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Red Marbled Vinyl

Denise Rabe is back on her own imprint with its specific and unique gloomy witchy techno sound. Entering spheres of the unknown with a marvelous vocal chant on the A-side together with a fantastic built electro remix by Vil.

The B-side drives you one step further with an energetic and loopy track Icaro and a conspicuous deep hypnotic remix from Mary Yuzovskaya.

As always it is important to mention the exclusive hand screen printed sleeves and inserts by Rabe - this time in sumptuous gold ink on thick black card stock. Paired with the vinyl disc pressed in deep "Dracula red" makes this release a dark, elegant and exquisite package to add to your collection.

Transparent frosted clear vinyl, no downlode code. Their third album 'WILDLIFE. The Eggs returned with an album that encapsulates the isolation of extensive touring and brief time back in their home town Lancaster. The two piece raucous noise pop duo combine their gritty British northern surreal lyrics with thunderous guitars and crashing drums on this their third self-recorded gem. Working alongside Gruff Rhys who produced Allergies and Cornershop's Tjinder Singh who has remixed Food for a special digital download, Wildlife is yet another wonderful and unique album from a band who continue to cement their reputation as one of the most genuinely exciting and essential bands around today. Already lead track Allergies, the first single taken from Wildlife, released on the Too Pure Singles Club, has won the BBC 6 Music Rebel Playlist - with 82% of the public vote and declared winner of Steve Lamacq's 6 Music Round Table as well as Artrocker's single of the month. For The Lovely Eggs being in a band is a way of life. True to this, they live the way they play. Fiercely, constantly in search of the good times. With this their third album in three years The Lovely Eggs explore further into their own world and the bizarreness of reality and invite you to come inside to join the party, strange as it is!

This classic album - known as the moment Mose hit his stride in
transitioning from iconic pianist to iconic beat-esque vocalist - 'features the first versions of two of his sharpest pieces ('Your Mind Is On Vacation' & the title track), bluish versions of standards, instrumentals, and more Celebrating its 60th anniversary, cut all analog from the original mono Atlantic reels!

What started as a duo in 2017, merging a core of
sludge, stoner and audio effects, soon became a
trio, adding a third member to accomplish their
enthralling fusion of monolithic sounds with a
visual concept.
 Both musical and philosophical, Italian band
Pachiderma add a special and unique touch to the
heavy music world, while combining various movie
samples and vibrant effects, inspired by the dark
myths and reality of humanity yet driven by the
soul of heavy stoner rock and sludge metal.
 Pachiderma’s ‘Il Diavolo, La Peste, La Morte’ is a
concept album, divided in four acts, and was
inspired by the philosophy previously issued in
Bergman’s filmography. The album was recorded
in a ‘one shot’ weekend session by Andrea Lenoci
at Molotov Recordings.
 For fans of Bongripper, Electric Wizard, Sleep,
Weedeater, Dopethrone, Bongzilla, Acid King.
 LP pressed on yellow vinyl.

Soft piano notes kiss trippy electronic tones: “Kossaiko”, the only collaborative record that japanese piano player Saiko Tsukamoto and globally known electronic producer Kuniyuki Takahashi ever produced, is an unmissable profound soft classic music burner.

Together they composed and produced an eight-chapter strong deeply absorbing narrative, whose enthralling story arc dives profound into authentic drama zones, that sound like they jumped right out of a Claude Sautet movie.

Originally released in 2007 as cd only, the perfectly put together longplayer now enters the world for the first time in a vinyl edition that is tragically hip. deeply starry-eyed composi-tions full of minimalistic piano melodies that creep, twist, and dance around unobtrusive electronic notes who never call the tune, but always elevate the spectacle into higher elec-tronic spheres.

In the center of each between five- and nine-minutes long composition is the piano play of Saiko, gently hitting the keys, giving space to each note to vibrate in an endless “Pauline Oli-Veros” way, drifting until the very last sound vanish. around them, Kuniyuki plays his charming electronic tricks, opening the space for tones that sometimes pulsate, sometimes flow the ambient way.

Furthermore, occasionally a guitar notes pop up or accordion melodies cover the sorcery with a severely romantic veil.

