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Black vinyl, repro foldover sleeve, 8-page photo booklet A much anticipated reissue we’ve promised a long time ago, here it finally is: the first ever punk rock seven inch released in Finland, officially reissued with a number of photos from the recording sessions not seen before. Briard’s I Really Hate Ya / I Want Ya Back was, strangely enough, released on a mainstream label, Scandia, in 1977, although in an edition of just a few hundred copies, making it one of the rarest and most expensive Finnish punk records. Led by Pete Malmi and with a young Andy McCoy on guitar, Briard evolved from the earlier incarnation Philadelphia Motherfuckers and later went on to release a handful of seven inches and an album on other labels as Scandia parted ways with them soon after the single release. The Svart reissue reproduces the original foldover sleeve design and includes a booklet.

Having become one of Crosstown Rebels’ key artists in recent years, Barcelona-born Tibi Dabo returns to the label this February with his latest EP, the four track Isla. Since debuting on the label in 2019, Tibi Dabo (AKA Max Guardans) has cemented his place amongst the Crosstown family with standout EPs such as Disbelieve and The Distance We Share, the latter of which featuring two remixes from David Morales.

Tibi Dabo creates this scene perfectly as the title track opens proceedings, easing the listener in with delicate pads before waves of harmonious elements and finely placed percussions dance in and out of the track. Mothball then further emphasises the artist’s attention to detail as its lead melody and vocal-chops develop in tandem throughout. Brain The Cut follows, acting as a metaphorical signal of nightfall on Tibi Dabo’s conceptual island. Rounding off the release, Arp 8 delivers warming melodies atop of a subtle break beat in an exquisitely emotive manner.

Still in its infancy, yet mature in its intention, the Tibi Dabo project sees Max in his element; drawing on over a decade of playing and making music, perfectly demonstrated on Isla. Emerging from a new generation of multi-disciplined artists, Tibi Dabo’s refreshingly unique sound has also seen him remix for Crosstown Rebels head Damian Lazarus on two occasions. Determined and full of creative energy, Tibi Dabo thrives on producing music with no restrictions and, driven by his own need for exploration together with the support of influential industry figureheads, he has a locker full of fresh new music to unleash.

This is a very special EP. As many might know Toy Tonics started as a sublabel of now sleeping German indie dance label Gomma records. Gomma, along with DFA, Output Records and a few other was knownn for a very ecclectic, different approach in dance music. On this LOST GOMMA MIXES EP you find 4 now lost tracks that came out ca 10 - 20 years ago on Gomma, but fit very well in today’s zeitgeist again. Pete Herbert, In Flagranti, Jacques Lu Cont are featured. Who knows about modern disco - knows these producers. And there is a very special name here too: Nicky Siano. The now legendary New York DJ used to be resident at Studio 54 and other legendary NYC venues of the 1970ies and 1980ies. One of his are remix works was for the Gomma rcords band The KDMS. Pure disco euphoria.

Much to our delight, the newest Dom Trojga offering comes from Olivia. The Unsound Festival resi-dent and We Are Radar crew co-founder is undoubtedly one of Poland's most beloved DJs, with deep crates and a singular musical vision spanning electro, techno, industrial, EBM, Italo, and wave music. She had been active on the underground circuit, both locally and internationally, for over a decade before she moved to distill her style into her own recordings. After well-received releases on K-Hole Trax and Pinkman Records comes New Life EP, dedicated to her newborn daughter. As un-compromising as ever, and refusing to adhere to the norms of more conventional dance music, the material is teeming with - well - life, and displays a subtle, non-linear playfulness often lost on techno and EBM music these days. Whether it is the constantly building title track, raging "Laser", housed-up "Hidden Gem" or the mutant-disco of "Magic Walk", the record's squelching 303s, wild drum pro-gramming and unhinged synths take you where you need to be! The cover was designed by the 3D artist and photographer Ma?gorzata Pawi?ska. Dom Trojga - live anew!

Sam KDC presents the first Auxiliary 12" EP of 2022, entitled Shedding Skin, a varied four-track odyssey that goes far and beyond the conventions of techno and 170 bass music. The EP opens up with the ominous underworld tones of Silver Serpent. Menacing snarls of metallic synthesis set against the backdrop of frenetic hi-hats and slow pulsing heavyweight bass make this a surefire way to inject something unique into any DJ set.

False Idols then takes things a step further with its relentless percussive torrent, set against a sea of uneasy undertones that wash in and out of proceedings. Prophecy Unfurling introduces breakbeats to devastating effect, as the journey continues underground. Dystopian pulses of synths interacting with the breaks play off each other in a distinct fashion that has become a trademark of Sam's after 2019's Omen Rising LP on Horo.

Finally, Sam brings it all to a head with the uptempo frenzy of Bloodstone. It's been a while since Sam has toyed with this tempo, but Bloodstone shows just why he's revered as one of the true innovators of 170. An almost playful bouncing ring-modulated bass tone sets the scene for Sam's now trademark ominous dark palette to paint a truly captivating picture for the listener. Shedding Skin shows an artist at the top of his craft truly doing his own thing.

