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"This 10" single reissue comes in celebration of the upcoming 30th anniversary of Ozzy Osbourne's 'No More Tears'. A new mashup sure to inspire only the best moshpitting and hair-flicking skills from every true hard rock head, this new track hears a the original Ozzy song mashed up with Motorhread's version. Never before released, it sounds like an alternate Dante eagerly cruising through the many layers of hell, as new drum reversings, stereo effects and soundscapes are peppered into this masterful musical jigsaw. The B-side also contains the two original, unremixed versions.

New York-based duo Bottler, Pat Butler and Phil Shore, are the vanguard of their own distinctly eclectic sound. Raw, emotive, bold and highly creative, the duo has successfully carved out their own path with a series of EPs that represent the broad scope of their production prowess. Over the last five years Bottler have been working on their debut album, ‘Journey Work’, a milestone achievement that marks a pivotal moment in their music career. The LP is a distillation of the duo’s multifaceted upbringing, blending a variety of styles together bound together by an overarching attitude and approach that embraces creative freedom and self-acceptance.



Pat and Phil are childhood friends whose bond is akin to that of blood relatives. Their parents are best friends and they grew up side by side, developing their deep love for music together; sharing discoveries and inspirations, learning to play and perform, and nurturing their creativity together. Now formally ordained as Bottler, they channel their eclectic tastes into a sound that encapsulates the love and trust that forms the foundation of the friendship. The duo blends a myriad of styles to create songs that emanate warmth, joy, sorrow, pain and the full spectrum of human emotion.



The album title, like their music, is open to interpretation. The duo reveals themes related to chronicling life’s many ups and downs, the deep preparation that must be taken ahead of a spiritual ceremony or psychedelic experience, and, simply, the journey taken during the conception and creation of an album. A quote from Walt Whitman also partly inspired the title; “every leaf of grass is no less than the journey work of the stars”. However, the intention behind the title is to allow for ambiguity, giving the listener an opportunity to write their own narrative.



Across 11 cuts Bottler illustrate their distinct take on electronic music, weaving in elements of indie, pop, rock, house and techno with confidence and panache. ‘Journey Work’ starts at ‘Home’, a song that is fizzing with positive energy, Pat’s vocals welcoming the listener to the start of this meandering audio adventure.

‘Chrysalis’ opens with delicate piano keys that guide us into a bombastic bassline and energising drum beats. As it progresses, scintillating layers of synth and strings are added, creating a highly affecting, uplifting atmosphere.



‘Melatonin’ follows up next, merging heartfelt vocal delivery with a sombre instrumental, and a stirring guitar riff. A glorious demonstration of Bottler’s songwriting capabilities, which are also evident on ‘Vinyl’, an uptempo dance number with an unbelievably catchy chorus. Here we see the duo channel their experience of playing in multi-member bands, as the breaks and arrangement feel perfectly suited to a festival-sized crowd.



On ‘Tacoma’, Pat and Phil channel their appreciation of house and techno into a haunting cut that utilises reverse strings and extended vocal refrains to chilling effect. A heady club track for the twilight hours. ‘Meds’ incorporates muted singing, mystical pad work and a mesmerising riff to produce a captivating slice of uncomplicated dance music.



This is followed by ‘Hot Water’, which feels like a trip to a Californian beach, circa 1965. The vocals drift over a bouncing bassline with a complementary guitar riff. ‘Mako’ features Samurai Velvet singing about fireflies and afterlife in a wonderfully heartrending manner, Bottler’s instrumental keeping things simple, yet highly effective.



We head back underground with ‘Weed’, a dense, gloomy cut with inspired use of chopped up vocal clips, stuttered throughout, alongside a mean bassline. ‘You’re Old’ is the soundtrack to an explosion of festival euphoria, dancing shoulder to shoulder with your best friends, forgetting all your troubles and living in the moment. An anthemic song that transposes Bottler’s idiosyncratic style onto the pop blueprint. Finally, ‘Cicada Rhythm’ closes the LP with a pensive, yet joyful feeling. A chunky bassline is juxtaposed with Pat’s angelic vocals cascading over the top. A hint of tribalism comes through, as we approach the end of the Journey Work…



Five years in the making, fuelled by the desire to express their deep love for music of all varieties, Journey Work is symbolic of the long road it takes to accept oneself and be comfortable expressing one’s truth. Diverse, dynamic and daring with a rawness and honesty that is rare to find, the album marks a triumphant debut for Bottler and one that crystalises their unique identity.

First time reissue of the holy grail of Colombian garage music, originally released in 1967. Includes two wonderful covers of the Californian band Count Five: 'Psychotic Reaction' and 'They're Gonna Get You', as well as the stellar original 'Cosmos 901'. DESCRIPTION In the mid-sixties, when the temperature of modern youth music was at its highest, Colombian label Codiscos placed its bet on some of the emerging figures of Colombian pop and two exciting wild bands: Los Flippers and Los Streaks. After the fleeting brilliance of the so-called "new wave", the 4-song EPs released by the label -mainly for promotional use- lay forgotten on the shelves of radio stations or stored in the musty trunks of the fans who managed to buy the few copies that were distributed by the record label. Today it's incredibly difficult to find any of these EPs released by Codiscos between 1965 and 1967 in mint condition, with the original sleeve. Los Streaks didn't just come out of nowhere, it was the brainchild of the radio DJ, manager and promoter Édgar Restrepo Caro. Towards the end of 1966, while working as the manager of Los Flippers, Caro became fascinated with the idea of creating a group made up of some of the most talented musicians on the Bogota rock circuit. On January 20, 1967, Los Streaks made their debut at the discotheque El Diábolo as a warm-up act. The following weeks were crazy: they appeared on national television, starred at matinee sessions at two major venues in Bogota, and headlined at the concert organized by the music magazine Juventud a Go 67. During this short period, they established a powerful stage presence, combining exquisite musicianship and a sharp sense of humor. Their repertoire was also bold, encompassing Giuseppe Verdi, The Beatles, Pérez Prado, The Ventures or Mitch Ryder and The Detroit Wheels. The band's solid sound was perfectly aligned to Codiscos' interests. After some enthusiastic promotion by their manager, Humberto Moreno met them, and they signed a contract to release two LPs. In mid-1967 they traveled to Medellín and recorded eleven tracks that would shape the first of these albums. One of these songs was kept back for "El disco de oro a Go-Go" (LDZ-20331), while the rest were included in "OPERAción A Go-Go" (LDZ-20343), released on August 12 of the same year. It included four songs that the label had released on an EP, which decades later has become the holy grail of Colombian garage music. The stunning "Reacción sicótica" EP includes the stellar 'Cosmos 901' composed by Manuel Jiménez, the sparkling 'Escápate mi amor' (a cover of the classic 'Get Away' by Georgie Fame that they most probably heard in the version recorded by the Spanish band Los Angeles) and two wonderful covers of the Californian garage band Count Five: 'Psychotic Reaction' and 'They're Gonna Get You': 'Reacción sicótica' and 'Soy así_ y qué?'. Four hits that shook things up memorably.

