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Lake Mary is the moniker of Chaz Prymek, a guitarist, composer, free improvisor and painter currently based in the US. Through spacious personal hymns exploring the wilderness of deep emotional narrative, Prymek’s long-form compositions and improvisations are boundless meditations on the landscapes, river ways, and wildlife, both external and personal. Perhaps most widely known as a founding member of the group Fuubutsushi, