number of musicians throughout my life in one context or another. on this new collection, let’s call it SLEEPWALKERS 2.0, a selection of collaborative work produced over the period encompassing blemish through to manafon, i’ve included compositions by nine horses as well as more fleeting flirtations and one-offs. neglected offspring. represented also is long term friend and writing partner, RYUICHI SAKAMOTO, as well as more recent but potentially equally productive partnerships such as CHRISTIAN FENNESZ, ARVE HENRIKSEN and contemporary classical composer DAI FUJIKURA.
i hope you enjoy the work presented here, personally selected, remixed and sequenced and entirely remastered. these are the orphans, abused, estranged, exotic, migrating from diverse corners of the globe, brought together under one roof which they're learning to share despite their differences.

we contain multitudes. we’re nothing if not contradictory.’

DAVID SYLVIAN, 2010

(consistency is contrary to nature, contrary to life: aldous huxley)

In 1997 and 1998, the late great Japanese composer, producer, and DJ Susumu Yokota released two of the most eclectic albums of his decades-long career, Fruits of The Room and Greenpeace. Recorded under his Stevia alias for Tokyo Techno pioneer DJ Miku’s Newstage Records/NS-COM, they were Yokota-san’s homage to the foundational days of club music in Japan.

This year, Glossy Mistakes are proud to present the first official vinyl editions of Fruits of The Room and Greenpeace, originally released on CD during the golden days of the format. Packaged in reimagined cover artwork created by the celebrated Japanese visual artist Masaho Anotani, these two albums perfectly capture the diversity at the heart of Yokota-san’s oeuvre. Across Greenpeace sees Yokota-san conjuring up a heady concoction of dusty loops, sampledelic breaks, kraut-rock and psychedelic downbeat. A remarkable listening experience based on the inspired era of a genius.

When Yokota-san wrote and produced the music on Fruits of The Room and Greenpeace in 1997, he was reflecting on the broader culture that surrounded dance music in Japan in the early to mid-nineties. It was an era when the psychedelic culture of late sixties America, the afterglow of UK acid house/rave, the new age movement and cyberpunk dovetailed together. Within DJ Miku and Yokota-san’s social circles, the thinking of Timothy Leary, Ram Dass, Allen Ginsberg, Jack Kerouac and William S. Burroughs electrified the air.

By 1996, the moment, brilliant and blinding as it was, was over. “We all felt that the rave scene fizzled out,” DJ Miku says. As he puts it, there was a collective feeling around him that it had all become too much. From the calm that followed, DJ Miku, Yokota-san and their open-eared peers made the decision to switch tracks and start from scratch. DJ Miku believes that with his Stevia releases, Fruits of The Room and Greenpeace, Yokota-san wanted to express the sweet and sour nature of the passing of those wild early days and his wish for true peace. “At the time, we saw eye-to-eye, with an implicit understanding of each other,” he explains. “Even now, twenty-five years later, I am confident it was like that.”

”Hands” ist das neue Album der in Irland geborenen und in Berlin lebenden Künstlerin Wallis Bird. Nicht ohne Grund ziert das Cover ein Schwarz-Weiß-Foto der Hand der Künstlerin, so wie Wallis Bird erklärt: ”Mit 18 Monaten bin ich unter einen Rasenmäher gefallen und habe mir alle Finger abgeschnitten”. In ”Hands” - auch bekannt als ’Nine and a Half Songs For Nine and a Half Fingers’ - stellt die Künstlerin sich selbst ins Rampenlicht und spricht Themen an, die manchmal viel schwieriger zu bewältigen sind, nur um dann optimistisch und heil daraus hervorzugehen. Dazu gehören Fragen des Vertrauens, des Alkoholmissbrauchs, der Stagnation, der Selbstzensur und der Selbstverbesserung, von denen einige durch
persönliche Erinnerungen an entscheidende Momente, die sich in den letzten zwei Jahren angesammelt haben, angesprochen werden. Jedes dieser Themen wird jedoch von einer Stimme vorgetragen, die mit Freude, Einfallsreichtum und Einfühlungsvermögen gesegnet ist.

19 tracks by Croteam’s in-house composer, Guest appearances by Nine Inch Nails guitarist Robin Finck and the band Undercode, Translucent yellow discs, Original artwork by Tom J Manning

hree years after the release of their self-titled debut LP, Shark Toys follow it up with ten more bursts of weirdo punk. Nine originals and cover of the Mekons classic, “Where Were You.” Ever since forming in 2008, the band has developed a reputation for sharp and choppy live sets, developing a loyal following around their home town of Los Angeles and around the US, from playing shows with bands like Ty Segall, Protomartyr, Parquet Courts, Terry Malts, the Urinals and many others. This batch of tunes were taken from the same session as the recent 7” single, a split with Florida’s UV-TV, on Emotional Response, earlier this year, recorded by Dave Fox of the Traditional Fools (who also recorded Fuzz, Scraper, Vial, and Wand). "A treble fueled look at Los Angeles that certain fans of Tyvek will consume lovingly. Usually the word shambolic would be thrown in for effect when describing bands attempting to transmit a Homosexuals/Tronics/Desperate Bicycles air, but this band does not have a shambling manner to these ears. They seem very propulsive and on target, with shards of errant guitar whipped into shape by the savagery of the rhythm. … They have a driving down highways at night nihilism that is hard to conjure … with ear slicing guitar “solos” somewhere between sneaker squeak and door creak. … Super catchy bedroom punk for people that clutch the Astral Glamour box set to their hearts and know all the words to Swell Maps B-sides …"— Maximum Rock N' Roll // “Much love for this synth-punk masterpiece, highly recommended by Strangeworld for members of Ausmuteants fan club.” - Strangeworld Records, Australia

Ye Vagabonds release their second album for Rough Trade's River Lea
label.Nine Waves was recorded in the Dublin Mountains at Hellfire
Studios, produced by John 'Spud' Murphy (whose previous work includes records by black midi, Lankum and caroline)

The album features 11 tracks of both traditional and original songs and tunes. Nine Waves follows the duo's standalone single I'm A Rover, which won them an RTE Radio One Folk Award for Best Traditional Folk Track. Ye Vagabonds were also named Best Folk Group for the second time at the 2021 ceremony, where they hold the record for most awarded artists.The brotherly harmonies and multiinstrumental abilities of Diarmuid and Brían Mac Gloinn were joined on Nine Waves by Kate Ellis (cello) and Caimin Gilmore (double bass), both members of the Irish contemporary classical group Crash Ensemble, and Ryan Hargadon (Anna Mieke, Rachael Lavelle, Kojaque) on piano and saxophone.