Partnering with French label Heavenly Sweetness, Razor-N-Tape delivers the first in a series of EPs by the Brooklyn band Underground System. Showcasing the group’s dynamic global sound, the three original songs of the ‘Into The Fire EP’ range from the Afrobeat-meets-indie-disco vibe of the title track, to the raucous and instant earworm bounce of He Said, She Said, and the smolderingly sultry Desnuda.

On the B side the original material gets some heavy DJ-friendly reimagining by Detroit legend Andrés, and French don Yuksek, making this 12” both a proud musical manifesto of the new artist-centered direction of RNT, as well as a knowing nod to the label’s devoted fans on the dancefloor.

Spun Out Agency is honoured to present ‘More of that Frightful Oompty Boompty Music’, a compilation dedicated to the Guv’nor himself Mr Andrew Weatherall who should need no introduction on these pages. Released on vinyl in two beautiful parts, the first drops on April 15th with the second following two weeks after.

‘More of that Frightful Oompty Boompty Music’ (yes we are going to write that out every time we talk about it in this communique) showcases a selection of the shining greatness from the agency’s roster. Paranoid London, Fantastic Twins, Mehmet Aslan, Autarkic, Ruf Dug, Sean Johnston, and Manfredas gift exclusive tracks which highlight the sublime acid, techno and house sound that Weatherall would have described as “oopmty-boompty” music.

Spun Out is a London-based artist booking agency which has been run by Caroline Hayes for over 20 splendid years, that looked after the life and times of Andrew Weatherall alongside his partnership with Sean Johnston under their A Love From Outer Space moniker, and the likes of Optimo (Espacio), Ivan Smagghe, Josh Caffe, Man Power, Body Hammer, Kiara Scuro and many more artists, doing it differently.

Kicking off the A-side of the first record is Hardway Bros’ (aka Sean Johnston) previously unreleased remix of We Are The Axis by The Asphodells, the duo consisting of the Andrew Weatherall and former Battant member and Spun Out talent Timothy J. Fairplay. An energetic techno stomper with percussive rhythms, this exclusive remix offers the ideal tantalising dose to tease any dancefloor. The vocals and synth layers give it a punk rock approach, referencing the multi-genre essence of Weatherall’s taste in music.

Tel-Aviv-based Autarkic’s Sleepover closes the A-side with a chuggy lullaby, one that is certainly unsuitable for putting a baby to bed, given its intricate acid lines of total hypnosis. Following on the B-side is Manctalo Banger, a house bop by the Manchester-via-Ibiza computer game nerd and vinyl digger Ruf Dug, and Shizowaves, Turkish-born Basel-based Mehmet Aslan’s soulful touch to the compilation, bringing Middle-Eastern percussive melodies and catchy basslines.

The second record is introduced by Paranoid London, with a Spun Out dedicated acid techno banger appropriately titled Spinning Out and Fantastic Twins’ EBM track Kali’s Tongue Was A Weapon. On the B-side is Lithuanian chug legend Manfredas’ Hfuhruhurr, and Naum Gabo, who closes the compilation with the chaotic analogue-synth frenzy, Cold Sold. The name Naum Gabo may evoke the pioneer of Russian constructivism, who rose to fame thanks to his crazy kinetic sculptures. However, here it manifests as one half of Spun Out’s Optimo duo Jonnie Wilkes (JG Wikes) and James Savage. The duo’s impeccable manipulation of electronic hardware couldn’t give a better homage to him.

Some highlights for Spun Out artists this summer include 9 acts from the roster playing at Houghton Festival, Paranoid London’s show at Sonar Festival, Love International Festival and Ransom Note’s festival with Optimo Watching Trees.

The Grammy® Award winning original motion picture soundtrack Almost Famous is now available on 2LP 180-gram black vinyl with unreleased photos to enhance the packaging. Featuring songs from Led Zeppelin, The Who, Elton John, Simon & Garfunkel, The Beach Boys, Todd Rundgren, Rod Stewart, The Seeds, The Allman Brothers Band, Lynyrd Skynyrd, David Bowie, Clarence Carter, Cat Stevens, Thunderclap Newman, original score track by Nancy Wilson and “Fever Dog” by the film’s fictional band Stillwater.

(Remastered Edition)

Described by TIME Magazine as “gloomy and sexual yet lively and introspective”, Garbage’s second studio album Version 2.0, released in 1998, was heralded as a bold progression from their self-titled debut album and went on to sell over four million copies worldwide, matching the success of its predecessor. Formed in 1993 comprising of members Duke Erikson, Steve Marker, Butch Vig and Shirley Manson, Garbage have gone onto sell over 17 million albums worldwide over a 28 year career.

This 2LP Gatefold & 2CD Digipack release, alongside the repress of their debut album Garbage (1995), is the first time the newly remastered album has been made available via BMG, ahead of their new studio album No Gods No Masters, to be released on Infectious Records in June 2021.

Impossibly rare and extremely obscure 45 that almost never turns up. A monstrous modern soul dancer with a funky edge on the a-side and a great boogie banger on the flip side now available to soul and funk fans around the globe at the price of a pizza for one. This version comes out of a fortunate demo on a 1/4” reel tape which is the only recording that survived a car crash Mr. Horton was involved in many years back. Johnny kindly allowed us to license this beautiful piece of music and we are very proud to bring to your decks such a testament to the Alabama sound of the seventies.

First release in 2000 by DON ONE

12 Beautiful Roots Reggae songs by Cornell Campbell of which most was recorded in the late nineteen ninety
All tracks on the Studio One Rhythms

All of the songs on the single LPS are Produced by Noel Alphanso/Bill Sample/Donald Moodie
There are only 95 copies in stock

Future Jazz Ensemble is a project from multi instrumentalist Nicola Penna. With Future Jazz Ensemble, Nicola is exploring of the intersected sonic paths of jazz, ethnic and electronic music; trying to recall the past and evoke the future. His previous two Future Jazz Ensemble releases; The Mankind's Place 12" LP and Art For Art's Sake 7" were limited runs and are now very sought after. We are very proud to have Nicola releasing music on Ten Lovers Music and look forward to future projects.

“Grinding, old industrial influenced, no wave techno for outsiders…”
JK FLESH is the industrial techno alter ego of JUSTIN K BROADRICK (NAPALM DEATH, GODFLESH, JESU, TECHNO-ANIMAL, ETC). It is techno made by an extreme music pioneer, so expect techno that is heavy, brutal and psychedelic. ‘NEW RELIGIONS OLD RULES’ is the latest JK FLESH album, made up of 8 fierce dancefloor destroyers. ‘NEW RELIGIONS OLD RULES’ thematically explores mankind’s persistent obsession with indoctrination. Limited 500 copies worldwide only on double vinyl!

