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Sam Cooke’s SAR Records Story 1959-1965 gathers significant recordings of SAR Records – the label Sam Cooke co-founded, produced the majority of records for and was instrumental in operating. Groundbreaking artists such as The Soul Stirrers, Johnnie Taylor, Billy Preston, and Bobby Womack’s group The Valentinos are all featured, in addition to Sam himself. “The whole SAR Records Story is infused with Sam Cooke’s rapturous sense of how sacred gospel and sexual soul flow together, unbroken,” stated Milo Miles on NPR’s Fresh Air upon the set’s initial release almost three decades ago. In an era where black-owned labels were a rarity, Los Angeles based SAR Records was founded at almost exactly the same time as Motown, its Detroit counterpart. SAR was established in 1959 by Sam Cooke, music publisher J.W. Alexander, and S. Roy Crain, Cooke’s road manager and founder of gospel group The Soul Stirrers. The acronymous name standing for Sam Alex Roy, SAR sought to keep gospel music alive while simultaneously crossing over to pop audiences in the secular world. LPs 1 and 2 of the set focus on the former, while LPs 3 and 4 encompass the latter. From choosing talent, to writing a great number of songs, to producing, SAR was entirely the fulfillment of Cooke’s vision on a musical/creative level. The superstar singer, who had already crossed over from the gospel world himself, tirelessly coached the vocalists during SAR recording sessions, emphasizing diction. His methods are heard throughout the collection, as he is heard speaking to artists between takes. “And by Sam being there with you and just giving you that special attention, you wanted to give it to him like it was supposed to be. I think that’s what made SAR, SAR. Because he was selling himself through different artists.” – Bobby Womack. VERY LIMITED 1-2 COPIES ONLY PER SHOP

"Named for the band’s third lease on life, Third Wind finds Gulfer at a unique moment in their ten-plus year career. When they started in 2011, Gulfer played scrappy, complex math rock influenced by the emo revival. But in 2024 they’ve emerged almost unrecognizable, while still retaining the spirit of what made them all fall in love with Gulfer in the first place.

Third Wind’s stylistic turns are emphasized by deeper texture and simpler songwriting, influenced by the reemergence of 90s alternative and shoegaze. With a new emphasis on atmosphere and more straightforward composition, Gulfer give themselves space to explore audaciously.

Album opener “Clean” gets as close to pop as the band has ever been, where “No Brainer” dabbles deftly in downer rock that asks “what even is my fucking place in the world? "Bold juxtapositions feature elsewhere on Third Wind: pop-punk bruiser “Too Slow” stops on a dime before evolving into a slow burning drum n bass passage, all within two minutes. And then there’s “Heartshape”, a downright love song shrouded in virtuosic performance and electric-acoustic counterpoint. Although these contrasts could be construed as aimless fiddling, their seamlessness is the true essence of Third Wind, indicative of a sage band with a renewed love for what they do."

Repress
Dry mix only single LP edition, reverb mix of 2LP edition excluded.

Issued in 1975, this is the articulation of Zambia’s Zamrock ethos. Its' musicians were anti-colonial freedom fighters, it envelops Zambian folk music traditions, and it rocks - hard. Amanaz were serious, and they made a serious stab at an album. They titled their album Africa, according to original band member Keith Kabwe, “because of how it was shared and how its inhabitants were butchered and enslaved, its resources stolen... all the atrocities slave drivers committed. “ Thus, their “Kale,” a blues sung in Nyanja, that traced the continent’s arc from slavery to Zambia’s independence closes the album. Kabwe and rhythm guitarist John Kanyepa have a winsome softness to their vocals, which sit politely aside the feral growl of drummer Watson Baldwin Lungu, bassist Jerry Mausala and bandleader/lead guitarist Isaac Mpofu. Africa’s vibe ranges from anxious (“Amanaz”) to escapist (“Easy Street”) to straight-up pissed-off. On the “History of Man,” his voice whiskey-burned, his distorted guitar buzzing like swarming hornets, Mpofu indicts his species. There’s a darkness to Africa not found on any other Zamrock records, and a melancholy drifts throughout, specifically on Mpofu’s more restrained “Khala My Friend,” which stands as an effective, bleak situation for the Zambian everyman, the average citizen of a struggling, new nation, who might have had relatives in conflict-torn countries on the horizon, who might have been struggling to find his next meal, who might have seen a bleaker future than his president promised. Then there’s the clear Velvet Underground-influence on the nostalgic “Sunday Morning,” which, as Kabwe recalls, was the first song written for the album, back in 1968, when Velvet Undergound and Nico was a new release - and the underground funk of “Making The Scene.” The album also tackles traditional Zambian music and early-‘60s rock – punctuated, of course by Kanyepa’s wah-wah and Mpofu’s fuzz guitars. But every time Amanaz get too deep, too violent, they come back with an accessible song and woo their listener back to the groove. “Green Apple” is a civil song, featuring Kanyepa’s sighing guitar.

After more than 6 years of silence, Abschaum is finally back with a new album, and it was about time because this new opus is sublime!!

‘Shamanic’ Chris (Abschaum’s mastermind), made alone this magnificent piece of Folk, Ambient, Kraut music, that he carefully recorded in the mountains of Jura, experimenting with his guitar and a little electronic set-up, composing beautiful melodies and singing French lyrics with powerful voice to bring us to another level of harmonies, the all merged with special atmospheres that are not without remembering Eno or Froese sometimes. In our opinion, this record could easily been recognise as a timeless masterpiece in the future.

Ngwaka Son Systéme’s debut album Iboto Ngenge means “power struggle” or “seizing the opportunity” but while words can only be roughly translated, the music reaches listeners unambiguously: A potent mixture of techno, rumba, soukous, zagué and dancehall with the unique “Kinoise” brand fresh out of Kinshasa, the Congolese megacity that never stops innovating in the music landscape worldwide. Ngwaka Son Systéme is led by musicians Love Lokombe and Bom’s Bomolo, having previously founded the band KOKOKO!. This new project continues the contemporary Congolese tradition of reinventing electronic music by shaping and crafting music instruments made of household objects. As a means to continue strengthening the links between Africa and Latin America, Eck Echo has tasked Colombian dub engineer Diego Gomez with the analog mixing of the stems, originally recorded by Levy David at Timbela Ba Studio in Kinshasa. With the aim to bring the lexicon of shared Colombian and Congolese music into the next chapter, we proudly present to the world the magnificent music of Ngwaka Son Systéme. The inadvertently techno-oriented Lakala, a trance-inducing experience where listeners can quickly relish to the lyrics even without speaking Lingala, for the shapes of the words are already inviting listeners to dance, sing and smile, all the while virtuoso percussionist Steroy operates the DIY-drum kit at high-tempo. The call-and-response effect, where each musician lends their voice to the choir, is particularly felt in Bo Lobi Pe, where the vocals guide us ever so playfully to the tune of an acoustic guitar that invites us to take off our shoes, kick back and relax. Zanga Mbongo (translated as “there is no money”) is lyrically a proud anthem to celebrating life in spite of economic scarcity, and musically it is a triumphant renewal to the legendary soukous genre of the 1970s, championed by worldwide renowned stars such as Pepe Kallé and Sam Mangwana.

Aerials live, dials tuned, Transmission Towers broadcasting. On either side of the river Mersey, transcendental communications are traded back and forth. Two late-night revellers, one firing messages filled with music, the other returning them laced with lyrics. The result, a dopamine hit of oddball machine soul, melded with a highlife, Afrofuturist touch. Wonky and murky yet deeply emotional, Transmission One, is a debut album that also marks the first release on Luke Una’s É Soul Cultura label, encompassing expertly the off-kilter atmosphere the label sets to orbit.