Other Joe is the pseudonym of producer, mastering engineer, and label-head Joe Buchan, an individual with a penchant for free-wheeling experimentation and genre-crossing musical tastes. Drawing upon a wide array of sounds that pay homage to his love of both the beautiful and the abrasive, Joe devours indiscriminately whatever sounds might cross his path, the result giving birth to the unique musical journey that is listening to an Other Joe record. After a few years spent playing in bands and releasing small bodies of work under different monikers, Joe released what many listeners know as his breakout record, Alien Haze, a beautiful collection of recordings that oscillate from collages of field recording and found sound, sublime balearic-era saxophone symphonies, and introspective neo-classical psychedelia. His latest work, blessing from th eheart (typo intentional), expands on Other Joe’s love for blending field recording and acoustic instruments with electronic processing. Beginning by reviewing the catalogue of creative notes he had archived since the release of Alien Haze in March 2019, Joe picked apart voice memos, Logic projects, iPhone videos and whatever else he could lay hands on. Says Joe, “looking over it all at once, the musical ideas I had been attracted to over the past eight or nine months started to make a bit more sense - I could see that there were instruments I was liking, or chord progressions that I kept coming back to, structures and forms that I had found engrossing. Sort of like putting together a jigsaw puzzle that I had made without realising.”

Heist welcomes, late 80’s DMC World DJ Championship contender, Techno veteran, and house royalty Orlando Voorn to the label
with his ‘Heist Mastercuts’ EP.

Orlando Voorn is a man who needs little introduction. He’s played a pivotal role in the development of the electronic music scene in the Netherlands, as well as in the USA where he now lives. With countless aliases, he has released everything from old school hiphop to sample heavy breaks, to banging Detroit techno to soulful house music. His recent outings as ‘Frequency’ on Clone, as well as his latest EP on our sublabel Transient Nature, are proof that even after 30+ years, the man is still very much on top of his game.

The Heist Mastercuts EP sees Orlando dig deep in his archive for some of his undercover hits from the nineties that have been remastered for
this EP. On top of that, he delivers a new track in the form of soulful house bomb “Be with you.”

“Be with you” starts off with a hazy groove and distant pads. The steady beat and funky electronic chops set a steady foundation for a rush-inducing string sample that works together with looping diva vocals for maximum dancefloor excitement. No heavy drumrolls, FX or other tools necessary here: It’s clever sampling and Orlando’s soulful touch that make this track tick.

Next up is the vinyl only track “Love Feelings” – originally released in ’96 on Urban Sounds of Amsterdam-. Think 130+ BPM vintage house grooves with hazy pads and you’ll get an idea of what’s coming. Love Feelings is an up-tempo dreamhouse track that, even though it’s almost 25 years old, still ticks all the boxes of a contemporary festival groover.

On the B-side you’ll find 2 versions of “Tenderness”: The original mix and the Late nite dub, both originally released on Clubstitute records back in ’95. The original has a 90’s garage groove with male vocal chops, old school house keys and strings. The late night dub is exactly that: a dreamy ethereal deephouse groove with warm synth hits, introverted percussion some very on point sax loops.

The Heist Mastercuts EP is the first EP of Orlando Voorn on Heist Recordings but considering the connection we’ve built with him over the last year and having heard the music he’s shared with us, we’re sure you’ll see much more of him on Heist in the future.


Yours sincerely,

Maarten & Lars

Edizioni Ishtar and Schema Records proudly celebrate the 15th anniversary of one of their most successful releases and artists (more than 30 million streams and 300 thousand monthly listeners on Spotify) with the first ever vinyl edition of Toco’s Outro Lugar. Produced by S-Tone Inc., this record includes fan-favourite tracks “Outro Lugar”, “Samba Noir

” and most of all “Guarapiranga”, which was chosen for the soundtrack of “Silver Linings Playbook”, a film that awarded Jennifer Lawrence an Academy Award prize as best actress in a leading role in 2013. The strings at the beginning of the title-track have also been sampled by PinkPantheress for her song “Nineteen”, out of her latest album “To Hell With It”.

Outro Lugar hasn’t aged a bit during all these years, for various reasons; first of all it benefits from the outstanding contribution of bossa nova pioneer and inspiration source Roberto Menescal, who played guitar in every track. Most of the album was recorded in Rio De Janeiro at Menescal’s studio, with the participation of some of the best ‘carioca’ musicians, especially double-bass player Adriano Giffoni and pianist Adriano Souza. All these elements gave the album exactly the taste requested by the artist and the producer: inspired from the past yet, through thorough attention, aimed at a sound at the same time fresh and modern, slightly electronic, filled with grooves perfectly blending into acoustic instruments. The second part of the recording was carried out in Milan, with some of the best musicians in the Milanese jazz scene.

The album also sees the contribution of Rosalia De Souza, singing in several tracks and standing out in “Bom Motivo” especially. French chanteuse Coralie Clément appears in “Contradição”, her own piece here re-interpreted by Toco.

Outro Lugar is an album for any kinds of Brazilian music lovers that showed the world what Toco was capable of: a refined and cultured musician, a gifted performer of a warm and smooth voice able to awaken the emotions of the most sensitive listeners.