"This limited release is a collaboration between Monkey Timers DISKO KLUBB and a Japanese record label from Amsterdam trusted by fans & artists around the world, Sound Of Vast.

Monkey Timers are gaining support in Japan and abroad as a DJ / production unit that is pioneering the next phase of the Japanese new house and disco dub music scene. They will be releasing their long-awaited full-length album ‘KLUBB LONELY’ in collaboration with DISKO KLUBB and Sound Of Vast as a 2LP set limited to 500 copies worldwide.

The album will be packed with collaborations with vocalists / producers / musicians from Japan and abroad including a cover of Dusty Springfield's ‘That's The Kind Of Love I've Got for You’ featuring Lisa Tomlins, who is known for her vocals on Lord Echo and Recloose albums. Also featuring are Berlin-based Mr. Ties; Keith Sano, a promising talent from Okayama who is gaining international attention; MIRRROR, an up-and-coming Japanese-American hip-hop unit; DJ Sammo Hung Kam-Bo (Omoide Baka Yarou ATeam); Marimba player Mami Tsunodou, who is a supporting member of cero, KIRINJI, etc. and many more.

Mixed and mastered by Justin Van Der Volgen (MY RULES). The cover design was done by C.E designer Sk8Thing. "

The long-awaited reissue of this rare Eastern and psychedelic Jazz LP by the famous Hungarian guitarist, originally
released in 1968. For the first time and as extended Edition with four bonus tracks: radio version from 1968/69 7”
singles 7”. Deluxe 6-sided Digipak CD with 20 page booklet and Gatefold Vinyl comes with long, exclusively written
inner notes by the famous researcher and biographer Douglas Payne.
“The performances on this LP have a restrained, introspective quality. Szabo’s work is lyrical, rather economical, and
somewhat angular, and his tone is warm and glowing.” – Harvey Pekar, DownBeat
“Gabor Szabo is at the musical zenith of his career. This album could rank as his best to date.” - Billboard
“But for sheer lyrical beauty, few players are in Szabo’s class. His startling use of dissonance is a delight, too, and
time and again he will alter a final phrase just slightly, totally reorienting a familiar tune.” – Alan Heineman, DownBeat
“This is definitely one of my ‘go to’ Gabor albums.” Mike Stax, Ugly Things
"Gabor Szabo’s Bacchanal documents one of the earliest and finest examples of what was then known as “jazz rock.”
Years before this new jazz style evolved – or devolved, according to some – into “fusion,” jazz rock was mostly
fashioned by younger jazz players whose ears were open to the emerging sounds coming out of rock and roll,
especially those of the Beatles and, later, Jimi Hendrix. " - Douglas Payne
After recording four albums for Impulse in 1967, the distinctive guitarist Gabor Szabo cut three strongest records for
the Skye label in 1968-1969: "1969", "Dreams" and "Bacchanal" all of them became a legendary classic. This time
EBALUNGA!!! are rediscovers "Bacchanal". Szabo's regular group of the era is heard on record for the last time:
guitarist Jimmy Stewart, bassist Louis Kabok, drummer Jim Keltner and percussionist Hal Gordon. With the exception
of two Szabo originals, the material is comprised of current pop tunes including two songs by Donovan, "Love Is Blue,"
"The Look of Love" and "Theme from the Valley of the Dolls."
Gabor Szabo was one of the most original guitarists to emerge in the 1960s, mixing his Hungarian folk music heritage
with a deep love of jazz and creating a distinctive, largely self-taught sound.
Born in Budapest, on March 8, 1936, Szabo was inspired by a Roy Rogers cowboy movie to begin playing guitar when
he was 14 and often played in dinner clubs and covert jam sessions while still living in his hometown. He escaped
from his country at age 20 on the eve of the Communist uprising and eventually made his way to America, settling
with his family in California.
He attended Berklee College (1958-1960) and in 1961 joined Chico Hamilton's innovative quintet featuring Charles
Lloyd. Urged by Hamilton, Szabo crafted a most distinctive sound; as agile on intricate, nearly-free runs as he was
able to sound inspired during melodic passages. Szabo left the Hamilton group in 1965 to leave his mark on the popjazz of the Gary McFarland quintet and the energy music of Charles Lloyd's fiery and underrated quartet featuring Ron
Carter and Tony Williams.Szabo initiated a solo career in 1966, recording the exceptional album, Spellbinder, which yielded many inspired
moments and "Gypsy Queen," the song Santana turned into a huge hit in 1970. Szabo formed an innovative quintet
(1967-1969) featuring the brilliant, classically trained guitarist Jimmy Stewart and recorded many notable albums
during the late '60s. The emergence of rock music (especially George Harrison, Eric Clapton, and Jimi Hendrix) found
Szabo experimenting with feedback and more commercially oriented forms of jazz.
During the '70s, Szabo regularly performed along the West Coast, hypnotizing audiences with his enchanting,
spellbinding style. From 1970, he locked into a commercial groove, even though records like Mizrab occasionally
revealed his seamless jazz, pop, Gypsy, Indian, and Asian fusions. Szabo had revisited his homeland several times
during the '70s, finding opportunities to perform brilliantly with native talents. He was hospitalized during his final visit
and died in 1982, just short of his 46th birthday.

Two years and one pandemic after his previous release, the Italian, London-based solo project M!R!M is back with a new full- length album.

Inspired by the synth pop classics, as well as from cold and dark waves, multi-instrumentalist Jack Milwaukee has been releasing material on labels such as Fabrika and Manic Depression until his first record on Avant! ”The Visionary” back in 2020.

On April 22 his fourth LP ”Time Traitor” will be released and we’re excited to say this is Milwaukee’s most personal job to date.

If you are familiar with his work, you know the DIY/lo-fi approach of his first recordings was already gone with his previous LP but these new ten recordings dig even deeper, drawing the outlines of a fantasy world lost within the foggy memories of a collective childhood.

Possibly locked in his bedroom for the necessary time, Milwaukee has been able to recreate an imaginative realm of 80’s FM suggestions, scattering a number of acoustic clues from different parts of this parallel, yet so familiar dimension. It’s almost like M!R!M is sending us a message in a bottle with each of these new tracks and each message tells a different story.
Post Fight has a punchy pop-punk riff drove by solid synthwave beats, Faultless Pitch hosts a mellow, funky bass line over a solemn drum gate, Desert Love screams italo like nothing else and it was indeed composed four-handed with fellow artists Nuovo Testamento, Say Nothing features SDH singer Andrea Pérez’s backing vocals to invoke a dream-like scenario.
There is even a Turquoise Days’ Grey Skies cover that is just one more perfect example of Milwaukee’s ability to take a single item from the suitcase of the past and make it extremely current in a handful of minutes.