A synthesised landscape with a Northern charm, Transmission Towers marry the musical worlds of two artists that last collaborated over a decade ago. 10 years have passed, lives have been led, but a gravitational pull has placed Mark Kyriacou and Eleanor Mante back in each other’s spheres on opposite sides of the city of Liverpool. Energised with a newfound desire to strip it all back to the sounds that influenced their formative years in the late ‘80s and ‘90s - astral travelling, intoxicated on Motor City techno, Black Dog IDM and mystical Sun Ra.

Mark half Irish, half Greek Cypriot, Eleanor half Nigerian, half Ghanian, the music contained within is an alchemy of those roots and the pivotal acts that buried deep into their minds. A cosmic contrast, part machine-made, part distinctly human. Take the opener ‘UP’, an ESG-channelling, sci-fi punk beatdown or the polychromatic hyperspace anthem ‘Roller Skater 23’.

Transportive throughout, you ride the solar waves, pace and emotion ebbing and flowing. Tracks like ‘Go Slow Heart’ and ‘Cosmic Trigger’ step to a slower beat but hit with a punch. The former, a slo-mo blast of celestial tenderness, the latter an otherworldly, chugged-out lunar excursion, micro-dosing on whacked-out Wah Wah and Eleanor’s ethereal vocals. Beaming love letters to space and back, ‘Sparse’ marries the organic with the artificial, pianos and percussion circling around synth pads and broadcasting bleeps.

Elsewhere, vibrations move faster. ‘Mega’ strikes, fusing sonic tribalism with psychedelic swirls, as ‘Everything’ sweeps you up in its extra-terrestrial new wave grip. Synth stabs and basslines fizzing from every angle.

Demos of Transmission Towers music surfaced on Luke Una’s radar, making him stop in his tracks. Something magical was emerging, perfectly aligned with the E Soul guardian’s tastes. Guidance followed, quickly turning into conversations about Transmission One becoming the first release on Luke’s own label.

Escapist and futurist yet grounded and relatable. Transmission One is synthesis meets sentiment with a deep, spine-tingling soul at its core.

This live album is a recording of the last live performance by Drumwolf (Toru)'s with the band. The concert was held at W.W.W.X. in Shibuya on March 11th, 2023 and includes 13 of the songs that they played at this gig.

It is the last memorial live performance for Toru, the bedrock of Guitarwolf for many years and will be permanently etched on vinyl. This is a must record that fans need to get hold of, as it is the live recording of the band's latest performance featuring many of their classic songs.

Guitar Wolf have been expanding their horizons of their activities in recent years, including an appearance at the Shimane Jet festival, and they hope you can appreciate the pure joy of their universal rock 'n' roll vibes on vinyl that might be too hot for the whole world to handle!

And as a bonus item, you can stream the full live performance of this monumental concert of Guitarwolf in its entirety as well! It was directed by Tetsuro Takeuchi who has previously worked on Guitarwolf's music videos for many years.

This video of their live performance was edited full of tension and speed and it truly displays how much Guitarwolf deserves the title of Japan's number one rock 'n' roll band. This fact can also be relived by seeing this video included in this deluxe edition.

Guitarwolf
Members:
Seiji (Guitarwolf): Lead Vocals, Guitar
GOTZ (Basswolf): Bass, Vocals
Shingo (Drumwolf): Drum Note: Joined the band in 2022

Real-life rock 'n'roll super heroes that rock fans all over Japan continue to admire.
While creating numerous legendary myths in the 1990s, being unique beyond comparison, they continue to consistently blare out their spontaneity to the present day,

The band's unusually extreme and bombastic sound amplifies the embryonic impulses of rock 'n' roll, while Seiji's lyrics mix words that evoke the 'universe' and the 'Showa era' with his own unique sense of humor. In their relentless pursuit of a style that has remained unchanged since the band's formation, the music that the three members who don their entire bodies in black leather play, emits power that transcends time and space. While doing so, they continue to gain enthusiastic fans from all over the world.

Formed in 1987, the original members, Seiji and Billy (bass, vocals) and Toru who joined the band later, started their musical activities together and released their debut album "Wolf Rock" in 1993 from the Memphis-based Goner Records. Later, they signed to Matador Records, one of the leading indie labels in the USA. They also made their major label debut in 1997 with the album, "Wolf Planet" on Ki/oon Records/ Sony Music in Japan.

They have released 12 albums to date. The band has also continued to tour energetically around the world, not only in Japan but also in the US, EU countries, Australia and South America. Billy suddenly passed away in 2005. After having two mighty support casts, U.G. and Hikaru, GOTZ (Gotz) joined the band in 2018 as the new bass wolf. Also, Toru who had been with the band as drum wolf for many years left in 2022 and the band is now more energetically active with their new drum wolf, Shingo.

Geschmiedet aus demselben Sheffield-Stahl wie Def Leppard, entstiegen auch Crimes Of Passion dieser Stadt mit der Leidenschaft und dem Ziel, unseren Vorbildern auf dem Weg an die Musikspitze folgen. Eine Band, die das Glück hatte, die einflussreiche Ära von Dio, Ratt, Queensryche und Journey miterlebt zu haben, aber keineswegs zu sehr in der Vergangenheit zu stecken, um das Songwriting vom damaligen Emo/Metalcore-Sound beeinflussen zu lassen.

Es war offensichtlich, dass Crimes Of Passion das gewisse „etwas" hatten, denn innerhalb eines Monats nach der Gründung und dem Schreiben der Songs für das erste Album ging die Band auf Tour mit Bands wie Tyketto, White Lion, Great White, Gotthard und durfte auch bereits auf mehreren Festivals auf dem ganzen Kontinent spielen - die Stahlkugel aus Sheffield kam tatsächlich

Live albums are often a ‘hit or miss’ affair but ‘Live Oblivion’ 1 & 2 buck that trend, Recorded across 2 nights in 1974 at the Hollywood venue The Whisky A Go Go. The group were finishing off a huge US tour that had roared down the east coast then across the Midwest and by the time they hit LA, as Brian recalls “we were all absolutely performing at our height. So I decided that I really needed to record the band live at that point”. Utilising the Wally Heider Mobile Truck, the scene was set for one of the greatest jazz-fusion live recordings to be made. The show opens with a hyper fast version of Beginning Again due to drummer Steve Ferrone being almost an hour late and running high on adrenaline, Brian remembers thinking “I don’t even know if I can play it that fast!” Fortunately, he and the Oblivion Express including stellar vocalist Alex Ligertwood rise to the challenge and the result is akin to some frenetic jazzy drum & bass but also pushes the group onto another level altogether for the rest of the show. Across both volumes there are no fillers and the highlights are many - Bumpin’ On Sunset, Freedom Jazz Dance, and Inner City Blues are all stunning, but especially the epic version of Maiden Voyage which Mos Def sampled on his 1997 'If You Can Huh! You Can Hear', and both DJ Mitsu in 2004 and 2017 Crimeapple both dipped into Live Oblivion to sample that fire for their own projects.

