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An album of our times, Newcastle band Maximo Park return with
their seventh full length, ‘Nature Always Wins’.
The album arrives as something of an examination, zeroing in on the
notion of the self, identity as a band and that of humanity as a
whole. The album’s title nods to the famous Nature vs Nurture
debate. Discussing whether change is capable under the influence of
time, perspective, environment or if we are destined to be bound by
our own genetics, it asks, “who are we, and who do we want to be,
and do we have any control over it?”
“I’m so happy we were able to make this album during lockdown, as
it’s been a challenging time for everyone. After almost 4 years since
‘Risk To Exist’, we wanted to explore new musical territory (for us)
without sacrificing our trademark melodic twists and heartfelt lyrics.
As always, the passing of time looms large, although the songs
contain more affection for the past than before, and there are
occasional hints of the fractious, divided time that we live in.” -
frontman Paul Smith
Produced by Atlanta-based Grammy-winning producer Ben Allen
(Animal Collective, Deerhunter), who afforded the band freedom to
play and create. What wasn’t anticipated was how that freedom
would be soon be stripped, as lockdown restrictions left the band
recording remotely across Newcastle, Liverpool and Atlanta with
audio files bounced back and forth, 4000 miles across the world.

On his first full length effort, singer / songwriter Mav Karlo, otherwise known as Menno Versteeg, offers up a much more elaborately realized, yet no less intensely intimate body of work. With its gracefully sparse arrangements, the album centres on Versteeg’s lyrical storytelling, revealing a narrative voice deeply attuned to the beauty in the ordinary and routinely overlooked. Strangers Like Us closely documents an especially tough period in Versteeg’s life but the album ultimately showcases an undeniable courage in its commitment to truth-telling and unsparing self- examination. He is supported by spirited guest performances from Katy Goodman of Vivian Girls (on vocals), Charlie Spencer of Dizzy (keys, drums) and Versteeg’s Hollerado bandmate Nixon Boyd (guitar, bass). Album produced by Chris Coady (Yeah Yeah Yeahs, Amen Dunes, Beach House) and recorded at Sunset Sound and Sonic Ranch. Menno Versteeg is the owner of Royal Mountain Records and a former member of both Hollerado and Anyway Gang.

Machine is the second studio album by the American industrial metal band Static-X, released in 2001. The album can be considered post-modern metal, as it features electronics and industrial effects, and not just a pinch of electronic gadgetry. Critics and fans responded positively to this album, which peaked at #11 on the Billboard 200 charts. The song “Black and White” provided the album’s first single and music video, followed by “This Is Not”. The third single “Cold” is used on the soundtrack of the film Queen of the Damned. Machine is available as a a limited edition of 1000 numbered copies on transparent red vinyl.

Jazz Behind the Dikes Vol 2 is the second installment in the Jazz Behind The Dikes series, which highlights some of the greatest Dutch jazzmen under ideal conditions: in their own combo’s and playing the music of their own choice in complete freedom. The result is straightforward modern jazz by renowned Dutch jazz musicians such as Rob Madna Trio, Tony Vos Quartet and Frans Elsen Quartet.

This second volume of the series is available as a limited edition of 500 individually numbered copies on white vinyl. The third and last volume in this series will be released later.

Horace Andy's voice is an instrument that once heard is never forgotten, regardless of whether you first hear it on one of the numerous Jamaican reggae singles that he recorded during the 70s or - like most people - on one of the Massive Attack albums he collaborated on as a vocalist. His falsetto and his characteristic slow-motion vibrato breathed life into tracks like "Spying Glass", "Cuss Cuss", "In The Light", "Skylarking" or "(You are My) Angel", ensuring that they still continue to resonate deeply with listeners. His vocal style influenced countless root singers and the combination of his timbre with Massive Attack's spartan hip hop beats still inspires legions of fans and copyists all over the world. Echo Beach has now picked up on this tradition - and the much older tradition of versioning - by asking friends of the label to rework Horace Andy's classic tracks in their own sound outfit. But this time the label hasn't trawled old Studio One tapes for historic vocal snippets - that would sooo nineties; no, Horace Andy personally put in an appearance to sing new versions of his classic tracks on top of timeless and contemporary riddims. Age may have deepened his voice, but it is by no means weaker, as can be heard on this album, on which Echo Beach welcomes old friends and new faces: there's Rob Smith, who as part of More Rockers and Smith & Mighty was just as crucial for Bristol's musical reputation as Massive Attack or DJ Krust & Roni Size. Today, he ensures continuity by working under the label and producer name.

• As of 1st October, Sony Music has acquired Third Man Records for the Jack White/Raconteurs/The Dead Weather and The White Stripes catalogue! This is an incredible deal which pulls together the entire catalogue on to one label globally for the first time. The debut release from this deal will be ‘The White Stripes Greatest Hits’
• This is the first-ever official anthology of recordings from Jack and Meg White's iconic indie rock duo.

Jamwax Records proudly presents We Sing Gregory. On this album, jamaican producer Bravo used the best roots and culture band, the undomitable Roots Radics, featuring Flabba Holt on bass, Style Scott on drums and Keith Sterling on keyboards, and hired legends Robbie Lynn on keyboards, Cat Coore and Chinna Smith on guitar, Stick on percussion, Dean Fraser on horns, thus ensuring a heavy and flawless riddim foundation and superb arrangements.

The Roots Radics were Gregory Isaacs band in the early 80's, playing on the Night Nurse and Out Deh! albums, touring around the world with the cool ruler. Gregory Isaacs' songwriting is magnificient and the subjects are always treated with humbleness and consideration for others.

Long awaited vinyl reissue of NWWs classic 3rd album. This blue vinyl version. Is exclusive to Cargo. Packaged in an outer sleeve that replicates the original United Dairies issue and has a brand-new Steven Stapleton designed full colour insert. Info: ollowing disagreements amongst the founding NWW trio over To the Quiet Men from a Tiny Girl, Steven Stapleton returned to the studio without Heman Pathak or John Fothergill to create something that more closely fulfilled his vision of what Nurse With Wound should be. The results are often cited as the first great NWW album, with Rolf Semprebon at Allmusic stating that it constitutes "the first fully realized NWW record....a far more mature effort than its predecessors, much more focused and sounding less like some stoned guys goofing off in the studio". There is a more extensive use of tape editing and audio collage on Merzbild Schwet than was found on the preceding releases, a strategy that would become Stapleton's signature sound on the albums that followed. There is also the overt use of humour; the sound of a repeated loud vinyl pop being included at the beginning of "Futurismo", initially creating the impression that the record is in some way damaged, accelerates to such a speed that it becomes obvious that it is part of the composition (the impact of this device losing relevance on subsequent cassette and CD editions).