All this is adorned by semi-instrumental postcards with suggestive names such as Moody Moon, Peninsula and Goodnight Galaxie that will guide you through this journey across M!R!M sound-&-memory experience.

What would you do if a never before released jazz funk album from 70s Yugoslavia had dropped suddenly into your arms? An album which sounds like a crate diggers holy grail!? Album full of heavy drum breaks, repetitive bass grooves, superb sax solos and world class jazz arrangements finely intertwined with Yugoslavian folk music elements?! - “PRESS IT!” ~ That’s what we said always striving to present the future of unheard sound of Yugoslavia! With the help from Mr. Cosmic himself (Željko Kerleta), Jovan Maljoković and his wife Nevenka and, of course, Radio Belgrade who provided the recordings buried deep in their library, here we present Jovan’s first vinyl release since 1989 and his album nr. zero. If this LP was released in 1976, sounding this clear and impressive as it sounds today, it would be up on the pedestal with cult Yugo jazz-funk releases such as Sećanja by Miša Blam (also released on Everland) – and believe me – it would burn a whole through your wallet. Don’t allow me to get started on the Jovan’s ensemble personnel here, represening the crème de la crème of jazz and funk instrumentalists of Yugoslavian Jazz (Goce Dimitrovski, Miloš Krstić, Kire Mitrev, Miodrag Maljoković, Aleksandar Sanja Ilić, Miša Blam, Uroš Šećerov...). The raw execution, top recording and compositions resembling but not imitating the greatest contemporary western jazz-funk ides of the time, that sound like something that could have been easily released on Mainstream, Columbia, MPS or even be an authentic Kudu hit record if it had been released at the time by Creed Taylor. Just listen to the track A1 Ponor Naviše with a whirlwind of big band arrangement turnovers or track B1- Uspomena (hint: Sećanje...) where Jovan takes on the ‘Lame donkey’ in a strong downbeat rearrangement released just two years after Volker Kriegel published it on his album Lift! (MPS/BASF 1973.). You’ll be blown away by the instrumental prowess of the ensemble and Jovan’s ideas! ~ Dr. Smeđi Šećer

Reissued for the first time in over 40 years, Show the World is an unrated and realitvley unknown soul / reggae ablum from the caribbean. Having recently been sampled by Benny The Butcher, collectors and producers are starting to pay attention to what has been an overlooked gem until now. With the album ranging from sweet soul that sounds like it could have been released on Motown in its prime, to funky numbers that could be played in clubs, to reggae that could stand alongside some of the Studio 1 releases, this is sure to please many. No filler.

Rare 1966 Brazilian album with a jazz/bossa nova take on songs by the Beatles, all served up with plenty of great keyboard work from the legendary Manfredo Fest who would later become member of the Sergio Mendes band. The songs are all played with imaginative scents that really take them from their roots as pop songs and open them up as groovers filled with keyboard improvisations. First time vinyl reissue. DESCRIPTION Rare 1966 Brazilian LP with a jazz/bossa nova take on songs by the Beatles performed by the very talented Manfredo Fest and his trio. It was originally released right after their classic 1965 RGE album and has a very similar jazz-based sound. Manfredo Fest was part of the gathering of Brazilian musicians of the late-'50s who were developing the bossa nova movement, and he made a number of trio recordings in that vein from 1961 to 1966. After emigrating to Minneapolis in 1967, Fest moved to Los Angeles where he served as keyboardist and arranger for Bossa Rio and toured with Sergio Mendes. This recording is all instrumental, strongly jazz-based, with piano as the main solo instrument, soaring over the top of some tight, crackling rhythms! The songs are all played with imaginative scents that really take them from their roots as pop songs and open them up as groovers filled with keyboard improvisations. A nice slice of how the bossa nova sound was evolving in its homeland as well as the international impact the Beatles were having on countries outside of the U.S., England, Japan, and Germany. First time vinyl reissue.

Berlin and London based avant-pop duo Private Agenda will release their second full-length album – A Mannequin – on Lo Recordings on 22 October via digital, limited-edition LP and music box formats.

A Mannequin: Twelve tracks corresponding to twelve character traits, imagined as personalities in musical form. What are the dichotomies that define us? Our seen and unseen selves, the façade and the fundamental, the real and the imaginary. The result is musical hyper-realism.

The LP includes a bonus track taken from the actual movie soundtrack, but not present on the original LP. The track feature Audrey Hepburn on vocals with orchestral backing. "This effervescent soundtrack for Blake Edwards' adaption of Truman Capote's wistful novella propelled Mancini into the major league of Hollywood composers. Though there were other jazz-oriented arrangers working
in Hollywood at the time, none possessed Mancini's imagination and skill in orchestration." - All Music

QUAINT BUT EXTRA's first vinyl EP with 4 fantastic house & techno remixes of NATE MANIC: "IT'S NEVER EASY (DERRICK CARTER REMIX)", "LATE FOR WORK (GUILLAUME & CONTU DUMONTS REMIX)", b/w 2 remixes of "YOU WILL NOT RUIN ME" by JUSTIN CUDMORE and LINDSEY HERBERT. 303 numbered copies.

A supergroup comprising Deerhoof + Juana Molina + Kasai Allstars + Konono No.1 + Skeletons + Wildbirds & Peacedrums. It all started when the music of Konono No.1 and Kasai Allstars was first released in the US and Europe, in the later part of the '00s. With its blend of ritual music, traditional percussion, thumb pianos, electric guitars, and makeshift instruments made from junkyard scrap, their out-of-this-world sound now also known as Congotronics, a word coined to title the series in which their albums appeared on Crammed Discs - deeply struck the imagination of musicians and fans worldwide. Leading rock media enthused about this newly rediscovered brand of "primal rock", while an impressive string of avant-rock, electronic & hip hop artists (from Dirty Projectors, Andrew Bird, Animal Collective and Deerhoof to Beck, Björk, Wilco, Radiohead, Saul Williams, Questlove and many more) repeatedly quoted the Congotronics bands as major sources of inspiration.

FOR FANS OF:
Airto Moreira, Gilberto Gil, Chick Corea, George Duke, Jorge Ben, Sabrina Malheiros, Hermeto Pascoal, Chico Buarque, Stanley Clarke, Jaco Pastorius, Carlos Santana, Jose Neto, Dizzy Gillespie, Stan Getz, Milton Nascimento


First new studio album in over 15 years by the “Queen Of Brazilian Jazz” Musician line-up includes Airto Moreira, Jose Neto, Diana Purim and Celso Alberti.