»Tides« marked a radical change in direction for Arovane. After Uwe Zahn had made a name for himself with cutting-edge IDM rhythms and slick ambient textures on a slew of releases, his sophomore album saw the prolific producer opt for a sample-based approach that resulted in a more organic sound and laid-back downbeat grooves. Having reissued Arovane’s seminal »Atol-Scrap« as a double LP in 2021, the Berlin-based Keplar label now makes »Tides« available on vinyl for the first time since its original release in 2000 through the legendary City Centre Offices. The new version has been remastered by Kassian Troyer at Dubplates & Mastering and comes with a brand new cover artwork. It shines a new light on a release for which Zahn quite literally ventured into previously unknown territory — »Tides« is an album that emits a timeless, quiet calm and nonetheless stays constantly in motion.

»The idea for the album came to me after a vacation in France«, says Zahn. Inspired by the landscape, especially the coastline and the sea, he made field recordings throughout his trip that were also used on the record, giving it its sensual feel. The foundation of the album however, the loose yet gripping grooves at the heart of every track, result from Zahn working extensively with samples. »I wanted to make use of drum sounds and small excerpts from old jazz vinyl records«, he explains. He maintained the unique sound signatures and rhythmic flutter of the source material while building intricate beats with them. Most of the material was culled from the record collection of Christian Kleine, whose spontaneous guitar improvisations over the first musical sketches were recorded and edited by Zahn and can be heard on four tracks. Also employing the occasional cembalo or spinet sound, he worked with a hardware sequencer and a delay to integrate the different, discrete elements into nine tracks that feel both dense and light at once.

What’s astonishing still 22 years later is how spacious »Tides« sounds. This is due to the fact that Zahn not only paid close attention to the sonic idiosyncrasies of his source material, but also to what happened in between those sounds. »Mark Hollis’s solo album was a huge inspiration at that time«, says Zahn. »What I find fascinating about it until this day is how silence and the subtle hiss of the mixing boards were being used on that record.« Silence was also an important stylistic element on »Tides« and adds greatly to the overall atmosphere of an album that with the appropriately named »Theme« immediately sets the mood with intricate spinet melodies: Zahn opens a door for his listeners and invites them to follow him to see a specific part of the world through his very own lens.

As a whole, the album mirrors Zahn’s trip that took him along the steep cliffs on a foggy day (»Seaside«), to an abandoned house in which he found old maps (»A Secret«), along the coastline during a long car ride (»Deauville«), to a sleepy village and the slowly moving sea (»Tides«) and finally back home to his native Germany where he started reflecting upon his experiences, ultimately deciding to translate them into music (»Epilogue«). »Whenever I listen to this album now, the images and memories it evokes are incredibly vivid and vibrant«, he says. It’s not hard to see — or rather hear — why. »Tides« may have been a deeply personal project, but it effortlessly evokes universal feelings by (re-)building an entire world in the course of only a few pieces of music.

First release in 1999 by Don One Records

12 Beautiful songs by Dennis Brown of which most was recorded in the late nineteen ninety on the Studio One Rhythm

All of the songs on the single LP are Produced by Don Moodie/Noel Alphanso/Dennis Brown/Bill Sample
There are only 120 copies in stock

20 years ago, US heavy and hard rock titans Mos
Generator took the heavy (stoner) rock music scene by
storm with the release of their first self-titled album. To
celebrate this special anniversary in style, the band’s
charismatic frontman Tony Reed himself has revised and
remastered this vinyl reissue of their pathbreaking debut
album.
 Mos Generator - who formed in 2000 in Port Orchard,
Washington from the ashes of a ten year off and on
collaboration between its three members, all of which
are long time veterans of road and studio - have inspired
the heavy music scene since decades. The band have
released nine full length studio albums, two live albums
as well as several singles and split albums over their
impressive career by labels as Stickman, Ripple, Heavy
Psych Sounds, Roadburn, Small Stone and Listenable.
 Touring has been just as important to the profile of the
band as making records has. Over the years Mos
Generator has shared the stage with many big heavy
rock names across Europe and North America including
extensive tours with Saint Vitus, Fu Manchu, Melvins,
Pentagram, Elder, Spirit Caravan and Atomic Bitchwax.
They have also played prestigious festivals throughout
the world, fusing soul with doom metal into a great loud,
funky and psychedelic concoction of heavy rock.
 Their 2002 debut album was the starting point, and this
hand-numbered clear vinyl 20th Anniversary edition of
‘The Mos Generator’ release is a must have for fans old
and new.
 For fans of Orange Goblin, Fu Manchu, Sheavy, Mind
Funk, Kyuss, Mountain, Nebula, Black Sabbath and
Monster Magnet.

White Tiger, Ana Egge's tenth album, has nine originals and one cover
(John Hartford), and so amply displays her singularly articulate and
affecting honesty and sensitivity as to once again deserve USA Today's accolade, "Ana can write and sing rings around" her contemporaries


The album features wind, string, and vocal arrangements by multiinstrumentalist/ producer Alec Spiegelman (Cuddle Magic) and guest appearances by Anais Mitchell, Billy Strings, Alex Hargreaves, and Buck Meek (Big Thief). Like the tiger in the title song, Egge, herself, is near-miraculous, rare but real, and, as Lucinda Williams said, "Listen to her lyrics. Ana is the folk Nina Simone."

Unknown Pleasures Records, Industrial Complexx and Oráculo records co- release a tribute to one of the most legendary band of the all time darkwave-goth scene. New versions running away from the obvious classics by an amazing palette of brilliant acts such as Kill Shelter, A Wedding Anniversary, Swesor Bhrater, Years Of Denial or Chris Shape among others. This is expected to be an ultra searched vinyl collectible item.

There is a tendency within modern electronica to pigeonhole and categorise, to package music into easily digestible formulae. In direct revolt comes Dutch artist Satori and his new album Dreamin’ Colours, released globally April 22nd, 2022, on renowned imprint Crosstown Rebels. Recorded at the esteemed Sonic Vista Studios in Ibiza, the nine-track LP has been greatly anticipated off the back of its proceeding’s singles: Yellow Blue Bus ft. Laska, Lalai ft. Ariana Vafadari and most recently Gin Song.