‘Flicker’ is the second album from Ride guitarist and songwriter Andy Bell. Written almost as a conversation with his teenage self, it follows the triumphant solo debut that was 2020’s ‘The View From Halfway Down’. This 18-track double album finds Andy moving towards classic songwriting, notably on the reflective lead single ‘Something Like Love’, the strident harmonies of ‘World of Echo’, the joyous refracted loops of ‘Jenny Holzer B. Goode’ and the fuzz-laden late-’60s balladeering of ‘Love Is The Frequency’. Stylistically, the four sides of ‘Flicker’ take in everything from modern psychedelia to fingerpicked folk, whimsical baroque pop, and Byrdsian 12-string beauty. It’s a breathtaking array and makes it even more abundantly clear that Andy has entered a purple patch in his songwriting, hitting a new velocity in contrast to his initial inhibitions about becoming a solo artist. He gradually overcame these after the passing of David Bowie in 2016, with the Thin White Duke’s bountiful 50 years of music providing inspiration from beyond the grave. ‘Flicker’ is also an apt description for the genesis of the album. At the start of 2021, Andy returned to the stems of the recording sessions he made at Beady Eye and Oasis bandmate Gem Archer’s North London studio and added fuel to the fire, writing melodies and lyrics and turning them into fully formed songs. The same sessions were also the starting point for ‘The View From Halfway Down’ and this album picks up where that one left off, quite literally, with the very first words being “I was halfway down…”. This is the first of several playful, possibly intentional, references to albums and song titles that litter the record like a musical breadcrumb trail. As much as this is a modern sounding and forward-looking record, it’s also very much about looking back, something that is clear from the first glimpse of the front cover – a previously unseen outtake from Joe Dilworth’s photo sessions for the inner sleeve of Ride’s debut album, ‘Nowhere’. “When I think about ‘Flicker’, I see it as closure,” explains Andy. “Most literally, on a half-finished project from over six years ago, but also on a much bigger timescale. Some of these songs date back to the ’90s and the cognitive dissonance of writing brand new lyrics over songs that are 20-plus years old makes it feel like it is, almost literally, me exchanging ideas with my younger self.” This conversation takes place across ‘Flicker’’s 18 tracks. Essentially it advises us to stop worrying about the future and enjoy each day as it comes, embracing the crushing, unpredictable lows of life as much as the almighty highs of being in love. Some of it remains unspoken, taking place sonically rather than verbally: the album has a reflective, meditative feeling throughout, exploring many aspects of mental health, and the beautiful stillness of first single ‘Something Like Love’ could almost be a musical salve to the heartache 19-year-old Andy poured into ‘Vapour Trail’ in 1990. “The ‘Flicker’ I’m talking about in the lyrics is that flame that makes a person who they are,” explains Andy. “I wanted to find that in myself, so I went back to the teenage me – a technique I learned in therapy and have been doing ever since – and got some advice on how to live and be happy in the 2020s.“‘The View From Halfway Down’ was about turning 50 in a very weird time of introspection. ‘Flicker’ is about gathering the tools to equip myself mentally for life in 2022 and beyond – post-pandemic, post-Brexit, post-truth.”

Noon Garden is an exotic psych-pop odyssey from one of the founding members of Flamingods. Drawing on worldly sounds from the likes of Francis Bebey and Dur Dur Band to Shintaro Sakamoto, tearing up the sonic rule book and conjuring up a distant land where you find yourself cutting loose to grooves that meander their way through a wide spectrum of African disco, funk, exotica and psychedelia. Noon Garden has received support from the likes of Clash and The Line Of Best Fit and recent single Decca Divine was playlisted on Amazing Radio. The track also picked up love at DSP playlists including Spotify’s ‘Fresh Finds: Indie’ and Apple’s ‘New in Alternative’. British born with Nigerian & Jamaican heritage, Prest spent his childhood living in Bahrain surrounded by people, like himself, who were all living on an island away from their homeland. Seeing the world from a young age and the experience of 10 years of globe-trotting touring with Flamingods are imprinted on his new project and have been a huge influence on shaping Noon Garden’s tropical adventurism. As a talented multi-instrumentalist Charles has written, self-produced and played all the parts on the single himself. Noon Garden says of the album: "This debut was an experiment to get to know myself better. Taken from the name of an area not too far from my family home in Norwood south London, the literal words ‘Beulah Spa’ conjured up imagery of being a place to contemplate in warmth and complete tranquility. Writing music is a therapeutic process for me and it’s taken about eight years on and off to finish this album by myself, to try understand what it was exactly that I wanted to say lyrically and explore sonically. The album’s lyrics have shape-shifted so much with time but they take a curious look at the human experience; in my case growing up and soaking up a lot of cultures from an early age in the Middle East, the UK and briefly in Singapore. It’s a reflection on what’s past and what’s yet to come, my connection with others over the years and how that inevitably shapes your outlook on what’s around you. All of this told through the lens of psychedelia which has always given me a sense of possibility. Beulah Spa is the first marker of where I’ve gotten to so far in my life, channeling it all into a musical odyssey that lays the foundation for a lot more to come.”

LP Black Vinyl, DL card. ‘Devasting, with slow, burning songs that shudder and wince’ NY TIMES. Peel Sessions is an essential nine-track set catching Boston’s mighty Come at the peak of their powers. The collection includes two sessions recorded for John Peel in both 1992 and 1993, plus a previously unreleased live track ‘Clockface’ from 1991, unwrapping the blueprint of their sonic idealism. Raw, loud and live, exactly where the band’s dissonant blues noise rock originates. 1992’s four track session is direct from their debut; but more mangled, strangled and abrasive. The follow-up set from a year later includes live favourite ‘Mercury Falls’ and ‘City Of Fun’ neither of which surfaced as studio recordings. The sessions feature the masterful guitar interplay of two central pivots of the post-post-punk and alternative noisnik underground, Chris Brokaw (Codeine, Pullman, Thurston Moore, Ryley Walker, Lemonheads) and Thalia Zedek (Uzi, Live Skull, solo). The session’s line-up is completed by the addition of Sean O'Brian and Arthur Johnson’s visceral bass and percussion, documenting an essential era for the band. Peel Sessions follows their recently released ‘Don’t Ask Don’t Tell’ reissue, part of Fire Records forthcoming reissue series for the seminal group

FFO Comets on Fire / VU / 60s garage / early Flaming Lips, new band from Leeds/Glasgow - you'll know some of the people involved, we couldn't help but fall in love with it. Here's some words from T House (Sweet Williams/Charlottefield): “Ostrich tuned and chronically distressed, The Web Of Lies is Neil Robinson (Buffet Lunch) and Edwin Stevens (Irma Vep, Yerba Mansa). Having played together years back in Robert Sotelo’s band and forged a singular connection, the pair have been biding their time, waiting for the perfect moment Nude With Demon, their first LP, lurches from the incendiary to the world-weary, like a drunk alternately haranguing and commiserating on the rush hour tube. Drafted quickly in a handful of hungover early morning sessions, fleshed out with a few carefully chosen collaborators - Kathryn Gray (Mia La Metta, Nape Neck), Dylan Hughes (The Birth Marks), Ruari Maclean and Jess Higgins (Vital Idles), Neil Campbell (Astral Social Club) and Dan Bridgewood Hill (d bh) - it’s one long dribbling lunge at the grab strap, regret seeping from the pores, mitigated by wry humour and, when the rage momentarily subsides, the suggestion of humanity"