Clear Vinyl

Part of The Optic Sevens 3.0 Reissue Series. Limited to 1000 copies worldwide . Pressed on Clear Vinyl Includes postcard and poster.
Initially released in 1988 on Creation, Christine was the opening track from their self titled debut album and was the song that gave Guy Chadwick the idea for the sound of the group, what kind of musicians to look for and of course, the image. It reached number 4 in the indie charts with Melody Maker describing it as “shimmering with reverbed romance...a heroic anthem to doomed and incandescent love”
Includes all three tracks from the 12” and first time in picture sleeve for the 7”

It’s hard not to notice such an unforgettable sleeve, and if the music it protects is half as memorable as the artwork, you know you just have to hear it. We don’t think you’ll be disappointed because yes, this is the majestic 1971 album Un Muñeco De Madera, courtesy of the shadowy Sola, and it sounds exactly as you’d want it to. Originally released on RCA in Mexico, it’s kaleidoscopic Acapulcan-funk.

The album’s endless grooves are propelled by softly rocking, quasi-library funk breaks. Vocally, Sola is in step with the 60s French pop-chanteuse style, but of course her lyrics are delivered in sensuous Spanish. Her voice is beautiful. Pillowy soft and tender, it can suddenly explode in mystical anger. These are ten tracks of moody, mysterious vibes that stir the spirit and sooth the soul.

The LP was written, arranged and directed by prolific Spanish composer Manuel Alejandro, the man behind an incredible number of now classic Latin love songs from the 60s, 70s and 80s. As for Sola herself, next to nothing is known about the Mexican singer except the occasional whisper heard in only the darkest corners of the annals of music history. It’s said that upon growing disillusioned with the music industry she ended up in a convent of Carmelite Sisters. Fitting perhaps, given that Un Muñeco De Madera is a spiritual wonder of a record.

Much-loved single and title-track “Un Muñeco De Madera” opens the album. It introduces us to Sola’s sparkling Latin-funk, bursting with swaggering grooves sewn by tight drums, sweeping strings and lush keys. It’s followed by the serene but melancholic bossa groove of “Oye Mamá, Oye Papá” and the strings and guitar of “He Bajado Al Infierno” that hold up vocals reaching for an eternal truth. With full-on soundtracky feels, the rolling keys underpinning the Morricone-esque soundscape of “En Ellos Creo” will give you goosebumps. The gorgeous “Soy Rebelde” (“I’m Rebellious”), sets its gentle, piano-led delivery in delicate contrast to the lyrical sentiment.

Perhaps Sola’s most well-known track, the exotic bossa of “Tabu, Tabu”, is a formidable groove. Elegant bongos, prominent bass, delicate acoustics and a persistent flute blend with Sola’s unique voice; sinuous, sassy and forceful at the same time. The stunning “La Última Palabra”, while not literally the album’s last word, is nevertheless a stirring statement of strutting Latin soul, with more musical ideas packed into this one song than the entirety of most long-players.

If you hadn’t decided already, the final two tracks that are the funk-fuelled “Bada-Bada-Ba” and the horn-heavy percussive masterclass “Únete A Mi” will leave you in no doubt that this is one very special record.

Mastered with great respect by Simon Francis, cut by the master Pete Norman and with that sleeve lovingly restored by the Be With team, this re-issue ensures that Un Muñeco De Madera now sounds, looks and feels as beautiful as it deserves to.
: Un Muñeco De Madera (LP)

People On Sunday is an original soundtrack to the 1930 silent film variously known as Menschen am Sonntag, Les Hommes le Dimanche and People On Sunday. The film is a key work of interwar German cinema, based on a screenplay by Billy Wilder.

Like Domenique Dumont’s earlier albums, Comme Ça and Miniatures De Auto Rhythm, People On Sunday evokes a more innocent, carefree time conjured by wistful electronics full of warmth and melody. Touching on the hazy exotica that made those two records so alluring, here Dumont draws on his love of classical music, library music and early electronic experimentation to create a timeless, optimistic sound. If his past productions possessed a certain Mediterranean quality, across these 13 new pieces Dumont’s shimmering synth-pop has an enchanting simplicity.

Part documentary, part fiction, the film People On Sunday follows a group of characters going about their business in Weimar-era Berlin over one weekend and shows normal life in Germany before dictatorship.

“The film shows people and their surroundings shortly before all of it was destroyed,” says Dumont. “Ironically, watching this movie with the eyes of today, it looks more surreal than documentary. And I can’t help but think and reflect about the times we are living in now. We might have similar desires people had a hundred years ago, but we now have a completely different approach to life.”

*People On Sunday is the third album by Domenique Dumont.
*Freshly signed to The Leaf Label, having previously released two albums on Parisian electronic/dance label Antinote.
*It follows on from the cult success of synth-pop exotica albums Comme Ça (2015) and Miniatures de Auto Rhythm (2018)The album was originally conceived as a soundtrack to the classic 1930 German silent film known variously as Menschen am Sonntag, Les Hommes le Dimanche and People on Sunday.
*It was originally performed at Les Arcs Film Festival, with plans for further film festival concerts when regulations allow.
*Watch the video for first single ‘People On Sunday’ featuring excerpts from the film.
*Artwork and design by artist Edward Carvalho-Monaghan.
*Support from Pitchfork, Resident Advisor, FACT Magazine, Gorilla vs Bear, KEXP, BBC 6 Music’s Tom Ravenscroft, Mary Anne Hobbs and NTS Radio’s Charlie Bones, among others.
*Dumont recently remixed Domino’s Jaakko Eino Kalevi, and has also reworked tracks by Cola Boyy and Mark Barrott.
*Festival appearances include Mutek Montreal, Dekmantel, Nuits Sonores, Milhões de Festa and the Venice Biennale.

Delicate Sound Of Thunder encapsulates a band at their best. Alongside the classic live album and full concert film (restored and re-edited from the original 35mm film and enhanced with 5.1 surround sound), included in The Later Years box set, all stand-alone editions feature 24-page photo booklets, with the 4-disc box edition including a 40-page photo booklet, tour poster and postcards. The 3-LP 180-gram vinyl set includes 9 songs not included on the 1988 release of the album, while the 2-CD includes 8 tracks more than its original release.

In 1987, Pink Floyd made a triumphant resurgence. The legendary British band, formed in 1967, had suffered the loss of two co-founders: keyboardist / vocalist Richard Wright, who left after sessions for The Wall in 1979, and bass player and lyricist Roger Waters, who had left to go solo in 1985, soon after the 1983 album The Final Cut. The gauntlet was thus laid down for guitarist/singer David Gilmour and drummer Nick Mason, who proceeded to create the multi-platinum A Momentary Lapse Of Reason album, a global chart smash, which also saw the return of Richard Wright to the fold.