An ethereal, swirling body of work, Dreamin’ Colours is rich in texture, colour and imagination. Satori stretches himself out through languorous, mystical explorations of both the digital and the analogue elements of music, the result a beautifully conspired collection of world music, steeped in electronic and Balkan roots, and straddling a multitude of genres from blues and indie electronic to opera, folk and beyond.

Colourful Dream begins proceedings, taking the form of a gently-building opener. From the pluck of a guitar string to hypnotic flute-like elements, we soon arrive at the enchanting world of Lalai ft. Ariana Vafadari. Recorded in a four-hundred-year-old water well, it showcases the transcendent sound with which Satori has become best known, meandering through rustling hats and tribal-like drum patterns whilst the dulcet tones of Ariana shimmer softly throughout.

Tuti ft. Kalima takes on a harder edge, with gritty drum patterns opening into melancholic chords early on. Kalima’s vocals add an emotive touch to the piece, paving the way for Moj Dilbere: a euphoric cut that feels tribal and reflective in one.

We land at a similarly ethereal soundscape on The Gin Song ft. Mybaby, as star-like synths pulse alongside punchy percussion before Yellow Blue Bus ft. Laska takes its place. It begins with real-life ambience, made up of sounds recorded live in Ibiza as a bus passes and birds chirp merrily in the background. This swiftly gives way to a guitar-flecked bassline, opening neatly into the vocal offerings of both Satori and Laska.

Troublemaker ft. El Mundo retains an inherent melodic quality, progressing through poignant strings and whispering kick-hat combos. Powerful and poignant, the mesmeric sounds of Ora Dea and Moshe meander subtly into Lonely Boy (Redux) ft. Hugo Oak. The closing saga brings things to a wonderfully subdued finish, rounding off the album on a wholeheartedly calming note.

Although raised in the Netherlands, where commercial electronic music is of course king, on Dreamin’ Colours it is undeniably Satori’s Balkan heritage that layers his production with dreamy, ethereal, Eastern European influences. The album’s overriding voice lies in his exultant celebration of Eastern European music, weaving vibrant threads of its earthy, melodic, rhythmic sounds into his thick musical tapestry. Written during the pandemic and driven by the ache of separated love, the album is, Satori says, his most personal yet.

From holding down an eighteen-month residency at Heart, Ibiza to having nearly four-hundred-thousand listeners on Spotify each month, Satori is a truly worldwide artist in today’s electronic music scene. Having been championed by Damian Lazarus early on in his career, he has emerged as a must-see live act for fans from all corners of the globe. November 2021 marked the start of his USA tour, where his Maktub concept adorned some of the country’s most iconic clubbing institutions, whilst his discography speaks for itself, with a plethora of acclaimed releases on labels including Crosstown Rebels, Sol Selectas and DGTL Records to name a few. As Dreamin’ Colours introduces him to an ever-growing audience, Satori remains one of the most exhilarating, untamed and truly authentic forces in music.

“They were so solid. They meant what they said, they did what they did… here’s two guys, a guitar player and a harmonica player, and they could make it sound like a whole orchestra.” – Taj Mahal

“It was perfect. What else can you say?” – Ry Cooder

Nearly sixty years after they first played together, Ry Cooder and Taj Mahal, longtime friends and collaborators, reunite with an album of music from two Piedmont blues masters who have inspired them all their lives: GET ON BOARD: THE SONGS OF SONNY TERRY & BROWNIE MCGHEE, on Nonesuch Records.

With Taj Mahal on vocals, harmonica, guitar, and piano and Cooder on vocals, guitar, mandolin, and banjo – joined by Joachim Cooder on drums and bass – the duo recorded eleven songs drawn from recordings and live performances by Terry and McGhee, who they both first heard as teenagers in California.

Explaining where Terry and McGhee took him musically, Cooder says, “Down the road, away from Santa Monica. Where everything was good. ‘I have got to get out of here,’ was all I could think. What do you do, fourteen, eighteen years old? I was trapped. But that first record, Get on Board, the 10” on Folkways, was so wonderful, I could understand the guitar playing.”

Taj Mahal adds, “I started hearing them when I was about nineteen, and I wanted to go to these coffee houses, ‘cause I heard that these old guys were playing. I knew that there was a river out there somewhere that I could get into, and once I got in it, I’d be all right. They brought the whole package for me.”

Taj Mahal and Ry Cooder originally joined forces in 1965, forming The Rising Sons when Cooder was just seventeen. The band was signed to Columbia Records but an album was not released and the group disbanded a year later. The 1960s recording sessions, widely bootlegged, were finally issued officially in 1992. GET ON BOARD is Taj Mahal and Ry Cooder’s first recording together since then.

Harmonica player Sonny Terry and guitarist Brownie McGhee, both originally from the southeastern United States, had active solo careers as well as collaborating with some of the most celebrated musicians of their time. But they were best known for their forty-five-year partnership, which began in 1939 and included mesmerising live performances around the world and numerous acclaimed recordings.

Their Piedmont blues style became popular during the folk music revival of the 1940s and ’50s, centered in New York City’s flourishing club scene for jazz, boogie-woogie, blues and folk music. Terry and McGhee traveled in the same circles as Woody Guthrie, Pete Seeger, Leadbelly, and Josh White, among others in a rich mix of writers, actors and musicians. As a new generation emerging in the 1960’s drew inspiration from folk and blues, Terry and McGhee toured the world as the foremost exponents of the acoustic music of the Piedmont. They were named National Heritage Fellows in 1982 in recognition of their distinctive musical contributions and accomplishments.

“You got the south on steroids, when you got the music of the south, the culture of the south, the beauty of the south, through Brownie and Sonny,” Taj Mahal says. He describes McGhee as a “solid rhythm player. To really play behind the harp like that. He would set stuff up. He wasn’t making many notes. Sonny had all the notes, running around. But Brownie, he laid it down.” Cooder adds: “This thing of squeezing the thumb and first finger and a little bit of the second finger, which I still do. I’d forgotten where it came from. That’s what Brownie did. I saw him do that and said, ‘I think I can do that.’”