From Richmond, Virginia arrives Tempter, a soundtrack for end times hurtling along to the speed of global rage and impending doom. Merging the very best parts of crossover metal and hardcore from the 80s Japan, Sweden and UK, Tempter bring a new voice to a legendary sound. It comes perhaps as no surprise then that the group comprises of veterans of the hardcore scene from bands such as Candy, Division of Mind, Nosebleed, Ekulu and more. Instant bulldozers Sacricide and Pestilence, with their punchy riffs and wild solos bookend the S/T EP, whilst Uniformed Madness and Night Terror run along with at times almost apocalyptic walls of acidic noise. The production provides a dense atmospheric swamp of rage, mixed by Fucked Up’s Jonah Falco, providing a fitting soundtrack for Valentina Lopez’s huge vocal that sounds like 1000s of witches chanting. La Lluvia, with its use of samples and layers of synths, dances around spoken word sections that read out a poem of the same name by Roberto Bolaño, one of Chile’s greatest literary writers. Bolaño’s work fits perfectly with a biting satirical punk mood that Lopez exudes with every breath. He often questioned the privilege of making art whilst the junta would torture people in basements. Hardcore, punk and metal often likes to think of itself as a political act more than music, whether in its DIY ethic or protest lyrics. However, perhaps we find it too easy to fall into its angry embrace and eat each other alive whilst the world outside continues to fall. This music makes hell on earth that little bit more bearable, however ultimately Bolaño, and Lopez, call on counterculture music to have meaning and political action.

BING BONG! Nems returns with Congo, his third full-length album and first solo album since releasing Gorilla Monsoon in 2019. The one and only “Mayor of Coney Island” does not disappoint on Congo, spitting his battle tested and witty bars throughout the album. As usual, Nems likes to do the heavy lifting himself, keeping the guest appearances and producers to a minimum on Congo. But fans of Nems will be happy to see that Congo features frequent Nems collaborators UFO Fev and Ill Bill, along with production from Vinny Idol on “Bing Bong”, which has taken the internet by storm and is now the informal theme song of New York City and the Knicks. Initially released on all digital platforms on August 20, 2021, the wait for Congo in vinyl format is over. F*ck Your Life!

Omowale is the powerful new album from Wildchild, one third of the legendary Lootpack crew and a formidable solo artist who released many projects on the iconic Stones Throw Records. Across the 15 tracks, the Cali rapper deftly explores what it means to be a Black man in the U.S. today with timely, poignant lyrics. It’s a hard-hitting look at this country and its decades of wrongdoing, all with an air of optimism for the future. This album is Wildchild’s first solo release since 2016’s T.G.I.F., though he’s clearly kept busy in the interim by working on Omowale and making a number of standout guest appearances. Many of his past collaborators are returning the favor, as we’re treated to dope features from Posdnuos (of De La Soul), Big Daddy Kane, Guilty Simpson, Ras Kass, Murs, and more. Plus, there’s head-nodding production from Madlib, Nottz, Georgia Anne Muldrow, and Mr. Brady, among others. They’re all bringing their A-game on Omowale, an impeccably produced album beyond its instrumentation and rhymes. Wildchild builds on the project’s narrative by incorporating audio from newscasts, protests, and other live events. He also brings that real-world feel to his lyrics, from joyful raps with his son (Black-ish actor/emcee Miles Brown) on the funky “G.O.A.T.” to raw rhymes about police brutality on “Breathe.”
When the album culminates with “Say Their Name”—a moving tribute to the rap legends we’ve lost over the years—Wildchild proves on Omowale that you can balance hope with the harsh, unjust realities of the world.

Ichiko Aoba’s albums have only been available as expensive Japanese imports, until now. In November, Ba Da Bing will release Windswept Adan on 2xLP in North America, Europe and the United Kingdom, with deluxe packaging.

After creating her label, hermine, last year to celebrate her tenth
anniversary in music, Aoba released the most complex and rewarding
work of her career, 2020’s Windswept Adan. While audiences in
the west are only just learning she exists, her accomplishments are
unquestionable; she contributed to the soundtrack for The Legend of
Zelda: Link’s Awakening, was cited by Owen Pallett as an inspiration
(“I’ve never been so blindsided by a musician as I was by Ichiko
Aoba”), and has collaborated with the likes of Haruomi Hosono,
Cornelius (who met her only two years after she first picked up a
guitar and was blown away), Ryuichi Sakamoto, and recently Mac
DeMarco.
Ichiko Aoba’s iconic voice and classical guitar playing are
immediately recognizable, timeless sounds. Windswept Adan,
envisioned as a soundtrack for a fictional film, builds its own world with
sweeping co-production and arrangements from Taro Umebayashi,
which “recall the Wes Anderson scores of Mark Mothersbaugh or
the cinematographic swells of American composer Jherek Bischoff”
(Bandcamp). It’s the story of a young girl sent to the island of Adan, a
place where there are no words.
While international listeners of Aoba may not understand the words
she sings, and despite the central importance of lyrics in her writing,
it’s a testament to the power Aoba wields that one can resonate so
deeply with her work. No matter the breadth of her sonic palette, and
on Adan her scope is as wide and encompassing as Joanna Newsom’s
on Have One On Me, Aoba manifests an intimacy that makes one feel
in the room with her.
Ichiko Aoba’s work gained greater exposure in the past year as the
need for comfort grew while the world sequestered in solitude. She
has a rare musical gift that is matched only by her ability to hone it
into meticulous craft. Her music embraces and elevates alone time to a
generous and tranquil place. In it, listeners are invited to feel a sense of
consolation and possibility. The magic she imparts yields articles like
“Ichiko Aoba and the emotion of space during the pandemic;” in other
words, her effect is singular.