Originally released in September 1987, A Momentary Lapse Of Reason was quickly embraced by fans worldwide, who flocked to attend the live tour dates, which started within days of the album’s release. The tour played to more than 4.25 million fans over more than two years, and, as a celebration of the enduring talent and global appeal of David, Nick and Richard was unsurpassed at the time.

Filmed at Long Island’s Nassau Coliseum in August 1988 and directed by Wayne Isham, the 2020 release of the Grammy Award nominated Delicate Sound Of Thunder is sourced directly from over 100 cans of original 35mm negatives, painstakingly restored and transferred to 4K, and completely re-edited by Benny Trickett from the restored and upgraded footage, under the creative direction of Aubrey Powell/Hipgnosis. Similarly, the sound was completely remixed from the original multitrack tapes by longtime Pink Floyd engineer Andy Jackson with David Gilmour, assisted by Damon Iddins.

Pink Floyd’s stellar supporting cast for the live dates included: Jon Carin (Keyboards, Vocals), Tim Renwick (Guitars, Vocals), Guy Pratt (Bass, Vocals), Gary Wallis (Percussion), Scott Page (Saxophones, Guitar), Margret Taylor (Backing Vocals), Rachel Fury (Backing Vocals) and Durga McBroom (Backing Vocals).

Technical credits include: Film Producers: Curt Marvis and Carl Wyant; Director of Photography: Marc Reshovsky; Lighting Designer: Marc Brickman, with conceptual footage directed by Storm Thorgerson, except ‘Money’ directed by Storm Thorgerson, Barry Chattington and Peter Medak. Animation on 'Time' was by Ian Emes.

Originally released in 2010, Mirage is the fourth studio album by renowned Dutch trance DJ and producer Armin van Buuren. Widely regarded as a astaple in Van Buurens impressive career, Mirage peaked at number 3 in the Dutch Album Top 100, as well as reaching the top 5 of the US Top Dance/Electronic Albums. It contains the popular single ‘Not Giving Up On Love’, featuring British singer Sophie Ellis-Bextor. As the record lasts nearly 80 minutes total, it is released as a double LP. It is pressed on red coloured 180 gram audiophile vinyl. The package includes a gatefold with spot varnish and lyrics, as well as an insert with pictures and credits.

Altın Gün return with a masterful album that widens their critically acclaimed exploration of Anatolian rock and Turkish psychedelic stylings to include dreamy 80’s synth-pop and dancefloor excursions. Yol (Road) brings together all vectors of the AltınGün experience and delivers their most compelling and individual album to date.

Amsterdam’s Altın Gün have built a strong reputation for melding past and present to make brilliantly catchy, psychedelic pop music, as seen with their Grammy-nominated second album, Gece. They are also a renowned live band with strings of sold-out shows on three continents, who have consistently brought a muscular groove to their recordings. Yol, their third album in as many years, excitedly continues these trends; while also digging in deep to unveil a new palette of sonic surprises.

Though it draws from the rich and incredibly diverse traditions of Anatolian and Turkish folk music, Yol is not just a record that reframes traditional sounds for a contemporary audience. The album often presents a textured, avant-pop sound as evidenced by the debut single "Ordunun Dereleri.” Mysterious and atmospheric, the track is a thrilling evolution for the band. It patiently coaxes the listener into a resonant soundworld of down-tempo electro beats, majestic synths and Erdinç Ecevit's yearning vocal of unrequited love.

The album also signals a very different approach in making and recording for the band. Singer Merve Dasdemir takes up the story: “We were basically stuck at home for three months making home demos, with everybody adding their parts. The transnational feeling maybe comes from that process of swapping demos over the internet, some of the music we did in the studio, but lockdown meant we had to follow a different approach.”

Yol displays a noticeable dreaminess, maybe born from this enforced time to reflect. And select elements of late 1970s or early 1980s “Euro” synth pop also shines through. This new musical landscape was nurtured by certain instrument choices; namely the Omnichord, heard on ‘Arda Boylari’, ‘Kara Toprak’ and ‘Sevda Olmasaydi’, and the drum-machine, an instrument that is key to the gorgeous closing number, ‘Esmerim Güzelim’. Dasdemir once more: “bass player Jasper Verhulst loved the song. He said, ‘it doesn’t sound like Altın Gün, this sounds like a Turkish kindergarten music teacher from the 1980s using an 808!”

As ever, the tracks are the result of a true group effort, with ideas on Omnichord, 808 and other elements - such as field recordings and new age-esque ideas - continually kicked about between the six band members. At a safe distance of course. The record also owes something special to its production team, the band working this time with Asa Moto (the Ghent-based producer-crew, Oliver Geerts and Gilles Noë) who mixed the record. Before this Altın Gün always recorded on tape with their own sound engineer.

It would be wrong to say that what made Altın Gün such a loved and successful band has been left to one side. The pressure-cookers ‘Sevda Olmasaydı’ and ‘Maçka Yolları’ are classic cuts from the band. And their signature employment of a dizzying array of ideas and approaches can be heard with the marked Brazilian feel of ‘Kara Toprak’ and ‘Yekte’. Cosmic reggae filters through the grooves of ‘Yüce Dağ Başında’, and there is a steaming version of ‘Hey Nari’ which gives the traditional composition by Ali Ekber Çiçek a kick onto the dancefloor.

But with Yol, Altın Gün have maybe patented their own magical process of reimagining and sonic path-finding, one probably not heard since the late 1960s and early 1970s British folkrock boom. Less of a reworking than a seduction, their recordings transport the listener to a world where the original songs never previously inhabited. Merve Dasdemir again: “After we worked on them, they got a whole new life of their own. Maybe we went a little bit too far (laughs).”

Katy Kirby is a Texas-based songwriter and indie rock practitioner with an affinity for unspoken rules, misunderstanding and boredom. She was born, raised and homeschooled by two ex-cheerleaders in small-town Texas and started singing in church, amidst the pasteurised-pop choruses of evangelical worship. Like many bible belt late-millennials, Katy grew up on a strict diet of this dependably uncool genre and accordingly, Cool Dry Place finds her dismantling it. "I can hear myself fighting that deeply internalized impulse to make things that are super pleasant or approachable," she says. Though Katy hasn't fully overcome the itch to please, it's to a listener's benefit. Instead of eradicating the pop sensibilities of her past, she warps them, lacing sugary hooks with sneaky rage, twisting affectionate tones into matter-of-fact reproach, and planting seemingly serene melodies with sonic jabs. The fun is in the clash. The nine tracks that make up Cool Dry Place are miscellaneous in subject (motherhood, late capitalism, disintegrating relationships) but unified by the angle from which they're told: from a person re-learning to process life with intense attention. Each song is a catalogue of fragments, the number of segments in an orange or the cut of an obsessively-worn shirt, distilled into meditations on the bizarre and microscopic exchanges that make up modern life - a relationship splintering, an uncomfortable pause, an understanding finally found. These emotional dioramas are moderated by the angular storytelling that unites Gillian Welch and Phoebe Bridgers, a favour for the conventions of short fiction over confession.

