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London-based label Dancing With Strangers is back, after a brief hiatus, with the third edition being served up by none other than head honcho Oliver Moon.

On his third solo outing as an artist, Moon delivers two solid tracks in the shape of ‘Downstream' and ‘Drifting’. Both of which exercise his signature raw take on production and showcase an ability to carry a consistent groove whilst weaving deep, dreamy sounds into classy percussive work.

Dancing With Strangers Co-founder Agile Kind returns on remix duties to tackle ‘Downstream’ and does so wonderfully. Following the lead baseline, he layers lush pads around crisp skippy drum programming and lands on pure euphoria.

Last but certainly not least, the inimitable Carl Finlow (2020 Vision) rounds off the EP with a stellar electro remix of ‘Drifting’. Leading with a thick, growling bass and fusing cinematic synth work with playful acid stabs, Finlow captures the essence of the original. The end result is a beautifully emotive track entwined with stunning melodic elements destined for the dancefloor.

Oliver Leiths von der Kritik gefeierte Kammeroper "Last Days", basierend auf dem Gus Van Sants Kultfilm "Last Days", feierte im Oktober 2022 in einer ausverkauften Aufführungsreihe im Londoner Royal Opera House Premiere. Mit der bewährten Starbesetzung in ihren ursprünglichen Rollen entstand nun diese 90-minütige Studioaufnahme, auf der das 12-köpfige Ensemble unter der Leitung von Jack Sheen den Anker von Leiths straff ausgearbeiteter und zutiefst fantasievoller Partitur darstellt.

- "Oliver Leith's score is a sonic tapestry interweaving delicate instrumental effects, 'found' sounds, and a cappella vocal timbres." - The Independent
- "Leith's score, brilliantly rendered by 12 Ensemble under Jack Sheen, is starkly original." - Bachtrack
- "Jack Sheen conducted the slick 12 Ensemble… balancing the push-pull sternness and rapture of a score that surely has a real future ahead." - Opera

To celebrate its 25th release of its regular series, long-standing Minimood unleashes a 2x12" monster assembling Tobias Oliver, Die Wilde Jagd, AU Cheek, Ray Okpara, Bluetrain, JS, and Anton Kubikov. The sleeve has been designed by Milano based sculptor Tillmann Lauterbach and every record also contains a limited art print of his as a mighty extra.

In 2012 we at Soul Junction were able to release two previously unissued songs on the Internationally renowned recording artist, Oliver Cheatham. The songs recorded in Detroit circa 1974/75 were cut under the supervision of Olivers cousin William R. Miller. “Don’t Pop The Question (If You Can’t Take The Answer)” went on to become Soul Junction’s biggest seller, selling in excess of over a thousand copies, but such is the enduring quality of the song that there hasn’t been a week gone by where we haven’t received a sales enquiry for a copy. So, after much deliberation we have decide to re-release the 45 again with a nifty 300 limited press run to hopefully satisfy this continuing demand. During the ensuing years the soulful sweet soul ballad b-side “Good Guys Don’t Make Good Lovers” has also grown in stature with collectors of this genre with many of the sales enquiries received coming from the direction of the West Coast’s lowrider scene.



Oliver Cheatham will forever be remembered for his timeless 1983 R & B hit “Get Down Saturday Night” on MCA records, which he co-wrote with fellow Detroit musician and ‘One Way’ group member Kevin McCord. Oliver’s own career began way back in the mid 1960’s when his future brother-in- law Allen Cocker invited Oliver to join his group the ‘Young Sirs’ to recorded the mellifluous “There’s Something The Matter (With Your Heart)” for Ernest and Barbara Burt’s Magic City label with Oliver now being the groups lead singer.

Into the 70’s the Young Sirs, briefly became ‘Butch & The Newports’ who under the auspices of George McGregor recorded “I’m Only A Man/Out Of My Mind” on the Black Rock label, with Butch being Oliver’s nickname. “I’m Only A man” was released for a second time on Marvin Higgin’s Grand Junction label, this time credited to ‘The Gaslight’ along with a further two releases. A subsequent Gaslight release “Just Because Of You/It’s Just Like Magic” reputedly came out on the local T.E.A.I label before being picked up for national distribution by Polydor Records. Under the guidance of influential Detroit radio DJ and record producer Al Perkins, Oliver firstly became the lead singer of the group Sins Of Satin later re-named Roundtrip and then following a further re-naming just becoming known as Oliver.



