Search:no more

Coming out on July, Jazz Codes is Moor Mother's second and latest album for Anti- and a com?panion to her celebrated 2021 release Black Encyclopedia of the Air. Jazz Codes uses free jazz as a starting point but the collection continues the recent turn in Moor Mother's multifaceted catalog toward more melody, more singing voices, more choruses, more complexity. In its warm, densely layered course through jazz, blues, soul, hip-hop, and other Black classical traditions, Jazz Codes sets the ear blissfully adrift and unhitches the mind from habit. Through her work, Ayewa illuminates the principles of her multidisciplinary collaborative practice Black Quantum Futur?ism, a theoretical framework for perceiving and adjusting reality through art, writing, music, and performance, informed by historical Black ontologies.The songwriter, composer, vocalist, poet, and educator Camae Ayewa spent years organizing and performing in Philadelphia's underground music community before moving to Los Angeles to teach composition at the University of Southern California's Thornton School of Music. She released her debut album as Moor Mother, Fetish Bones, in 2016, and has since put out an abundance of acclaimed music, both as a solo artist and in collaboration with other musicians who share her drive to dig up the untold. She has performed and recorded with the free jazz groups Irreversible Entanglements and the Art Ensemble of Chica?go, and made records with billy woods, Mental Jewelry, and YATTA.

‘Reich’s music expands from minimalist austerity to more full-bodied passages and back again. Reminiscent of his earliest work, it is very beautiful.’ – Financial Times

‘The music has tender energy, and an undercurrent of melancholy. Its droning tones sometimes seem to be pulling apart – like taffy, or like Richter’s stretching spaghetti stripes of color.’ – New York Times

Nonesuch Records releases the first recording of Steve Reich’s Reich/Richter, performed by Ensemble intercontemporain and conducted by George Jackson. The composition was originally written to be performed with German visual artist Gerhard Richter and Corinna Belz’s film Moving Picture (946-3).

Reich describes Richter’s book Patterns, which served as source material for the film: “It starts with one of his abstract paintings from the ’90s. He scanned a photo of the painting into a computer and then cut the scan in half and took each half, cut that in half and two of the four quarters he reversed into mirror images. He then repeated this process of ‘divide, mirror, repeat’ from half to quarter, eighth, sixteenth, thirty-second, all the way up to 4096th. The net effect is to go from an abstract painting to a series of gradually smaller anthropomorphic ‘creatures’ (since the mirroring produces bilateral symmetry) to still smaller very fine stripes.

“Belz described the film in terms of ‘pixels’. It begins with two-‘pixel’ stripes and the music begins with a two-sixteenth note oscillating pattern. When the film moves to four ‘pixels’, the music moves to a four-sixteenth note pattern, then to eight, and sixteen,” the composer continues. “After that, I began introducing longer note values – initially eighth notes, and later to quarter notes. By the middle of the film, when the images move from 512 to 1064 pixels, the music really slows to dotted half notes. Finally, as the ‘pixel’ count begins to diminish, the music moves back into more rapid eighths and then ending with the most intense rapid sixteenth movement.”

After more than one hundred performances of Reich/Richter at The Shed in New York in 2019, it was performed in London at the Barbican by the Britten Sinfonia conducted by Colin Currie and then in Paris at the Philharmonie, where this recording was made. The Austrian ensemble Windkraft Tirol, led by Kasper de Roo, will perform Reich/Richter on September 8 at Szentrum, Silbersaal in Schwaz, and the LA Phil New Music Group, led by Brad Lubman, performs the piece, accompanied by Richter and Belz’s film, at Walt Disney Concert Hall in Los Angeles on April 1, 2023.

Nonesuch has recorded every new piece of music by Steve Reich since 1985, beginning with The Desert Music and continuing through 2018’s Pulse/Quartet, resulting in twenty-two albums and the two box sets Phases in 2006 and Works: 1965-1995 in 1997. The label will put out a collection of his complete works in 2023.

Reich released a book last month, Conversations, that includes dialogues with past collaborators, fellow composers, musicians, and visual artists who have been influenced by his work, including: David Lang, Brian Eno, Richard Serra, Michael Gordon, Michael Tilson Thomas, Russell Hartenberger, Robert Hurwitz, Stephen Sondheim, Jonny Greenwood, David Harrington, Elizabeth Lim-Dutton, David Robertson, Micaela Haslam, Anne Teresa de Keersmaeker, Julia Wolfe, Nico Muhly, Beryl Korot, Colin Currie, and Brad Lubman. Booklist said in its review, ‘Iconoclastic American composer Steve Reich is singular in his own right, and when he is in conversation with other equally iconoclastic composers, conductors, sculptors, musicians, percussionists, and video artists, sparks not only fly, they sparkle. Reich and his colleagues conduct lovely give-and-takes during which they share stories, creative approaches, and viewpoints. Reich's Conversations is the best kind of eavesdropping.’

Steve Reich has been called ‘America’s greatest living composer’ (Village Voice), ‘the most original musical thinker of our time’ (New Yorker), and ‘among the great composers of the century’ (New York Times). His music has influenced composers and mainstream musicians all over the world. Music for 18 Musicians and Different Trains have earned him two Grammy Awards, and in 2009, his Double Sextet won the Pulitzer Prize. Reich’s documentary video opera works – The Cave and Three Tales, done in collaboration with video artist Beryl Korot – have been performed on four continents. His recent work Quartet, for percussionist Colin Currie, sold out two consecutive concerts at Queen Elizabeth Hall in London shortly after tens of thousands at the Glastonbury Festival heard Jonny Greenwood (of Radiohead) perform Electric Counterpoint followed by the London Sinfonietta performing his Music for 18 Musicians.

In 2012, Reich was awarded the Gold Medal in Music by the American Academy of Arts and Letters. He has additionally received the Praemium Imperiale in Tokyo, the Polar Music Prize in Stockholm, the BBVA Award in Madrid, and the Golden Lion at the Venice Biennale. He has been named Commandeur de l’Ordre des Arts et des Lettres and has been awarded honorary doctorates by the Royal College of Music in London, The Juilliard School, and the Liszt Academy in Budapest, among others. ‘There’s just a handful of living composers who can legitimately claim to have altered the direction of musical history and Steve Reich is one of them’, states the Guardian.

Pierre Boulez founded the Ensemble intercontemporain in 1976 with the support of Michel Guy (who was France’s Minister of Culture at the time) and the collaboration of Nicholas Snowman. The Ensemble’s thirty-one soloists share a passion for twentieth and twenty-first century music. Under the artistic direction of Matthias Pintscher, the musicians work in close collaboration with composers, exploring instrumental techniques and developing projects that interweave music, dance, theater, film, video and visual arts. In collaboration with IRCAM (Institut de Recherche et Coordination Acoustique/Musique), the Ensemble intercontemporain is also active in the field of synthetic sound generation. New pieces are commissioned and performed on a regular basis. Resident of the Cité de la musique – Philharmonie de Paris, the Ensemble performs and records in France and abroad, taking part in major festivals worldwide.

George Jackson, winner of the 2015 Aspen Conducting Prize, came to attention after stepping in at short notice with Orchestre de Paris, where he stepped in for Daniel Harding. Recent highlights include leading Ensemble intercontemporain at Festival Romaeuropa, the Rainy Days Festival in Luxembourg, and Festival D’Automne in Paris, as well as conducting the RTÉ National Symphony Orchestra, the orchestra of Opéra de Rouen and the world premiere of Tscho Theissing’s Genia with Theater an der Wien. His varied operatic experience includes performances at Opera North, Hamburg State Opera and Opera Holland Park, as well as conducting a new production of Hänsel und Gretel at Grange Park Opera.