Taj Mahal calls Terry “a wizard harmonica player”. Cooder says, “Sonny had incredible rhythm for one thing. Making sounds with his voice and the harmonica so you couldn’t tell quite which was which. He was good at that.”

“We’ve been doing this a while,” Cooder says. “Perhaps we’ve earned the right to bring it back. Taj Mahal concludes. “We’re now the guys that we aspired toward when we were starting out. Here we are now… old timers. What a great opportunity, to really come full circle.”

The Bela Session is a full release of Bauhaus' first studio session from January 26 1979, where the iconic "Bela Lugosi's Dead" was recorded. This is the first and only official reissue of "Bela Lugosi's Dead" on vinyl, and the first time 3 of the 5 tracks have been released. This EP has been produced directly by the band with Leaving Records, in advance of the band's 40th anniversary

UK post-punk pioneers Bauhaus' immensely influential 'Bela Lugosi's Dead' - originally released in 1979 - is considered the original gothic rock record.
The first official vinyl reissue of 'Bela Lugosi's Dead' and first release of complete recording session (including 3 previously unreleased tracks), mastered by Mandy Parnell.
The live version of 'Bela Lugosi's Dead' was in iconic 1983 film The Hunger. It has been covered by Nine Inch Nails, Massive Attack and Nouvelle Vague.
The original version of 'Bela Lugosi's Dead' has never been on streaming services.
180g vinyl. The art is a variation of original 1979 12-inch. Reproduction of original recording session tape on inner sleeve. Includes 50x50cm poster of cover, gold retail sticker.

At the beginning of the eighties reggae music became increasingly in tune with what was happening in Kingston’s dance halls… probably more so than at any time since the sound system operators had started to make their own shuffle and boogie recordings in the late fifties. The international audience and the critics were too busy looking for a new Bob Marley to appreciate what was happening downtown and failed to acknowledge that this was a return to the real, raw roots of the music. Brash, confident, young record producers who were totally in tune with the youth audience stepped forward and seized the moment…

Oswald ‘Ossie’ Thomas began his apprenticeship in the music business at the age of fourteen and served his time as a record salesman for Bunny ‘Striker’ Lee and Winston ‘Niney The Observer’ Holness before moving on to Miss Sonia Pottinger’s Tip Top Records.

“I ended up working in three record stores on Orange Street from 1976 to 1981… Yeah man! Me deh ‘pon me bicycle till I buy my motorcycle! Them days records were coming out left, right and centre… every day!” Ossie Thomas

It was during his time with Miss Pottinger that Ossie began to produce records for himself and in 1979 Ossie and Phillip Morgan began the Black Solidarity label based deep in the Kingston ghetto on Delamere Avenue. Phillip initially inspired Ossie to start the label and soon Triston Palma, Phillip Frazer and “a youth named Gary Robertson” joined in although Gary later left for Canada.

The Soul Syndicate rehearsed in the Delamere Avenue area and Tony Chin gave Ossie a cut of a rhythm that he used for Triston Palma’s ‘A Class Girl’… the label’s inaugural release. The record was a sizeable success and paved the way for hit after hit after hit on Black Solidarity. Ossie worked with just about everybody who was anybody during this critical period of the music’s development including vocalists Robert Ffrench, Little John, Sugar Minott, Frankie Paul and most notably Triston Palma.

“But Delamere must be considered as a music street sheltering as it does such artists as Junior Byles, Don Angelo, Triston Palma, Phillip Frazer and producer Ossie of the Black Solidarity label…” Beth Lesser
And the man who had made his name in the business selling other people’s records now became one of the most important and influential record producers of the era.
With grateful thanks to: Paul Coote, Nick Hodgson & Hasse Huss

Last October, when Bernard Allison returned to his old haunt of Bessie Blue Studios, Tennessee, to be greeted by fabled producer and career- long collaborator Jim Gaines, it felt like coming home. And when Allison fired up the amps, counted in the band and embarked upon his latest studio album, Highs And Lows, everything felt right with the world. “Just to be able to create music again after the pandemic,” he says of that long-awaited rebirth, “was incredible.”
For 56 years, music has been Bernard Allison’s essence. As the youngest son of the much- missed Chicago bandleader Luther Allison, he was a bluesman from birth. One week after graduating high school, Bernard cut his teeth on the road with Koko Taylor’s Blues Machine lineup – and ended up staying for most of the ’80s. By the close of the decade, however, he assumed a twin identity, leading and
writing for his father’s band, while forging a solo career that exploded in Europe off the back of early albums like The Next Generation (1990), No Mercy (1994) and Funkifino (1995).Now, released in February 2022 on Ruf Records, Highs And Lows sees Bernard acknowledge his lineage through two classic songs by his
father – Gave It All and Now You Got It – while offering nine originals. Try the irresistible groove of Hustler: a funk gem written by Bernard with Andrew Thomas, whose horn-and-harp groove evokes the strut of the title character. Or the masterful Last Night, which shifts tempo from an upbeat chop to a weeping slow- blues, capturing the changing moods of a man chasing his runaround woman. As for the title track, Bernard says it speaks for anyone left bemused by life’s rollercoaster: “It’s a part of life, the ups and downs that everyone deals with.”Right now, with a new album of stellar material to take out on his New Year tour, Bernard Allison is back in the ascendency – and the man can’t wait to return to his natural habitat. “The song So Excited is basically about the excitement of being able to be back on the road again,” he says. “I think everyone can relate to that.”