Katy Kirby is a Texas-based songwriter and indie rock practitioner with an affinity for unspoken rules, misunderstanding and boredom. She was born, raised and homeschooled by two ex-cheerleaders in small-town Texas and started singing in church, amidst the pasteurised-pop choruses of evangelical worship. Like many bible belt late-millennials, Katy grew up on a strict diet of this dependably uncool genre and accordingly, Cool Dry Place finds her dismantling it. "I can hear myself fighting that deeply internalized impulse to make things that are super pleasant or approachable," she says. Though Katy hasn't fully overcome the itch to please, it's to a listener's benefit. Instead of eradicating the pop sensibilities of her past, she warps them, lacing sugary hooks with sneaky rage, twisting affectionate tones into matter-of-fact reproach, and planting seemingly serene melodies with sonic jabs. The fun is in the clash. The nine tracks that make up Cool Dry Place are miscellaneous in subject (motherhood, late capitalism, disintegrating relationships) but unified by the angle from which they're told: from a person re-learning to process life with intense attention. Each song is a catalogue of fragments, the number of segments in an orange or the cut of an obsessively-worn shirt, distilled into meditations on the bizarre and microscopic exchanges that make up modern life - a relationship splintering, an uncomfortable pause, an understanding finally found. These emotional dioramas are moderated by the angular storytelling that unites Gillian Welch and Phoebe Bridgers, a favour for the conventions of short fiction over confession.

‘Stay Sane’ is the hotly-anticipated new album from London based artist Ocean Wisdom out now on his own label Beyond Measure Records.

Widely considered to be one the most technical rappers alive, his first release from the album campaign ‘Drilly Rucksack’ is a stellar offering, showcasing Ocean’s rapid-fire flow as he takes on political themes relevant in Britain today. Speaking on the track Ocean said “‘Drilly Rucksack’ is a fictional tale of a magical rucksack that protects its owner from evil Tories whilst also offering consolation and reassurance to the daughters whose lives they have presumably made miserable.”

Given the name Ocean Wisdom at birth, Ocean grew up immersed in hop-hop and reggae and began beatboxing aged seven. His homelife was what he describes as ‘hectic’, as his mum worked as an emergency foster carer. Years of writing lyrics and practicing followed and his uncompromising work ethic drove him to leave home at 17 and start working on his craft daily, never missing a single day. He used his passion for music as a way of channeling his anger and controlling his mental health, in addition to avoiding the fate of some of his friends. His meticulous attention to detail and hardwork paid off and over the past 5 years has seen Ocean’s meteoric rise lead to a quarter billion streams across all platforms and collaborations with legendary artists including Method Man, Dizzee Rascal, Fatboy Slim, Akala, Roots Manuva, Ghetts and Foreign Beggars.

Famed for his technical abilities, Ocean broke numerous records at a young age, including beating the standing Guinness World Record for most words per minute in a hit song, dethroning Eminem’s "Rap God". He remains one of the few UK rappers that can tour worldwide, headlining arenas across Europe, New Zealand, Australia, Russia and the Middle East. Since then he has gone on to set up his own label to release his music as well as building his own studio and creating a platform for future artist to thrive.

Was hätte die unter tragischen Umständen viel zu früh verstorbene Sängerin noch für Platten machen können! Zusammenstellung von B-Seiten u.a. vom Album 'Kite', das mit Produzent Steve Lillywhite und Johnny Marr entstand, und diverse Hitsingles abwarf. U.a. mit der Smiths-Coverversion 'You Just Haven't Earned It Yet, Baby'. 'Other People's Hearts erschien in kleiner Auflage zum RSD und ist nun aufgrund der Nachfrage nochmals als 140 Gr. LP (Black Vinyl erhältlich).

Die Hot Rats waren Gaz Coombes (Supergrass) und Danny Goffey die sich den Spaß machten Songs ihrer Jugend zu covern. Überwacht hat das Ganze dann noch Star-Producer Nigel Godrich. Neben Songs von Bowie, Kinks, Velvet Underground, Sex Pistols u.a. 2010 ging das Duo auf eine kurze Welt-Tour mit Stationen in NewYork, Mexico City, London, Paris oder auch Tokyo. Und hier wurde das lärmende Live-Vermächtnis des Duos festgehalten. 'Live In Tokyo' komm mit 15 Tracks, 180 Gr. Black Vinyl und seitlichem Obi-Strip wie sonst fast nur bei Japan-Releases üblich!

Vultures ist eine EP der schwedischen Stoner-Band Dozer. Aufgenommen in den Jahren 2004-2005 in den Rockhouse Studios in Borlänge, dienten diese sechs Tracks als Vorproduktions-Demos für das, was später das vierte Dozer-Album werden sollte, Through the Eyes of Heathens von 2005. Das Album erscheint nun zum ersten Mal auf Vinyl und im Digipack mit einem ganz besonderen unveröffentlichten Bonustrack, einer Coverversion des Sunride-Songs Vinegar Fly. Vultures ist eine echte Heavy-Stoner-Explosion, wie sie nur Dozer bieten kann. Das großartige Artwork stammt von Lowrider-Chef Peder Bergstrand.

Vultures ist eine EP der schwedischen Stoner-Band Dozer. Aufgenommen in den Jahren 2004-2005 in den Rockhouse Studios in Borlänge, dienten diese sechs Tracks als Vorproduktions-Demos für das, was später das vierte Dozer-Album werden sollte, Through the Eyes of Heathens von 2005. Das Album erscheint nun zum ersten Mal auf Vinyl und im Digipack mit einem ganz besonderen unveröffentlichten Bonustrack, einer Coverversion des Sunride-Songs Vinegar Fly. Vultures ist eine echte Heavy-Stoner-Explosion, wie sie nur Dozer bieten kann. Das großartige Artwork stammt von Lowrider-Chef Peder Bergstrand.

"I’ve had the pleasure of being a Fall fan since I was a teen.
I was lucky enough to have some guidance from my local record shop stoner-lords.
They turned me on to many of my heroes, but once I heard my first slanted and barky Fall song, I was part of the army for life.
The word prolific gets tossed around a lot.
It almost seems like a slag-off in the press, as if they wish the artist would produce less so they wouldn’t have to do their self imposed job of judging releases for the rabble.
The Fall is subjected to this lazy word often.
Yet I can honestly say that I am SO thankful for any nugget of Fall that lands at my feet and in my brain.
Live Fall performances are always a pleasure because they seem to take what already made the Fall great and push it even a bit more into the rough and bloody uncharted wasteland that is drug scorched proto-punk and heady political poetry.