Following on from “Get Down Saturday Night” Oliver continued to score chart success with “SOS”, “Celebrate Our Love” followed by two duets with Jocelyn Brown “Turn Out The Lights” and “Mind Buster”. Further chart success came in 2003 when Oliver featured as a guest vocalist on Room 5’s UK No1 hit “Make Luv” which incidentally sampled Oliver’s “Get Down Saturday Night”. Oliver at this juncture was residing in England and had previously recorded a garage version of the old standard “Our Day Will Come” with the London based band, Native Soul. Sadly, Oliver passed away in November 2013.

Pfirter & Oliver Rosemann proudly unveil their fifth collaboration, "Epsilon." Following the tradition of naming their releases after letters in the Greek alphabet, "Epsilon" continues to showcase the seamless blend of their unique styles.
Adding to the excitement, "Epsilon" features remixes from Sleeparchive and Lakej. The inclusion of these renowned artists adds an extra layer of depth and creativity to the project, and we are thrilled to have them on board for this exceptional release.

After the first four EPs by the duo were released on Pfirter's MindTrip and Par Grindvik's Stockholm LTD, this 5th release will now be available on Recorded Things. It will be released on high-quality vinyl.

“I’m not anti-hippie. I’m anti-unrealistic utopianism. Hell, I’m basically an anarchist.”

The realm of the hippies stretches between “Nature Boy”, Eden Ahbez’s international hit song from 1948, and Charles Manson’s “Trial Testimony” from 1970. NATURE BOY by Raymond Pettibon & Oliver Augst is a romantic-anarchistic search for the sources of punk. A must for all Pettibon fans.

DE:
„Ich bin nicht gegen Hippies. Ich bin gegen unrealistischen Utopismus. Zum Teufel, ich bin im Grunde ein Anarchist.“

Zwischen „Nature Boy“, Eden Ahbez weltbekannter Ballade von 1948, und Charles Mansons „Trial Testimony“ von 1970 spannt sich das Reich der Hippies. NATURE BOY von Raymond Pettibon & Oliver Augst ist eine romantisch-anarchistische Suche nach den Quellen von Punk. Ein Muss für alle Pettibon-Fans.

This split release between Frustrated Funk and Indulge Records sees FF head honcho klen Ovatow reconnecting with Indulge's Oliver Kapp, a link that was established all the way back in the mid/late 90s. Celebrating with a remastered version of Kapp's Piston Rings (ME-01), one of the tracks that kickstarted the Indulge imprint in 1996. And on the FF side Ovatow reshaped Kapp's The Trail into a 12 minute deep dive. Obviously not your typical techno.. Beware!!..

Oliver Bradford presents Pacific Objectives, his first solo EP under his own name. Bradford has been producing electronic experimental and dance music since the early 90s when he held his first DJ residency at Brückenkopf, Mainz (in 1992-93). To create his deep house grooves Oliver utilizes a hands-on approach, working with tape loops and analogue recording tools. The tracks featured on Pacific Objectives were recorded between 1996 and 2021, after nd_baumecker signed them to be released on his FREUNDINNEN label, the tracks were mixed and mastered with Jörn E. Wuttke, at the final stage Loop-O created the vinyl master and cut in 2023.

Oliver Bradford thanks go to: Jörn E. Wuttke, D Man, Ralf Köster, Loop-O and Andreas & Jenus Baumecker for your great support to make this happen!