Modern classical music, that has no fear of electronic meltdowns, that embraces digital tones while staying organic in its very inner circle.

A wise man once said: when words leave off, music begins. Those who fall for the eight poems of Saikoss will lose their speech and in return get pleased all agitations of their soul.

Tape

Alexandre Bazin's second album for Cassauna is a compelling minimal/experimental/electronic album consisting of one piece separated into several movements for the purpose of stronger narrative and aesthetic coherence. The album explores the concept of percussion and resonance through the spectrum of electronic frequencies and densities with a plunge into the sound.

Percussion-Resonance makes use of a new alphabet, a simple vocabulary in order to create innovative and personal music, with a clear and emotional subject. Structured architectural sequences give way to the experimental. Different climaxes punctuate the work in order to keep grabbing the listener’s attention.The record title tackles the theme of musique concrète developed by French composer Pierre Schaeffer as well a nod to Bernard Parmegiani’s De Natura Sonorum

Alexandre Bazin is a member of the Groupe de Recherches Musicales better known as the GRM, for which he writes documentaries about music for Radio France.

He is passionate about experimental music and more specifically the electronic music created by Bernard Parmegiani, Iannis Xenakis, Pan Sonic, Fennesz, Alva Noto and Ryoji Ikeda. His music is distributed by Important Records / Cassauna, Umor Rex Records and played at the Moogfest festival in the USA.

Sdban Records will reissue several installments of the legendary library series 'A Special Radio ~ TV Record' on vinyl. These were originally released on Belgian imprint 'Selection Records' between 1975 and 1981. N°15 in the series was the Belgian milestone jazz album 'Solis Lacus' released in 1975.

Solis Lacus is the cult group around renowned Belgian pianist Michel Herr, a pioneer of electric jazz in the 70's in Europe. Michel Herr rose to international prominence after winning the first prize at the jazz festival in Loosdrecht, The Netherlands, in 1971. He accompanied many European and American jazz stars on foreign tours and ran the group Jazztrack with saxophone player Wolfgang Engstfeld in Germany. At the same time, he set up his own band Solis Lacus, which consisted of Belgian musicians who had all made a name for themselves on the national jazz scene of the 1960s including Richard Rousselet and Bruno Castelluci both from Placebo. Inspired by the reigning jazz-rock sound of the day, Herr expanded his musical vocabulary and started to play electronic keyboards. Solis Lacus recorded its only album in the course of 1974 and 1975, before the members of the group headed in their own direction.

Solis Lacus is considered the European counterpart to sound experimentations of Herbie Hancock's Headhunters, or the best albums of the CTI label such as Freddie Hubbard. This is groundbreaking, experimental and funky jazz fusion!

Nate Scheible's "work of gentle genius" – Fairfax – is arriving on vinyl & all digital services in February 2022. Remastered by Lawrence English and featuring brand new artwork, this edition uncovers a completely new side of the "dreamy and dramatic, meditative and somber" album by the American artist. ~~~

"Few albums have stuck with me like Nate Scheible's Fairfax. In fact, I feel lucky to have had my copy of the original tape to drop into over several years, some heartbreaks, a few streaks of loneliness; when I've not felt terribly well, or couldn't face reflecting for fear of noticing personal decay.

With fresh treatment from mastering maestro, Lawrence English, this new version has brought out fresh new colours in Scheible's elegant composition. The moments of icy isolation are sharper, while the embrace of the album's finale is warmer and heartier than ever. Scheible's found polaroids on the front of the package also fit so aptly that they barely even feel new. The album's allure and message of craving is more powerful than ever.

To anybody who hears this album, she's a great heroine of literature, the voice of Fairfax. Her frank admissions of longing and weakness are infectious cries of hope. She's a powerful woman, unashamed, the innermost voice of reason, grasping the world together selflessly. I wanted to tell her about the times when things weren't so good. I want to tell her now too, just how well things can turn out.