One of the all-time greats of Brazilian jazz fusion, Flora Purim, returns with her first studio album in over 15 years, ‘If You Will’, released on Strut on 29th April.
Conceived as a celebration of her music and collaborations, the album explores new compositions alongside fresh versions of Flora’s favourite personal songs and positive lyrics from across her varied career. Title track ‘If You Will’ reprises a song from her inspired collaborations with George Duke: “You will find... good love, real joy, so much peace of mind, if you will…”; the resilient ‘This Is Me’ updates an Airto jam band tune ‘I Don’t Wanna Be Myself Again’; ‘500 Miles High’ marks the heyday of the late Chick Corea’s Return To Forever band and ‘Zahuroo’ interprets a song by Claudia Villela about “a shapeshifting animal creature, a messenger who acts as a bridge between our thoughts and the universe.” A family affair recorded primarily in Curitiba and Sao Paulo, ‘If You Will’ brings together many of Flora’s closest circle of musicians including Airto Moreira, guitarist José Neto, her daughter Diana Purim on vocals and percussionist Celso Alberti.
The album is the latest chapter in Flora’s long, illustrious and varied career. As well as her celebrated partnership with Airto and her early days with Quarteto Novo, Flora has worked with Stan Getz, Gil Evans, Miriam Makeba, George Duke, Chick Corea (as an original member of Return To Forever), Dizzy Gillespie’s United Nation Orchestra, Uruguayan band Opa and many more. Her solo albums on Milestone remain true jazz fusion classics.
‘If You Will’ is released on CD, LP and digital, supported by a full international PR and marketing campaign worldwide. The album was co-produced by Flora Purim and Roberta Cutolo with package photos by Mel Gabardo in Brazil and cover illustration by Gabriela Barbalho.

FOR FANS OF:
Airto Moreira, Gilberto Gil, Chick Corea, George Duke, Jorge Ben, Sabrina Malheiros, Hermeto Pascoal, Chico Buarque, Stanley Clarke, Jaco Pastorius, Carlos Santana, Jose Neto, Dizzy Gillespie, Stan Getz, Milton Nascimento

First new studio album in over 15 years by the “Queen Of Brazilian Jazz” Musician line-up includes Airto Moreira, Jose Neto, Diana Purim and Celso Alberti.

One of the all-time greats of Brazilian jazz fusion, Flora Purim, returns with her first studio album in over 15 years, ‘If You Will’, released on Strut on 29th April.
Conceived as a celebration of her music and collaborations, the album explores new compositions alongside fresh versions of Flora’s favourite personal songs and positive lyrics from across her varied career. Title track ‘If You Will’ reprises a song from her inspired collaborations with George Duke: “You will find... good love, real joy, so much peace of mind, if you will…”; the resilient ‘This Is Me’ updates an Airto jam band tune ‘I Don’t Wanna Be Myself Again’; ‘500 Miles High’ marks the heyday of the late Chick Corea’s Return To Forever band and ‘Zahuroo’ interprets a song by Claudia Villela about “a shapeshifting animal creature, a messenger who acts as a bridge between our thoughts and the universe.” A family affair recorded primarily in Curitiba and Sao Paulo, ‘If You Will’ brings together many of Flora’s closest circle of musicians including Airto Moreira, guitarist José Neto, her daughter Diana Purim on vocals and percussionist Celso Alberti.
The album is the latest chapter in Flora’s long, illustrious and varied career. As well as her celebrated partnership with Airto and her early days with Quarteto Novo, Flora has worked with Stan Getz, Gil Evans, Miriam Makeba, George Duke, Chick Corea (as an original member of Return To Forever), Dizzy Gillespie’s United Nation Orchestra, Uruguayan band Opa and many more. Her solo albums on Milestone remain true jazz fusion classics.
‘If You Will’ is released on CD, LP and digital, supported by a full international PR and marketing campaign worldwide. The album was co-produced by Flora Purim and Roberta Cutolo with package photos by Mel Gabardo in Brazil and cover illustration by Gabriela Barbalho.

MONLIGHT LOVE AFFAIR is a love relationship in which there are no boundaries. The moon colors the world in a different light and makes us see and feel things with different eyes. So in a perfect digital world it is inevitable to let the organic flow in, to look at the other side and to unite. This is exactly what Parov Stelar does to perfection with this album. He takes the digital and organic worlds, combines them into one massive masterpiece and is not willing to compromise, because in compromise both sides always lose.

Parov Stelar completes another phase of his artistic development with the album Moonlight Love Affair. Radical honesty, openness to himself and his environment pave this path. I CAN SEE MUSIC, I CAN HEAR ART...the album artwork designed and painted by Parov Stelar himself closes the circle and completes the total work of art of all senses.

The album MOONLIGHT LOVE AFFAIR will be released on 29.04.2022 and shows all facets of the artist. Raw and unvarnished, thereby vulnerable, powerful and beautiful.

The Classic 1977 Folk album .and follow up to Savage Amusement.
Feat: Mick Ronson, Andy Latimer & Keef Hartley.
Recorded at Sawmills Studios, Cornwall, Tapestry Studios, London and Fairview Studios, Hull.
Incl. Extensive Sleeve Notes from Andru Chapman & Marc Higgins
With bonus track: Steel Bonnets (Instrumental)
Limited Edition on 180 gram vinyl

Neil Young announces the release of the fourth installment in his Official Release Series (ORS): a box set that includes his classic ‘80s records Hawks & Doves, Re•ac•tor, and This Note’s for You, as well as his Eldorado EP, previously released only in Japan and Australia. Both vinyl and CD box sets will be available for pre-order today and out on April 29th.

The ORS Vol 4 collects an eclectic set of decade-spanning sounds. Hawks & Doves (1980) revisits his folk roots and explores some of his most country-leaning offerings; the blistering Re•ac•tor (1981) showcases a stomping set of heavy, overdriven rock with Crazy Horse; and This Note’s for You (1988) casts Young as a big band leader, belting out intricately arranged blues. The Eldorado EP (1989) is full of feral distortion and earthy crunch featuring Young backed by The Restless (Chad Cromwell and Rick Rosas). It includes two thundering tracks — “Cocaine Eyes” and “Heavy Love”— not available on any other album.

ORS Vol 4 collects a large swath of his diverse and compelling ‘80s work, testifying to the legendary songwriter’s gift for sonic shape-shifting.

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.

Sixteen great tracks, a dozen of which were Muddy Waters most successful recording for Chess Records, including 'Hoochie Coochie Man' and 'I Just Want To Make Love To You', staple repertoire of British blues bands during the 60s.

Bonus CD includes the complete album 'The Best of Muddy Waters' plus fourteen bonus tracks. Digipak presentation with updated liner notes.