• Best known for their self-penned 1982 recording ‘Moneys Too Tight To Mention’, which was ranked at No. 6
among in the Top Ten "Tracks of the Year" by NME and which was later famously covered by Simply Red,
• “The Valentine Brothers” eponymous debut album was recorded for US label Source Records, owned and run by
Logan H. Westbrooks and includes the two singles ‘The Sound Of Music’ and ‘We Belong Together’.
• Billy Valentine performed as a singer with Young-Holt Unlimited in the mid-1970s, whilst both brothers
performed a three-year stint as part of the touring company of The Wiz musical.
• Another one of those hidden Soul gems, Demon Records is proud to announce this first reissue of “The
Valentine Brothers”, since the album’s original 1979 release.

Just in time to quell your winter blues...! Staten Island's psychedelic, doo-wop dignitaries return with another pair of extraordinarily soulful sides. Heralded as one of the standout tracks on Love in the Wind, "Just for a Minute" has been at the very top of the "Damn, Daptone...Why wasn't this one on 45?" list. So when we pitched the idea producer Tommy 'TNT' Brenneck he delivered the perfect accoutrement, "Silver Linings". Featuring Paul Schalda on lead vocals, "Silver Linings" is an atmospheric groover with haunting keys and a pleading vocal that finds the group exploring the more psychedelic side of their sound. A bonafide two-sider from one of the most dynamic groups in the game.

Our fascination with Adriaen Willaert's almost infinitely radiant oeuvre led us to
this beautiful, polyphonic monument of a Mass. The combination with the other
works on this LP is no coincidence: it illustrates how the composer was acutely
aware of what was going on musically in Venice, even outside the church walls of
St. Mark's Basilica. He turned folk songs, called Canzone Villanesche, into fourvoice musical gems that to this day leave no one unmoved. It is striking how
Willaert takes different approaches to turning spiritual texts, on the one hand, and
secular songs, on the other, into gripping compositions. For example, the Mass
has a polyphonic structure: one voice begins, the second voice imitates,
embellishes, and passes the torch to a third, fourth, and fifth voice. A braid of
melodies arises; a wall of vocal sounds that seems to never end is erected.
The text is difficult to understand, but here and there you recognize a snippet of
the main melody, the Gregorian melody "Benedicta es," on which all movements
of this Missa Benedicta es are based. It is different with the chansons: they
sound polyphonic, but homorhythmic. Everyone sings the same text at the same
time, so you can hear and understand the lyrics of the different verses very
clearly. Musicologists still debate to this day whether or not it was com- posed by
Willaert. Some say that it could have come from the pen of Nicolle de Celliers de
Hesdin... In any case, the fact that the mystery surrounding this music may never
be solved is no reason for us not to enjoy it to the fullest in the meantime!

Matthew Halsall unveils new band and announces 'Salute to the Sun'

his new album on Gondwana Records

Limited edition Double Clear vinyl, printed on reverse board with Gold foil artwork plus double printed reverse board inner sleeves including download code. Cover Artwork by Daniel Halsall with design and layout by Ian Anderson of The Designers Republic.

Comes packaged in a resealable, re-usable Polypropylene anti-static, acid-free, crystal clear sleeve for maximum protection.

Composer, trumpeter, producer, DJ and founder of Gondwana Records, Matthew Halsall has always worn many hats. But at the heart of everything that he does Halsall is first and foremost an artist and a musician. A trumpeter whose unflashy, soulful playing radiates a thoughtful beauty and a composer and band-leader who has created his own rich sound world. A sound that draws on the heritage of British jazz, the spiritual jazz of Alice Coltrane and Pharoah Sanders, as well as world music and electronica influences, and even modern art and architecture, to create something uniquely his own. A music that is rooted in Northern England but draws on global inspirations.

Salute to the Sun is his first album as a leader since Into Forever (2015) and marks the debut of his new band. A hand-picked ensemble featuring some of Manchester's finest young musicians: Matt Cliffe flute & saxophone, Maddie Herbert harp, Liviu Gheorghe piano, Alan Taylor drums and Jack McCarthy percussion as well as long-time Halsall collaborator, bassist, Gavin Barras who has been at the heart of Halsall's bands for over a decade. For Matthew it was important to have a band based locally and able, pre-Covid, to meet and play each week, and who also performed a sold-out monthly basement session at Yes in Manchester. The album draws energy from these sessions and inspiration from themes and ideas that have inspired Halsall through the years (on albums such as Oneness, Fletcher Moss Park and When the World Was One) ideas of ecology, the environment and harmony with nature.

"I feel Salute to the Sun is a positive earthy album. I wanted to create something playful but also quite primitive, earthy and organic that connected to the sounds in nature. I was listening to lush ambient field recordings of tropical environments such as jungles and rainforests and found myself drawn to percussive atmospheric sounds which replicated what I was hearing (bells / shakers / chimes / rain sticks) and I started to experiment with more wooden percussive instruments such as kalimba and marimba".

Salute to the Sun features lush wholly improvised tunes inspired by ambient rainforest and jungle field recordings, deeply soulful tunes built around hypnotic harp and kalimba patterns, deep Strata-East inspired spiritual jazz grooves and some of Halsall's most beautiful playing and inspiring healing melodies yet recorded.