Scheible's beds of oozing and luscious melodies, decaying on reels or tape, flinging out from plucked bass strings, or rising from a struck vibraphone, are a truly loving soundtrack to this mysterious voice found on a tape that came into the artist's possession. The audio letters reveal the woman's story of painful hope and self-gifted redemption, while the click of the saxophone and moan of Scheible's wobbly piano snippets, they sing her – no ~our~ – mood right back to us. Fairfax reminds us that, like the protagonist, we're all gonna do something, ~someday~."
– Tristan Bath

It's pressed on red transparent recycled vinyl.

The feel good song "Everytime" from the album "Serendipity" by Lisa Decker & Japanese Jazz trio Nautilus gets the Pat Van Dyke treatment plus a special appearance by South Bronx born emcee John Robinson aka Lil Sci of the legendary east coast group ScienZ of Life who performed with the likes of The Roots, Common, Talib Kweli, Mos Def, Run DMC and MF DOOM to name a few.

Multi-instrumentalist, composer and producer Pat Van Dyke from New Jersey is giving the song a totally new direction with playful horns and heavy bassline to get the soundsystems bumping.

Quindi Records returns once more to the swooning romanticism of Cabaret du Ciel, the long-running project from Andrea Desidera and Gian Luigi Morosin. After the contemporary material which made up long-player The Breath Of Infinity, Raintears heads back into the group's archives and focuses on a limited cassette release from 1991.

Originally released on Morosin's own Ionisation Tapes, Raintears is described as heralding a new phase for Cabaret du Ciel following their earlier Solarisation and Weather Colours cassettes. This revised, expanded version of the release opens with 'Raintears (Piano Version)', which originally came out on an Ionisation compilation entitled Imago Sonora 1. Truly evoking the spirit of the track and its meaning, it was recorded on a rainy Sunday afternoon when Desidera's friend and trained pianist Francesco Martignon heard the original melody for 'Raintears' and proceeded to improvise on the theme, with Desidera and Morosin embellishinbg Martignon's exquisite playing with subtle touches of synth and sampling. In its fragile, tape-worn repose, the piece is loaded with the delicate ambience a rainy Sunday afternoon implies - calm, melancholic and wistful.

'A New Day' is a piece cast in light and shade, contrasting two core melodic phrases expressed through synth and guitar, with a light touch of speech sampling adding to the cinematic poise of the track. 'Time Of The Twins' originally appeared as a single track on the cassette release, but here it's framed as two distinct parts which meet in the middle. The first half is patient, gliding ambience rich in the harmonic interplay and winding narratives which typifies Cabaret du Ciel overall. The second half opens up like a flower looking for the sun, all pronounced keys pirouetting across the fundamental chord progression established in the first chapter.

'A Delvaux Postcard', previously titled 'East Roads', takes on a spectral, spacious form as it passes by slow, rhythmic pulses and freewheeling synths, momentarily joined by scattered shards of sampled voice layered and filtered in a manner which reminded Morosin of Belgian surrealist painter Paul Delvaux. The EP closes with the original version of 'Raintears' (billed here as 'Raintears II'), a plaintive and disarmingly beautiful ambient piece centered on Desidera's light and poignant playing. As Morosin himself describes, "Andrea is in a full state of grace, touching the listener through his fingers with the notes into their deepest emotions. The first time I listened to the basic version, I was just speechless."

UK techno legend Mark Broom returns to Rekids ahead of new album with ‘100% Juice Album Sampler’.

Following the acclaimed ‘Funfzig LP’ on Rekids in 2021 as well as his ‘Mutated Battle Breaks’ series on the techno focussed sub-label Rekids Special Projects, UK stalwart Mark Broom returns to Radio Slave’s Rekids with ‘100% Juice Album Sampler’, a four-track taster for his next album titled ‘100% Juice’, scheduled to be released in April.

Leading the A-side is ‘100% Juice (Sampler Mix)’, a jacked-up take on the album’s title track, with chunky kicks, off-kilter stabs, and crunching claps kickstarting the record. ‘Contigo’ follows, with trippy synths providing a dose of silliness alongside razor-sharp drums. On the flip, ‘Nod To The D’ pays homage to classic Detroit sounds, as light arpeggios and bright synths weave their way through silky pads before closer.