‘’The band brings out instrumentation and vocal melodies that are of the same lineage as more modern indie bands like Parquet Courts and Ought. “ POST-TRASH

Hailing from Puerto La Cruz, Venezuela and Nashville, Tennessee, Rui DeMagalhaes and Mac Folger found a middle ground in skewness. Heavily influenced by kiwi pop acts like The Bats and The Clean, as well as British post-punk pioneers Swell Maps and Wire, Lawn maintains a balance of classic pop sensibilities and sharp, curious energy.
Indeed, Lawn's sound is a marriage between two different songwriting approaches that make both members step out of their comfort zones without losing their bearings. The result is a partnership that thrives in exploring how their differences make them a solid unit. DeMagalhaes and Folger are different, but never at odds.

After approaching their second full-length with a sense of ease and composure, New Orleans' Lawn found themselves embracing a sense of urgency for their follow-up work, Bigger Sprout. Written, rehearsed, and recorded under a month-long period, Bigger Sprout explores a feeling of urgency as a theme and a catalyst: urgency to get out of uncomfortable situations, urgency to take relationships more seriously, urgency to work on themselves, urgency to play shows again, urgency to record, urgency to start a family, urgency to make plans and leave old settings behind, urgency to grow up and become more in tune to your surroundings, urgency to quit old habits and pick up new ones. The EP, co-written with former drummer Hunter Keene, is a document that embodies the anxieties of change, for better or worse. This idea is juxtaposed by including a remastered version of Big Sprout, their first-ever release, as side B. Big Sprout, which was also written and recorded over a short period of time, has never been released in any physical capacity. The inclusion of these songs provides a contrast into who the members of Lawn were in their early 20s against who they are now.

LACRIMOSA was the first band combining Gothic with Metal, flooded by classical orchestrations when they released their groundbreaking “Schakal” back in 1994!
Two years later, LACRIMOSA was headlining the Dark Winter Nights Festivals, the first Festival-Tour ever bringing together Gothic and Metal bands on one stage, such as THE GATHERING, SENTENCED or DREAMS OF SANITY.
The rest is history: Many bands from the Metal as well as from the Gothic scene followed their example and Gothic-Metal and Symphonic-Metal became established music styles until the very day.

In the meantime, LACRIMOSA elaborated and improved their musical proficiency, while staying independent from any major label since day one until today, playing shows around the world from Argentina to China since more than 20 years, and now bringing it all together in this masterpiece: Passion meets perfection, pain meets salvation, and darkness meets the guiding light of love! “Leidenschaft” is more than a new album, it is a magical achievement of pure passion!

• 20-page vinyl booklet included

From a humble storefront studio located in a shoeshine parlor on Norfolk, Virginia's Church Street, Noah Biggs built a world. Hustler by day, gambler by night, the always-in-a-suit Biggs took a gaggle of off-brand singers and combined his connections and charisma to forge timeless soul music during a period of deep upheaval. Compiled here are 25 of Shiptown's most compelling sides recorded between 1965-1977, from the likes of Ida Sands, The Soul Duo, The Anglos, Dream Team, The Grooms, Positive Sounds, Barbara Stant, Wilson Williams, Art Ensley, and yes, Flip Flop Stevens.

From a humble storefront studio located in a shoeshine parlor on Norfolk, Virginia's Church Street, Noah Biggs built a world. Hustler by day, gambler by night, the always-in-a-suit Biggs took a gaggle of off-brand singers and combined his connections and charisma to forge timeless soul music during a period of deep upheaval. Compiled here are 25 of Shiptown's most compelling sides recorded between 1965-1977, from the likes of Ida Sands, The Soul Duo, The Anglos, Dream Team, The Grooms, Positive Sounds, Barbara Stant, Wilson Williams, Art Ensley, and yes, Flip Flop Stevens.

The turn of the millennium ushered in an apex visionary phase for English esoteric duo Coil. Relocating from the city to the coastal quiet of Westonsuper-Mare freed them to follow even more fringe obsessions, fully untethered from peer influence. During a single six-month stretch in 2000 they released the devious underworld sequel to Music To Play In The Dark, arcane drone summit Queens Of The Circulating Library, and a malevolent hour-long synthesizer exorcism prophetically titled Constant Shallowness Leads To Evil. This latter work remains one of the group’s most miasmic and mind-expanding creations, on par with Time Machines – a sustained divination of shuddering, psychoactive noise, rippling with the motion sickness of an all-seeing eye.

Thighpaulsandra characterizes the album as “an exercise in brutality,” born from a thorny patch of his Serge modular unit that Peter “Sleazy” Christopherson found entrancing. Processing this sliver of electronics into a ravaged labyrinth was a trial and error process, aided by Christopherson’s visual sense of sound, stretching and manipulating it for maximum spatial disorientating. Frequencies nauseously crawl across the stereo field, burrowing into the ear like a sinister brainwashing experiment. An outlier / centerpiece is the 13-minute alien tribalist sea shanty, “I Am The Green Child,” guided by John Balance’s sung-spoken free verse concerning vengeance, oblivion, and insanity, culminating in the memorable refrain, “We're swimming in a sea of occidental vomit.” But the rest of the record seethes in unhinged instrumental chaos, divided into 18 micro-movements of a composition called “Tunnel Of Goats.” Intended to scramble the functionality of a CD player’s shuffle mode, the piece throbs, thrashes, and flatlines in compressed frenzies of twisted synthesis, at the threshold of some bottomless purgatory, forbidding and unknown.

After a sold out 20 Anniversary 3XLP, Turntables on the Hudson returns with a diverse 3 X vinyl set that carries the Inside the Dance series (previously on WONDERWHEEL Recordings) to all new releases made between the international friends & family between 2020 - 2022. It was a call to action for inspiration, creation, motivation & moving your body in response to the depressing times of initial lockdown & continued music gathering closures during the pandemic. What we did instead was invested in music, art, collaborations, videos, remixes hoping to keep the spirits alive & inspiration high for each other. It’s now Spring of 2022 & we’re happy we did it all. Here’s the fruits of those seeds planted. Songs from artists across the sound spectrum from Morocco, Italy, USA, Spain, Argentina, Peru, UK, Montenegro, France, Belgium, Turkey, Dominican Republic, Niger & more. Almost all songs slightly edited to make sure we got enough output on each side of the record to mix the music in the clubs & on sound systems everywhere. Combining the singles artwork of Marcus (Tupi Lab) & the album LP vinyl art of Bodo (Marcial Arts), we have a very special limited edition 400 until pressing of this soon to be collectible. We hope you enjoy the collective effort that makes this look & sound so special. Ever since the party & label began in 1998, its mission was to shine the light on the underground international community making dance music & after 15 compilations, this is another proud example. Thanks for your continued support.

15TH ANNIVERSARY LIMITED EDITION

When we started our family group, The Staple Singers, we started out mostly singing in churches in the south. Pops saw Dr. Martin Luther King speak in 1963 and from there we started to broaden our musical vision beyond just gospel songs. Pops told us, "I like this man. I like his message. and if he can preach it, we can sing it" So we started to write "Freedom Songs," like "Why Am I Treated So Bad," "When Will We Be Paid For The Work We've Done," "Long Walk To DC," and many others. Like many in the civil rights movement, we drew on the spirituality and the strength from the church to help gain social justice and try to achieve equal rights. We became a major voice for the civil rights movement and hopefully helped to make a difference in this country. It was a difficult and dangerous time (in 1965 we spent a night in jail in West Memphis, Arkansas and I wondered if we'd ever make it out alive) but we felt we needed to stand up and be heard. So for us, and for many in the civil rights movement, we looked to the church for inner strength and to help make positive changes. And that seems to be missing today. Here it is, 2007, and there are still so many problems and social injustices in the world. Well, I tell you we need a change now more than ever, and I'm turning to the church again for strength. With this record, I hope to get across the same feeling, the same spirit and the same message as we did with the Staple Singers and to hopefully continue to make positive changes. We've got to keep pushing to make the world a better place. Things are better but we're not where we need to be and we'll never turn back. 99 and 1/2 just won't do! - Mavis

: Thou have a bit of a reputation for doing Nirvana covers, even releasing of a full album of them titled Blessings of the Highest Order during the height of quarantine. The infamously ravenous Thou fans were stuck in their rooms, drinking every drop and begging for more and just their luck the band decided to release a full-length compilation of their non-Nirvana covers they recorded and released from 2009-2022.