The album was recorded at the band's weekly sessions, using Halsall's own recording set-up, giving the recordings a relaxed vibe and unforced energy that really lets the music breath. The album is also very much a family affair as Halsall's brother Daniel Halsall, artistic director of Gondwana Records, was an important presence at the sessions and co-produced the album. It is also his memorable artwork that adorns the cover of Salute to the Sun, an album beautifully designed by legendary designer Ian Anderson of The Designers Republic, who also created the covers for the recent archival releases Oneness, Sending My Love and Colour Yes and is one of Halsall's favourite designers. Together Daniel Halsall and Ian Anderson have designed all of Matthew's seven albums to date, so it felt extra-special to bring them together for, Salute to the Sun, an album that Halsall was determined to present in the very best way possible. The album was mixed with another long-time collaborator, George Atkins at 80 Hertz in Manchester, who works tirelessly with Halsall to perfect the sound and was mastered by noted engineer Peter Beckmann who brings an added depth to the sound specially around the bass notes as well as Halsall's trumpet. The magnificent double vinyl was cut as a Half Speed master by Barry Grint at Alchemy Mastering for the best possible analogue experience.

The result is arguably Halsall's most beautiful and complete recording to date, playful, charming and imbued with the warmth of the sun and the energy of life.

One side with 2 Minimal tribe bangers and one side with a massive acid hard techno Killer !

Limited Edition one vinyl in a gatefold cover, black vinyl and
black inner sleeve.

Demon Records is proud to reissue this album as part of the Gary Crowley’s Lost 80s project. This Classic LP
reissue is presented on double 140g translucent blue vinyl.
Blue Rondo A La Turk were a lively 6 piece British latin/jazz/pop group, formed in 1981 by singer/lyricist Chris
Sullivan, and disbanded in 1984 when several members moved on to form the hit-making band Matt Bianco.
‘Chewing The Fat ‘ is the debut album, originally released in 1982 and includes the charting singles ‘Me And
Mr. Sanchez’ and ‘Klacto Vee Sedstein’
Included in the release is a bonus LP of official remixes on vinyl for the first time.
“If there was one band I wanted to be in back in 1982 it was Blue Rondo A La Turk. Named after the classic
Dave Brubeck song, they were a bunch of sharp suited hedonists with a philosophy straight out of Spinal Tap,
have a good time, all the time! Thinking about it though they probably would have left a lightweight like me
for dead in some Soho gutter after the first couple of drinks on a night out. Known and loved for their
infectious blend of salsa, funk, pop and cool bop and swing as well as their renowned live performances, why
they didn't break through to the nations charts remains one of pop's great conundrums. But those who
knew, knew and for energy and sonic pleasure this, their debut album "Chewing The Fat" takes some beating
and I'm thrilled it's available once again on vinyl under our GC Lost 80s moniker. It really is a wonderful
reminder of their collective talent that was sadly never given time to flourish.

4 Hands, an intimate and surreal musical conversation on the piano from German sound pioneer Hans-Joachim Roedelius and American composer Tim Story, is an example of all the warm yet otherworldly beauty that can come from approaching a shared love for a singular instrument from overlapping directions.

Recorded sequentially but on one and the same grand piano, Roedelius laid down a few impromptu piano études in May 2019 whilst visiting his transatlantic friend Story. Tim then learned all their intricate phrasings to add his own parts in the following months.

"Together we shaped the basic compositions, sometimes carefully preparing the piano with various materials (including my own hands), and Achim’s performances were committed to tape. I continued to compose and refine my parts in the following months. Because it was all recorded on the same piano, the result has a very appealing consistency of sound, and hopefully blurs our individual contributions into a single integrated voice,” Story explains.

4 Hands encapsulates rippling minimalistic patterns and delicate, ghostly interactions with surprising harmonic twists. Roedelius’ intuitive and instinctive approach based in improvisation, paired hand in hand with Story’s deliberate distilling of ideas over time, creates two sides of an engaging and thought provoking conversation that seems to evolve and deepen with each successive listen.

"4 Hands is not just a new album — the logical continuation of the long-standing friendship between two composers. It’s our tribute to awareness and listening, coaxing a new sound language from the endless possibilities of a single piano played by our four hands. For me, these pieces express a different kind of beauty, they evoke more than the sum of their parts, they are a wordless dialogue, a bridge across the great water that separates our cultures from one another. Allons enfants des deux patrie, haha!” adds Roedelius.

"The Beast Within" is the new album by Brazilian artist, Diego Garcia; exploring gender identities within contemporary electronic music. The artist uses two of their distinguished artistic identities: The Princess of Death, her feminine identity - where there is an exploration of a more introspective and corrosive textures commonly associated with patriarchal values; and Projekt Gestalten, his masculine identity - where melodic and hypnotic sounds, often associated with matriarchy, are emphasized.

In this project, Diego's aim is to dichotomize their gender identities inspired by a point-and-click adventure game from the 90's called "Gabriel Knight 2 - The Beast Within". The story was written by American game designer, Jane Jensen with original music composed by her husband, Robert Holmes. The protagonist is on the trail of a strange wolf, murderer of a little girl. Gabriel was asked to take care of this evil and suspects that this case is paranormal in nature. Together with his assistant, Grace Nakimura, he discovers the dark truth behind the history of Bavaria. The gameplay alternates between Gabriel and Grace and its storyline is only explored indirectly by Diego - as it is deeply connected with their childhood and formative years and still remains as one of their all-time favorite games.

Just like in the gameplay, Diego alternates between both of their feminine and masculine identities in order to create original pieces of music. As Projekt Gestalten, an array of dance tracks are functionally presented; ranging from melodic and trippy to club-ready driving techno; dissecting a more rational aspect of the game's storyline. In contrast, The Princess of Death goes into an ambient and experimental approach; exploring liturgical themes that includes a dark and dystopian cover of the traditional gospel song "When The Saints Go Marching In", a song that is featured throughout the whole franchise of the game in many different versions. In the end, the gender polarizing concept is extrapolated and both aliases are finally merged into one another; leading to the Gestalt principle, alluded to in Diego's main alias, being fully applied as a whole.

The project's ultimate goal is to challenge preconceived notions of how a specific gender should sound/behave and to explore light/dark, sacred/secular, good/evil, male/female using, as the blueprint, a gender-neutral game where the player is forced to assume a feminine and a masculine role in order to navigate through the story. All of these ideas are perfectly aligned with Diego's own trajectory as an artist and their distinct artistic identities featuring distorted gender values - which comes full circle in this project.