Live albums are often a ‘hit or miss’ affair but ‘Live Oblivion’ 1 & 2 buck that trend, Recorded across 2 nights in 1974 at the Hollywood venue The Whisky A Go Go. The group were finishing off a huge US tour that had roared down the east coast then across the Midwest and by the time they hit LA, as Brian recalls “we were all absolutely performing at our height. So I decided that I really needed to record the band live at that point”. Utilising the Wally Heider Mobile Truck, the scene was set for one of the greatest jazz-fusion live recordings to be made. The show opens with a hyper fast version of Beginning Again due to drummer Steve Ferrone being almost an hour late and running high on adrenaline, Brian remembers thinking “I don’t even know if I can play it that fast!” Fortunately, he and the Oblivion Express including stellar vocalist Alex Ligertwood rise to the challenge and the result is akin to some frenetic jazzy drum & bass but also pushes the group onto another level altogether for the rest of the show. Across both volumes there are no fillers and the highlights are many - Bumpin’ On Sunset, Freedom Jazz Dance, and Inner City Blues are all stunning, but especially the epic version of Maiden Voyage which Mos Def sampled on his 1997 'If You Can Huh! You Can Hear', and both DJ Mitsu in 2004 and 2017 Crimeapple both dipped into Live Oblivion to sample that fire for their own projects.

It's time! The Dark Master, III Machine, Signal 2 Noise, Known Unknown - Dom & Roland lands on Samurai Music for his first single for the label.

A foundation Drum and Bass artist, Dom's productions have retained their distinctive identity as his music progressed through his storied career for most of the genres most influential labels. Dom has made his fair share of the most important records in the genre and continues to do so with his dedication to the craft unwavering after 30 years.

His Samurai debut harnesses his experience and prowess with two capsule examples of raw Dom and Roland power.

Melbourne pop eccentric Gregor releases his fourth album Satanic Lullabies, his deepest and darkest record yet. In the years since his first album, 2016's Thoughts & Faults, Gregor's music has got progressively odder, more challenging and more rewarding. The spacious, acerbic pop of Silver Drop (2018), featuring touching single A Song About Holding Hands, was followed by the lovesick Destiny (2020), which put Gregor's inquisitive pop through a warped filter. Now Satanic Lullabies has polar extremes of wide-eyed innocence and deep despair. There are moments of great musical beauty that segue into harsh, bleak soundscapes. "I'm seeking to draw attention to the similarities between heaven and hell," says Gregor, "and to comfort anyone who recognises these." Satanic Lullabies is a modern epic, a bedroom odyssey, like if pre-MAGA Kanye made a Disney soundtrack. Gregor's live show ranges from solo mode up to a ten piece band, and he has played festivals such as Golden Plains, Dark Mofo, Inner Varnika, Boogie and The Others Way (NZ). He was nominated for Best Album and Best Solo Artist in the 2019 Music Victoria Awards, and Best Pop Act in 2021.

"Back Home - Complete Leiden 1984 Concert is the live album by Golden Earring which features the live recordings of their legendary sold-out show at the Groenoordhallen in Leiden. The recordings are available on vinyl in its entirety. Dick Maas (famous Dutch filmmaker, Amsterdamned o.a.) and his crew were present to film the concert that became known as 'Live from the Twilight Zone'. It was broadcast in the USA by MTV, then still in its early days. Back Home - The Complete Leiden 1984 Concert contains remastered audio and is available on black vinyl, housed in a gatefold sleeve with liner notes.

Runar Magnusson is an Icelandic/Danish sound artist and musician, currently based in Austria. With a masters degree in Electronic Music Composition from The Royal Academy of Music, Aarhus, Denmark, he is inspired by the sounds of nature, noise, and meditation. Magnusson specialises in atmospheric disturbances through minimalist compositions. A sly humour cuts through the dark hues of his works.

Magnusson writes: "The two works which make up "Inside Out of Chaos" are somewhat related. They were made at the same time and share the same source materials somewhat – a pool of sounds I had been experimenting with for a couple of years. Two separate projects created the opportunities for me to realise them in these finished forms.

At the beginning of 2020 I was invited to participate in an acousmatic concert series at the Traktorfabrikken in Vienna. Curated by Austrian composer Christian Tschinkel and performed on his Akusmonautikum sound system this particular event, titled Kill & Kaoss, was the last in the series. I named my piece after the event and dedicated it to Tschinkel´s Akusmonautikum system. Without my knowing, I had witnessed this system in action half a year earlier at a concert at the Hermann Nitsch Museum in Mistelbach, with Hermann Nitch playing the organ and Tschinkel operating the sound system – a profoundly enjoyable performance. I was very happy when I connected the dots soon after the invitation to participate. I intended my work for Kill & Kaoss to be a way to greet the new lunar year of the rat – a year which held many surprises… The event took place on 22nd of February 2020 at Traktorfabrikken, Vienna.

"Inside Out (for Trattner)" was composed for Austrian artist Josef Trattner. It was the soundtrack for a film that was a part of his exhibition "Inside Out" at the Kiesler Foundation in Vienna, 2020. I assisted with the installation of the exhibition, itself a filmed action that evolved into the movie of which this is the score. The installation was a very hard physical process that left me bloody and blistered. It was also a fascinating, trance-inducing experience. Mining with ones bare hands, digging out this huge structure and creating a womblike cave, a tunnel system, a playground, a hideaway while experiencing ever-increasing pain in the fingers and hands. The exhibition ran from 27 February 2020 until 23 December 2020.

I consider this release as the final part of a trilogy I refer to as "the three sisters of sorrow". These three releases are an insight into my state of mind at the time – a mental collapse, somewhat triggered by a move to a new country, the death of my friend Jóhann Jóhannsson and the loss of my father a year later. Between 2018 and 2021 I had the trilogy almost ready but had not been able to finish them. I sought professional help to lift me up from the deep and was diagnosed with ADHD, which explained many things in my life. Only after the darkness had lifted could I see that these three releases were connected. They depicted both the mental state I had been in – an incapacitating downward spiral, a crushing chaos – and also my search for the light, a way out of the maze and my path up to the surface."

Runar Magnusson, Vienna, 13 November 2023

As former member of the Miles Davis sextet Bill Evans made a strong impression with his first trio, which included the innovative bassist Scott LaFaro and drummer Paul Motian. Their 1961 live ‘Sunday At The Village Vanguard’ set the standard for interactive trio work and is still regarded as a jazz classic. Tragically, LaFaro was killed in a car accident 10 days after that historic session. There followed a succession of rhythm tandems until Evans found another inspired pairing in 1968 with bassist Eddie Gomez and drummer Marty Morell who remained together for seven years. Limited edition on blue transparent vinyl. "Autumn Leaves - In Concert" includes the following tracks: "Quiet Now", "Very Early", "What Are You Doing The Rest Of Your Life?", "Some Other Time" and more.

Repress! PRESSED ON BLUE & WHITE SWIRL VINYL! Housed In A High Gloss Jacket With Each LP Tucked Into A Printed Inner Sleeve

Nasir "Nas" Jones' 2001 record Stillmatic was considered a major comeback for the 90s rap icon. It signalled a return to the gritty, urban chaos of his acclaimed debut album, after releasing record after record of gradually more mainstream material, and Nas' return to prominence in the highest echelons of hip-hop. In spite of this newfound critical clout, Stillmatic's release did nothing to squash his then ongoing feud with fellow New Yorker Jay-Z, who had gone so far as to challenge Nas to a pay-per-view rap battle. A challenge Nas rejected, stating "If Jay-Z wants to battle, he should drop his album the same day I do and let the people decide." Nas fans never would get the no-holds barred lyrical battle with Jay-Z many had speculated. What they got instead was one of Nas' most personal and introspective releases to date in 2002. Not long after Stillmatic's release, Nas spent much of his time away from the limelight to tend to his ill mother, who would pass on from breast cancer in 2002. His experiences with his mother's mortality as well as the fallout of his feud with Jay-Z, who continued to produce diss tracks as Nas tended to his mother, would inspire much of the lyrical material on his next record. God's Son was released in December of 2002, and like Stillmatic before it, was subject to major critical acclaim. On God's Son, Nas effectively took the battle-hardened demeanor he had cultivated and tore it down across 14 tracks that were emotionally insular, though still dusted in urban grit, and still finding time to shoot back at Jay-Z's potshots on tracks like "Last Real Nigga Alive" and "Mastermind." Assisting Nas was a slew of top-tier producers like The Alchemist, Eminem, Ron Browz, and Salaam Remi, over samples of James Brown, the Incredible Bongo Band, Fela Kuti, and Beethoven, and guest vocals from Alicia Keys, Kelis, Claudette Ortiz of City High, and even a posthumous 2Pac.