All of the songs on A Primer of Holy Words appeared on limited pressings of various split EPs and benefit compilations. The range of bands being covered is wide: Pearl Jam and Alice in Chains from abandoned tribute projects; Born Against from a small press

: Thou have a bit of a reputation for doing Nirvana covers, even releasing of a full album of them titled Blessings of the Highest Order during the height of quarantine. The infamously ravenous Thou fans were stuck in their rooms, drinking every drop and begging for more and just their luck the band decided to release a full-length compilation of their non-Nirvana covers they recorded and released from 2009-2022.

All of the songs on A Primer of Holy Words appeared on limited pressings of various split EPs and benefit compilations. The range of bands being covered is wide: Pearl Jam and Alice in Chains from abandoned tribute projects; Born Against from a small press

Im Jahre 1993 waren die Kellys noch Straßenmusiker. Sie wurden besonders in diesem Jahr immer beliebter
und die Marktplätze voller, wenn sie gespielt haben. WOW war zwar nicht das Album, was der Familienband ihren ganz großen Durchbruch brachte, sondern das Album davor, aber es war für ihre musikalische Entwicklung sehr wichtig. Bis heute ist es eines der beliebtesten Alben unter den Fans. Mit WOW wurde allen klar wohin die musikalische Reise der Kellys gehen sollte. Alle Songs wurden selbst geschrieben und der neue Popsound entwickelte sich in den nächsten Jahren stark weiter und machte die Kellys zu Megastars. Dieser Klassiker wurde tatsächlich bisher noch nie als LP veröffentlicht und so wird es viele freuen, dass es endlich eine Vinylausgabe davon geben wird.


Diese Erstpressung wird auf 180 g Coloured Vinyl erscheinen und ist dabei streng auf 1000 Stück limitiert.

Repress 22.11.22 !

A STUNNING RHYTHMIC FUSION OF LATIN AND JAZZ WITH A UNIQUE SPIRITUAL PULSE.

If ever a record called be called a lost masterpiece then this record more than deserves that epithet. First released on an obscure French label in the 1970's it might have sunk further into obscurity and left no trace of it's passing but somehow a handful of copies turned up in various Jazz shops in London where it was snapped up by DJ Paul Murphy who was then playing to the embryonic jazz dance scene, based at the very first Jazz Room club: The Horseshoe in London's Tottenham Court Road, a decaying, seedy, sticky carpeted old West End ballroom that had seen better days. This and a select few records in a similar vein were being played to an appreciative audience who demanded tough raw percussive rhythms overlaid with some furious jazzy soloing and whenever this record hit the turntable it left even the most demanding groover sated.

It's a really fantastic collection from this barely known reedman and his excellent band which also features a guest appearance by American Legend Horace Parlan who is best known for his Afro-Cuban session "Headin' South" on Blue Note Records.

Superbly produced by drummer Peter Schmidlin, who has conjured up a spiritual modal mixdown of Afro-Cuban & Jazz extended percussive workouts that are uncompromising in their groove and which manage to sound both timeless and modern. The record is being re-released with the original striking artwork, guaranteed to be a talking point.

Sub Pop debut by accomplished Greek artist Σtella, produced by Redinho (Swet Shop Boys).
‘Up And Away’ is an eclectic, compelling modern pop album showcasing Σtella’s skilled songwriting and the influence of classic love songs, Greek folk, and contemporary electronic-music production.

Σtella makes her Sub Pop debut with the mesmerizing ‘Up And Away’, an oldschool pop paean to the pangs and raptures of love. From the Greek folkinflected get-go, we’re swept up in Σtella’s world - and it’s quite the captivating place to be.

The singer songwriter joined forces with artist and producer Tom Calvert (aka Redinho), and it was a match made in Athens; the results are heavenly. Tom caught one of Σtella’s gigs on a visit to the city. He reached out, they started hanging out, and the pair soon clicked creatively. Both mention chemistry when asked about their collaboration and it’s clear, from what we hear, they had it in spades. The meld is seamless.

Σtella’s songs have always riffed on American and Greek mid-century pop but ‘Up And Away’ doubles down on the vintage aesthetic. Tom says he styled the record “as if it was a rare gem from the ’60s found in a box of records in Athens,” and Σtella notes she was ready for a more “deeply Greek touch - it felt comfortable and right, smoothly fusing with the pop.” The bouzouki appears on a full five tracks played by Christos Skondras who, she says, “was brilliant at improvising,” while Sofia Labropoulou on the kanun “brought an insane amount of dreaminess to the last two songs. Having these amazing musicians play for ‘Up And Away’ - I couldn’t be more grateful.”

While not exclusively a confessional artist, Σtella is always intimate - when she sings, it’s personal. She writes “about things I feel passion for. Stories about me, about others, about all that’s there in love and war.” Σtella was “in a very emotional state at the time, which came through in the lyrics and vocals.” And it’s true, her honeyed voice - layered in those unmistakable harmonies of hers - thrillingly runs the gamut from tender to terse, by turns bracing and smitten, aching and forlorn. But it’s the lyrics that feel key. Across her output, Σtella has proven herself a strong storyteller, and ‘Up And Away’ is no exception (the guise of the medieval bard she assumes on the cover is telling). Past releases have been studded with gem-like vignettes - a diverse array of stories set tightly together to form non-linear narratives unified by emotion. Her latest feels singular in that it seems to trace a longer-form tale across songs, with each track escalating the record’s erotic arc.

By the end of the album, ‘Up And Away’s core concerns are clear: the conflicting and conflicted emotions inherent in love, that live on in ways we can’t always understand or control. Love is like this record: when it’s over, you still feel it for time to come.
Loser Edition LP pressed on blue vinyl.

Rocksteady Disco returns with a remix record for the first time since 2018, with new versions from Igor B, Blair French, Dazzle Drums, and Eddie Logix. The whole EP takes heavy inspiration from Pan-African sounds, with Ontario-based Igor B leading the release with a drum and sub bass heavy dance floor reimagining of Moonlighter’s iconic “Give Us Rain (Ah Mila)”. Blair French picks up where Igor left off, channeling his inner King Sunny Ade for his remix of Sol Power All-Star’s “Every Time You Move”. He taps in Jazzanova’s Paul Randolph for electric bass duties, dubs out Frank Martin’s (Elcados, Shina Peters, Tyna Onwudiwem, and many more) guitar, and extends DC-based Besufekad Tadesse’s baritone sax solo for afro dance floor bliss. The flip side goes even deeper, with Tokyo-based Dazzle Drums giving Eddie Logix’s “Sunday Palaver” the hi-fi Afro Tech treatment, perfect for those dingy after hours parties. The release closes with Eddie Logix’s reinterpretation of Nois Land’s cult classic “Big Kahuna”, reimagining it in a balearic-esque disco-not-disco mid-tempo stomper that highlights Peter Croce’s electric guitar performance.

Ukrainian producer and DJ Sider returns to the catalog with another ethno-techno filled four tracker!

The release contains tracks that were written while traveling the world. Inspired by his favourite places- Indonesia and Sri Lanka, these tracks contain live field recordings from his travels beautifully blending techno, trance, drum & bass, amdient, electro and breaks!



Halted by the travesty of war, traveling through sound has become more essential than ever. This beautiful EP represents the strong artistic culture of the many Ukrainians that are no longer able to travel physically around the world but continue to traverse soundscapes, continuing to dream and create.