Almost exactly a year after Tower Block Dreams' Time Is Now debut and the launch of our white label series, the UK-born, Madrid-based producer returns with a club-ready 5 tracker which fuses together the most danceable facets of UKG, grime and breaks.

The opening track "Bare Dubs" pays tribute to UKG's antecedents in pirate radio with sporadic MC vocal samples and a womping bassline. The product: a soundsystem banger with a disjointed, yet fiercely controlled two-step rhythm and grimey, extended basslines a la So Solid Crew and early Scratcha. Flip over the record and the A-side's cold rigour is swapped out for a sultry groove.

Euphoric piano stabs and playful R'n'B vocal chops energise "If You Want The Reload" and video-game-esque bleeps lend "Last One From Me" its blissed-out melody. But don't get too comfortable. The aptly-named "From The Top" sees a return of the opening tracks' grime sensibilities and introduces an FM static atmospheric to take things back to the old school.

Time Is Now White Vol.12 drops 25th February 2022 via Time Is Now.

Each LP sleeve is delivered as a bespoke limited edition, hand-printed and customised by the man himself. Features Jehst, Taja, Jaz Kahina, Vandal Savage, Junior Disprol and Cappo. The return of the “Zack de la Rocha of Ashby de la Zouch”, back in tandem with Chicago producer Spectacular Diagnostics World status 2020-21; a write-off, one to be struck from the record, ‘NULL AND VOID’ if you will. This hasn’t stopped Kid Acne kicking on and bringing what he calls “the difficult fifth album” to the Lewis Recordings megaplex. Full of Yorkshire say-so, his inimitable strain of hip-hop delivers the mind-bending with everyman knowhow, fearlessly “taking out pop chart sucker rappers with a blow dart”. Spectacular Diagnostics (Westside Gunn, Vic Spencer, Conway the Machine, Nolan the Ninja) is back on the boards for Kid Acne’s latest magical mystery tour, strengthening regional alliances with UK heavyweights Cappo, Jehst and Vandal Savage as well as introducing one-to-watch Taja. Driven by the wise man’s testament that thou shalt never use the internet again, Acne shakes off screen burn and heads back to the great (socially distanced) outdoors with a fresh batch of wavy, chaos theorising boom-bap.

Rapidly marking themselves out as one of the most abrasive, innovative artists to watch in 2022, Brighton-based feminist electropunk trio CLT DRP are delighted to kick off their year with new single ‘TORX’, out now on Small Pond Records.

The single will be available to purchase on a new limited edition 10” vinyl from Small Pond which features new track ‘TORX’, previous single ‘Ownership’ plus a remix from New York’s FLOSSING (Brace Yourself Records), and their cover of Dolly Parton’s track ‘Why’d You Come In Here Lookin’ Like That’.

Commenting on the track, CLT DRP vocalist Annie Dorrett says: "TORX is a hard-hitting non-stop racket. It was a stream of consciousness that stemmed from a very tired & frustrating day where I couldn't get my oven fixed in my flat because I didn't have the right screwdriver and I was dealing with a sort of post-break-up rant about somebody that caused me a lot of grief. It’s one of my favourites to play live now."

Reissue of violinist Jean-Luc Ponty's 1967 album 'Sunday Walk', originally
released on the SABA label (which later was renamed MPS), featuring an
all-star group that includes pianist Wolfgang Dauner, bassist NielsHenning Örsted-Pedersen and drummer Daniel Humair
Legendary drummer Kenny Clarke compared Jean- Luc Ponty to Dizzy Gillespie.
Fellow violinist Stuff Smith marvelled, "He plays violin like Coltrane plays
saxophone." Born in 1942, the French violinist transported jazz violin playing into
the world of modern jazz. On Frank Zappa's urging, Ponty moved to the States in
1973. Over the next years he toured with Zappa as well as the Mahavishnu
Orchestra. In 1975 he founded his own band and became one of the most
prominent figures of the jazz- fusion movement in the USA, selling millions of
albums that all reached the top of the U.S. charts.
On the 1967 'Sunday Walk' the band saunters through two blues, a waltz, and a
standard before reaching "Suite for Claudia", which begins at a blistering pace
with Ponty's saxophone- like "brilliance and fire" playing. It then settles into a
medium swing groove with Wolfgang Dauner's infectious piano play followed by a
smouldering Ponty. Daniel Humair's crisp drum solo segues into a heart- felt
waltz. After all, this was written for Ponty's wife. Ponty is here with a group of
Europe's finest at their youthful best. The way they play, it's all a walk in the park.
Beside Dauner and Humair, legendary bass player Niels-Henning Ørsted Pedersen
completes Ponty's quartet.
"The re-issue of this album by MPS makes me extremely happy as I consider it to
be one of my best recordings from the 60s. " - Jean-Luc Ponty

Reissue of The Rolf Kühn Group's funky 1975 fusion album 'Total Space',
featuring Joachim Kühn, Philip Catherine, Gerd Dudek, Albert
Mangelsdorff and Daniel Humair
For a German jazz musician to find international recognition as a major player
has been and remains a rarity. Clarinettist Rolf Kühn belongs to this elite class.
No one sounds like him on the clarinet; warm, round and masterful, his tone
remains unmistakable no matter what style he may be playing at any given
moment. His play resonates with a maturity and wisdom gathered from a long
and rich life of musical experiences. At MPS, Rolf Kühn was allowed free rein to
choose the team for the recordings and so he decided to get Wolfgang
Hirschmann on board, one of the most interesting sound engineers in jazz at that
time. Having a free jazz background, Kühn breaks out in a new direction towards
jazz fusion with this album.
"My recordings for the MPS label always benefited from an atmosphere of artistic
freedom, something that I am still thankful for. MPS was the first German record
company that recorded solely jazz and was open for experiments and new fields
of music. For "Total Space" I was allowed to try out new things like having two
drummers, Daniel Humair and Kaspar Winding and to invite completely
freethinking players like Albert Mangelsdorff or Gerd Dudek to the recording." -
Rolf Kühn, 2019