Little Beat More is proud to present you a two-track EP by Turist, a Vienna based psychedelic Dembow project, founded to combine the energy of a live band with the tightness of an overdub session. ?Turist made it their mission to revive handmade music from the 60's and 70's aiming for the dancefloors of today!
The two tracks demonstrate how they interlace heavy basslines, colorfully echoing guitars and driving drums, drawing inspirations spanning from Ghanian highlife to Peruvian cumbia.
“Skeet”, on Side A, is the band’s manifesto with their special blend of Caribbean dance rhythms and Californian surf music psychedelia. Side B's "Ez Up" is a straightforward champeta song, the Afro-Colombian style that fuses sweet soukous guitar lines with uplifting soca rhythms, making you want to immediately look for the nearest Pico Soundsystem.
Set off on a rhythmic journey following Turist in their musical nomadism with us!

Another well kept secret from the Italian cult electronic music imprint - Interactive Test. A 4 track EP with a wide range of flavours in "house" music, very much dependent on the different samples employed. A side starts off with a deep house track echoing similar atmospheric qualities as to some of the dancefloor oriented productions making their way into US underground scene around that time, specifically Chicago and Detroit. The Percapella Mix makes the dedication to the Canadian Disco legend Gino Soccio very clear with a lengthy sample of "There's a Woman", a track which uses early electronics in a pioneering way, with what could possibly be one of the first examples of an Acid Bass line. On the B-side, things slow down a a notch with more clear cut explorations in Acid house featuring layers of synths and percussive samples and occasional placement of vocal samples from countries far away from Italy, all made possible thanks to the new exciting technologies that had recently been made available to producers at the time. Remastered by Man Made Mastering in Berlin and re-released with new full cover artwork.

Garth Erasmus is an artist and musician based in Cape Town, South Africa. 'Threnody for the KhoiSan' is his first album under his own name. Since 1985 his artistic interests have broadened to include music-making, designing and making his own instruments based on indigenous KhoiSan knowledge. From 1999 to 2012 he was a member of the South African First Nation activist group Khoi Khonnexion. In the past couple of years Garth Erasmus has also been a pivotal part of various international performance pieces and exhibition projects which brought him regularly to Europe. Most of these activities were developed and performed in collaboration with the Hamburg based band Kante and his band Khoi Khonnexion. In April 2024 Garth Erasmus will be part of the group exhibtion 'Oscillations' at Akademie der Künste, Berlin.

His works in music are predominantly characterized by a restless quest for alternative forms of expression and materials including self build instruments, field recordings or various electronic music devices.

In this context the music on 'Threnody for the KhoiSan' takes on a primal and metaphorical meaning. Rather than a formal, physical initiation, this process is more spiritually inclined, yet it is a spirituality which is consistently put into action.. “Ever since I was an art student I have experimented with alternative materials to release me from the Western education values I received. When I started to make these instruments in the 1980s, my intention was to create art objects but when I discovered the sound they made, it unlocked a door that transported me deeper in my quest in the realization that I was on the right path.

In fact all instruments which appear on 'Threnody for the KhoiSan' are products of a process of discovery starting from square one. All this is based and founded on the beauty of simplicity and minimalism as symbolized by the single string Khoisan musical bow and arrow as trance musical instrument. In this sense it soon became manisfest for Garth Erasmus to combine the bow instruments with various electronic instruments. Besides developing his own unique language in music he also shared an expressed interested in experimental sound aesthecis, Avantgarde composition and Free Jazz. However, his non - academic approach towards sound and music was always fueled by the desire for a reconnection to the land and to the idegenious knowledge of the KhoiSan, whose struggle for First Nation status continues.

Song for Morenga
This song is dedicated to a guerilla leader, named Jacob Morenga, who was the leader of the nama/herero anti-german uprisings that occured between 1904 and 1907.

Amaseh Amen
This is a classic mouthbow piece that conjures the spiritual nature of Khoisan cultural praxis.

Gwaing Reverie
It was composed as a personal gift to the other members of newly formed electro-acoustic trio „Gwaing". „Gwaing" is an ancient Khoisan place name, meaning the mouth of the river.

Mcinci Song
A typical meditation on the traditional Mcinci flute. This flute was originally played by shepherds and was made of reed.

The Ascension of Milford Graves
This piece attends to capture the risen spirit of the legendary African American drummer Milford Graves. It was composed soon after his death in 2021.

Song for The Sisters of the Soil
A live improvisation dedicated to Lucelle and Melissa (The Sisters of the Soil) on the occasion of visiting them at their residence, known as „Oppieyaart" on the Cape Flats. On 10 September 2022 there is an online event with them at Kunsthaus Hamburg.

Originally released on tape by SicSic in 2014, Aprilnacht commemorates a decade of music from Brannten Schnüre and marked the spring in a tetralogy of albums about the four seasons when it came out. Back then the Würzburg-based project consisted solely of Christian Schoppik, who later welcomed Katie Rich to take over the vocals. He used to perform as Agnes Beil, but dropped the name when, while making this album realized his music was becoming "much gentler and more fragile". Aprilnacht already captured the particular musical ideas that Schoppik would thoroughly keep exploring, delving deeper and deeper into the use and manipulation of samplers from sources so diverging as to wander between the five continents to post-war German family television and cult cinema. Heir of the ritualistic intensity of Coil, of the intricate sampler assemblies of Ghédalia Tazartès', and of the dusty, dismal old ballads from around the world, Brannten Schnüre manages to make these paths cross in a territory that is as inherent as it is uncanny; sieged by the past and intimate as a hearth. An organic approach to folk, ambient, and sound collage, where ethereal yet thoroughly textured pieces coalesce in enthralling, delicate, and innermost musical rituals.

The album cover paintings reveal the temper: dreary old towns where shadows come to dim the slow passage of crepuscular colors, a soft area of reanimation where wind and light come close and foresee the night of spring. Aprilnacht was inspired by the stories of German philosopher and writer Friedrich Alfred Schmid Noerr, whose work exhaustively examines the conflict between paganism and Christianity, safeguarding myth in a way that Schoppik describes as boldly modern, humorous and unpredictable in its variations of the Germanic folklore motifs. "I wanted to do the same with the music," he states, and the music here could as well be suitable for a night when household deities welcome wandering will-o'-the-wisps, water nymphs, and gyrovagues to discuss Perchta's leadership of The Wild Hunt, but this album is not a folk tale, it's not an elegy to worlds already gone, hidden in years; it's an intersection of routes that open mysteriously before our ears like a congregation of vapors. Aprilnacht is a gathering of voices; "There are too many children, and none of them keeps quiet," reads the last verse of «Requiem für eine Ringelnatter.»