[k] 11. I Want You To Love Me [aka Mad Love]

Duke Ellington and Ella Fitzgerald's paths had crossed many times during the Thirties, Forties, and early Fifties, but no recorded trace of the two legendary musicians collaborating existed until 1957, when they would come together to produce a series of sessions which include the music on this LP.

It may seem incredible that not a single previous air shot of Ella with Ellington survives, but Duke had a tight band and didn't frequently play with musicians outside of his orchestra. Ella, on the other hand, after coming to fame with the Chick Webb orchestra in the late Thirties, was taken under the wing of Norman Granz's, from which point on she rarely recorded with anyone other than artists contracted to Granz, which included many of the greatest jazzmen of all time.
Because of Ellington's contractual commitments and incredible busy schedule, the sessions where fraught with problems and intermittent delays. Thankfully though, under Granz's supervision and stoicism, the Ella- Duke project was completed.

Pink Vinyl

The year is 1981. The Kiel-based PostPunk / Wave underground outfit NO MORE releases their second ever single „Suicide Commando“ and their world changes forever. Well, not only their world – THE world.
What began as an independently published 7“ single became a cult classic, a genre defining – and defying – song, an all-time dancefloor favorite of many, a timeless signature piece that escaped its original realm of PostPunk x Wave x Indie x Alternative to also become engrainedin the DNA of modern electronic dancefloor culture most prominently in the beloved late 90s permutation presented by DJ Hell which became a classic in its own right. Now the year is 2021. Four decades have passed and NO MORE's „Suicide Commando“ is
back once again - well... the song actually never left! -, this time harking back to the very beginning, the original vibe and the original format.Remastered and re-released with the original tracklisting and paying homage to the original artwork „Suicide Commando“ will be available in 7“ format for the first time since 1981. And staying true to the underground blueprint this 40th anniversary re-release edition once again is put out on the circuit through a small independent label: the Intrauterin Recordings offspring El Caballo Semental which also released NO MORE's „123456789 *baze.djunkiii & Herr Brandt Dream A NuDream Remix“ as a limited to 200 copies one-sided, colored whitelabel 7“ edition in 2019.

HIGHLIGHTS: Let yourself go with the overwhelming musical output of Argentina's very own Melopea Discos, in a selection of songs that explore fusion with an air of mystery and a side of exquisite sensitivity across 11 carefully curated leftfield synth pop, experimental folk and ambient tracks. "Viento Sur" has been compiled by Argentine DJs and collectors Bárbara Salazar and Alejandro Cohen (dublab) based in Buenos Aires and Los Angeles respectively. Most of the songs are reissued here for the first time and many of them were previously unavailable on vinyl. Includes a 4-page insert with liner notes and photos. Remastered sound. Further Info: Viento Sur. Experimental Music & Fusion Music from Argentina. A Retrospective from Melopea Discos. Following the success of our 2020 release "América Invertida" (VAMPI 205), a fascinating survey of Uruguay's lesser-covered '80s endeavours in new wave pop, jazz-fusion, ambient folk and electronics, it's now time to cross to the other side of Rio de la Plata and let yourself go with the overwhelming musical output of Argentina's very own Melopea Discos. Born partly out of necessity and partly by a twist of fate, Melopea is a record label from Argentina created at the end of the 80s as a vehicle for the creative curiosity of its founder, Litto Nebbia, to document music not supported by the music industry. The songs that form "Viento Sur" do not provide a comprehensive vision of the different styles of the label but rather an approach to its more experimental side. This compilation puts together a selection of songs that explore fusion with an air of mystery and a side of exquisite sensitivity across 11 carefully curated tracks. From the southernmost latitudes of the American continent, "Viento Sur" brings soft and warm atmospheres that intermingle with more earthly pulses; sounds that reflect the beauty and richness of Argentina, from the jungle to the pampas, the subtlety of the forest, and the effervescence of the Río de la Plata and its neighboring candombe. "Viento Sur" has been compiled by Argentine DJs and collectors Bárbara Salazar and Alejandro Cohen (dublab) based in Buenos Aires and Los Angeles respectively. This release is presented with obi strip and a 4-page insert including liner notes and photos. Most of the tracks are reissued here for the first time and many of them were previously unavailable on vinyl. Remastered sound.

Dälek, “the subversive indie hip-hop outfit” (Pitchfork), release their eighth album, ‘Precipice’, via Ipecac Recordings.

 Forged in the fires of the East Coast underground music
scene of the late ‘90s, experimental hip-hop pioneers
Dälek have spent the past two decades carving out a
unique niche fusing hardcore hip-hop, noise and a
radical approach to sound. Their brutal sonic
temperament pushes rap music’s capacity for noise and
protest to exhilarating conclusion.

 Following in the footsteps of Public Enemy while drawing
influences from My Bloody Valentine and Faust, Dälek
have succeeded in adding completely new textural and
structural dimensions to rap music.

 Predominantly the work of Brooks and Manteca (aka
Mike Mare), ‘Precipice’ was recorded and mixed by the
two band members at their Deadverse Studios in Dälek’s
hometown of Union City, N.J.

 Tool’s Adam Jones guests (guitar / synth) on ‘A Heretic’s
Inheritance’. The band have supported Tool on tour
previously.

 The album’s cover was created by Paul Romano
(Mastodon, Withered) with interior packaging featuring
the art of Afrofuturist painter, Mikel Elam.

 The band have toured with and supported a wide range
of acts in the hip-hop, rock, metal and experimental
genres, including KRS One, Tomahawk, The Melvins,
Grandmaster Flash, Jesu, Dillinger Escape Plan,
Pharcyde, RJD2, De La Soul, Flying Lotus, The Bug,
Mastodon and Fantomas, among many others.

Honeyglaze are the South London-based, Haiku-loving trio comprised of vocalist and guitarist Anouska Sokolow, bassist Tim Curtis and Yuri Shibuichi on drums.

 Born out of lead songwriter Sokolow’s un-desire to be a solo act, the group met officially at their first ever rehearsal - just three days ahead of what was to become a near-residency, at their favoured Windmill in Brixton. Forming a mere eighteen-months ahead of a subsequent eighteen-months of mandatory solitude, a parallel that’s both aligned and universally un-timely, Honeyglaze, at first appearance, are a group who play with chance, time, and synergetic fate, in mannerisms few others are able to do.

 Pricking the ears of seminal producer Dan Carey and his team of merry tastemakers, the Speedy Wunderground / Honeyglaze partnership would manifest into a dynamic that, despite not having met prior, quite simply just worked.

 Much like the eponymously debuted statements of contemporary folk-singer Bedouine’s ‘Bedouine’, ‘Crosby, Stills and Nash’, or, dare we suggest Madonna’s ‘Madonna’, ‘Honeyglaze’ the album presents to the world an audibly picturesque documentation of soul-searching, in all its figment’s of reality; a proclamation of cultivated intent which in turn creates a subliminal safe-space between relatability and self-projection, and creative-comradery paired with introspective artistry.