Reissue of The Rolf Kühn Orchestra's gently-grooving 1979 album
'Symphonic Swampfire', featuring Joachim Kühn, Philip Catherine, NielsHenning Ørsted Pedersen, Charlie Mariano, Herb Geller and others
For a German jazz musician to find international recognition as a major player
has been and remains a rarity. Clarinetist Rolf Kühn belongs to this elite class. No
one sounds like him on the clarinet; warm, round and masterful, his tone remains
unmistakable no matter what style he may be playing at any given moment. His
play resonates with a maturity and wisdom gathered from a long and rich life of
musical experiences.
Inspired by the captivating and breathtaking landscape of Ibiza, which Rolf Kühn
discovered for the first time in 1970, the album 'Symphonic Swampfire' was
created in 1978. Rolf Kühn had spent many summers in Ibiza, his brother
Joachim is now living there since several years. After Kühn had written orchestral
compositions for commissioned works for film, TV and radio productions, he was
able to fulfill his long- standing wish to record one of his jazz albums with an
orchestra. 'Symphonic Swampfire' is the first collaboration with sound engineer
Walter Quintus, with whom Rolf and Joachim Kühn should collaborate many more
times.

Reissue of Rolf Kühn's funky 1980 LP 'Cucu Ear', beside his brother
Joachim Kühn, who as always took the place at the keys, Rolf brought
together an illustrious group of musicians from a variety of backgrounds
for this record, including Alphonse Mouzon, Philip Catherine, Charlie
Mariano, Herb Geller and Niels-Henning Ørsted Pedersen
For a German jazz musician to find international recognition as a major player
has been and remains a rarity. Clarinettist Rolf Kühn belongs to this elite class.
No one sounds like him on the clarinet; warm, round and masterful, his tone
remains unmistakable no matter what style he may be playing at any given
moment. His play resonates with a maturity and wisdom gathered from a long
and rich life of musical experiences.
"I have always had the desire to find unusual set-ups for my productions – like
working with musicians who come from very different genres such as classical
music, jazz fusion, pop, etc. But these trains of thought, which of course can be
very tempting, can never be implemented without a risk. In the case of "Cucu Ear"
for example Alphonse Mouzon and Niels- Henning Ørsted Pedersen played
together for the first time ever. With Niels and Alphonse, coming from such
different stylistic directions, the plan worked out so perfectly that they are among
my favorite rhythm groups today. Not least because of my brother Joachim, who
plays fantastic additional synthesizer solos in addition to his great piano playing.
These were two wonderful days in the studio and an unusual and extraordinary
session that is still today very special for me." - Rolf Kühn, 2019

Jesse B Weaver, since christened Schoolly D, is one of the most iconic
figures in rap music.
Within the hip-hop industry, Schoolly is considered to be the creator of
gangster rap via his globally acclaimed singles 'P.S.K.' and 'Gucci Time'
Schoolly D has transcended the boundaries of genre and created "rap" music that
has been integrated in films, animated series and sampled by some of the most
prolific acts in music including Beastie Boys, Siouxsie & The Banshees, Lil Wayne
and The Chemical Brothers.
Deemed a "pioneer" by Jay-Z (Decoded, 09) and credited by Ice-T as releasing the
first gangsta rap record (Props Magazine), Schoolly D's career has given
inspiration to countless musicians and fans alike. Songs like 'Gucci Time',
'Saturday Night' and 'P.S.K. What Does It Mean?' have become classics and
illustrate the uncompromising narrative that has become synonymous with the
hardcore gangsta rap of the eighties. His true-to-life lyrics give a snapshot of the
streets of his hometown, Philadelphia, and the influences that drugs and gang life
had on him as a young man. Today, Schoolly D has an almost cult-like following,
as his music continues to be referential. Even younger generations have been
turned onto him thanks to his work with Aqua Teen Hunger Force.
This release is Schoolly's 2021 album 'Cuz Schoolly D Is Crazy' and features a
remake of his classic 'P.S.K.' with appearances by B-Real from Cypress Hill and
Too Short. The album also features appearances by Chuck D and Ice- T. The
album was recorded using the same studio and production of his legendary first
three albums. It's reminiscent of his early work and showcases his rhythmic raps,
mastery of beats and sometimes-explicit lyrics, proving the lasting power of one
of rap's legendary b-boys.

Durutti Column are still one of the most sought after band of the English post-punk. Since their first album 'The Return Of Durutti Column' (released on Factory in 1980), the guitarist, pianist and composer Vini Reilly has published a series of remarkable albums that filled the gap between new wave and ambient music. Reilly and Bruce Mitchell (who’s been working with such major artists like Simply Red and Rod Stewart) represented the future of the Manchester scene moving forward from the forerunners (Joy Division, A Certain Ratio, etc.) to the new musical heroes (Happy Monday, Stone Roses and the likes).

MATERIALI SONORI invited The Durutti Colurnnat for the first edition of the Greetings Festival in San Giovanni Valdarno in 1985, and build since then a steady relationship with the band. It was precisely Vini Reilly that started the record series 'Greetings' (dedicating to the Belpaese tracks like 'Florence Sunset", "San Giovanni Dawn", 'For Friends In Italy"). Subsequently MATERIALI SONORI dedicated the first cover of the magazine Sonora to Reilly and Mitchell (including a previously unreleased track on the magazine's compact disc)

'Dry' is conceived as a new journey among Vini inventions, through rarefied moods and subterranean streams of sound. The fifteen songs (lasting fifty-five minutes) have been recorded in Manchester in 1990, Vini sits in on guitar and piano, while Mitchell is on electronic and acoustic percussion, other instruments such as the clarinet (played by Zinnia Mitchell-Williams, Bruce's daughter), harmonica, viola and keyboards are also featured on the session. Here, once again, Durutti Column 's music could be defined as half-way between melancholy rock and 'progressive' New Age.