So, it is with great pleasure that we introduce this Fall bootleg soundboard recording to you.
Recorded during one of the many strong points in the bands vast and mighty history.
They really burn bright here and bring every ounce of what you expect from this formidable force.

We have reached out to every surviving member of the band, the sound person, the bootlegger who recorded it and the photographer and received their blessings & help piecing it all together.
Castle Face will be donating 50% of our profits to Centrepoint which helps the homeless in the Manchester area get back on their feet, so the local and deserving Fall fans get a little, and give a little back, too.

Nothing but the hits here folks and as raw as you dig it.
This one really is exceptional in terms of live sound for The Fall.
All the stars were aligned over St. Helens that eve.
And it wouldn’t be complete with a bit of Fall fan saltiness so, fuck you too, Jason.” - John Dwyer

It’s out on Castle Face Records exclusively on vinyl (12” and a 7” in a gatefold jacket, including a digital download) on February 19th

Born in Newtownards, County Down, Northern Ireland, singer/songwriter/guitarist Ricky Warwick was cut from the cloth of a mill workers’ jacket. Raised on a diet of Patsy Cline, Johnny Cash, Thin Lizzy, Stiff Little Fingers, Motown and everything in between. Saving his money from a newspaper round and a little help from his father, Ricky got his first electric guitar at age 13. “That cheap electric guitar changed my life....it saved me, it was more than just notes on a fretboard, it was the deepest breath of life I ever experienced.“ explains Warwick.
At age 14 Ricky and his family relocated to Strathaven, Scotland. It was here that Warwick fully immersed himself in the sonic seas of Rock n Roll. Writing and practicing every free moment he wasn’t working on his father’s farm, Ricky got a call to join acclaimed U.K. Punk/Folk band New Model Army as rhythm guitarist on their 1987 ‘Ghost Of Cain‘ World Tour. Following New Model Army, Ricky went on to form The Almighty in Glasgow who enjoyed ten top forty singles and four top twenty albums in the U.K. during the late 80’s/early 90’s, touring worldwide with such iconic bands as The Ramones, Motorhead, Megadeth and Iron Maiden.
In 2002, after relocating back to Ireland, Ricky recorded his first solo album ‘Tattoos & Alibis‘ in Joe Elliott of Def Leppard’s studio in Dublin with Joe also handling production duties. It marked a shift in direction “I realized that I didn’t need to yell over a wall of sound to make my point...less is more, stripped back instrumentation could achieve the same goal just as effectively. I learned so much making that record, primarily about myself”. Warwick would go on to release two more solo albums between 2002 -2010 and tour globally opening for the likes of Def Leppard, Cheap Trick, Bryan Adams and Lynyrd Skynyrd.
In January 2010 Ricky received a call from his old friend Scott Gorham who was spearheading a reformation of Ireland’s favourite sons Thin Lizzy and wanted Ricky to front the new line up. ”I was shocked, terrified, excited and extremely humbled when I got that call. Phil Lynott was my hero and Thin Lizzy were the soundtrack of my life. I realized that I could never hope or even dare to try and stand in Phil’s shoes. All I could do was try and stand beside them and sing his songs with as much heart, soul and passion possible. In late 2012, with a necessity to write and perform new material, out of respect for the Thin Lizzy name, Black Star Riders were born. Warwick is the frontman and main songwriter for the band and 2013 saw the release of Black Star Riders acclaimed debut album


‘All Hell Breaks Loose‘.

Black Star Riders have now released four critically-acclaimed and commercially successful albums, the most recent being 2019’s ‘Another State Of Grace‘. They have achieved two U.K. top 15 albums and one U.K. top 10 album as well as mainstream radio play which includes claiming two “singles of the week” on BBC Radio 2.
Following 2016’s lauded ‘When Patsy Cline Was Crazy... And Guy Mitchell Sang The Blues’, Warwick is getting ready to unleash his 5th solo album in 2021. Titled ‘When Life Was Hard And Fast‘, it was recorded in Los Angeles and produced by Keith Nelson (ex-Buckcherry), who also co-wrote the majority of the songs on the record with Warwick. “Keith Nelson and I share a passion for good, honest, rock ‘n’ soul. Making the album with Keith who shares a similar outlook and work ethic as myself was a no brainer ....also the fact that he has a killer collection of vintage guitars contributed greatly”
“I wanted to create an album that had the simplistic melodies of Tom Petty and the Heartbreakers charged with the electric hedonistic fury of Johnny Thunders And The Heartbreakers. Recording the album as live as possible with a full band was requisite to achieving the desired effect”. Xavier Muriel (Ex-Buckcherry) on drums and Robert Crane (Black Star Riders) on bass completed the core band and turned in stellar performances, giving the songs a real lease of life.
Also, once again, Warwick tapped some of his closest friends for guest appearances on the record, including Andy Taylor (Duran Duran & Power Station) Luke Morley (Thunder), Joe Elliott (Def Leppard), Dizzy Reed (Guns n Roses). Ricky also duets with his daughter Pepper on the song ‘Time Don’t Seem To Matter‘. “I can’t wait for people to hear this album and to hit the road touring it whether it’s with my band The Fighting Hearts or just myself and my acoustic - it will be amazing. I’m grateful that after 30 years of making records my appetite for writing and playing is the same as it was that day all those years ago when I got my first electric guitar”
For those intrigued by the album cover, it depicts a crash scene from the famous Ards TT Motor Car Race in County Down Northern Ireland. The race ran from 1928 until 1936 was watched by over 250,000 spectators annually. The embankment in the photograph that the spectators are on is actually a field belonging to Ricky’s Great Grandfather’s Farm, which he grew up on for the first fourteen years of his life.

More than 40 years after its original release, this limited and numbered facsimile edition of Keith Jarrett’s legendary 10-LP box set “Sun Bear
Concerts” is recreated from original analog sources.
Sun Bear Concerts - documenting five complete solo performances by Keith Jarrett in Japan - counts as a milestone achievement in the history of jazz recording. As Down Beat wrote, on the occasion of the original release, Jarrett’s improvisations are “the inventions of a giant, overpoweringly intimate in the way they can draw a listener in and hold him captive. Jarrett has once more stepped into the cave of his creative consciousness and brought to light music of startling power, majesty and warmth.”
Rich in incident and detail, the music in this beautifully produced, illustrated and presented ten-LP set, first issued in 1978 revealed Jarrett as a player of limitless creativity, unique in his ability to find new forms in the moment, night after night. “These marathons showed Jarrett to be one of the greatest improvisers in jazz,” Ian Carr wrote in his biography of the pianist, “with an apparently inexhaustible flow of rhythmic and melodic ideas, one of the most brilliant pianistic techniques of all, and the ability to project complex and profound feeling.” The present edition is a facsimile of the original LP set, described by the late Haus der Kunst curator Okwui Enwezor as “part of ECM’s declaration of independence from standard packaging of jazz records. Setting itself apart in this way, ECM treated its recordings as works of art by musicians of the highest artistic and conceptual order.”
A work of art by any standards, Sun Bear Concerts brings together solo concerts in November 1976 in Kyoto, Osaka, Nagoya, Tokyo and Sapporo, in recordings made by Japanese engineer Okihiro Sugano and producer Manfred Eicher, who travelled through Japan with Keith Jarrett. The set’s book-form packaging, with design by Barbara Wojirsch, includes photographs by Klaus Knaup, Tadayuki Naitoh and Akira Aimi.