 A self-described “opposite to a concept album” that sonically encapsulates the who, what, where and how of their individual circumstances coming together as one, Honeyglaze is a meticulously transformative feat of which, in their own eyes, is a “quite accurate” sonic encapsulation of who the trio believe to be.

 This is storytelling at its most soulful, and ‘Honeyglaze’ presents human instinct in a manner that accepts all of the insecurities that come from their present adolescence, whilst acknowledging the formative maturity that’s earned when we allow ourselves to embrace the unknown, of our futures ahead.

 “If someone is going to find you special - then you want to show what’s most special about yourself,” notes Curtis. “Then you can do what you want from there.”

 Mixing the personal with romanticised ideals in ways that are simultaneously heart-wrenching, and humorous to a dead pan effect, there is no one trajectory for Honeyglaze, whose greatest ability is finding ways to present what’s written in-between the lines, in moments of beautifully well-versed clarity.

 In their own words: “Hi we are Honeyglaze, and there’s no time to explain.”

On their third album »Constant Connection«, West Australian-based Erasers create hypnotic compositions of synth, guitar and voice, evoking the vast expanse of their native landscape and the shrouded emotions behind the senses. Comprising of vocalist, synth player Rebecca Orchard and Rupert Thomas on guitar and synths, Erasers have developed their earthly kosmische music into an open language based on drone, variation in repetition and minimal song structures. Based in Perth, regarded one of the most isolated cities in the world, Orchard and Thomas’s music has brewed in the city’s vibrant DIY/Outsider community and evolved into a meditation on landscape, power, the shadow-world of human emotions and stream of consciousness. »Constant Connection«, with its waves of sound and chant-like vocals evokes a trance that suggests an infinity just beyond the senses.

At the heart of each Erasers composition is the interplay between the instrumentation, played with stoic restraint and recorded directly with minimal effects and the transcendental states induced in the listener. It’s a magic that is performed in plain sight and all the more powerful for it. The recognisable vibrato of Fender Rhodes keyboards and simple drum machine loops, the subtle strands of analog synth melodies that snake in and out of the ear, above all the towering encantations of Rebecca Orchard’s undeniably Australian-accented hymns; all of this is presented with minimal ostentation and yet it instantly engenders a dream state, hints at an infinity beyond the material.

Shades of John Cale’s 70s work with Nico, early 70s German synthesists Kluster and even fellow Australians Fabulous Diamonds can be seen as stylistic touchstones for Constant Connection. Where Nico hinted at the macabre and gothic, Rebecca Orchard’s similarly gliding vocal is more zoned in to a kind of oceanic openness, with words becoming chants and spells that suggested themselves to the singer during recording sessions. It’s this hidden hand of improvisatory, automatic writing that lends a sense of expanse to the music. On opener I Understand, while the lyrics might hint at discontent the emotional spectrum it opens up is far more rich and complex, as layered as the waves of droning chords that are the bedrock of each Erasers track. The title track talks of flow, continuum and balance, the protagonist in the song seemingly weightless, gently pulled through a walking reality that borders on dream. In Erasers’ world, it seems, the borders between reality and dream, consciousness and sub-consciousness are blurred and eroded.

On Constant Connection, Erasers’ music might be deeply evocative of landscape but it’s never clear which one. The vast, open terrain that surrounds Perth is dusty, burned by the sun into desert and Constant Connection feels like the product of the heat and relative isolation, the altered states these elements can create. But it’s these altered states of mind that appear to be the real landscape described by Erasers. It’s a landscape that’s hazy, in-and-out of focus, with emotional undertows pushing and pulling you into a weightlessness. On album closer Easy To See the band dispense with percussion all together, field recordings of the water at the edge of their native city ushering in two duetting synths. Orchard’s vocal undulates with the flow, viewing both the geographical and psychological landscape from the perspective of a consciousness not bound by bodies and from a timescale measured in millennia. The album ends as it begins, with field recordings of the real world that the music seeps out from, temporarily, before regressing back into the other realm it feels like it belongs to.

Between these two recorded hints of reality, Erasers manifest a deeply sensual dreamscape that constantly feels like it’s dissolving at its seams. A desert psychedelia emanating from a real world that might not be that real in the first place.

Originally released by Bethlehem Records in 1959, NINA SIMONE AND HER FRIENDS was a compilation album comprised of the few remaining, unreleased tracks from the Little Girl Blue recording session plus songs recorded by two other former Bethlehem artists, the powerhouse jazz vocalist Carmen McRae and the elegant song stylist Chris Connor.

As Daphne Brooks explains in the release’s brand new essay, “Bethlehem clustered their work—tracks that had previously appeared on the label’s Girlfriends compilation—together with the younger, upstart Simone’s and essentially offered up a collection of songs that span a range of genres—folk, jazz, pop song staples, and torch song laments, plus a couple of provocative original compositions by McRae and Simone. Each track is a reminder

of the clear-eyed independence, verve, and confidence of three artists whose music, taken together, brims with the majesty and the assured talents of the late 1950s women artists who led with conviction and invention as musicians and song interpreters.”
Featuring a brand new stereo mix by four-time Grammy winner Michael Graves. Includes new essay by author of Liner Notes For The Revolution, Daphne A. Brooks.

We've always done things our own way and without any outside pressure,” says Paul Isherwood of The Soundcarriers. “Making music like this keeps things fresh, you always lose something and gain something as you go along but I think of it as just another chapter.”

There have been many chapters in the life of the band to date and each one is defined by the singular approach and style of the group. Since forming in 2007 the band - comprised of Isherwood, Adam Cann, Dorian Conway and Leonore Wheatley - have released three albums that position them as a distinct and unique force in British music. Eschewing fads and trends that come and go, they have instead focused on honing their own sonic world that glides between woozy psychedelia, immersive grooves, subtle pop and rich, enveloping soundscapes. They’ve consistently moved at their own pace and on their own terms and on their fourth album, Wilds, they return after seven years since their last. “The sessions started in a cottage in the wilds so there's a literal meaning,” Isherwood says of the title. “But figuratively we've pretty much been in the wild for the last few years as far as a lot of people are concerned.”

The recording was staggered over a few different locations, from cottages to primary schools, before finishing in an art gallery. “The beauty of recording in non-studio studios is you have the time for the unexpected to happen,” says Isherwood. “Which is really what keeps you coming back for more.” As a result of the timeframe of the album, it’s one that has changed and grown a lot over the years. “The record has been through a lot of stages,” says Isherwood. “It's almost been circular. We started off wanting to do an album of more shorter, concise tracks and then sort of sidestepped into some more spacey ambient ideas so in a way the album is kind of a synthesis of the two phases, overall carrying on with many of the themes and influences of the first three but with a more focused approach.”