Marc Rapson is a man of many dimensions. From rocking BBC's Maida Vale and Later with Jools Holland as part of Ben Westbeech's touring band, to releasing stellar re-edits of Marvin Gaye and Sarah Vaughan to the acclaim of Gilles Peterson, Marc has spent the last decade quietly building a following amongst those in the know. Dark vs Light seamlessly blends crunchy, low swung Hip Hop beats with Marc's jazz inflected Fender Rhodes and synth sounds. Not one to be confined to a singular style, Marc also fires up the sampler for tracks such as 'Click Loud', combining surgical chop skills with live instrumentation. Dark vs Light is the product of a mind that grew up on Ahmad Jamal as much as A Tribe Called Quest: the jazz pianist with a passion for raw beats. This first time on double vinyl complete edition includes all tracks from the now out of print EP along side additional bonus cuts from the original sessions featuring MC Replife as well as a dope cover of a classic Roy Ayers track. A great way to help celebrate Futuristica’s 15th year!

n 2018, unknown artist James Infiltrate dropped an album of smart electro tunes that get everyone talking. It turned out to be an alias of James Burnham aka Burnski aka the Constant Sound boss aka Instinct, who is one of the most visible and prolific artists of recent years. Now some of the cuts from that album get choice remixes - AlexJann flips 'Flash' into a caustic electro banger with bright synths and twisted bass. Stojche goes for a lurching, loopy, scintillating and loopy remix of 'Isolate' that takes you to the stars and the flip offers up an acid laced electro cruiser from Sound Synthesis and Relpek mix of 'Reconnect' that is melodic and mysterious.

As the tides change and the majesty of the moon once more begins to illuminate our forgotten domain, the hotly-tipped Incus has made the jump to hyperspace and determined that now is the time to unleash his neoteric creation into the macrocosm of music. At the behest of the sonic social masters, "INC.AUDIO" will be deemed a passion project, but in reality it will rip the very fabric of what it means to have a personal creative outlet, curtailing boundaries and expectations alike. Based on the creed of freedom of experimentation, the label will allow Incus and close friends within the industry to share their creative expressions within a familial and contemporary framework free from third-party limitation.

For now we start at the first chapter of the INC.AUDIO narrative, and the inaugural release which comes from the architect himself. His first solo EP contains 4 tracks conceived at home during lockdown, combining new sound design techniques developed through the mediums of trusty Korg Hardware and Ableton live. The end product is a consummate representation of the benefits of free time, reckless abandon and zero red tape.

Kicking off with "Design Your Mind", Incus draws on his longstanding influences collected via years of crate-digging and supporting underground idols in the UK and Ibiza. Shuffling percussion, jittering stabs and percolatin' chords wax and wane, submitting us to the will of its deep, minimal groove with a sultry sensibility. Next is "New Dog Old Tricks", the one with "that" bassline. No holding back from the get-go, the punching percussion is waylaid sporadically by erratic tones and steadied by placid, ambient chords. The charming breakdowns are peculiarized by a haunting saxophone sample, firmly establishing the clear-cut level of advancement and attention to detail achieved by the creator.

"Calm in the Chaos" steps back from straight-up grooving, inviting an equatorial temperature to come and play. Tantalising acid-inclined bass notes perforate the horizon, aiding the insistent percussion and creating a sunny, party-ready disposition infectious as they come. Feel like you're on a beach or in a rainforest? Snap. After the party we finish in the "Morning Haze". Alien-like frequencies and UFO bleepology steer the good ship Incus on this extra-terrestrial journey through the tech-house heavens to its final resting point. The seductive vocal cut adds a beautiful edge to the track, creating a minimal yet also expansive soundscape perfect for disembarkment. So, now you see what INC.AUDIO is all about, why wouldn't you stick around? Fight the bureaucracy and become who you need to be today, not tomorrow.

Limited to 300 copies. Vinyl green bottle

Originally released in 1973 on Philips. One of the best UK Folk albums ever. Highly recommended if you like Heron, Syd Barrett, Nick Drake, Simon & Garfunkel.

Evensong's self-titled album is a high-prized UK folk-pop artifact. The duo's fragile, harmony-drenched songs are given instrumental muscle by seasoned session players Clem Cattini, B. J. Cole and Herbie Flowers, and ornate string arrangements courtesy of former Spencer Davis Group guitarist Ray Fenwick.

Following a four-year hiatus, our main imprint is back with a new outing by our long-time friend, Laslo. His previous works found home on quality record labels like Greta Cottage Workshop, Greta Cottage Woodpile and Soundscape Versions. Now he is delivering three originals, all shaped and arranged along his dub-infused, peculiar sound. As label heads, we rarely focus on remixes, but in the case of this EP we could not resist the chance to get one by the Hungarian drum & bass veteran Ghost Warrior (31 Records, re:st, Well Street Records), who did his first ever remix for Tape Hiss, this time exploring the mid-tempo territory.

Johnny Marr started his career with The Smiths, beginning an amazing history as one of the most influential songwriters and guitarists in British independent music. His subsequent creative journey has seen him at the heart of The The, Electronic, Modest Mouse and The Cribs, as well as working with such names as The Pretenders, Talking Heads, The Avalanches, and the musician and composer Hans Zimmer - with whom he recently recorded the score and soundtrack for the forthcoming James Bond film, No Time To Die, including the title track created with Billie Eilish.

In the wake of his time leading The Healers, Marr’s solo career has given rise to three UK Top Ten albums - The Messenger (2013), Playland (2014) and 2018’s Call The Comet, and he will be returning in February with his most expansive work to date, Fever Dreams Pts 1-4. It was created during the long, uncertain period that followed the arrival of the UK’s first lockdown, when his focus was pushed into both his interior life, and evoking the emotional states of others. “It’s an inspired record, and I couldn’t wait to get in and record every day,” he says. “But I had to go inwards.”

The upcoming album reflects his multi-faceted past, but takes his music somewhere startlingly new. “There’s a set of influences and a very broad sound that I’ve been developing - really since getting out of The Smiths,” he says. “And I hear it in this record. There are so many strands of music in it. I think it’s the most ambitious solo record I’ve done.”