‘Spiked’ sees a funk-laden groove take charge as unruly leads flutter atop the jacking groove.
Releasing on labels such as Rekids, M-Plant, and Blueprint, the wildly prolific Broom has consistently been at the forefront of the techno scene for decades with his gritty, groove-based output while, away from the dancefloor, his The Fear Ratio project with James Ruskin continues to win critical acclaim.

Gábor Lázár’s “Boundary Object” is a collection of eight real-time recorded, unedited tracks made in Budapest and Prague between 2020 and 2022 using a self-designed compositional interface. It's Gábor Lázár’s second album for Planet Mu following “Source” in 2020. The title comes from the idea of a Boundary object as a flexible concept of sociology and computation of how collaborations could happen between groups of people who have different kinds of backgrounds and different levels of knowledge. A Boundary object could be anything which translates between these groups to make a collaboration happen. Boundary objects are plastic, interpreted differently across communities but with enough common identity across social words and contexts to maintain integrity. This is a neat summary of how Gábor’s approach and working process led to his music on this album. Prismatic, flexible, and functioning on different levels of interpretation. On “Boundary Object”, the shiny surfaces and uniformity of “Source” have collapsed inward, leaving intact the recognisable pulse and frames of his music. While each individual track has a non-linear structure, the album as a whole has a strong narrative. Passages that start out Trance-like and familiar warp and weft into different shapes as if Gábor is examining the music like a 3d object, pulling at the edges, breaking and rebuilding what he examines, turning expectations inside-out. “Boundary Object” is intense, full-spectrum and a lot of fun.

2LP with a 4-page colour insert

As Guadeloupean vocalist and composer Marie-Line Dahomay writes in her liner notes to the compilation, gwoka is more than a style of music, it is “a way of living and thinking.” Rooted in the social, musical and ritual practices of enslaved African people and their descendants on Guadeloupe, gwoka has always sought to express the spirit of independence and resistance authentic to the island.Building on its traditional call-and-response form and the ideas of pivotal figures like Gérard Lockel and Christian Laviso, modern gwoka evolved throughout the second half of the twentieth century to include funk, jazz and electronic influences.

Defined by its propensity for innovation and experimentation, this compilation charts the most radical changes to modern gwoka, capturing a sensory riot of traditional répertoires, rhythms and makè techniques fused with genre-defying experimentation.Whether heard in the deeply cosmic, spiritual music of Dao, Freydy Doressamy and Gaoulé Mizik, or the jazz funk inflections of Gui Konket and Horizon, the music here is united by the feeling of santiman ka, crucial not only to gwoka music but the identity of Guadeloupe at large.

As co-curator Cédric Lassonde (Bueaty & The Beats) writes: “What unifies these selections is the depth of the compositions, the experimentation around the santiman ka, and the spirit of resistance and liberation against slavery, be it modern or ancestral. With a thirst for innovation typical of the island’s creole culture, the ka spirit is deeply rooted in collective history and in a quest for identity.”

Co-curator Brandon Hocura (Séance Centre) continues: “The creative energy of these musicians is powerful and demonstrates a universal pursuit of resistance, freedom and identity. Their voices are distinct, but the chorus rises high and carries their message far across the sea.”

Lèsprit Ka: New Directions in Gwoka Music from Guadeloupe 1981-2010 is the first compilation of its kind to bring the sound of modern gwoka to a wider audience, with many of the featured musicians still active today. Presented as a double LP, the release features a specially commissioned essay by Guadeloupean musician Marie-Line Dahomey, and extensive liner notes from Cédric Lassonde and Séance Centre’s Brandon Hocura.

True to the hybrid nature of the music, the compilation seeks not to provide a definitive sound, but express the variety of contemporary forms that have evolved from gwoka. Just as Guadeloupean trailblazers Kassav fused gwoka with funk and cadence to create zouk, so did the musicians on this collection push gwoka in new directions rarely heard beyond its shores.