Blues And The Abstract Truth is Oliver Nelson’s triumph. Featuring his all-time classic ‘Stolen Moments’, Nelson assembled one of the most potent modern jazz sextets ever. Lead trumpeter Freddie Hubbard is at his peak of performance, while alto saxophonists Nelson and Eric Dolphy (Nelson doubling on tenor) team to form an unlikely union that was simmered to perfection. Bill Evans (piano), Paul Chambers (bass) and Roy Haynes (drums) can do no wrong as a rhythm section. Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

Dirty Electronics (John Richards) and Oliver Torr met in a bar in Prague. One thing led to another. After collaborating at Prague Quadrennial to create a sound-installation in a repurposed ice-hockey arena, gigs followed. They vowed to make an album together, which
finally happened in the geographical space between Prague, London, Brno and Athens. The album brings together disparate spaces and connected artists as a distorted memory trace.
Improvised group scenarios and abrupt electronic episodes are placed side-by-side in a brutal marriag

Repress!

Oliver Dollar debuts on Rekids with disco-fuelled three tracker, ‘Strings for Life’ EP.

Initially appearing on Rekids as a remixer in 2012, Berlin-based Oliver Dollar returns to Radio Slave’s imprint with the Spring-time funk of his ‘Strings for Life’ EP this April.

The rich, stirring strings of the title track open ‘Strings for Life’ with real soul. Warm, euphoric and built atop a rocksteady discoid groove, it’s a track that’s familiar, new and classic all at the same time. ‘School Daze’ follows with rhythmic shakers, funk-infused chopped guitar and bass licks while nifty vocal samples and cosseting chords provide the hooks. Closing out is ‘Sophisticated Funk’ which sees Dollar double down on the disco with an epic, emotive beatdown.

With releases from Radio Slave, Eddie Fowlkes, Cromby, Dave Angel, Star B and Alinka on Rekids in
recent months, Matt Edward’s imprint is as fresh as ever and Oliver Dollar’s ‘Strings of Life’ EP joins the catalogue in fine style.

Tracked in 1977, this bundle of never-before-released basement demos throw Harris’ beloved Philadelphia Sound into an unfinished root cellar, pelting it with Clavinet attacks, disco skats, and infectious hooks. Named for the street address of its underground uptown genesis, 1514 Oliver Avenue (Basement) is James “Jimmy Jam” Harris’ first foray into songcraft and an organic Minneapolis-vintage alternative to a late ’70s Prince songbook gone increasingly synthetic.

Tracked in 1977, this bundle of never-before-released basement demos throw Harris’ beloved Philadelphia Sound into an unfinished root cellar, pelting it with Clavinet attacks, disco skats, and infectious hooks. Named for the street address of its underground uptown genesis, 1514 Oliver Avenue (Basement) is James “Jimmy Jam” Harris’ first foray into songcraft and an organic Minneapolis-vintage alternative to a late ’70s Prince songbook gone increasingly synthetic.

“Almost all the trains I do are steam engines from the 1900s.”
Like the lyricism of surfing and the grace of baseball, the romance of trains is an integral part in Raymond Pettibon's imagination. TO-DAY is a wild roller coaster ride on the “A” Train with Pettibon’s favorite writers John Ruskin and Charles Manson. Pettibon at its best with terrific sound collage by Oliver Augst.

Der Score zum vielbeachteten Film von Regisseurin Charlotte Wells starring Paul Mescal und Frankie Corio.

Mit seinen Kompositionen - einer glühenden Form von Ambient-Musik - ist es Cellist, Komponist und Electronic Music Producer Oliver Coates gelungen, der Kinematographie emotionale Farbe zu verleihen.

Leichter und zarter als seine frühere Arbeiten, steht Coates' Score für die Erinnerung im Film, für das wachsende Bewusstsein, dass der Film eine Erinnerungsreise sein könnte, die versucht, dem erlebten Trauma einen Sinn zu geben. Der Score gibt dem Film das Gefühl, dass er beginnt, sich seiner selbst bewusst zu werden, wie ein Film im Film. Mit der Zeit entfaltet sich die Musik und hilft dem Zuschauer, über das Naturalistische und Diegetische hinauszugehen. Sie besteht aus einfachen Elementen, alten Synthesizern, umgekehrten und verlangsamten Streichern. Diese, so erklärt der Komponist, "enthüllen allmählich die Trägheit in Calums (Paul Mescal) Auftreten und suggerieren, dass etwas über ihm schwebt".

Enthalten auf dem Score ist auch 'One Without', das vieldiskutierte Musikstück, das in der Schlussszene und im Abspann zur Verwendung kommt, noch lange nachhallt und laut Coates auch als Blaupause diente für den gesamten Score.

Oliver Coates' dichte und beunruhigende Filmmusik zu 'Significant Other' ist jetzt auf farbigem Vinyl erhältlich.

'Significant Other' folgt den unheimlichen Ereignissen, die ein junges Paar auf einer Rucksacktour durch die Wälder des pazifischen Nordwestens heimsuchen. Oliver Coates ist ein Cellist, Komponist und Musikproduzent, der für seine Arbeit mit Radiohead, Mica Levi und anderen bekannt ist. Die Flimmusik ist auf blauem, translucent Vinyl gepresst.

- Col. LP: (Blue Translucent Vinyl)

Did you know Micheal "Eyedea" Larsen - one half of the progressive hip hop duo Eyedea & Abilities - once released a solo project under the moniker Oliver Hart? Fresh on the heels of winning three of the most notable MC Battles of the time - Scribble Jam (1999), Rocksteady MC Battle (2000) and the nationally televised HBO Blaze Battle (2000) - and the release of his debut album with musical partner DJ Abilities, First Born, Eyedea was inspired, intent, insatiable. He used most of his earnings from those MC battles and the group's rigorous touring schedule to build himself a home studio and teach himself how to record and mix records, and in less than a year's time, he returned to share the fruits of his labor. Originally released in 2002, The Many Faces of Oliver Hart or How Eye One The Write Too Think was written, produced, recorded and engineered by a 20-year old Eyedea (aka Oliver Hart). Featuring the songs "Weird Side", "Here For You", "Step By Step" and "Bottle Dreams", which Complex named as #11 on a list of the best songs ever released on Rhymesayers Entertainment, the album was a diverse body of work that demonstrated Eyedea could not be easily defined, nor should he be.

Limited Clear Vinyl edition, 500 copies! Originally released in 1961 by Prestige/New Jazz label, “Straight Ahead” marks the last Dolphy’s appearance
within a series of fortunate collaborations with saxophonist Oliver Nelson. This is a great modern jazz album taking shape from a quintet studio
session (all first takes) engineered and supervised by master Rudy Van Gelder and featuring: Oliver Nelson - alto and tenor saxes, clarinet - Eric
Dolphy - alto sax, bass clarinet, flute - Richard Wyands – piano - George Duvivier - double bass and Roy Haynes on drums. A serious bunch of jazz
stylists all caught in fine form and concentration. Needless to add that the Nelson-Dolphy sax tandem shines throughout the whole album while
Duvivier and Haynes inject their angular yet hard swinging groove. The track list consists of five Nelson’s originals plus Milt Jackson’s “Ralph’s new
blues”