CoviDub is not just a Dub album, but an album that historically tracks and records the unprecedented events of 2020 to 2022 when the world was shut down, when many countries became islands and many islands became isolated planets!!
Reflecting an era where false news eclipse real news, a time when social media is more effective than the official media. Yet within these serious times racism still prevails and present day Rasta fails to fulfill Marcus dreams of Black unity.
This is an album for folks who think out of the box. Let’s take the piss out of the hypocrites!!

For an artist whose career is flush with enigma, myth, and disguise, Nashville Skyline still surprises more than almost any other Bob Dylan move more than four decades after its original release. Distinguished from every other Dylan album by virtue of the smooth vocal performances and simple ease, the 1969 record witnesses the icon's full-on foray into country and trailblazing of the country-rock movement that followed. Cozy, charming, and warm, the rustic set remains for many hardcore fans the Bard's most enjoyable effort. And most inimitable. The result of quitting smoking, Dylan's voice is in pristine shape, nearly unidentifiable from the nasal wheeze and folk accents displayed on prior records.

Mastered on our world-renowned mastering system and pressed at RTI, this restored 45RPM analog version zeroes in on the shocking purity and never-again-replicated croon of Dylan's vocals. Enhanced, too, are the images associated with the calmly strummed and picked acoustic guitars and decay connected to the fading notes. The dimensions and ambience of the Columbia studio translate via subtle echoes and natural blend of instruments melding with one another, akin to honey integrating with tea. Providing comparably soothing effects, relaxing vibes pour forth from this reissue, which affords this masterpiece the fidelity it's always deserved. Wider grooves mean more information reaches your ears.

"Is it rolling, Bob?," Dylan famously queries producer Bob Johnston at the beginning of "To Be Alone With You," indicating the laissez-faire feelings that surrounded the sessions and helped yield the laidback, convivial music defining the album – arguably the most unique in the artist's vast catalog. While he dipped his toes into country waters on the preceding John Wesley Harding, Nashville Skyline throws its collective arms around the style in bear-hug fashion and drops any obvious folk references. Everything from the songs' moods to the amicable arrangements reacts against the era's turmoil and popular sounds.

This beautiful and beautifully executed effort might stand as Dylan's most effective protest ever, even if many missed the point upon original release. Advocating peace, love, and old-world allure without calling attention to any characteristic in an overly forward manner, Dylan frames the songs as ballads, rags, lullabies, and gentle honky-tonk dances. He adheres to expeditious brevity, keeping the arrangements tight and free of any filler, thus allowing the melodies to immediately work their magic and place hummable memories inside listeners' heads.

Indeed, if any Dylan masterpiece is overlooked, it's Nashville Skyline. In addition to his superb singing and infallible songs, Dylan enjoys backing from a crackerjack assembly of Nashville session musicians including Charlie Daniels, Marshall Grant, W.S. Holland, Charlie McCoy, Ken Buttrey, and Norman Blake. Country pros, and their respective performances, don't come any better.

As much as on any of his records, Dylan resides in a good place, mentally and emotionally. The idyllic, warmhearted environs of Nashville Skyline stand apart now just as they did in the late 1960s. The sincerity conveyed on the inviting "Lay Lady Lay," relief sighed on the romantic "Tonight I'll Be Staying Here With You," and unlimited promise expressed on the jittery "To Be Alone With You" parallel the lessons-learned yearning and genuine desire found on "One More Night," bracing "I Threw It All Away," and eternal "Girl From the North Country," performed to perfection with Johnny Cash.

A return to form after the departure that was 1980's muddled Panorama, the Cars' Shake It Up bursts forth with a rich assembly of synthesizers, drum machines, electronic blips, and catchy melodies that make it an early 80s pop staple. Known the world over, the famous title track proves the band's arrangement skills were in perfect shape and set the stage for a record overflowing with memorable hooks and complementary rock riffs.

Shake It Up also plays witness to primary songwriter/vocalist Ric Ocasek's increased cynicism and biting wit. While the Cars never took a rosy-eyed view of romance, the songs here impart a newfound sense of sympathy, regret, limbo, and reservation. The beauty of the Cars – and all ten tunes here – is that the music suggests something else entirely. Such subliminal emotions and dynamic contrasts act as a magnet, and the band plays as if it's in on the secret.

Apart from the party vibe of the title cut, the Cars aim for deeper targets and smarter undertones. Shake It Up is defined by an urban edginess and modern feel that comes alive on tunes such as "Cruiser" and circular "I'm Not the One," a pop gem laded with stacked vocals and keyboard lines that double as a horn section. The band's arrangements have never been better – or more involved. Absent the cheesiness that would mar the group's late-period work, the songs ride on the strength of keyboard-heavy lines and layered harmonies. You will not be disappointed.

Recorded at the band's Synchro Sound studios by famed Queen producer Roy Thomas Baker, the album takes advantage of electronic textures and varying timbres in immersing the listener in accessible albeit abstract washes of sound. MoFi's engineers made sure to capture every note and nuance; this marks the first time that Shake It Up has been remastered in any way, let alone from the original tapes.

For her forthcoming album Colour My Life, Heather Small, has teamed up with award-winning producer Rupert Christie and the London Metropolitan Orchestra to reimagine all of her Top 10 hits from both her career with M People as well as her solo material. There's also brand new music, in the form of the beautiful rendition of Paul Weller’s ‘You Do Something To Me’ to her super catchy uptempo lead single ‘Love Me or Not’

Heather Small, one of the most distinctive British female vocalists began her pop career as a teenager in Hot House, before becoming the voice of M People, one of the world's biggest dance acts which went on to sell tens of millions of albums worldwide, winning numerous Brits and a Mercury along the way. She launched her solo career at the turn of the millennium with Proud, which has gone on to be a timeless classic for all ages, featuring in theme songs for The Oprah Winfrey Show, Queer As Folk as well as performing at London’s 2012 Olympics.

The new album features orchestral versions of all of the UK Top 10 hits; Moving on Up, How Can I Love You More, Search For The Hero, One Night in Heaven, Don’t Look Any Further as well as the title track Colour My Life.

In keeping with the album title, there will be bright bold creative content to launch the album pre-order campaign and new single on the 19th of April. The video for the lead single ‘Love Me or Not’ will drop mid-May. Throughout the pre-order campaign, Heather will be doing select pieces of promo, such as the 2 hr radio special ‘Moving on Up’ on Bauer and performing live at numerous British Festivals, such as The Isle of Wight Festival (Broadcast on Sky Arts) Around the July release date there will be TV/Radio performances as well as a digital and social media campaign. Heather will tour with the orchestra in the Autumn.

John Ondolo spent his life traveling between Tanzania, where he was born, and Kenya, where he recorded a string of singles for independent labels in the late 1950s and early 60s. Unlike most guitarists from the region, Ondolo used open tuning (a favorite of American blues guitarists), creating a hypnotic drone over which he laid down endless rhythmic variations on his main themes. Inspired by the exploding pop music scene in Nairobi, the newest rock and roll imports from the US, and the Abakuria tribal music of his youth, Ondolo transposed traditional instruments and rhythms to his guitar, playing it more like a traditional harp at times, and inventing a sound totally unique in the recorded history of African guitar. This album brings together John Ondolo's rare early 78rpm recordings in the first-ever overview of this innovative but overlooked artist. The music traces Ondolo's creative output, from the resonant acoustic guitar masterpiece Tumshukuru Mungu to the relentless guitar and flute (!) interplay of Kenya Style to his later electric guitar, bass, and drum recordings with the Jolly Trio, all tied together by Ondolo's unique rhythmic sense and vocal style. The breadth and variety of Ondolo's recordings may be a result of his sporadic recording history. Unlike more famous artists, Ondolo wasn't sucked into the Nairobi nightlife scene of the early 60s, instead traveling from his farm in the foothills of Kilimanjaro on occasion to record. An outsider and devout Catholic whose music was sometimes at odds with the style of the times, he later left music entirely, shifting to film and driving a mobile cinema van for the Tanzanian government, introducing socialist and Pan-African films to the countryside. An accident in his mobile cinema led to the loss of his left arm, though he continued his travels. He died in 2008 in Dar Es Salaam, leaving behind two wives and 11 children. Over a decade in the works, Hypnotic Guitar of_ includes an insert with lyrics and translations, as well as notes by Tanzanian musician and historian John Kitime. Expertly restored and mastered by Michael Keiffer and pressed on 160gm black vinyl at Smashed Plastic in Chicago. Licensed from the Ondolo family in Tanzania.