RIYL: Japanese Breakfast, Clairo, Perfume Genius, Sufjan Stevens. Follow up to 2019’s breakout debut ‘Happy To Be Here’, which ranked #21 on Billboard Heatseekers Chart upon release. Early singles “Frankie” and “Dig” praised by Stereogum, The Line Of Best Fit, Billboard, Consequence, and Under The Radar. Radio support from SiriusXMU, KCRW, KEXP, BBC 1, BBC 6 & Triple J. Headline dates in NYC, London, Paris and Los Angeles. Tour dates supporting Sunflower Bean down to Texas, where Barrie will be showcasing as an official artist at SXSW 2022. Release week instore performances at record shops across the UK. On Barbara, the sophomore album from Brooklyn-based songwriter and producer Barrie, she battles the loss of a parent, the start of a new relationship, and the impulse to separate herself from her music. This result is a beautifully peculiar, and quietly ambitious collection of synth-pop, art-pop, indie rock and folk songs that reflect a new willing- ness to let listeners into her world. Two events redefined Barrie Lindsay’s life and shaped the direction of Barbara. In the summer of 2019, she met her now-wife, the musician Gabby Smith. Simultaneously, Lindsay’s father learned that his lung cancer had worsened. In January of 2020, she moved home to Ipswich to spend time with family and begin work on her album. Three months became nine, thanks to the pandemic. Lindsay wrote Barbara while quarantining with Smith in Maine, while her father was dying, and while she was falling in love. Lindsay finds catharsis from the ambivalent desperation of losing a parent on the album’s centerpiece, “Dig.” You can hear her newfound boldness as she wails the song’s central refrain, giving herself over to emotion: “I can’t get enough of you / Where did you come from?” Despite the grief, personal and collective on Lindsay’s mind while making Barbara, she often pauses to embrace joy. “Jenny,” is a simple, acoustic guitar ode to meeting Smith. Similarly, her fantasy of a roman- tic but bloodied afternoon, “Quarry,” sounds eerie and aque- ous, before erupting into a euphoric geyser of synth and drums. “Barbara isn’t an album specifically about grief or love. It’s just an album where I let myself actually feel my emotions,” Lind- say says. “That was something I’d never done before in music.” UK Dates – 24th March Portsmouth, UK @ Pie & Vinyl, 25th Brighton, UK @ Resident, 26th London, UK @ Banquet, 28th Nottingham, UK @ Rough Trade Nottingham, 29th Bristol, UK @ Rough Trade Bristol, 30th Leeds, UK @ Jumbo Records, 31st London, UK @ Rough Trade East. Track listing: A side 01. Jersey 02. Frankie 03. Jenny 04. Concrete 05. Dig 06. Bully B side 07. Harp 2 Interlude 08. Harp 2 09. Quarry 10. Basketball 11. Bloodline

Jlin's new EP "Embryo" marks a key point in the multi-platform artistic growth of the Indiana-based producer. It features a bold and fiery sound palette recalling the futurism of nineties Detroit techno and British IDM without succumbing to their clichés. With faint echoes of classic Model 500, it sounds like music for automated cars, robot cop junctions and virtual freeways in the air. A fifth wave techno? "Connect The Dots" is one of the standouts from her recent lives sets, with the kind of rhythmic complexity only Jlin can bring, underpinned by a glitch reborn and transmuted into something utterly of the here and now. Jlin comments "I wrote all these pieces in between commissions and trying to stay afloat mentally." She singles out final track "Rabbit Hole" as a highlight "It made me feel nostalgia yet connected me to my own evolution." Jlin is currently working on a new full length album for Planet Mu.

With thirty years of active, nefarious service under their bulletbelts, NECROPHOBIC are undisputed legends of the death and black metal underground. Formed in 1989 by drummer Joakim Sterner, the Stockholm blackhearts propagated a singular and fearless vision from the very start, confirming their prowess with now legendary debut album The Nocturnal Silence in 1993. Eschewing the self-conscious amateurism and primitive sonics that many of their peers held dear, NECROPHOBIC established a bold and vivid identity of their own, conjuring a densely melodic but endlessly wicked take on macabre extreme metal that countless lesser bands have since emulated. With “Hrimthursum”, the 5th full-length album, NECROPHOBIC already injected its blasphemous attack metal with melody and atmospherics, not to mention a great attention to instrumental detail, in the first place when the album was released in 2006. The Swedish black death metal legends are re-releasing this full-length record as first out of nine upcoming re-issues in total. The album will be available as Ltd. CD Jewelcase in slipcase, Gatefold LP & Poster and Digital album. A must have for every black and death metal maniac out there!

On June 17, 2020, the Hollywood Chamber of Commerce and the City of Los Angeles, announced that the iconic multi-million selling
soul/R&B band, THE CHI-LITES, would be honoured in their Class of 2021, by receiving a star on Hollywood Boulevard on the
Hollywood Walk of Fame.
• On 30th September 2021, with family friends and other soul legends in attendance, including their legendary label mate, Gene
Chandler, Marshall Thompson, co-Founder and last surviving member of THE CHI-LITES, accepted the honour on behalf of the Band.
• Although they had formed nine years earlier, it was when the Band met record producer Carl Davis in 1968 that they signed a
contract with Brunswick Records. They began to achieve commercial recognition and success, with songs predominantly written and
composed by band member Eugene Record, who was also their lead singer, although their first charting song, ‘Give It Away’ (US
R&B Chart #10) was co-written by Record, with producer Carl Davis.
• THE CHI-LITES released more than 15 studio albums and registered on the UK chart on nine occasions, with five Top 10 entries, one
of them being the Double-A sided reissue ‘Have You Seen Her’/’Oh Girl’.
• In 1976, THE CHI-LITES switched labels from Brunswick to Mercury and recorded two albums ‘Happy Being Lonely’ (1976) and ‘The
Fantastic Chi-Lites’ (1977), before teaming-up again with Carl Davis on his own Chi-Sound records label, to record 1980’s ‘Heavenly
Body’ and 1981’s ‘Me And You’.
• This 12-track vinyl LP set focuses on their Brunswick Records period and includes all of their UK hits, opening with their barnstorming ‘Are You My Woman (Tell Me So)’, the intro from which, being famously and expertly sampled by Beyoncé (and featuring
Jay-Z), for her worldwide 2003 hit and Transatlantic #1,‘Crazy In Love’.