Oliver Sim hatte eigentlich nicht den Wunsch, es seinen The xx-Bandkollegen Romy Madley Croft und Jamie Smith gleichzutun und ein Soloprojekt zu starten. Er dachte auch nicht, dass er wirklich den Mut dazu hätte. Als er mit Jamie xx an einem Stück namens "Romance with a Memory" arbeitete, sagte dieser jedoch: "Ich denke, du solltest eine komplette Platte machen". Und das war der Beginn der langen und schmerzhaften Geburt von "Hideous Bastard", Oliver Sims Solo-Debütalbum, das am 09.09.22 auf Young erscheinen wird. "Fast drei Jahre lang habe ich mir Fragen gestellt und war beim Schreiben auf der Suche nach Antworten", beschreibt Sim den Entstehungsprozess des Albums. Die Enthüllung seiner HIV-Erkrankung verfolgt die Platte thematisch, so wie sie sein Leben stets überschattet hat. In diesem ersten Song "Hideous" fragt sich Sim, ob seine entwaffnende Ehrlichkeit ihn wohl befreien wird. Die Hoffnung und die Spannung spiegeln sich in der musikalischen Umgebung wider, die er zusammen mit seinem Freund Jamie xx geschaffen hat. Oliver begann zu Hause in London mit dem Schreiben und Aufnehmen von Songs, inspiriert von seiner Vorliebe für Horrorfilme und seinem eigenen Leben, wobei er Themen wie Angst und Scham durch die Brille eines queeren Mannes in den Dreißigern anpackte. Einige Monate später kehrte er mit einer Sammlung von Demos zu Jamie zurück, und die beiden begannen, sie gemeinsam zu produzieren. Er holte sich unter anderem die Hilfe seines lebenslangen Helden und jetzigen Freundes Jimmy Somerville, um dem Album den letzten Schliff zu geben und sprach zudem mit Elton John über seine Musik. Anschließend war es an dem französischen Regisseure Yann Gonzales eine visuelle Welt mit dem Kurzfilm "Hideous" zu erschaffen. Der Film feiert seine Premiere bei den diesjährigen Filmfestspielen von Cannes. "Hideous Bastard" ist ein audiovisuelles Ereignis geworden, wie es sich Oliver Sim anfangs selber nie zugetraut hätte, umso beeindruckender ist nun das Ergebnis.

Oliver Sim hatte eigentlich nicht den Wunsch, es seinen The xx-Bandkollegen Romy Madley Croft und Jamie Smith gleichzutun und ein Soloprojekt zu starten. Er dachte auch nicht, dass er wirklich den Mut dazu hätte. Als er mit Jamie xx an einem Stück namens "Romance with a Memory" arbeitete, sagte dieser jedoch: "Ich denke, du solltest eine komplette Platte machen". Und das war der Beginn der langen und schmerzhaften Geburt von "Hideous Bastard", Oliver Sims Solo-Debütalbum, das am 09.09.22 auf Young erscheinen wird. "Fast drei Jahre lang habe ich mir Fragen gestellt und war beim Schreiben auf der Suche nach Antworten", beschreibt Sim den Entstehungsprozess des Albums. Die Enthüllung seiner HIV-Erkrankung verfolgt die Platte thematisch, so wie sie sein Leben stets überschattet hat. In diesem ersten Song "Hideous" fragt sich Sim, ob seine entwaffnende Ehrlichkeit ihn wohl befreien wird. Die Hoffnung und die Spannung spiegeln sich in der musikalischen Umgebung wider, die er zusammen mit seinem Freund Jamie xx geschaffen hat. Oliver begann zu Hause in London mit dem Schreiben und Aufnehmen von Songs, inspiriert von seiner Vorliebe für Horrorfilme und seinem eigenen Leben, wobei er Themen wie Angst und Scham durch die Brille eines queeren Mannes in den Dreißigern anpackte. Einige Monate später kehrte er mit einer Sammlung von Demos zu Jamie zurück, und die beiden begannen, sie gemeinsam zu produzieren. Er holte sich unter anderem die Hilfe seines lebenslangen Helden und jetzigen Freundes Jimmy Somerville, um dem Album den letzten Schliff zu geben und sprach zudem mit Elton John über seine Musik. Anschließend war es an dem französischen Regisseure Yann Gonzales eine visuelle Welt mit dem Kurzfilm "Hideous" zu erschaffen. Der Film feiert seine Premiere bei den diesjährigen Filmfestspielen von Cannes. "Hideous Bastard" ist ein audiovisuelles Ereignis geworden, wie es sich Oliver Sim anfangs selber nie zugetraut hätte, umso beeindruckender ist nun das Ergebnis.

ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid black vinyl. All tracks have been specially remastered for LONG CUT vinyl by Daniel Hallhuber at Young and Cold Studios (Germany)

For fans of - St. Paul & The Broken Bones, Mayor Hawthorn, Nathaniel Ratelif. Oliver James is a time capsule. Raised in a family of musicians and a man who has been performing live since he was a child, Oliver comes to his love of soul music in a most honest and authentic way. Growing up listening to gospel, blues, and R&B from the classic early Stax era, his influences as a musician, songwriter, and producer are clear. After a stint working as a songwriter for Rick Hall, Mr. James is now set to start his own career. Producing, editing, mixing, and performing completely to tape, Oliver makes his mark with his debut single "One And Only" on Colemine Records

Repress

incl. Orlando Voorn mix

Recorded in a pool house surrounded by an evergreen oak tree forest just outside of Madrid; musician and composer Oliver Patrice Weder’s second artist album ‘The Pool Project’ combines textural and meditative sounds that touch on global influences from jazz, ambient and modern composition. In conjunction with the album, Spitfire Audio has released ‘The Pool Project’ sound library, inviting composers and producers to reimagine, recreate or completely pull apart Oliver’s sound world to facilitate their own vision. Capturing the unique acoustics of the pool house, the library is presented in Spitfire Audio's award-winning, easy-to-use plug-in and features a range of controls and effects. While ‘OPW’ was inspired by constant movement and travelling, ‘The Pool Project’ had quite a contrary motivation. Oliver explains “After making my debut album, it was clear for me that it was only the beginning of a long journey. I enjoy the process and idea of creating something deeply personal and connected to the situation I am in, a snapshot of time so to speak, so I had to start writing a second album sooner or later. I love change and find it very inspiring to creatively adapt to my surroundings and circumstances to see what comes out at the other end. I spent the lockdown time living in a countryside cottage just outside of Madrid, surrounded by holly oak trees. The combination of this and seeing my one year old daughter grow up, as well as expecting another baby boy, created a very unique and fruitful environment to draw inspiration from.” Confirmed press/radio: Future Music - Album review Electronic Sound - Album review Scala Radio -Ambient Track of the Week Scala Radio - Session Track/Interview Reviews: "Rich in beauty and emotion… one of the finest modern composers around" - 8/10, Future Music Mag "Sounds like a warm oasis of calm" - 8.5/10, Higher Plain Music Achievements: Recorded and toured across Europe with various bands including psychedelic rock band Time for T. Composed for the BBC. Lead composer at Spitfire Audio. In 2017, Oliver co-scored the feature film ‘The Haunted’ and made a vlog style series Inside the Score with Spitfire Audio, documenting the entire process — from meeting the director, to seeing the film shown at various international film festivals. Released OPW, a sample library and album, in 2019 with SA Recordings x Spitfire Audio. Interview with MusicTech.

Oliver Torr is about to release his first full length solo album. The album features many moods and colours, with Oliver exploring the use of his voice and lyrics as a new form of his expression. Successfully mixing electronic avant-garde/experimental forms with pop-like harmonic structures is the main theme of the record.

The idea of recontextualisation and themes of observation are mainly inspired by the philosophical literature and ideas of John Berger, Marshall McLuhan, and many others was a driving force during the creation of the album. The lyrical and sound design content is mainly inspired by panic attacks and depression, and serves as a therapeutic tool to aid in personal psychological healing.

Tracks make use of creative sound design by utilising field recordings and various experimental instruments and sources of sound, such as the Radical Chip, designed by John Richards (one of Oliver's mentors) and Max Wainwright. Tracks like 'Deià' which create a chaotic sonic palette are the author's representation of his mind under the siege of an intense panic attack, experienced in the seaside town of the same name that is located on the island of Mallorca.

Oliver feels like the album has been writing itself for the past 5 years, and in the past few months it has decided to finally show its form. With the help of Aid Kid, who is mixing the album and providing additional production, Oliver has put together a 14-track rollercoaster record, with the help of some special guests. Guests on vocals include Chrysalism, BCAA's Bilej Kluk, and sci fi RnB newcomer LVCIFER. Other sonic collaborators include Sunnbrella (guitars on two tracks), Bastl Instruments' David Strobach (distorted samples in intro), Peter Kutin, and Radio Laude's DeSteffan and R.A. (distorted samples/vocal on one track).

The record's sonics are a combination of Oliver's conscious influences, including experimental music, classical avant-garde, shoegaze, IDM, EBM, electronica, hints of modern club music, as well as PC music influences.