Just before the end of the year 2020, a mere 12 months, after the release of their celebrated record “No Treasure But Hope”, Tindersticks surprised everyone with mentioning a new album to be released in 2021.

Stuart Staples was already nurturing seeds for a different kind of Tindersticks album before lockdown halted their tour in early 2020, singer. If 2019’s “No Treasure but Hope” saw the band rediscovering themselves as a unit, the follow-up reconfigures that unit so that everything familiar about Tindersticks sounds fresh again. “Distractions” is an album of subtle realignments and connections from a restless, intuitive band: rich in texture and atmosphere, it lives between its open spaces and details, always finding new ways to connect with a song.

If it’s an album that resists easy summation, at least one thing is clear: though it isn’t untouched by the lockdown, “Distractions” is not ‘a lockdown album’. As Staples says, “I think the confinement provided an opportunity for something that was already happening. It is definitely a part of the album, but not a reaction to it.”

Serpente is the alias of Bruno Silva, a prolific and consistent fixture of the Portuguese scene. Silva has operated under numerous aliases throughout the years including the much loved Ondness name. With past releases on Not Waving's Ecstatic and Discrepant, among others, Silva's next release is a long awaited addition to the Alien Jams catalogue, an album called "Irmãs," Portuguese for "Sisters."

Comprising of two 17 minute tracks, both "Da Clara" and "Para Celeste" are intrinsically linked, mirroring and then inverting one another. Sisters share recurring motifs, typical of the Serpente project, both tracks artfully transform the strictest percussive forces into expressive and mind expanding mantras. Redolent of their live incarnations, Serpente gigs often involve a transformative and immersive experience, and "Irmãs," embodies this spirit, embracing melodic digression in a sustained and flowing state.

Fuera de Ambiente (2006), the latest album by Uruguayan musician and reference, Jaime Roos, now first time on vinyl! Includes a new cover artwork, designed especially for this edition, and a new audio master that far exceeds the original. Groove and introspection in the new millennium. With a unique mix of music roots and cosmopolitan sounds, Jaime Roos would become one of the most successful and influential artists of Uruguayan music. Released in 2006, Fuera de Ambiente is his last album of original material so far. Without leaving aside the groove of candombe fusion music, the eloquence of murga and his distinctive blend of Latin-American rhythms with pop and rock touches, this is one of his most introspective and sophisticated works. A timeless record that has gained recognition over the years as one of Roos' greatest albums. This is the first time ever that Fuera de Ambiente is released on vinyl.

For the first outing on Dream Dancing, upcoming producer Joe Moan presents two cuts for different moments in the dance.

'Interreality' holds a mixture of glacial atmospheres and a warm flowing undercurrent, gently moving and evolving... The floating dub chords and driving bass line ride along stripped back, hypnotising house rhythms throughout this dreamy tale.

Flip for 'No Control' - A stripped back breaky affair, heavy on the flow... Warped synths, trance inducing tripped out chords, firmly glued together by the rumbling Reese bass.

250 hand numbered copies only.

The 1st Album is the gigantic debut studio album by German duo Modern Talking. The album peaked at number one in Germany, spending four weeks atop the chart and 18 weeks within the top 10. It sold more than eight million copies worldwide; it was certified platinum in Germany and Austria and gold in Poland and Spain. The album spawned two singles, with “You’re My Heart, You’re My Soul” topping the charts in Germany (where it spent four weeks at the top), Austria, Switzerland and Belgium, while charting inside the top five in France, Norway and Sweden. This song has about half a billion views on YouTube.

The sleeve contains gold-spot varnish on the Modern Talking logo on the front cover and the package includes an insert.

Dog of Two Head was the first step for Status Quo in becoming the band and achieving the sound they are known for. The music contains less of their psychedelic background and more of their wall of sound rock. The content takes on a heavy blues feel with plenty twelve bar rocking numbers. The single “Mean Girl”, was to become a UK #20 hit some time later, in April 1973. The innovative and inventive sound on this album makes it one of the best studio albums Status Quo have ever recorded.

"Liza With A 'Z'" is a multi-media production that has been showered with superlatives. It won numerous awards, including those for Choreography and Direction. However, a further award for the music composed by John Kander and Fred Ebb is probably the main reason for the show being released on a record, i.e. just for the ears. But the plan bore fruit, and the LP rocketed onto the Billboard 200. It was to be Liza Minnelli’s best chart hit ever – and it could even be called the soundtrack of her life.

Great favourites such as "Ring Them Bells" and "Bye Bye Blackbird" are set alongside sharp rhythm and blues numbers ("Son Of A Preacher Man", "I Gotcha"). Taking centre stage is a 10-minute medley from the film adaptation of the musical "Cabaret" that was shown in the cinemas also in 1972 and which brought Minnelli her international breakthrough.

All that remains of this costly and glamorous television event, which was only broadcast a few times on US television after the premiere, is the original music on record. Here it is once again in all its glory and with a new freshness.

Eric Hilton, eine Hälfte des Washingtoner Downtempo-Duos Thievery Corporation, ist auf den Geschmack gekommen und veröffentlicht ein halbes Jahr nach seinem Solodebüt "Infinite Everywhere" schon den Nachfolger. "The Impossible Silence" ist ein elegantes Electronic-Werk, inspiriert von 1960er und 1970er Vintage-Soundtracks, dessen 13 atmosphärische Tracks einen imaginären Film in der Fantasie des Hörers ablaufen lassen. Das Finale bestreitet Hilton mit der brasilianischen Sängerin Elin Melgarejo, bekannt durch ihre Vocalperformance auf dem Thievery Corporation-Klassiker "Lebanese Blond".