For over fifteen years, New England’s When The Deadbolt
Breaks have lurked in the dark corners of underground
metal. With a doom style both psychedelic and unsettling,
their music has been tagged as many different things; heavy,
daunting, overwhelming and unnerving, while the band
shows singer / guitarist Aaron Lewis’s gritty vision of life on
the subcultural fringes of New England society.
 Following five highly acclaimed studio records, a split and a
remix album to date, When The Deadbolt Breaks release
their brand new album, ‘As Hope Valley Burns’.
 The band have carved a niche for themselves within the
interplay of extreme genres. Having played the SXSW, New
England Stoner & Doom Fest to name just a few, they are as
well no less at home in doom and grind than they are in
pummelling sludge or ambient soundscaping, casting forth
triumphant riffs or proffering murder-dirge nods at a volume
level that can only be considered violent.
 When The Deadbolt Breaks have always struck a balance
between the ugly and beauty; long and heavy compositions
wade through detuned, discordant and murky sludge metal
before shifting into melodic ambient space rock territories,
and back again.
 “This album is a unique one for When The Deadbolt Breaks.
We have pushed our boundaries sonically,” band
mastermind Lewis reveals. “The heavy is heavier, and the
mellow, spacial parts are even more so. Akin to our first few
records, we have returned to more aggressive drumming,
and psychedelic spaces, yet this record has a certain depth
and maturity to it that was missing in the past.”
 For fans of Eyehategod, Soilent Green, Nine Inch Nails,
Crowbar, Acid Bath, Stabbing Westward, Skeletonwitch.
 LP pressed on grey vinyl.

Proper Grounds was an alternative rap-metal band from Los Angeles that first formed in 1988. After being discovered by Madonna and signing to Maverick Records, they released their first and last studio album Downtown Circus Gang in 1993. Proper Grounds was able to merge the gritty realities of life on the street with the intensity and velocity of heavy metal. Formed by frontman The Sandman (who is also on the cover of the album) and bass player/producer Danny Saber, they had a deep-rooted social consciousness that neatly subverted the mindless violence and material worship that engulfed rap in the Nineties. They called their particular brand of noise “anguish rap metal”. Soon after the release of Downtown Circus Gang, Proper Grounds disbanded and rap-metal moved to the suburbs where iconic bands such as System Of A Down and Papa Roach found their origin.

If this word "music" is sacred and reserved for eighteenth and nineteenth century instruments, we can substitute a more meaningful term: organization of sound.
- John Cage

Kista returns from a long hiatus with his first ever all instrumental LP.

Songs From The Seas Edge takes us on a journey into the mind of producer and Graffiti Writer Kista.

It's an album where all his early influences or things that intrigued him, all come together, his love for Sc-Fi Movies, Hip Hop, 80's Arcade Games, John Carpenter Soundtracks and Films (you will notice a few vocal samples from his films nestled away among the songs) and many other things that influenced him growing up as a kid.

In a world now dominated by Playlists and the digital age, Kista took a step back to try and make an album that all fitted together, a concept album based around living on the coast as a kid in the 80's.
“ I started going through samples i put aside years ago and started to go back to them, to try and make them all fit and blend together to form an instrumental album”.

“It's kind of hard to explain where Songs From The Sea's Edge fits to my previous work” explains Kista
“ I wanted to make something for myself that I could then share, a journey, something to listen to from start to finish,with certain samples making an apperance in more than just one track.

Songs From The Sea's Edge has an hypnotic and haunting synergy to it, it's atmospheric, melodic but is still firmly rooted in Kista's love for Hip Hop.

Press play and enjoy.

TRANSMISSION 2LP EDITION OF PORCUPINE TREE'S 1991 DEBUT
ALBUM
Having recently announced that Snapper Music will be representing
Porcupine Tree's Transmission label worldwide, new CD & LP reissues of
the band's extensive catalogue continue to roll out throughout 2021
Porcupine Tree's 1991 debut album 'On The Sunday Of Life' is an album that
stands up as a modern-day pop-psych classic.
With acid warped lyrics courtesy of Alan Duffy (the brains behind the late
lamented Imaginary Records label) the album is a surreal delight containing gems
such as "Jupiter Island" & "Linton Samuel Dawson" filled with quirky melodies,
effected vocals & trippy backwards guitar work. "Nine Cats", the undoubted
masterpiece of the album, is pure Edward Lear styled psychedelia.
'On The Sunday Of Life' also hints at the direction the band would later take with
more progressive influenced material such as the epic "Radioactive Toy".
Porcupine Tree released their last album, 'The Incident', in 2009, marking another
step forward in the incredible journey of the band that began as a solo studio
project created by Steven Wilson in the late eighties to a multi grammy nominated
act & one of the world's most revered live bands, selling out arenas across the
globe & wowing fans with their incredible performances.
"Refreshingly original – a wonderful musical adventure" Record Collector "A debut
disc of unearthly delights… deadly seducing stuff" NME 2LP 140g Gatefold
Edition

Nonesuch Records releases Ghost Song, the label debut of singer/songwriter Cécile McLorin Salvant. Ghost Song features a diverse mix of seven originals and five interpretations on the themes of ghosts, nostalgia, and yearning. Salvant says, “It’s unlike anything I’ve done before – it’s getting closer to reflecting my personality as an eclectic curator. I’m embracing my weirdness!” Cécile McLorin Salvant plays at Cadogan Hall on November 16 as part of the EFG London Jazz Festival, four shows at SFJAZZ in February, and two nights featuring the music of Ghost Song at Jazz at Lincoln Center in May. Salvant says of the title track, out now, “What if the love has gone, the love has left you and you have the emotions around that, and you’re still going through them, still engaging with the ghost of that love?” She continues, “Some songs are so painful to come out but this one came out pretty quickly. I’ve had some loss the last couple of years: my grandmother, the drummer in my band Lawrence Leathers.”