Oliver Torr is known as a composer, music producer, performer and installation artist. Outside of his solo projects, he has worked with many prominent musicians and creative companies/film makers worldwide. He is the founder of XYZ project, a music label concentrating on electronic music and audiovisual art (xyzproject.bandcamp), and a member of the noise.kitchen crew (a music and synth shop run by Bastl Instruments in Prague). Oliver is also a part of the 2020 SHAPE Platform roster (shapeplatform.eu), and the 2021 Gravity Network roster (gravitynetwork).

Oliver releases the album prior to the release of his 'Trans Europe Postal Express' project (supported and arranged in collaboration with SHAPE Platform) and gallery exhibition at MeetFactory art space Prague, that will take place in March, and will further the sonic palette of the album.

The album's artwork is directed and designed by Kristyna Kulikova and photographed by Lukas Havlena (VICE, National Gallery of Prague).

The album's pre-release sees a teaser trailer shot and directed by Tereza Halamova and Filip Kettner that will be released 1st of February. A short movie music video with the same crew is scheduled a month after the album's digital release.

A remixed version with reworks from established European electronic musicians (including Peter Kutin, Fausto Mercier, Wim Dehaen, Natalie Plevakova, Evil Medved, NobodyListen, David Herzig, Ancestral Vision and Trauma), will be coming in the next few months after the release.

Refuge’s third release comes courtesy of Berlin house head Oliver Dollar.

Opening up the EP with a slice of deep house at its finest inspired by the streets of Detroit via ‘Braeburn’. Soft and smooth elements couple with a moody vocal and a dynamic drum pattern, showing why Oliver Dollar remains top of the game with this quality of production.

Long-time collaborators, Oliver Dollar & Brillstein reunite on ‘Roots’ this chunky groove bringing the best of their talents onto another must have in the record bag. Soft and subtle with a bassline that won’t quit. If you like the chug, this is for you.

On the flip, one of the hottest producers in the world, Demuir offers up his Playboi Edit talents to the ‘Braeburn’ OG with a jackin’ and soulful rendition that’ll slot nicely in those club sets paying true respect to the genre.

Closing out the EP, Oliver Dollar tells the story of rinsing this record at the legendary Berghain for over 10 years. Made for the DJs looking to centre a crowd, driven by pure groove with its clever drum patterns and deep bassline. 'Dope Tool' is exactly what is sounds like, its dope and it’s made for the heads.

Oliver Wood is a mainstay of modern-day American roots music. The frontman of the Wood Brothers since 2004, he's spent the 21st century blurring the boundaries between folk, gospel, country-soul, and Americana, earning an international audience and a Grammy Award-nomination along the way. Always Smilin', his debut as a solo artist, continues that tradition while also shining new light on Oliver's sharp songwriting, savvy guitar chops, and a voice that evokes the swagger of a Saturday evening picking party one moment and the solemnity of a Sunday morning gospel service the next. Always Smilin' is an album of bridges, mixing a wide range of collaborations with a uniquely personal touch. Guests include bandmates from Oliver's musical past and present, from mentor and co-writer Chris Long (who performed alongside Oliver in King Johnson, the roots-rock band that dominated Atlanta's music scene around the turn of the millennium) to percussionist Jano Rix (Oliver's partner in The Wood Brothers). Blues heroine Susan Tedeschi, Hiss Golden Messenger's Phil Cook, Medeski Martin & Wood's John Medeski, Tedeschi Trucks Band's Tyler Greenwell, Nashville staple Phil Madeira, and singer/songwriter Carsie Blanton also make appearances, with Rebecca Wood — Oliver's wife — handling the album's handmade linocut cover art. For Oliver, the goal was simple: to collaborate freely with a mix of old friends and new partners, embracing a new level of independence.