Sensuality drips over the music to celebrate both the voluptuousness and tragic quality of nature; "It's raining on me, urine from your flowers," Schoppik sings in «Urin deiner Blüten» and later on, faced with a snake's erotic features, as if he wanted to be embraced by it: "Your quick, sharp tongue and your warm venom; that's what the pond is missing." Orality is where this profusion of contents thrives. When the voices get closer and condense, the words reveal the saliva employed to pronounce them; we feel the mouth and the tongue, but when breath envelops them in sorrow and softens their edges, they sound distant, diffused in the atmosphere, letting go of the body that held them. These two vocal facets oscillate permanently and interact naturally with the fertile assembly of samplers and instruments that develop throughout the album, which condense and disperse impersonating each other, interweaving to search for a specific syntax. Tangled whisperings of enigmatic phrases, timid voices that stick out to check the scene but hide away quickly, shivering trance chants and monastic ambiances, distant screams and clamors in between chaos and warfare swirl until bursting into subtle songs where even Mother Mary comes forth softly. Soothed by foggy atmospheres and crackling punctuations, these voices shape a vulnerable crowd, an occasion of fragility. Along this swarm of songs thrown into thin air, accordions sound like heavy-breathing lungs; clarinets sigh like curtains shaking; violin solos wander around like bees; Gjallarhorns cries distend like fleeing cattle; glockenspiels evoke remote music boxes and inherited toys; backward emanations emerge like slender waves retreating. On the banks of stretching loops and ember textures is where the songs slowly nest, collecting the words to find their tone.

A poem by Jorge Teillier says, "To talk with the dead you have to choose words that they recognize as easily as their hands recognized the fur of their dogs in the dark. To talk with the dead you have to know how to wait: they are fearful like the first steps of a child. But if we are patient one day they will answer us with a flame that suddenly revives in the fireplace." This may be Brannten Schnüre's main purpose: To find the voice to speak to those of whom we were a vision. Not in mourning, but acknowledging the obscure and volatile nature of spring's regenerative force, searching for the treasure of balance, as evidenced in the lyrics of «Requiem für ein Schwalbennest,» "Its nest was destroyed so many times before it was finished, and despite that, the shallow builds as if it is infatuated." The same idea is here in the words of Schmid Noerr, who made poetry an act of resistance to the horror of Nazism; "Since having seen the ability of a brilliant spirit to die, with a calm mouth that everyone saw, health is true again and we affirm it, even if rivers of blood flow." And as we call for the dusk's kindness, waiting to return home and eat with our kin by the stove, our ears become used to the games of the night. We feel like we're rowing on wetlands, while the "moon musick" keeps us vigilant against the slightest movement of water or sweet moan because eeriness here is imperative for survival. Do not succumb to the insipid howl of death, for nothing may last but mutability. You see, the rock has moved a little during the night; the rest is just wind fleeing from the void.

Glasgow’s Somewhere Press return with their inaugural vinyl release, a new album from Madelyn Byrd aka Slowfoam. Mining the seam between ecology and technology, Byrd offsets syrupy, dissociated electronics with sparse acoustic instrumentation and expressive field recordings.

The polyrhythmic pulse of the natural world surges through Byrd’s productions, and though the sounds are mostly electronic and strictly metered, a landscape teeming with insects, birds, and wildlife fills the horizon. We’re languidly ushered through the gates on the opening 'Enlightened Smudge on the Machine', juxtaposing glassy tones with flute (from Berlin-based sound artist Diane Barbé) and skittering percussion that could have been lifted straight off Björk’s 'Vespertine'. "No traffic, under the stem," a stoic voice muses while sounds dissolve into waterlogged ambience. There are hints of vintage West Coast new age music, but Byrds' over-arching theme is one of a contemporary digital reality slowly harmonising with its distant, bucolic past.

Field recordist Pablo Diserens provides some of the album's most arcane material, handing over environmental recordings of sulphur pools, Arctic terns and glacial streams. The lengthy 'Divine Morpho, Shimmering' deploys a swarm of insects, forming a looped, uneven rhythm that counters Byrd's pulsing electronics. Choral stems mesh with uncanny strings, blurring the line that separates artificial from organic sound sources. Byrd uses mutation and reconstruction as a form of "speculative melting" to bring us closer to utopia. On 'Like Phantom Memories In The Slinking Storm’, one of the album's most levitational moments, they tease twangy harp-lyre plucks into dubbed-out smudges, eventually given a reprise on 'Grief Rituals' where the same riffs are stretched into slower phrases, queered against giddy, xenharmonic drones.

Bird calls and tremulous exotica mark the brilliant 'Fragrant Dusking', and ‘Soft Body Virisdescence' takes us to a gurgling, kaleidoscopic climax, with electronic processes thrust into the foreground. 'Of Data & Delight' distills all the album’s sonic elements into a sort of delirious fever dream, using pitched animal calls to signal sensuality. It's not ambient, exactly, even if it shares space with the 3XL crew's sludgy eroticism, and it's not wholeheartedly electro-acoustic either. The record exists at a place of convergence, as one era wrestles with a new dawn, and real life glimpses high fantasy.

Born in 1977, in Malang, East Java, Wukir Suryadi began playing music for theatre at the age of 12 with the Idiot The-ater Studio, and later with the Rendra Theater Workshop. In his solo work, and as a member of Senyawa, Error Scream, Bendera Hitam Setengah, Potro Joyo and other groups, Wukir breaks the boundaries of traditional music, death metal and avant-garde performance. On this new release, “Cycle and Prayer,” recorded in 2023, he expands the edges of his unique artistic world further, by digging in to meditative improvisation, art, and community building in his home workshop in the mountains of central Java. These recordings vibrate inwards, toward the microcosmic ecologies of forests and rivers; they distort outwards, resonating with global waves of apocalyptic change that are forcing all living beings to the edges of existence on earth. The result is a meditative poem that moves, as its titles an-nounce, from phenomena to phenomena, praying that humans find a way out from the depths of the depths to the light that illuminates the soul.
An essential mode of creative work for Wukir is the creation of unique instruments, using these sound sources as “bullets of expression.” In addition to the spear-like tube zither Bambu Wukir, he has created the Solet, Enthong, Garu, Luku, Arrows, and Industrial Mutant instruments, which in addition to being used in live performance, have been exhibited in the Instrument Builders Project and the 2017 Jakarta Biennale. In the past few years, Wukir has begun to collaborate with local guitar makers, carpenters, and suppliers of native endemic wood in the mountain region of Salatiga. Using earthen bricks along with local woods (suren, coconut, mindi, and waru lengis) as building materials, he constructed a new studio and workshop space in Tingkir, where this album was made. The trees, water and air of the local environment have exerted a powerful influence in Wukir’s documentations of instrumental sound. On this recording, he uses the simple Cetta guitar, an instrument designed in Bali and made for Indonesian children and local communities of folk and popular musicians, in order to explore the different sonic characteristics of a more “normal” instrument built from local wood.
The themes of the album -- cycle and prayer -- arise from a foreboding series of meta-events that shook Indonesia and the world over the past years, following one after the other: the COVID-19 pandemic, the Ukrainian-Russian war, the Kanjuruhan Stadium tragedy in which football supporters were gassed and killed by police, revelations of govern-ment failures and corruption, the rise of personal vehicles, the increasing disturbance of natural patterns of the rainy season and other ecological cycles. “In these waves of technology and narratives of truth made for certain interests, playing a sound at a certain frequency and repeating can try to bring images and feelings to a certain point of con-sciousness,” Wukir told me. “Sound is a prayer that creates a change, whether gradual or rapid, in the behaviour of living things, to face the demands of the time, as humans struggle to live according to what they believe.” The draw-ings and sketches used for the cover spontaneously emerged alongside the recordings, as an instinctive depiction of “time and sound, nature that is outside of oneself, and nature that is within.”