Having announced that Snapper Music will be representing Porcupine
Tree’s Transmission label worldwide, new CD and LP reissues of the band’s catalogue continue to be rolled out throughout 2021.

The concept for ‘The Incident’ (the band’s much lauded 10th and most recent studio album from 2009) emerged as Porcupine Tree’s creator Steven Wilson, was caught in a motorway traffic jam whilst driving past a road accident.
“There was a sign saying ‘POLICE - INCIDENT’ and everyone was slowing down to see what had happened... Afterwards, it struck me that ‘incident’ is a very detached word for something so destructive and traumatic for the people involved. The irony of such a cold expression for such seismic events appealed to me, and I began to pick out other ‘incidents’ reported in the media and news, I wrote about the evacuation of teenage girls from a religious cult in Texas, a
family terrorising its neighbours, a body found floating in a river by some people on a fishing trip, and more.

Consisting of 18 tracks, each song is written in the first person, attempting to humanise the detached media reportage of each associated event. The first 14 tracks form part of a 55-minute song cycle, with the last 4 having been recorded later (and originally released as a second disc to stress their independence from the song cycle).

The album was nominated for a Grammy Award for Best Surround Sound Album and reached the Top 25 in the US and UK album charts. It was awarded “Album Of The Year” in Classic Rock and German magazine Eclipsed.

‘The Incident’ marked another step forward in the incredible journey of the band that began as a solo studio project and grew to a multi-Grammy nominated act and one of the world’s most revered live bands, selling out arenas across the globe and wowing fans with their incredible performances.

This new Transmission 2021 reissue of ‘The Incident’ remains faithful to the original artwork and all 18 album tracks are presented on one disc housed in a digipack with 8-page booklet or as a gatefold double LP on 140g black vinyl.

“An intriguing and truly inspiring album” - Rock Sound
“The title suite is the Tree’s finest hour: a mounting drama of memoir and realnews trauma, animated with slicing guitars, ghost-song electronics, mile-high harmonies and smart pop bait - Rolling Stone

When we can no longer move forward or look outward, some reflect and seek truth in themselves – some sharing, through the language of music, what might be impossible to say through words.

Amidst the budding tempest of 2020, Jeremiah Carter, hailing originally from Tennessee, found himself embroiled in a near suffocating air of uncertainty and anxious tension, mainly brought upon by the first spikes in a soon-to-be worldwide pandemic.

Only having recently relocated to the bustling city of New York, an unprecedented series of events took shape over the following months, isolating and dismaying the citizens around the globe in the process. It was during this time that Jeremiah turned his attention to music, discharging the emotional turmoil surrounding him, into a substantial wealth of newly composed work.

Beginning with the album »Rejoice«, which was completed in the wake of 2020 and released on A Sunken Mall that same year, two more albums took shape in a quasi-self-induced creative tremor, one that soon materialized a wealth of work, forming a triptych of three unique albums, produced within the span of only 6 months.

Finally, presented here is the second stage of the final triptych; »Speak, You Also«, dedicated to Paul Celan and giving us further insight into the heart of a beloved southerner, who amidst being tangled in the mesh of crisis, passion and communication, gave rise to a momentous yet equally timeless neoclassical body of work.

Her debut LP, Banshee, was released on Wax Poetics. Has collaborated with MF Doom, Czarface, Ghostface Killah, Dennis Coffey, and more. Kendra Morris’s Nine Lives, to be released on Karma Chief Records (a division of Colemine Records) in early 2022, marks not only the culmination of the decade since the release of her first LP Banshee, but also a turning point in Kendra’s life. Nine Lives heralds the beginning of a new chapter; label, and an evolution to the next level of adulthood. This collection of her original songs encapsulates moments from what could be nine lifetimes. Kendra, while very much a New Yorker and veteran of almost 2 decades on the NYC scene, hails from Florida and aesthetically embodies the broader sense of American culture, bringing to her contemporary sound influences found in music and cinema dating back to the mid 20th century. Her music conjures imagery evocative of road trips to weird and wonderful places. Concurrently a visual artist, filmmaker and animator, Kendra harnesses the feline nine lives metaphor repeatedly. In the context of the chapters of her musical trajectory alone, we see at least 9 lives. From discovering multi-tracking on a karaoke machine as a child, to playing in bands in Florida, moving to NYC and creating music alone on an 8 track, releasing her first 2 LPs on Wax Poetics, releasing her 2016 EP Babble and collaborating with DJ Premier, 9th Wonder, MF Doom, Czarface, Ghostface Killah, Dennis Coffey, and David Sitek, to name a few. The life of this multi-disciplinarian artist contains units of time and story lines through which we can all relate to universal themes of love, loss and overcoming one's fears. Kendra, never ceasing to heed her spiritual calling to continue creating music and art, no matter what, has no plans of slowing down but a belief in only evolving, eager to begin experiencing her next nine lives.

Neil Young + Promise Of The Real release a new live album, ‘Noise & Flowers’, that captures the group in all their glory on their 2019 European tour. The release will be accompanied by a concert film that shares the same title and is included in the album’s 2xLP+CD+Blu-ray Deluxe Edition.
‘Noise & Flowers’ documents a 9-date tour that began just two weeks after Young’s lifetime friend and manager of more than 50 years, Elliot Roberts, passed away at the age of 76. Performing alongside a photograph of Roberts taped to his road case, Young approached each show as a celebratory memorial service to honour his late friend. It’s a trek the legendary singer/songwriter describes as “wondrous.”
In the album’s liner notes, Young says, “Playing in his memory made it one of the most special tours ever. We hit the road and took his great spirit with us into every song. This music belongs to no one. It’s in the air. Every note was played for music’s great friend, Elliot.”
In paying tribute to the manager who guided Young’s career for over a half-century, ‘Noise & Flowers’ explores all corners of his vast discography. It balances all-timer anthems (‘Mr. Soul’, ‘Helpless’, ‘Rockin’ in the Free World’) with rarely aired ‘70s deep cuts (‘Field of Opportunity’, ‘On the Beach’) and ’90s gems (‘From Hank to Hendrix’, ‘Throw Your Hatred Down’). His frequent backing band since 2015, Promise of the Real effectively bridges the extremes in Young’s sound, infusing his raging rockers and country serenades with their casual brilliance and telepathic intuition.
The companion film (directed by Bernard Shakey and dhlovelife) emphasizes both the intimacy and ecstasy of these performances.
‘Noise & Flowers’ is entry No. PS 21 in the Neil Young Archives Performance Series of live releases – a special addition to a robust, and still-growing catalogue.