Blues And The Abstract Truth is Oliver Nelson’s triumph. Featuring his all-time classic ‘Stolen Moments’, Nelson assembled one of the most potent modern jazz sextets ever. Lead trumpeter Freddie Hubbard is at his peak of performance, while alto saxophonists Nelson and Eric Dolphy (Nelson doubling on tenor) team to form an unlikely union that was simmered to perfection. Bill Evans (piano), Paul Chambers (bass) and Roy Haynes (drums) can do no wrong as a rhythm section. Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

Blues And The Abstract Truth is Oliver Nelson’s triumph. Featuring his all-time classic ‘Stolen Moments’, Nelson assembled one of the most potent modern jazz sextets ever. Lead trumpeter Freddie Hubbard is at his peak of performance, while alto saxophonists Nelson and Eric Dolphy (Nelson doubling on tenor) team to form an unlikely union that was simmered to perfection. Bill Evans (piano), Paul Chambers (bass) and Roy Haynes (drums) can do no wrong as a rhythm section. Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

Massive industrial BANGING hard techno.
Crazy stuff !

Andrew Kötting is one of the UK’s most highly regarded film makers, having worked on films such as ‘Gallivant’ (1996), ‘Swansdown’ (2012), ‘Edith Walks’ (2017) and many more. His new film, ‘The Whalebone Box’, was released in 2019. The soundtrack is composed by Andrew Kötting, Riz Maslen (Grand Theft Auto, Neotropic, Small Fish With Spine) and Oliver Cherer (Gilroy Mere, Dollboy).
For the soundtrack to ‘The Whalebone Box’, Kötting used various pieces of music by Dollboy,
The Assistant and musician Riz Maslen among others. Kötting chopped, processed and repurposed the songs for the film’s soundtrack, described as “a gentle, savage, unnerving warm bath of noise, music and references that is an integral part of the film and as much Andrew as it is the original tracks.”
The tracks were then remixed again by Cherer and Maslen for this 2LP release on Invada Records.
Pressed on ‘One Disc Green, One Disc Blue’ coloured vinyl and housed in a deluxe spinedsleeve with printed insert included.

At the end of 2019, label boss Juan Pablo Pfirter was talking about a busy year ahead for MindTrip and we know exactly what he had in mind. Fresh and new collaborative projects will debut on the label in 2020, starting with his powerful shared EP with Oliver Rosemann who is no stranger to our family.

Together they go as dark as they feel across 4 impressive cuts on their Alpha release, blending peak time intensity with Industrial grooves and dark side body music their own way.

Alpha becomes the first of a multiple collaborative concepts that will expand further over the year.

This is MindTrip!

3 massive techno tracks from Leipzigs Oliver Rosemann plus a Pfirter remix. Limited to 250 copies. Vinyl only.

Black Truffle invite you to an evening of drunken revelry in the Batcave! After a chance meeting at a local supermarket in Poughkeepsie, New York, Joe McPhee and Graham Lambkin have performed together as a duo extensively in recent years, in addition to their joint work excavating some of the wildest tapes from McPhee’s archive for Lambkin’s now defunct Kye label. Live in the Batcave documents an evening the two friends spent together in the company of Joe’s brother Charlie and Lambkin’s son Oliver in November 2017 at Charlie’s house in Poughkeepsie. The LP captures seven increasingly drunken snapshots of the four shooting the breeze, playing flutes and whistles, drumming on anything at hand, and playing records.

Edited together in Lambkin’s distinctive style of lo-fi domestic tape collage, the multiple simultaneous cassette recordings of the shenanigans abruptly cut in and out and fall out of sync, creating disorientating, woozy echoes. Mics are bumped, stories are told, drinks are poured, text messages arrive, and AACM-esque flute jams are interrupted by violent bursts of laughter and wet-mouthed sound poetry. All the while, classic soul records play, initially in the background, but coming increasingly to the fore until the record culminates in a strangely moving free-associative singalong. Presented in a gatefold sleeve with extensive photographic documentation and liner notes from Joe McPhee, Live in the Batcave is a truly unique document that exists somewhere between free jazz, audio verité, performance art, and everyday life. File next to your copy of Das Kümmerling Trio. ‘Our music was born from the sounds of jazz, funk, soul, noise … sounds with no other reason so exist, except because they did, sounds which occurred like putting one step in front of the other to see if the way was clear to take the next step. The plan was, there is no plan, just start at the beginning, end at the end and party like it’s 1999’ – Joe McPhee