Handpicked by Paul himself, Will of The People is a carefully curated collection of 31 tracks from Weller’s extensive cornucopia of tunes that never quite made it to one of his 9 studio albums since 2002. Here is a collection which reminds us that there has always been a parallel narrative to the main recorded output of Paul’s albums and singles. The B-Side, and the remix, is a space in which to explore, experiment, or to flex a different set of artistic muscles.
The story begins back in the autumn of 2003, when the Fly On The Wall 3LP & 3CD collection brought together a wealth of Paul Weller solo recordings that stretched back to 1991. The B-sides, 12” EP tracks, single remixes and ‘live’ recordings featured all had one thing in common, namely that they hadn’t been included on any of his hugely successful solo albums. Furthermore, in many instances, they’d become highly sought after in their original formats and were fetching significant sums from fans and collectors. Will Of The People follows up Fly On The Wall and takes the listener through a similar mix of rarities, this time spanning the period 2002 to 2021.
From covers to eclectic remixes, Will Of The People delivers a scintillating array of songs which skirt across many genres. Here you will find such gems as Paul’s cover of The Beatle’s “Birthday”, released to celebrate Macca’s 70th, and the sparkling disco-ball banger remix of Cosmic Fringes by none other than the Pet Shop Boys. It also includes Paul’s first foray into film soundtracks with the sublime “Ballad Of Jimmy McCabe” from the film Jawbone. Scattered across the tracks are appearances from the likes of Primal Scream, Simon Tong & Graham Coxon.
Will Of The People is released on triple vinyl and 3CD. The album features sleeve notes written by writer and broadcaster John Wilson.

Following the singles "Zanzare" and "Barocco", Chiaré is the self-titled debut album from songwriter and multi-instrumentalist Chiaré, aka Chiara Ianniciello, the latest recipient of the Bianca D'Aponte Award for emerging Italian singer-songwriters.

The album, which will be out on April 19th, contains eight atmospheric and intimate tracks where Chiara's warm and gentle voice weaves snapshots from her feelings and her personal story over retro-flavoured, jazz-infused arrangements that are reminiscent of some of Italy's finest singer-songwriters (Lucio Battisti and Pino Daniele in particular).

"It all started about three years ago," says Chiara. "Ernesto Massimino Voza and I started from a sound that somehow wasn't really me, and after a long process of trial and error, we finally found what seemed to be right for me. Peppe Maiellano, who arranged all the music, brought it full circle. The album has a common thread: love. Almost all of the songs are about strategic love, the fear of freely loving someone and the frustration at not being able to get out of an on-and-off relationship that made me suffer, but that I've tried to narrate with some irony. If my writing were an artistic movement, it would be naturalism. I drew a lot of inspiration from Pino Daniele, Eduardo De Crescenzo, and Lucio Battisti, while trying to develop my own personal, authentic style."

Chiara holds a diploma in jazz singing and is now completing her studies in classical double bass. In her debut album she uses both standard Italian and the Neapolitan dialect, mixing jazz, soul and R'n'B. Modernity and tradition come together, creating a delicate yet irresistible sound.

The second studio album by British hyperpop singer and visual artist Hannah Diamond. “Perfect Picture is the pinnacle of today’s hyperpop yet steers away from its once abrasive nature towards a well-rounded, rebooted version: one where all that Hannah is and can be is indeed made picture perfect.” – DIY MAG
Limited Edition 12" Vinyl Record (140g, Black), with full colour labels. Perfect Pink high gloss innersleeve, inside full colour, high gloss flood outersleeve with Perfect Picture album artwork. 4/4 18x24 double-sided Perfect Poster insert, with full colour high gloss flood finish.

Made in M is known for his smooth lofi beats. This new release picks up where his other releases have left off.
Cranking up the bpm a notch but keeping his signature organic grooves in his house debut LP.
FLUX is jazzy lofi house at its best for those lofi beat graduates that haven’t forgotten their roots.
Full LP dropping May 3rd on ear-sight and limited to 350 black vinyl.

As mood changers go, this track is up there with the best. Last year whilst DJing with miche at Shapes festival in the snow-capped mountains of Switzerland, a breathtaking yet ominous Alpine sky suddenly became a picture postcard moment. The clouds parted and a double rainbow formed, as miche dropped Studio Rio's bossa nova remake of Bill Withers’ all-time classic 'Lovely Day'. From there, the dancefloor shifted gears and morphed into full-swing feel-good vibes, in a beautiful, spontaneous moment nobody could have planned for.

Mr Bongo now proudly presents a reissue of this brilliant, bossa-channelling Bill Withers reinterpretation from Studio Rio’s 2014 release ‘The Brazil Connection’. Masterminded by the German Grammy award-winning Berman Brothers, the project was born out of their deep love of Brazilian music. “Our goal was to bring the Brazilian joie de vivre to iconic performances by well-known artists. What would these classic songs sound like had they been recorded in the studios of Rio de Janeiro in the first place, with the best Brazilian musicians and arrangers?” the brothers reflect.

Capturing the life force of Brazil, the beating heart that is its music, they set out to find the musicians who would fit best with their concept. Landing in Rio in 2013 a series of coincidences led to them being introduced to their idols Marcos Valle and Roberto Menescal, who both agreed to come on board. The Berman Brothers also wanted to find some of the musicians who recorded with one of Brazil’s most influential composers Tom Jobim. “Fifty years after Jobim made the music that really defines bossa nova, we found that many of his sidemen were still active, including Paulo Braga of Jobim’s famed rhythm section. It was magic; everything just fell into place.”

There's no question that the original of ‘Lovely Day’ is up there as one of the most feel-good, spirit-lifting anthems of all time. Here the brothers, with the help of a whole host of Brazil’s finest musicians, rework Bill’s soul-fuelled groove into a bossa nova slice of sunshine. With the blessing of Bill and Sony, they were given access to the original multitracks so they could incorporate Bill’s vocals perfectly into the new arrangement.

Joy-injected horns and bouncing double bass blend with the smile-inducing samba flavour of Pretinho da Serrinha’s cavaquinho playing. Tying it all together Torcuato Marinao who worked with the likes of Gal Costa, Gilberto Gil and Caetano Veloso, completes the line-up as arranger of the songs.

The perfect end-of-the-night track, mood lifter or soul warmer, remakes don’t get much better than this.

Little Beat More is proud to present you a two-track EP by Turist, a Vienna based psychedelic Dembow project, founded to combine the energy of a live band with the tightness of an overdub session. ?Turist made it their mission to revive handmade music from the 60's and 70's aiming for the dancefloors of today!
The two tracks demonstrate how they interlace heavy basslines, colorfully echoing guitars and driving drums, drawing inspirations spanning from Ghanian highlife to Peruvian cumbia.
“Skeet”, on Side A, is the band’s manifesto with their special blend of Caribbean dance rhythms and Californian surf music psychedelia. Side B's "Ez Up" is a straightforward champeta song, the Afro-Colombian style that fuses sweet soukous guitar lines with uplifting soca rhythms, making you want to immediately look for the nearest Pico Soundsystem.
Set off on a rhythmic journey following Turist in their musical nomadism with us!

The Space Lady began her odyssey on the streets of San Francisco in the late 70s, playing versions of contemporary pop music an accordion and dressed flamboyantly, transmitting messages of peace and harmony.
Following the theft of her accordion, The Space Lady invested in a then-new Casio keyboard, birthing an otherworldly new dimension to popular song that has captured the imaginations of the underground and its lead exponents ever since, with the likes of John Maus, Erol Alkan and Kutmah being devotees.