Tribal Trueby / Truccy Trickserei. Pure Freude, pure Energie. Rainer Trueby und Corrado Bucci kommen gelenk und glücklich aus dem warmen tropischen Jungle. Der hat sie zu allerhand Musikfarben wie World Music, Afrodelic, Balearic und Latin angeregt, und indem sie noch ein clever gesetzten jazzigen Mittelteil einbauen, bekommt das Dickicht einen großartigen Kahlschlag mit Sonnenbeflutung.

„Für mich der beste typische Rainer Trueby seit den Trüby Trio Hits „Donaueschingen“ oder Galicia“ (Michael Reinboth)

Todsicherer Tanz. Mit Sahnehäubchen oben drauf vom Pariser, heute in Brighton lebendem Laroye, der einen pulsierenden perkussiven House Jam abliefert.

Rainer Trueby hatte gerade die wundervolle „Soulgliding“ für BBE kompiliert, und nun bereitet er sich und uns auf ein neues Kapitel (Vol. 6) seiner legendären „Glücklich“ Compilation vor, die im Sommer 2021 auf Compost rauskommt.

Tracklisting

Side A
“Kenyatta“ (Original Mix) (8:02)

Side B
“Kenyatta” (Laroye Afro Balearic Mix) (7:43)

From label owner Terry Cole, "It was on March 16, 2020 that we closed up our storefront as the reality of a worldwide pandemic began to spread across the Midwest. We had no idea how it was going to impact our shop, our label, or the artists we represent. We were all fortunate to have our family members stay safe and healthy; however, the livelihood of many of our friends and artists were drastically and immediately impacted. No tours, no live performances, record shops closed, pressing plants shut down, etc. And while the level of uncertainty was unnerving, from that uncertainty came the idea for Brighter Days Ahead. We knew we wanted to continue to release new music, but proceeding with our heavy 2020 release schedule as planned seemed ill advised. So the idea was to release individual tracks from many of our artists on a weekly basis and as a musical family, we could all help shine light on each individual artist weekly. Strength in numbers! So throughout the summer and into the fall, that's what we did. We released several dozen tracks and the weekly announcements certainly garnered a strong sense of community for our artists and fans alike. We're very proud to present Brighter Days Ahead: a compilation from our talented stable of artists on both our Colemine and Karma Chief imprints."

Katy Kirby is a Texas-based songwriter and indie rock practitioner with an affinity for unspoken rules, misunderstanding and boredom. She was born, raised and homeschooled by two ex-cheerleaders in small-town Texas and started singing in church, amidst the pasteurised-pop choruses of evangelical worship. Like many bible belt late-millennials, Katy grew up on a strict diet of this dependably uncool genre and accordingly, Cool Dry Place finds her dismantling it. "I can hear myself fighting that deeply internalized impulse to make things that are super pleasant or approachable," she says. Though Katy hasn't fully overcome the itch to please, it's to a listener's benefit. Instead of eradicating the pop sensibilities of her past, she warps them, lacing sugary hooks with sneaky rage, twisting affectionate tones into matter-of-fact reproach, and planting seemingly serene melodies with sonic jabs. The fun is in the clash. The nine tracks that make up Cool Dry Place are miscellaneous in subject (motherhood, late capitalism, disintegrating relationships) but unified by the angle from which they're told: from a person re-learning to process life with intense attention. Each song is a catalogue of fragments, the number of segments in an orange or the cut of an obsessively-worn shirt, distilled into meditations on the bizarre and microscopic exchanges that make up modern life - a relationship splintering, an uncomfortable pause, an understanding finally found. These emotional dioramas are moderated by the angular storytelling that unites Gillian Welch and Phoebe Bridgers, a favour for the conventions of short fiction over confession.

The 12" EP A Momentary Convergence of Differently Paced Trajectories is a heterogenous dj-oriented release, prelude and companion of Maurizio Ravalico's first solo percussion album Nobody's Husband, Nobody's Dad, released in November 2018 with the Funkiwala label. It comes in 180gms vinyl on a hand-numbered run of 300 individually screen-printed 320gsm brown card sleeves.

THE MUSIC

Side A opens with a full-size batucada version of Fear of Mapping, one of the tracks from No Fiction Now!, the 2013 debut album of Maurizio's trio Fiium Shaarrk.

It is followed by a personal take on one of Collocutor's second album tracks, Here to There to Everywhere, arranged here as a spacey 5/4 drum'n'bass epic.

Side B contains an old-school jungle remix of Just Bring Your Toys, one of the tracks from Maurizio's forthcoming album, by the Italian d'n'b veteran Enjoy (Omni Music, Bustle Beats). The EP closes with an edited version of the same track: a taste of the album.

Despite being both loosely presented as remixes, neither of the two arrangements on side A makes use of samples from the respective releases, and any material not progammed or played anew by Maurizio comes from either unreleased off-cuts or preliminary demos.

"One of the finest avant-garde percussionists in the world. Maurizio Ravalico is incredible to watch and hear. Catch him live somewhere soon!"- Jean-Claude Thompson, IfMusic uk

"Creative, deep and intriguing. Percussion avantgarde at its best." - Vince Vella, Dj, producer, Havana Cultura

Italian-born visionary cross-genres percussionist Maurizio Ravalico has been one notably eclectic presence in the London music scene since his arrival in the UK, in 1991.

Regularily seen on stage and on releases with the like of Jamiroquai and the James Taylor Quartet throughout the nineties, as well as with virtually every salsa and Cuban-oriented projects to originate from London in the same period, he has subsequently collaborated on many of the projects of the experimental music label Not applicable (Icarus, Isambard Khroustaliov, Alex Bonney, Tom Arthurs) since 2005, and is now an established name in both the London and Berlin improv and experimental scene, having played with John Edwards, Oren Marshall, Steve Beresford, Pat Thomas, Frank Paul Schubert and many others.

Maurizio Ravalico's peculiar approach to percussion is one of the distinctive traits of Tamar Osborn's modal jazz 5-piece band Collocutor (On the Corner records) and of the pan-European trio Fiium Shaarrk (on BBC3 Late Junction's 12 Best Albums of 2017). Maurizio Ravalico also collaborates with the string quartet Phaedra Ensemble, the composer Fred Thomas and the French contemporary dance company Silenda.

Steven Rutter aka B12 is one of techno’s most influential artists, famed for many releases on the iconic Warp Records including "Electro-Soma" that defined what is now the deep techno genre.

B12 was originally a duo before Steven Rutter took over the alias as a solo artist, but after a string of new releases on labels like Soma and Delsin, he decided to start producing under his own name.

Deciding it was time to look to the future with a new lease on life, Steven Rutter kept his sound the same, but shed the skin of B12 to mark a new point in his musical career.

Battling with personal demons, the B12 sound had become dark and introverted, and the Steven Rutter style keeps that same moody atmosphere, while adding upbeat rhythms and more jovial chord progressions without losing focus of the core sound that’s made his music so influential.