The opening ‘Waves’ leaps out the gate with an infectious hook kissed by a touch of French pop before leaping into a devilishly catchy chorus and into a mini prog-like flute breakdown. It sets the tone for an album that is rich in adventure and unpredictability that manages to balance experimentation with accessibility. ‘At The Time’ is almost unrelenting in its grinding charge, managing to create a groove that cracks and pulses at the same time, ‘Wilds’ is a gorgeously floating piece of music that skips along with strutting bass as Wheatley’s vocals merge melody with texture magically. The closing ‘Happens Too Soon gently stirs to life with an almost pastoral folk air to it, as it slowly builds into swirling psych pop rich in texture before reaching a rousing crescendo. “I feel this album sums up a lot of our influences,” says Isherwood. “There’s a strong folk influence in the sense of the actual songwriting but musically we wanted to create songs that were like those rare oddities you find on a bizarre charity shop record. A collection of "one offs" capturing a moment rather than trying to make a hit song.”

This sense of it being an album of unique songs is clearly apparent throughout but it also maintains a natural flow and cohesion. This is something that stems from the band’s approach to songwriting for the record. “A lot of the tracks started with a feel or groove,” says Isherwood. “Then building it into a more concise arranged piece. We were conscious that we didn't want the recording to sound too over-polished so although a lot of the tracks were quite painstaking in how they evolved we wanted the actual recording to be quite raw and not be reliant on cutting things up or overly editing things. We wanted it to sound natural rather than perfect.”

Elders is the debut release from Ensemble Nist-Nah, a nine-piece percussion group led by Nantes-based Australian drummer and percussionist Will Guthrie. The diverse group of French musicians that make up Ensemble Nist-Nah – whose collective experience encompasses traditional Gamelan performance, contemporary composition, noise, jazz, and everything in between – perform on drum kits, traditional and junk percussion, and a complete set of Javanese Gamelan instruments. Though building on the foundations of Guthrie’s solo work with Gamelan instruments (Nist-Nah, BT057) and primarily performing his compositions, Ensemble Nist-Nah is a collective endeavour, propelled by a breathtaking enthusiasm that has seen the ensemble manage to rehearse, perform, and even tour Europe during the Covid-19 pandemic.

From the first seconds of opening track ‘Geni / Tirta’, it becomes immediately obvious that this is no dry academic exercise or exotic indulgence. Rapid arpeggiated figures are propelled by manically busy kit drumming while slow-motion melodic lines float above. After a series of abrupt tempo changes and fragmented unison passages that crossbreed the rhythmic intensity of the Balinese Kecak with the joyride of an Ornette Coleman head, the music slows to a monumental groove, equal parts Javanese court music and Dark Magus. Another sequence of thrilling divagations leads us to the unexpected guest appearance of acclaimed vocalist Jessica Kenney, who elaborates a haunting Javanese Bedhaya across a spacious backdrop of massive gong hits, shimmering cymbals, rustling bells, and gritty textures.

The remaining pieces that make up Elders explore a dizzying variety of approaches, from the shifting rapid-fire muted textures of ‘Overtime’ to the ghostly bowed tones and ominous swells of the title piece (developed from a track on Guthrie’s solo Nist-Nah release), which gradually builds into waves of shuddering low resonance and asynchronous percussive clicks like a haunted clock mechanism. On the aptly titled ‘Rollin’, virtuosic twin drum kits criss-cross errant metallophone patterns in propulsive polyrhythms, while ‘Planeker’ manages to achieve a bizarrely effective fusion of Harry Partch and Autechre. Arriving bedecked in beautiful monochrome images of gongs drawn by ensemble member Charles Dubois, Elders is a feast for the ears: music that burrows deep into timbral and rhythmic possibility while possessing an intoxicating physicality and revelling in the joy of collective performance.

Founded in 2006 by Vincent Bertholet (Hyperculte), the Orchestre Tout Puissant Marcel Duchamp is a large-scale project. Designed as a real orchestra, the size of the ensemble has varied over time. Now with 12 members, 14 in the past or 6 at the beginning, the ensemble has scoured the stages of Europe todemonstrate that the formula "the more the merrier" has never been more true than on stage. Whether in prestigious festivals (Paléo Festival de Nyon, Fusion Festival, Incubate, Womad, Bad Bonn Kilbi, Jazz à la Vilette) or on the four albums released since its launch, the group shows an incredible fluidity. The Orchestre Tout Puissant Marcel Duchamp (a mischievous title in homage to traditional African groups -Orchestre Tout Puissant Konono nd1, Orchestre Tout Puissant Polyrytmo etc... -and to one of the greatest dynamizers of 20th century art) embraces the forms of its musicians while pushing them to their limits. The result is a powerful, experimental, unstable and terribly alive, organic sound.

Re-issue of 1968 album by British jazz guitarist (born January 2, 1933 in Doncaster, England). He played with Norman Burns, "Ray Ellington's Quartet", Benny Goodman (in tour in England, 1971), "Don Lusher's Big Band", and as a session man in the 1970s, 1980s and 1990s.

Judd uses varying permutations of the following instruments on various tracks. Twelve string guitar, electric Fender guitar, electric Gibson guitar (L4) with a Charlie Christian bar pick-up, and a Maton acoustic guitar.

Heavy Machinery Records and Tee Pee Records are very excited to announce 'Tales of Torment', the new record from Melbourne horror rock juggernaut Rot TV, out February 18, 2022. The record is led by first single 'Ready To Die', a relentless, loud n' proud rock number with "just the right ratio of headbangery to boogie woogie".

Rot TV are lovers of all things freakish and gritty - be it a demented old Lovecraft tale, or a BÖC tune on full blast. Their debut vinyl release FDA/Transylvanian Nights was a hard n’ heavy double feature of howling, riff-crazy horror rock, and their brand new debut LP Tales of Torment delivers all this and more. Rot TV have described their forthcoming album as a delightful journey to hell and back dedicated to ALL maniacs - and that means YOU.
credits
released February 18, 2022

Harriet Hudson-Clise - lead vocals
Graham Clise - guitars, percussion & vocals
Robert Muiños - guitars, percussion & vocals
Zac Holly - bass, synthesizer & vocals
Lee Parker - drums, percussion & vocals

Recorded, mixed and produced by Robert Muiños at Sauna Studios, Collingwood in 2021
Mastered by John Davis at Metropolis Mastering
Front cover painting by Chris Grande
Logo & handwriting by Harriet Hudson-Clise
Design and collage by Luke Fraser at Grin Creative
Project coordination by Amber Arizono
Series curated and produced by Miles Brown