Of her early street sets, only one recording was made, self-released originally on cassette and then transferred to a home-made CD. "The Space Lady's Greatest Hits"(LSSN021) features the best of these recordings - mostly covers but with some originals - pressed on vinyl for the first time and features archival photographs and liner notes from The Space Lady herself. 'Greatest Hits' contains The Space Lady's personal favourites; her haunting take on The Electric Prunes' 'I Had Too Much To Dream (Last Night),' a frantic 'Ballroom Blitz' amidst other reconstructed pop music. Included are also 4 originals that easily match for the Pop canon. Following the release of this archive, The Space Lady will be issuing new material and travelling the world to present her message outside the United States for the first time.

In the mid 90s The Space Lady packed away her Casio synth and silenced her distinctive voice, retiring from the streets of San Francisco. Now, more than 30 years after her initial forays on Haight Ashbury, she has surfaced with the first ever official release of her timeless, startling music and, even more remarkably, has re-started her live career. Now in Colorado, The Space Lady continues to spread her message of peace, harmony and love.

VINYL LP: Edition of 500, black Vinyl. Gatfold Poster and printed insert with Download Card.

The Baby Seals debut album, "Chaos," is a sonic exploration that blends heavy guitars, a pop edge, and a punk rock garage spirit with a heavy attack. The band, comprised of Amy "Amos" Devine on drums and backing vocals, Kate Shore on bass and backing vocals, and Kerry Devine on guitar and lead vocals, delivers a raw and energetic collection that captures the essence of their live performances. Recorded in March 2023 in Thaxted, just outside of Essex, "Chaos" embodies the DIY ethos that has defined The Baby Seals' approach to music. Working with engineer Joe in a secluded outhouse surrounded by fields, the band laid down the tracks live over a day, capturing the unfiltered essence of their sound. Joe's extensive collection of homemade pedals added a unique touch to the recording, while Benny T's mixing expertise brought the album to its final form. The decision to minimise post-production sets "Chaos" apart from previous recordings, reflecting the band's commitment to authenticity and a desire to showcase their growth and maturity. On Chaos Kerry says: “Chaos is the next phase in life for us lasses in the band - babies and mid-life responsibilities. The album definitely is about how we feel and experience the world around us in our 30s and 40s. Someone who heard the album recently said it's like the The Baby Seals have grown up and I liked that because that's what I feel likes happened to me in the last two years… The album definitely has Themes: inclusivity, gender inequality, the mental load, the motherload, power, body positivity, challenging taboos, liberation. The importance of what to take seriously and what not to take seriously. Title track, Chaos is one of the songs on the album which I'd written after a series of events including watching an interview with the late writer Benjamin Zephaniah who said the only way to liberation for all was to tear big governments down and to believe in your community. The cover photo by Jeff Pitcher sums us up and hopefully gives you a feeling of what the album sounds like. Album design was created by Igor Prato Luna, he just seemed to understand what we are about. He referenced loads of wonderful album cover, poster and flyer artwork from the 60s - 90s, and even some fabulous sci-fi artwork from the 1920s and those incredible 1950s sci-fi pulp book covers. Nothing was referenced too heavily, though, and Igor definitely made it his own

Jackpot Records is proud to reissue what many call arguably the greatest album of the punk rock era: The Flesh Eaters’ 1981 punk-noir masterpiece, ‘ A Minute To Pray A Second To Die. Once referred to as an all-star roots/voodoo combo, The Flesh Eaters could only have crawled out of the myst of the late L.A. 70s punk scene. Fronted by punk poet/composer Chris D. (Desjardins), the band was a satellite for exquisite collaborators that allowed him to bring the full force of his dark, messed-up lyrical nightmares. Members of X, Wall Of Voodoo, Los Lobos, The Blasters, and The Plugz all hopped into his unmarked car to take a drive with Chris D. Its grabbed-by-the-throat vocals are powerfully buoyed by the tight melodicism emanating from the players on this record (John Doe andDJ Bonebrake from X, Steve Berlin of Los Lobos, Dave Alvin & Bill Bateman of The Blasters). Hell, we even get the perfectly executed John Doe original, “Cyrano de Berger’s Back,” which was re-recorded by X in 1987. The creators of this record made a pulp novel for your ears with an equal chance to scar your heart. Do not miss out this is punk noir at its greatest.

Vanishing Twin is songwriter, singer and multi-instrumentalist Cathy Lucas, drummer Valentina Magaletti, bassist Susumu Mukai, synth/guitar player Phil MFU and visual artist/film maker Elliott Arndt on flute and percussion; and on this album they have made their first artistic statement for the ages.

Some of its great power comes from liberation. The album was produced by Lucas in a number of non-standard, non-studio settings. 'KRK (At Home In Strange Places)' summons up the spirit of Sun Ra's Lanquidity and Broadcast And The Focus Group Investigate Witch Cults Of The Radio was simply recorded on an iPhone during a live set which crackled with psychic connectivity on the Croatian island of Krk.
The magical Morricone-esque lounge of 'You Are Not an Island', the blissed-out Jean-Claude Vannier style arrangement of 'Invisible World' and burbling sci fi funk ode to a 1972 cult French animation, 'Plane`te Sauvage', were all recorded in nighttime sessions in an abandoned mill in Sudbury. The only two outsiders to work on the recording were '6th member' and engineer Syd Kemp and trusted friend Malcolm Catto, band leader of the spiritual jazz/future funk outfit The Heliocentrics, who mixed seven of the tracks (with Lucas taking care of the other three).

Vanishing Twin formed in 2015 - their first LP, Choose Your Own Adventure, which came out on Soundway in 2016; followed by the darker, more abstract, mostly instrumental Dream By Numbers EP in 2017. The band explored their more experimental tendencies on the Magic And Machines tape released by Blank Editions in 2018, an improvised session recorded in the dead of night, offering a glimpse into their practice of deep listening, near band telepathy, and ritually improvised sound making. These sessions formed the basis of The Age Of Immunology.

South-Asian vocalist, multi-instrumentalist and composer Ganavya releases her new studio album “Like the sky I've been too quiet” on Shabaka Hutchings’ Native Rebel Recordings. The album features contributions from artists including Kofi Flexxx, Floating Points, Carlos Niño, Leafcutter John and Mercury-nominated bassist Tom Herbert.

Since graduating from Berklee College of Music, UCLA and Harvard, Ganavya has quickly become a much-in-demand artist on the US scene who consistently confounds expectations. Hailed as “among modern music's most compelling vocalists” (Wall Street Journal), “most enchanting” (NPR) and "extraordinary" (DownBeat), Ganavya has worked with an array of luminaries including the likes of Quincy Jones, Wayne Shorter and Esperanza Spalding and on new album "Like the sky I've been too quiet" she presents thirteen compelling tracks which showcase her ethereal voice and numinous energy.

In August 2022, as her hook-filled triumph of a debut album ‘Garageband Superstar’ was soaring into the UK Top 40, she was grieving for her father, who’d died in the weeks ahead of the release. “A lot of stuff happened to me around that time – I lost my dad, I went through my first big break-up, I was living on my own for the first time,” she reflects now. It would have made sense if this intense period of grief, change and adaptation had left the 26-year-old needing to hit pause and focus on something other than music for a moment. Writing, though, became a way for her to deal with and continue processing the things she was going through. As she re-entered sessions in the studio, her second album ‘Girlfriend Material’ “just fell out” of her. “It felt like it needed to happen. I felt so much freer and a bit more capable of writing about certain topics than I did before,” she reasons. “It’s like, for the first album, someone sent me to Spain without me knowing any Spanish, and I’ve been like, ‘I’ll figure it out’. This time, I’ve had a year of learning Spanish, and I can ask for the time.”