In addition to a numerous EP, “Riddle Me Sane” is the third album Steven Rutter has done under his own name, and it's in the timeless B12 style that's adored by his fans in all four corners of the world.

Cosmic melodies and sci-fi influenced textures with dystopian sound design, the thought provoking album paints pictures of alien landscapes, while its down tempo grooves also have the key elements needed for the dance floor.

Comfortingly familiar for those who love the classic B12 style, it also marks a distinct turning point in the sound that Steven Rutter has been looking to focus on.

Tracks like “Techno Prisoner” perfectly embody the style this release is aimed to purvey, but this masterpiece has been expertly programmed to play as a continuous piece of music rather than a selection of solo cuts.

Laurel Halo, Donato Dozzy and Teheran sound artist Tegh give us their "Glassforms Versions"alongside a new edit by Max Cooper. The works of Philip Glass are reflected and refracted in a myriad of ways by some of the most renowned electronic artists alive, making for a blissful, multi-dimensional listening experience.


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With "Glassforms", Max Cooper and Bruce Brubaker set out on an intimate, nuanced exploration of the works of Philip Glass. The resulting recordings, developed in a fluctuating exchange between the American pianist and the Irish scientist-artist, are an astounding testament to the innovation that artistic collaboration can achieve and what depths are yet to discover in Philip Glass' compositions. The two artists did not just rework, but fundamentally rewired the original songs using algorithmic software to process and augment the musical data it received from Brubaker's piano live on stage.

When approaching his remix, Donato Dozzy also tapped into that inspiration to create something new rather than just reworking it, which is one of the core motives that emanates from "Glassforms". The Italian producer and label owner is known for his drive to explore: he develops installations for public spaces and museums, uses obscure musical instruments and collaborates with classical singers or visual artists. "I chose "Two Pages" for it's hypnotic feel in the notes repetition", he says, "but I did not want to merely sample the piano, but instead ask someone I trust and admire to carve it from scratch and even go further." So he followed the lead of Brubaker and Cooper and teamed up with the renowned Italian percussionist and jazz musician Daniele Di Gregorio to completely rewire "Two Pages" into a gorgeous piece of endlessly modulating ambient electronica.

Laurel Halo, the second remixer on "Glassforms Versions", does not need a long introduction either: the American musician is at the forefront of electronic music in 2020, a bright star today after releasing her debut "Quarantine" on Hyperdub in 2012. Her remix of "Opening" brings to mind the string section of an orchestra tuning their violins before the performance - forever. They glide in and out of tune, sometimes individually, then together, then are accompanied by keys that are most likely a ghostly representation of Brubaker's piano, sampled and pitched down, but sound almost jazzy in the context of Halo's remix. It's a blissful listening experience, calling to mind her recent collaboration with cellist Oliver Coates on "Raw Silk Uncut Wood" and showing a deep understanding of Philip Glass' work.

Sound artist Tegh is the third on the remix bill - the electronic musician from Teheran delivers his take on "ƒTwo Pages", once again showcasing how versatile, how inherently complex the works of Philip Glass are. They can be interpreted in a myriad of ways - Tegh's version is a bounding, brooding piece filled with raw energy that feels like it is performed live, just for you, every single time you listen. His version is, at first, much more focused on the underlying moods, electronic undercurrents of the original than Dozzy's version, and yet, when the piano finally does break through, it becomes clear that we are listening to Philip Glass, reflected manifold: through the piano of Bruce Brubaker, the synths of Max Cooper, and then again through the mind of the artist Tegh.

Concluding the new "Glassforms Versions" is a previously unheard edit of "Two Pages". It's difficult to edit a piece of minimalistic beauty without losing it's essence, but Max Cooper - after many efforts and close conversations with Bruce Brubaker - managed to bring these shorter edit into a satisfying, conclusive form.

Black Uni Cover with Artwork Print

Following on from a series of singles, 'Runnin' Wild', 'Confliction' and 'Jump The Line', First Word Records is very pleased to present a full-length EP from alt-soul artist Olivier St.Louis, produced by Oddisee - 'M.O.T.H. (Matters Of The Heartless)'

Olivier was born in Washington DC of Haitian and Cameroon heritage, but spent his teens studying in the UK. As a teenager, his CD and tape collection would encompass a wide range of genres, from hip hop and r&b to garage and British alternative rock. A bio-science student, Olivier couldn't suppress his true passion of music. After graduating, he took on a "Jekyll and Hyde" lifestyle; working as a scientist in the day, and a musician at night.

His work as a recording artist eventually lead to his debut release in 2011, 'The Mr. Saint Louis EP', released under the moniker Olivier Daysoul and produced by longtime collaborator and fellow Washingtonian, Oddisee, a revered hip hop producer / artist in his own right. From here on, Olivier began laying down vocals, collaborating and touring with a wide-range of artists over the following years, including Hudson Mohawke, C2C, Laura Mvula and German rockers, AnnenMayKantereit.

After taking a hiatus from feature work, Olivier decided to concentrate on nurturing his own sound. Embracing a newfound love for blues, rock and funk, a series of late night sessions saw him engulfed in new soundscapes, and reverting back to his birth name, Olivier St.Louis. This saw him release two critically-acclaimed EPs with Berlin-based label, Jakarta, and the release of 'The Serious EP' with Bibio on Warp Records.

Following world tours with many of the afore-mentioned, Olivier has been working on all-new material, which is now set to be unleashed upon the world via Worldwide Award-winning London label, First Word Records.

The 'M.O.T.H.' EP begins with the downtempo bump of 'Jump The Line' before the adrenaline-racing rhythm of 'Runnin Wild' steps up the pace. Next is second single 'Confliction'; a considerably moodier affair, with Oddisee on assist on the bars as well as on the boards. The flipside begins on a similar vein as the first with the smoothed-out soul of 'All In Love', before we head into the slightly jazzier tinged 'Quit'. 'Serotonin' follows next with a groove and bassline reminiscent of Sly Stone, before we close out with the feel-good uptempo boogie stepper, 'Steady'. With Oddisee on the boards throughout, this EP exemplifies Olivier's unique take on alternative soul.

Comparisons have already been made to something between D'Angelo and Shuggie Otis - big boots to fill, though easy to believe once you've seen and heard this man do his thing. This EP is essentially a classically-structured selection of soul-funk with a rock edge, and a touch of jazz. Each track is laced with Olivier's sweet harmonies and fuzzed-out guitar licks throughout, and mixed down with a little 2020 boom bap thump. A prime example of Olivier's unique talents and a set of quality contemporary alt-soul.

When asked his thoughts on his artistry, Olivier St. Louis simply states "no punches pulled, no compromises, just me".

'M.O.T.H. (Matters Of The Heartless)' is released via First Word Records in January 2021.