Cocoon Recordings presents: Cocoon Compilation T

Limited Vinyl Box Set including 6x blue vinyl & download code

Another year, another expertly curated compilation touches down courtesy of Cocoon Recordings. Somehow, the world keeps turning and with it the Cocoon universe keeps expanding, causing subtle yet persuasive shifts in the sonic soundscape that continue to
capture and captivate the imagination. In time-honored tradition the old guard and the new combine with devastating effect, to define the current state of play…
Veteran Techno producer Stephen Brown makes it clear the compilation series is back with a bang, opening things up in epic fashion with the lucid dreamscape ‘Level Steps’ - a true work of art. Another heavy-weight hitter steps straight up in the form of Claude von Stroke, who adds his own unique swagger to proceedings with those trademark shuffling beats and freaky, hypnotic bleeps scuffling for dominance on ‘Moody Fuse’. Denis Horvat then slows things down on ‘Monomono’, with post-raveNew Release Information
abstractions and disobedient synth-patches causing mayhem before the track finally unfolds in all its terrifying beauty.
Motoring on, the collection wastes no time reaching that familiar tipping point as we enter the techno phase of the journey. A very special appearance from Daniel Avery makes it all the more worthwhile amid a dense forest of chiming melodies and blistering electrical surges on ‘Your Future Looks Different In The Light’, before Jeroen Search’s aptly titled ‘Subversive Elements’ lead us deeper and
deeper, into the matrix.
Marco Bailey then kicks off a triptych of trance with some massive filtered piano action on ‘Kanai’ that’s destined to trigger a serotonin smile with everyone it touches. Revisiting the huge,
ever-growing pulsating brain of planet Orb, Damiano van Erckert continues the loved-up vibe on the gorgeously titled ‘500 People 500 Hearts 1 Love’, expertly complimenting the classic ambience with
some slick 909 snare and cymbal interplay. The melodic pull of ‘Vision99’ then signifies that the party is peaking at just the right moment as YOKTO concocts a glistening, psychedelic groove. The
emotional resonance climbs ever higher with brittle melodies endlessly circling a lush, throbbing bass drone to create the sense of something stirring out of reach.
Just when you think the acid sound is done and dusted, up pops a track like Jonathan Kaspar’s ‘CCC’ that somehow manages to offer an entirely new perspective. Riding in on a wave of expectant
arpeggios, the squelching bass and noise filter go toe to toe before Kaspar gets busy with a freaky tempo excursion that’ll be destroying dance floors all year long. ‘The Art of Electronics’ is, as the title
suggests, another superlative example of pure analogue fire, served up by UK legend, Andrew Meecham aka The Emperor Machine. The funk starts to flow as the bass drops, the machines cut loose and a swarm of cascading bleeps ride the trans-europa express to oblivion.
Electro overlord Carl Finlow, has come to define the UK take on the genre over the last couple of decades. Here, he makes his long overdue label debut, taking us into the closing straight with a
nervous sliver of dystopian futurism, complete with molten basslines and a fuzzy logic that underpins the tight, laser-guided groove on ‘Surface Control’. DeFeKT then draws this great adventure to a close
with the deliciously dark robo-disco overtones of ‘Terraform’ creating a dusky landscape that skillfully seduces the listener before the tension finally breaks in a wash of ecstatic chords.
All in all, it’s a supremely ambitious collection of tracks, generously featuring some of the most inspirational and durable artists of their respective generations. In fact, is this perhaps the best Cocoon
Compilation to date

A match made in heaven and hell, since forming in the cradle of Europe Athens, back in 2012, dark synth duo Selofan have paved their own perditious way, reinventing the modern Darkwave scene throughout the continent and worldwide with their prolific creativity and work ethic over the past decade. Through varied experimental synth-scapes conjured with keen ears for sound design, production, and theatrical aesthetics, Selofan rest not on the laurels of just creating highly danceable coldwave infused music, but with together with Joanna Pavlidou's haunting vocals, and Dimitris Pavlidis' throbbing bass guitar, and modular synth compositions, the pair conjure whole other worlds and narratives throughout each album and music video they create. Thus far the Selofan have released 5 studio albums, issued through their own legendary label they curate themselves: Fabrika Records. Through their Fabrika family, Selofan have championed such acts as Lebanon Hanover, and She Past Away, aiding these bands in becoming two of the most popular Darkwave acts worldwide. Drab Majesty even cameoed in a She Past Away video while being hosted by Selofan during one of the band's frequent stays in Athens, and Kaelan Mikla, a handpicked favorite of The Cure, were first championed by Selofan, through the release of the Icelandic Trio's self-titled debut in 2016. In the Spring of 2020, Selofan released the video for the hopelessly plaintive "There Must Be Somebody", the first single from their forthcoming sixth studio album Partners In Hell, the follow-up to 2018's widely popular Vitrioli LP. "There Must be Somebody" is a discordant composition, mimicking the startled song of birds after a disturbance in a wooded enclave on a mountainside, while a magick ritual unfolds. The album itself opens with "Grey Gardens", a menagerie of morose melodies setting a sombre tone for the rest of a bleak record whose sound design and dreamscapes evoke the best sounds of British and German post-punk of the 80s. "Almost Nothing" is a brooding bell-driven track with a dark and pirouetting melody that is the perfect soundtrack to a figurine twirling in a music box. The German language "Nichts" means No, and this song is both sinister and cinematic with sighing keys, shuddering drum machines, and German lyrics sung with sorrowful conviction. "Zusamen", is a word often asked if you are together, or separate, is a dark ballad whose shadowy keys weave a nightmarish delirium, evoking the soundscapes of a lullaby sung in a haunted dollhouse. "4am" is a restless rhythm, whose soft percussive melody tosses and turns alongside subtle bass and string accents overlaid with despondent vocals. "Happy Consumers" sounds like the swirling of a finger drawn upon the edge of crystalline glass, with vocals and drum machines coming emanating from an adjacent room with echoing acoustics, collectively evoking the sound like lingers when the somnambulist wakes from his dream. "Absolutely Absent" hums onward like a phantom train ride that is a one-way ticket to madness, and with the next track "Metalic Isolation" the locomotive beats gather more steam, propelled forward with anachronistic melody. The album closes with "Auf Dein Haut", which translates as on your skin, and the song is both tactile and tenebrous with sensuously dark synth textures amidst howling German vocals that take flight like witches during a sabbat. Partner's In Hell was mixed and produced by Serafim Tsotsonis, and mastered by Doruk Ozturkcan. Genre: Alternative / Post-Punk / Cold Wave

Concrete Castle Dubs return with a double sided 10” rocket launcher from the legend that is Spikey Tee. Two heavy hitters on that ruffnek drum and bass tip, Badder Than Me and Bumbo Ras, coming on a frosted clear 10” vinyl.

Having been involved in the music industry since the early 90’s Spikey Tee is certainly no stranger to the game, not only on a production tip but vocally too. From being signed to Virgin as part of the groundbreaking crew The Sindecut, releasing and featuring on music with the likes of Bomb The Bass, Roots Manuva, Morcheeba, Sola Rosa, Mr Scruff, Jah Wobble and many more, releasing his own solo album on Tokyo Dawn in 2020, and bossing the decks as a dj around the globe too.

We’re very proud to have him deliver two sterling tracks for the label and bring the fire we like to represent neatly!