In August 2022, as her hook-filled triumph of a debut album ‘Garageband Superstar’ was soaring into the UK Top 40, she was grieving for her father, who’d died in the weeks ahead of the release. “A lot of stuff happened to me around that time – I lost my dad, I went through my first big break-up, I was living on my own for the first time,” she reflects now. It would have made sense if this intense period of grief, change and adaptation had left the 26-year-old needing to hit pause and focus on something other than music for a moment. Writing, though, became a way for her to deal with and continue processing the things she was going through. As she re-entered sessions in the studio, her second album ‘Girlfriend Material’ “just fell out” of her. “It felt like it needed to happen. I felt so much freer and a bit more capable of writing about certain topics than I did before,” she reasons. “It’s like, for the first album, someone sent me to Spain without me knowing any Spanish, and I’ve been like, ‘I’ll figure it out’. This time, I’ve had a year of learning Spanish, and I can ask for the time.”

The definitive vinyl reissue of the Nancy's 1966 sophomore album contains the hits "Bang, Bang". "Sand" and "How Does That Grab You, Darlin'?". This special Record Store Day Exclusive is pressed on Orange Cream vinyl and features audio freshly remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin. It also includes two bonus tracks: "The Last Of The Secret Agents?" and the previously unreleased "If Things Don't Start Picking Up". This beautifully packaged and expanded gatefold LP with 20-page booklet featuring Q&A with Nancy & GRAMMYr-nominated co-producer Hunter Lea also includes never-before-seen photos from Nancy Sinatra's personal archive. Less than two weeks after "These Boots Are Made for Walkin'" made it to the top of the charts, Nancy was back in the studio working on the follow-up. With a newfound confidence and a fresh batch of songs, How Does That Grab You? is a snapshot that captures the fun, creativity, and genius of an artist embracing her moment. The album includes the sparse masterpiece "Bang, Bang," the Boots-esque "How Does That Grab You, Darlin'?" and Nancy & Lee Hazlewood's very first duet, the proto-psychedelic "Sand." Equal parts strong, sultry, and savvy, Nancy Sinatra has long been ahead of her time_both in her choices as an artist and as a businesswoman. Unapologetically, she established her own path early on and paved the way for decades of female artists to come_all while firmly maintaining control over her career, her image, and her music. In 1965, Nancy Sinatra changed the face of music, fashion, and culture.

Today, the Toronto-born-and-raised singer, songwriter, producer, and multi-instrumentalist Charlotte Day Wilson announces her highly-anticipated sophomore album Cyan Blue out May 3rd via Stone Woman Music / XL Recordings Along with the announcement of her new album comes the release of first single, "I Don"t Love You", a stark and devastatingly beautiful confessional, highlighting Wilson"s immaculate production skills and chill inducing vocals laid atop smooth groove piano chords and soft drums. The track also arrives with a visual directed by Dani Aphrodite featuring layered low fi footage of the artist and producer performing at home, living every day life and having moments of solitude in her car, a theme that comes up throughout the album. Cyan Blue finds Wilson crafting a smoothly woven cyan tapestry of her eternal influences; thumping gospel piano, warm soul basslines, atmospheric electronics, and penetrating R&B melodies. Yet, it possesses a sense of vastness that rings in a new era for Wilson, one in which she"s embracing collaboration and newfound creative openness tinged with wistfulness and yearning and a reflection on youthful innocence. "I want to look through the unjaded eyes of my younger self again," Wilson explains of making Cyan Blue. "Before there wasn"t as much baggage, before so much life was lived. But I also wish that my younger self could see where I am now. It would be nice to be able to impart some of the wisdom and clarity that I have now onto her." Working with producers like Leon Thomas (SZA, Ariana Grande, Post Malone), and Jack Rochon (HE.R, Daniel Caesar), Cyan Blue demonstrates Wilson"s sonic expertise while also showcasing the next evolution of her time-bending songwriting. Through 13 hypnotizing tracks, she continues to use music as a vessel for unpacking relationships, which in turn allows her to meet and understand herself in life-spanning, panoramic focus. But, on Cyan Blue, she challenged herself to kick her perfectionist tendencies. "Before, I was extremely intentional about creating music with a strong foundation, a bed of artistic integrity," Wilson reflects. "But that was a bit stifling, like, "Let me just make a great piece of art that will stand the test of time, no pressure." Now, I think I"m getting out of this frozen state of needing everything to be perfect. I"m more interested in capturing feelings in the moment as they happen and leaving them in that moment." While this is only her second album, Wilson"s influence in music has made a major mainstream impact. Wilson broke out in 2016 with her critically acclaimed EP, CDW, followed by 2018"s Stone Woman and made her debut studio album an official coming out moment in 2021 with the critically acclaimed, self-released Alpha. Over the past decade, she"s been sampled by Drake, John Mayer, and James Blake, while Patti Smith has recently praised and covered Wilson"s 2016 breakout single "Work." Additionally, she"s collaborated with artists like Kaytranada, BADBADNOTGOOD, and SG Lewis, demonstrating that there"s no sound Wilson can"t adapt to and sprinkle her cyan-colored magic over.

EN

DJ HS is undoubtedly one of the most emblematic figures on the nightlife scene in Belgium and Northern France. With a career spanning over 35 years, he made his mark as Lagoa's legendary resident for 8 years (1994 to 2002). His unique musical style, a skilful blend of Tek, Hardtek, Electro, Tekclub and Jumpstyle, has made him an essential reference. Always passionate about his work, he sets the dancefloors of the biggest clubs and festivals alight every weekend.

We're delighted to present the very first Best Of from DJ HS (The Anthems) on Serious Beats Classics, featuring no less than four of his best tracks on a single vinyl! These are no less than must-have classics in their respective genres. A must-have for all DJ HS fans. All tracks were composed and produced in collaboration with Frédéric de Backer (Ba-Back / Fred Baker), one of the most prolific producers of the last 30 years.

This previously unreleased Best Of is available as a limited edition. We strongly recommend that you order it as soon as possible, before it's too late...


FR

DJ HS est incontestablement l'une des figures les plus emblématiques de la scène nocturne en Belgique et dans le nord de la France. Fort de plus de 35 ans de carrière, il a marqué les esprits en tant que résident légendaire de Lagoa pendant 8 ans (1994 à 2002). Son style musical unique, un savant mélange de Tek, Hardtek, Electro, Tekclub et Jumpstyle, a fait de lui une référence incontournable. Toujours passionné par son métier, il enflamme chaque week-end les pistes de danse des plus grands clubs et festivals.



Nous sommes ravisde vous présenter le tout premier Best Of de DJ HS (The Anthems) sur Serious Beats Classics, comprenant pas moins de quatre de ses meilleurs morceaux sur un seul et même vinyle ! Il s'agit là non moins que de classiques incontournables dans leurs genres respectifs. Un "must have" pour tous les fans de DJ HS. Il est à noter que l'ensemble des morceaux ont été composés et produits en collaboration avec Frédéric de Backer (Ba-Back / Fred Baker), l'un des producteurs les plus prolifiques des 30 dernières années.



Ce Best Of inédit est disponible en édition limitée. Il vous est donc fortement recommandé de le commander dès que possible avant qu'il ne soit trop tard...