Ghost Song opens and ends with a sean-nós (traditional Irish unaccompanied vocal style) performance by Salvant, recorded in a church. On track one, she transitions into Kate Bush’s 1978 classic ‘Wuthering Heights’. Salvant says of the song, “Wuthering Heights is a book that really struck me to my core as I was making this album, during the pandemic. And the best interpretation of the novel is Kate Bush’s song.” She continues, “It’s the most classic ghost story. I decided I wanted to do an album called Ghost Song, and I knew that one had to be on it. Then I had the idea to mix it in with the sean-nós ‘Cúirt Bhaile Nua’, which binds it to the traditional ‘Unquiet Grave’, the last track on the album. The ghost is not haunting me; now I am haunting the ghost. They parallel each other so well and they’re such different time periods. I wanted the album to be a circle, with the sean-nós reference at the beginning and at the end. So it is the first track but it’s also the last track and it’s also the middle track, which is how I listen to music, walking around my neighborhood, on a plane, travelling somewhere, putting stuff on repeat.” “All the songs on the album kind of mirror each other. I tried to create this strange symmetry. So as you go in from both ends, the songs are sort of matched together,” Salvant says. “‘I Lost my Mind’ is the center of the Russian doll. I wrote that in the middle of the pandemic. There were nights when I wanted to just scream. It was this deeper part of me saying, ‘It’s OK if this sounds completely crazy, OK to just go with the completely crazy thing and not worry if people think you have lost your mind for doing it.’



“The bands also mirror each other from top to bottom. In terms of the instrumentation, everything,” Salvant explains. “That’s why the songs are there in that relationship: they match each other, they’re like fraternal twins, or one is the evil twin of the other. I, as the living, am visited by the ghost, and then I go visit the ghost in turn. I am haunting the ghost and annoying the ghost, which is saying, ‘Get out of here and go live.’” Of the sonic variety on Ghost Song, Salvant says, “Texture is a big part of how I sing, having multiple textures in one song. It’s almost a compulsion. I can’t allow myself to stay in one texture. The instrumentation creates that but the recording process as well. It’s something I like, even when I’m eating. You want the creamy and chewy and crunchy at the same time. Warm and cold.”



Cécile McLorin Salvant, a 2020 MacArthur Fellow and three-time Grammy Award winner, is a singer and composer bringing historical perspective, a renewed sense of drama, and an enlightened musical understanding to both jazz standards and her own original compositions. Classically trained, steeped in jazz, blues, and folk, and drawing from musical theater and vaudeville, Salvant embraces a wide-ranging repertoire that broadens the possibilities for live performance. Salvant’s performances range from spare duets for voice and piano to instrumental trios to orchestral ensembles. Her unreleased work Ogresse is an ambitious long-form song cycle based on oral fairy tales from the nineteenth century that explores the nature of freedom and desire in a racialized, patriarchal world. Salvant studied at the Université Pierre Mendès-France. She has performed at national and international venues and festivals such as the Newport Jazz Festival, the Monterey Jazz Festival, the Village Vanguard, and the Kennedy Center. Salvant is also a visual artist.

The US-born, Norwegian-Mexican musician and producer Carmen Villain, real name Carmen Hillestad, has spent the last nine years and four albums gently unraveling song into the sound of emotional impulse. From the tilt and croon of her first two albums to the expansive warmth that flows and pulses beyond ambient in her more recent output, Hillestad's journey is artful musical deconstruction but also somehow spiritual growth.Hence new album Only Love From Now On, her fourth full-length and the culmination of a build-up that really began with the turn in sound evident from third album Both Lines Will Be Blue (2019, Smalltown Supersound) and the subsequent releases Affection In A Time Of Crisis (2020, Longform Editions) and Sketch For Winter IX: Perlita (2021, Geographic North). While the seed of her aesthetic was planted earlier, it has blossomed into something unexpected, benevolent in its composure and altogether luxuriant in its sensuality. If her themes, especially now, are wide, philosophical, and occasionally abstract, the emotional tenor of Hillestad's music is clear and purposeful. Makes sense that her key musical touchstones are dub, ambient, and cosmic jazz - flexible vehicles for tranquil wonder. While it may not contain voice or lyrics, as her two earliest records do, she describes it as, "wishing to maintain a sense of careful optimism for the future, while on the cusp of something unknown." Listening to Only Love From Now On is simultaneously comforting and alluringly strange. Partly it's the contributions of guests Arve Henriksen (trumpet, electronics) and Johanna Scheie Orellana (flutes). Partly it's the fluidity between instruments - such as clarinets - field recordings, the studio, jam, and careful composition. She calls the process a conversation with sound that occurs in her deliberate attempts to experiment with new methods, like granular synthesis, for her music-making. But mostly that strange comfort is in the peace and grateful contentment she has found via the stark recognition of her own privilege - laid bare by the pandemic. Only Love From Now On is fueled by the sense of scale in feeling small in the face of things so large, the contemplation of how the biggest impact we can have is in the people close to us, the attempt to make sure that impact is a positive one, and the choice to try to focus on love instead of fear.

LP Black Vinyl, DL card. ‘Devasting, with slow, burning songs that shudder and wince’ NY TIMES. Peel Sessions is an essential nine-track set catching Boston’s mighty Come at the peak of their powers. The collection includes two sessions recorded for John Peel in both 1992 and 1993, plus a previously unreleased live track ‘Clockface’ from 1991, unwrapping the blueprint of their sonic idealism. Raw, loud and live, exactly where the band’s dissonant blues noise rock originates. 1992’s four track session is direct from their debut; but more mangled, strangled and abrasive. The follow-up set from a year later includes live favourite ‘Mercury Falls’ and ‘City Of Fun’ neither of which surfaced as studio recordings. The sessions feature the masterful guitar interplay of two central pivots of the post-post-punk and alternative noisnik underground, Chris Brokaw (Codeine, Pullman, Thurston Moore, Ryley Walker, Lemonheads) and Thalia Zedek (Uzi, Live Skull, solo). The session’s line-up is completed by the addition of Sean O'Brian and Arthur Johnson’s visceral bass and percussion, documenting an essential era for the band. Peel Sessions follows their recently released ‘Don’t Ask Don’t Tell’ reissue, part of Fire Records forthcoming reissue series for the seminal group