Of the many great talents of the classic Nigerian highlife scene, none contained the existential depth, transcendence and grace of Celestine Ukwu. During his brief time in this world, he pursued education, music, and philosophy; first as a school teacher, then ultimately a singer, lyricist and musician, first as a member of Gentleman Mike Ejeagha's Premier Dance Band, and eventually fronting his own groups, The Music Royals and The Philosophers National. Beginning in the early 1970s, The Philosophers National established a radical shift in the possibilities of Nigerian highlife by moving away from the typical mid-century style and cutting a new path with a distinctly hypnotic and cerebral atmosphere. This sense of depth was apparent in the lilting, multi-layered and pulsing music of The Philosophers National, as well as the concise and clear-eyed lyrics sung so beautifully by Celestine Ukwu. The arrangements establish a living, breathing environment for each song; muted trumpet solos, hypnotic guitar runs, driving percussion; every instrument gracefully following a tide of patience, tranquility, wonder, climax, knowing and unknowing. "Celestine ditched the jaunty dance rhythms and relatively facile lyrics typical of the reigning highlife tunes, and ignoring the soul music tropes most of the highlife bandleaders were appropriating in an effort to inject new life to their ailing format. Instead Celestine concocted a new highlife style that was more contemplative and lumbering; with the layering of Afro-Cuban ostinato basslines and repetitive rhythm patterns that interlocked to create an effect that was hypnotic, virtually transcendental. Meanwhile, Celestine himself sang as he stood coolly onstage in a black turtleneck and a sportscoat, looking like a university professor. The message was clear: this was not necessarily music for dancing_even though the rhythms were compelling enough. This was music for the thinkers." - Uchenna Ikonne This LP compiles some of Celestine Ukwu's deepest and most affecting songs from the 1970s, which have been gorgeously restored and remastered by Tim Stollenwerk to highlight the brilliant details of Celestine and the entire Philosopher's National. Pressed on 160 gram black vinyl at Smashed Plastic in Chicago, and comes in heavy 3 spot-color jacket, with fold-over insert with bilingual lyrics and notes by Uchenna Ikonne (Comb & Razor Sound).

Ibiza Global Radio is a global reference point for electronic music in the world. Born in Ibiza, for Ibiza and for the rest of the world. A unique sound in an unusual style and excellent “music selection criteria” make Ibiza Global Radio a staple in the genre, so much so that it has a loyal audience of more than 18 million unique monthly listeners worldwide.

Ibiza Global World, a virtual, physical and multimedia platform where radio, TV, events and social media allow the World to experience the White Island, its love and freedom, 12 months a year.

Thanks to this first LP, the label "IBIZA GLOBAL RECORS" is
born. This LP is designed in a unique and exclusive package with 6
tracks with a new electronic sound, created by 6 Great Artists for Clubbing, available for now only in physical format LP and the exclusive worldwide is controlled by "Self Distribuzione S.r.l."

From July 30-31, the project will be presented at the mega event IBIZA GLOBAL FESTIVAL which will be attended by Top DJs like “Luciano” or “Nic Fanciulli” or “Jose Maria Ramon” (Artistic Director of Ibiza Global Radio) and many other Top Djs from all over the World with an expected attendance of over 40 thousand people on one of the most beautiful beaches of Ibiza !!!! Stay tuned

Ibiza Global Radio is a global reference point for electronic music in the world. Born in Ibiza, for Ibiza and for the rest of the world. A unique sound in an unusual style and excellent “music selection criteria” make Ibiza Global Radio a staple in the genre, so much so that it has a loyal audience of more than 18 million unique monthly listeners worldwide.

Ibiza Global World, a virtual, physical and multimedia platform where radio, TV, events and social media allow the World to experience the White Island, its love and freedom, 12 months a year.

Thanks to this first LP, the label "IBIZA GLOBAL RECORS" is
born. This LP is designed in a unique and exclusive package with 6
tracks with a new electronic sound, created by 6 Great Artists for Clubbing, available for now only in physical format LP and the exclusive worldwide is controlled by "Self Distribuzione S.r.l."

From July 30-31, the project will be presented at the mega event IBIZA GLOBAL FESTIVAL which will be attended by Top DJs like “Luciano” or “Nic Fanciulli” or “Jose Maria Ramon” (Artistic Director of Ibiza Global Radio) and many other Top Djs from all over the World with an expected attendance of over 40 thousand people on one of the most beautiful beaches of Ibiza !!!! Stay tuned

“Irreverent and playful” MOJO // “...an utterly distinctive, mental world.” The Financial Times // “From keening ballads to haunting waltzes, Paradise has never seemed stranger” Shindig // “There’s a buoyancy to even the most lacerating lines now, a liberating relief in pressing on” Uncut // Way back when, before the pandemic, and before the release of Alex Rex’s last album Paradise escaped the confines of lockdown, Alex Neilson took a break from the road and set about putting together a record of poems extracted from the collapsed goldmine of his brain. Returning to his experimental roots, Mouthful of Earth’s cutting and oft heart-wrenching stanzas are set to music largely from underground legends Alastair Galbraith, Richard Youngs and Alex’s cult experimental drone record Belsayer Time (originally released on Time Lag Records in 2006. This is the first time that this music has ever been made available digitally). And for one track, Alex reunites with ex-Trembling Bells mucker Lavinia Blackwall for some free-form experimental jazz, reminiscent of the more psychedelically unhinged moments of Cammell/Roeg´s Performance soundtrack. To quote Stuart Maconie’s sleeve notes for the record, “One of the first things I learned about Alex’s musical imagination and modus operandi was a joy in collaboration, and Mouthful Of Earth continues in a tradition that has seen him work with many kindred spirits across many genres; Bonnie ‘Prince’ Billy, Current 93, Jandek, Kan Mikami, Shirley Collins, Six Organs of Admittance, Josephine Foster and Baby Dee. The list is disparate and stellar, the results are always interesting and alive.” Continuing in the spirit of collaboration, Mouthful of Earth’s words and music are accompanied by a digital book of drawings by Kent-based visual artist, musician and art psychotherapist, Benjamin Prosser (Insta: @benjaminprosser). These are not so much literal illustrations as reactions. The combination of poems and visuals works a suite of haunted vignettes, dense with bleak humour and hallucinatory images. “The phantom hand of a lover pressed over the mouth of your mother” / “the whole gurning universe” / “the collapsed farmhouse of my mouth”. Mouthful of Earth is both visceral and corporeal, flecked with blood, sweat and beers. Or as Alex puts it "a continuous project of describing the human spirit pushed to the point of crisis”. Mouthful of Earth finds beauty in scarring and peace in torment. It’s both an assault and a balm of sorts. Life, says Neilson “is not a golden arc / It's a bent aerial / connected to a vast and terrible machine/operated by a child”. But listen hard and you will also hear beauty… “The song of yourself, roaring like a cloud, explicable only by light”. With sleeve notes by BBC Radio presenter and author Stuart Maconie, Mouthful of Earth is released on limited edition vinyl (300 copies only) and digitally via Neolithic Recordings. Reminiscent of his early work with Trembling Bells, and again featuring Lavinia Blackwall on vox, the track is a red herring; a nod towards a lighter shade of darkness.