In the words of Gérard Lockel, “gwoka is the soul of Guadeloupe”

“Boot licking, piss drinking, finger frigging, tit tweaking, love biting, arse licking, shit stabbing, motherfucking, spunk loving, ball busting, cock sucking, fist fucking, lip smacking, thirst quenching, cool living, ever giving…”

There’s no fairer introduction to ‘Fist’, Joshua James’ latest contribution to Phantasy, than to advise one simply to prepare themselves. Sampling iconic performance artist, club promoter and designer Leigh Bowery, James connects the expert dancefloor pressure he exacts each weekend as one of London’s best-loved club residents with the unapologetic, defiant legacy of a personal hero. None other than Peaches then takes up the remix mantle for ‘Fist’, intertwining the provocations of two radical performers and connecting three generations of underground queer culture in one sonic menage-a-trois, perhaps the straight-up rudest club record in recent memory.

On the original production, James shifts his sound in a heavier direction still since last summer’s euphoric Amber Rush, which was remixed by labelmate and friend Daniel Avery. A bouncing industrial tilt underscores the heavy-duty production, as Bowery, originally recording alongside Richard Torry in their band Minty, espouses a catalogue of sexual acts - some specialist, all sensational - as James pushes dancers further down into the belly of some revolting rave beast.

A multi-faceted match to Bowery themselves, Peaches continues a decades-long journey dedicated to genre and gender deconstruction with her wild and playful take on ‘Fist’. Dripping in cybernetic club juice, Peaches wraps herself around Bowery’s own teaches on the mic, easily matching his demands as she careens towards a system-rattling techno conclusion.

Ferris & Sylvester release their debut album, ‘Superhuman’, a
body of work highlighting the very best of the duo’s timeless
songwriting.
 The British pair have evolved their sound into a distinct
combination of Blues, Americana and Rock ‘n’ Roll, sitting them
somewhere between Alabama Shakes, Jack White and First Aid
Kit.
 Their twelve track album, recorded in Seattle, USA and
Cornwall, is available on white double vinyl, standard black
double vinyl and CD.
 With the artwork shot entirely on film in Iceland, this album is
both an expansive yet deeply personal record to collect and
takes the listener on a journey through the duo’s world where
genres intertwine and emotions are stripped down to the core.

Ferris & Sylvester release their debut album, ‘Superhuman’, a
body of work highlighting the very best of the duo’s timeless
songwriting.
 The British pair have evolved their sound into a distinct
combination of Blues, Americana and Rock ‘n’ Roll, sitting them
somewhere between Alabama Shakes, Jack White and First Aid
Kit.
 Their twelve track album, recorded in Seattle, USA and
Cornwall, is available on white double vinyl, standard black
double vinyl and CD.
 With the artwork shot entirely on film in Iceland, this album is
both an expansive yet deeply personal record to collect and
takes the listener on a journey through the duo’s world where
genres intertwine and emotions are stripped down to the core.

If this word "music" is sacred and reserved for eighteenth and nineteenth century instruments, we can substitute a more meaningful term: organization of sound.
- John Cage

Kista returns from a long hiatus with his first ever all instrumental LP.

Songs From The Seas Edge takes us on a journey into the mind of producer and Graffiti Writer Kista.

It's an album where all his early influences or things that intrigued him, all come together, his love for Sc-Fi Movies, Hip Hop, 80's Arcade Games, John Carpenter Soundtracks and Films (you will notice a few vocal samples from his films nestled away among the songs) and many other things that influenced him growing up as a kid.

In a world now dominated by Playlists and the digital age, Kista took a step back to try and make an album that all fitted together, a concept album based around living on the coast as a kid in the 80's.
“ I started going through samples i put aside years ago and started to go back to them, to try and make them all fit and blend together to form an instrumental album”.

“It's kind of hard to explain where Songs From The Sea's Edge fits to my previous work” explains Kista
“ I wanted to make something for myself that I could then share, a journey, something to listen to from start to finish,with certain samples making an apperance in more than just one track.

Songs From The Sea's Edge has an hypnotic and haunting synergy to it, it's atmospheric, melodic but is still firmly rooted in Kista's love for Hip Hop.

Press play and enjoy.

Disco Segreta teams up again with Miro (b. Mario Baldoni) in the re-release of his 1970s-80s productions, after the italo-disco burner Stranamore by Brina (DS M 002) and the tropifrutti balearic italo-house smasher Tobago by Pat & Pats (DS M 006), we are back introducing to italo-disco connoisseurs a truly atomic jam !