FP030F pressed in half black half purple vinyl 500 copies hand-numbered. FP030G pressed in black with red splatter vinyl 500 copies hand-numbered. A match made in heaven and hell, since forming in the cradle of Europe Athens, back in 2012, dark synth duo Selofan have paved their own perditious way, reinventing the modern Darkwave scene throughout the continent and worldwide with their prolific creativity and work ethic over the past decade. Through varied experimental synth-scapes conjured with keen ears for sound design, production, and theatrical aesthetics, Selofan rest not on the laurels of just creating highly danceable coldwave infused music, but with together with Joanna Pavlidou's haunting vocals, and Dimitris Pavlidis' throbbing bass guitar, and modular synth compositions, the pair conjure whole other worlds and narratives throughout each album and music video they create. Thus far the Selofan have released 5 studio albums, issued through their own legendary label they curate themselves: Fabrika Records. Through their Fabrika family, Selofan have championed such acts as Lebanon Hanover, and She Past Away, aiding these bands in becoming two of the most popular Darkwave acts worldwide. Drab Majesty even cameoed in a She Past Away video while being hosted by Selofan during one of the band's frequent stays in Athens, and Kaelan Mikla, a handpicked favorite of The Cure, were first championed by Selofan, through the release of the Icelandic Trio's self-titled debut in 2016. In the Spring of 2020, Selofan released the video for the hopelessly plaintive "There Must Be Somebody", the first single from their forthcoming sixth studio album Partners In Hell, the follow-up to 2018's widely popular Vitrioli LP. "There Must be Somebody" is a discordant composition, mimicking the startled song of birds after a disturbance in a wooded enclave on a mountainside, while a magick ritual unfolds. The album itself opens with "Grey Gardens", a menagerie of morose melodies setting a sombre tone for the rest of a bleak record whose sound design and dreamscapes evoke the best sounds of British and German post-punk of the 80s. "Almost Nothing" is a brooding bell-driven track with a dark and pirouetting melody that is the perfect soundtrack to a figurine twirling in a music box. The German language "Nichts" means No, and this song is both sinister and cinematic with sighing keys, shuddering drum machines, and German lyrics sung with sorrowful conviction. "Zusamen", is a word often asked if you are together, or separate, is a dark ballad whose shadowy keys weave a nightmarish delirium, evoking the soundscapes of a lullaby sung in a haunted dollhouse. "4am" is a restless rhythm, whose soft percussive melody tosses and turns alongside subtle bass and string accents overlaid with despondent vocals. "Happy Consumers" sounds like the swirling of a finger drawn upon the edge of crystalline glass, with vocals and drum machines coming emanating from an adjacent room with echoing acoustics, collectively evoking the sound like lingers when the somnambulist wakes from his dream. "Absolutely Absent" hums onward like a phantom train ride that is a one-way ticket to madness, and with the next track "Metalic Isolation" the locomotive beats gather more steam, propelled forward with anachronistic melody. The album closes with "Auf Dein Haut", which translates as on your skin, and the song is both tactile and tenebrous with sensuously dark synth textures amidst howling German vocals that take flight like witches during a sabbat. Partner's In Hell was mixed and produced by Serafim Tsotsonis, and mastered by Doruk Ozturkcan.

Renowned for their distinctive songwriting, unique sound with beautifully
produced recordings, onstage chemistry and electrifying live shows,
European and British blues award nominees the Starlite Campbell Band
are Suzy Starlite and Simon Campbell who fell in love on stage and
married following a whirlwind musical romance
With their fresh taste of original '70s British rock and British blues, the husband
and wife duo have been on an exciting roller-coaster of a musical ride following
the release of their debut album 'Blueberry Pie' to rave reviews worldwide and a
prestigious nomination for Best Album in the European Blues Awards.The band's
exciting and highly anticipated second album 'The Language of Curiosity' is
released on November 5th, 2021 and supported by a European tour.
'The Language of Curiosity' is a collection of stories about different facets of
post- modern real- life experiences from working for the man, attitudes towards
lust, passion and casual sex, space travel, social systems and abuse by power
and money, war and the global refugee crisis, gatekeepers in the music industry,
people giving up and growing old before their time and feel good '70s inspired
British rock and British blues; it's like looking at different sides of a Rubik's cube.
From full-on rock 'n' roll tribal drums, thunderous bass, badass dirty guitar riffs,
drunken echoes of slide and lap steel, melting melodies and vocal harmonies
combined with old school valve guitar amps and analog tape machines, Starlite &
Campbell have a very British sound! With a vibe and feel reminiscent of the mid
'60s to early '70s British rock & British blues; think Peter Green, Faces, Deep
Purple, Led Zeppelin but not like those really... more like Starlite-Campbell!

'Livin' My Best Life' is the follow-up to Scott's Nothing To Do Town EP
Produced by Will Weatherly, Matt Alderman, Jim Ed Norman, Curt Gibbs and Mark
Holman, the new record delivers a personal set filled with the backroads,
barstools and church pews that defined the Louisiana native's youth. The singer/
songwriter co-penned eight of the album's 16 selections, whose credits boast an
all- star lineup of writers like Morgan Wallen, HARDY, Ashley Gorley and more.
Notable highlights include fiery heartbreak single "New Truck," unifying anthem "In
Our Blood (feat. Jimmie Allen)" and No. 1 hit "Nobody."
Bob Harris BBC Radio 2 -mulitple plays
Included on Baylen Leonard's Spotlight Tracks on the Absolute Radio Country
playlistFeatures to run in Country Music People and Maverick
Full page ad in Country Music People, Quarter page ad in Maverick

French pianist, jazz vocalist and songwriter Matthieu Boré grew up surrounded by music and the arts. While his great-grandfather loved to give impromptu renditions of famous opera arias, his father's tastes were more modern and Matthieu's childhood was punctuated by the sounds of Eric Clapton, Bob Marley and the Stray Cats. At age 7, Matthieu began taking piano lessons, focussing predominantly on classical repertoire. In the 1990s he took his first steps into the music profession, singing in various punk and trip hop outfits, before pursuing his love of 1930s and 40s jazz. In early 2000, the young singer-pianist began playing the Parisian jazz club circuit and a year later, released an entire album of Fats Domino covers. In keeping with his fascination of 1950s R&B music, he issued Doo Wop in 2003. Sometimes on My Own (2007) is inspired by his idols Irvin Berlin, Hoagy Carmichael and Gershwin. 2009 saw the release of FriZZante!!, an album featuring a blend of covers and his own originals, with full orchestra. Matthieu Boré has performed at festivals and concert venues in both France and around the world, including the Montreal Festival, the Jarasum Festival (Korea), the New Morning and the Olympia. In 2011, he released a live album recorded at Paris's iconic Duc des Lombards. Roots (2012) was a surprising cocktail - a strong dose of New Orleans funk, from with Matthieu draws his own nonchalant style, combined with a predilection for acoustic sounds and syncopated grooves. In 2015, grammy-nominated Leo Sidran produced Naked Songs which explores the idea of pearing back songs to their defining elements. In Gumbo Kings (2019), Matthieu pays tribute to Allen Toussaint and The Meters through twelve original songs whilst his most recent release Till The Morning Light(2022) combines Jamaican ska and 60's garage rock influences.

This May, Italian alchemists and power trio Ufomammut return with their ninth studio album, Fenice via Neurot Recordings. But not as we’ve heard them before, now “more intimate, more free.”
For over 20 years, the band has combined the heaviness and majesty of dynamic riff worship with a nuanced understanding of psychedelic tradition and history in music, creating a cosmic, futuristic, and technicolor sound destined for absolute immersion.
Fenice (meaning Phoenix in Italian) symbolically represents endless rebirth and the ability to start again after everything seems doomed. The album is the first recording with new drummer Levre, and truly marks a new chapter in Ufomammut history.
“I think we lost our spontaneity, album after album,” says Urlo. “We tried to make more complicated songs and albums, but I think at some point we just ended up repeating ourselves. With Fenice, we were ready to start from zero, we had no past anymore - so we just wanted to be reborn and rise from the ashes..”
While the band are well-known for their psychedelic travels into the far reaches of the cosmos, Fenice is a much more introspective listening experience. Fenice was conceived as a single concept track, divided in six facets of this inward-facing focus. Sonic experimentations abound in the exploration of this central theme; synths and experimental vocal effects are featured more prominently than ever before as the band push themselves ever further into the uncharted territory of their very identity.
The towering synths on the opening track ‘Duat’ evoke an almighty machine rising from the depths of primordial ooze. There’s a shift to a frenetic garage-psych pace before mellowing out into a more familiar doomy stomp. ‘Kepherer’ is a respite, albeit a slight one, returning to the pulsing rhythms of the album’s intro before plunging the listener into the menacing build and release of ‘Psychostasia’ next. Each oscillation of this extraordinary album feels inevitable - Ufomammut are after all, masters of their craft, and when it comes to creating enveloping sonic journeys into the unknown, it’s their uninhibited sense of exploration that breaches new sonic ground.

Fenice is the sound of a band whose very essence has been rejuvenated, and are welcoming the chance to create music in the way they know best; by unfolding carefully and attentively, by melding those extreme dynamics which render Fenice as a living and breathing creature - and by writing gargantuan riffs that herald their very rebirth.