“Passion Night” was originally written by Miro in 1985. Story goes that envisioning a release by 1987, Miro teamed up with legendary south-african sound engineer Allan Goldberg, in light of their previous Vedette Records disco-infused collaboration for the “Slang“ studio project and the “Real Life Games” LP. The team featured also track co-writer Gregorio Puccio, ready to unleash the synths (Roland JD800 + D50, Yamaha DX7, Oberheim 12, Prophet 5), along with two young vocalists, Giulia Fasolino and Silver Pozzoli, later to become household names for the italo-disco heads.

As a special feature on the track, Miro brought in the studio contribution of the top italian jazz contralto saxophone virtuoso of the era, Massimo Urbani.

In September 1987 a session at Pomodoro Studio had the track recorded on a 24 tracks tape, where has been sitting unreleased for 35 years, until now !

Within its cross-genre blend of synth-pop, italo-disco and jazz, “Passion Night” is an outstanding musical time capsule, a picture-perfect vivid snapshot of year 1987, with the additional historical value as a document itself: it’s the only strictly non-jazz project in Massimo Urbani’s repertoire, in a revelatory performance shedding a light over an unusual facet of Urbani’s versatile talent, regardless of boundaries, a few years before his untimely passing.

Three years in the making for this first-ever release, so that we could bring you “Passion Night” in its original 1987 version from the actual multitrack master, with our usual respectful treatment, plus three remixes: the balearic infused “Miro Smooth Jazz Remix” and a remix by highly acclaimed musician and producer Giulio d’Agostino aka Julyo, who can claim a plethora of collaborations for artists as diverse as Aphex Twin, Goldie, and Michael Brecker.

Siavash Amini is a composer from Tehran, Iran. He Has worked with labels like Room40, Hallow Ground, Opal Tapes and Umor Rex for the better half of the past ten years. He has performed at festivals like CTM & MUTEK and many other well known international events. Apart from it Siavash is a co-founder of the “SET experimental art events” and “SETfest” in Tehran, Iran. His work ranges from fragile ambient pieces and brittle IDM (incorporating his distinctive style of atmospheric guitar playing) to noisy drones and bleak modern classical pieces. His compositions have been inspired by films such as Andrei Tarkovsky's The Mirror as well as novels by Dostoyesvky and poems by T.S. Eliot.

Saffronkeira is the Sardinian sound researcher Eugenio Caria being active in the electronic music scene since almost two decades. His most recent work - a cooperation with the Italian jazz trumpet legend Paolo Fresu - earned a lot of praise from the international music press for the pure timelessness of the album.

"Upon hearing a small snippet of sound an image is conjured, not a memory but not unfamiliar. A shell of a memory, thousand events superimposed on each other. While trying to extract points of a narrative to ease the discomfort of this recollection, I try to separate and unfold the image and with it the points of the spectrum which make up the sound, a shell of a narrative. Here is an album based upon an almost entirely imagined/ synthesized happening upon hearing a snippet of sound. It sounded like of a whole story that never happened but yet I felt myself amongst it’s participants, a sound triggering a false memory. Each sound in Eugenio’s collection of sounds and ideas guided me a to a point in the narrative and it’s construction. He had handed me a portals of some kind to a few scenes of the whole narrative. This is the soundtrack for that false memory from all the perspectives I can think of."

Drunk Uncle hail from Austin, TX, but their namesakes are probably drawn from someone you know. Think about your last family gettogether- Uncle Bill is halfway through a six-pack when the alien conspiracy theories start pouring out of his mouth. He starts chaotic and loud, then gets quiet and sad as he keeps drinking. His mood will swing wildly in-between emotions. His speech is raw and his vulnerability is beautiful. Bottle that energy up into music form and you have Drunk Uncle. Drunk Uncle's debut album "Look Up" draws on catharsis. Picture yourself in a grimy basement surrounded by your best friends, watching a band as music washes over you and you feel like everything is in the right place. You smile as frantic guitars fill the room and gruff vocals push out every emotion you could possibly feel. Drums and bass slow down and speed back up as the music moves from anger to regret to hope. You feel it all- every note, every hit, every strain. It feels good to feel. You open your eyes and you are in your room alone. You flip the record back over and you are back in the basement. All is right.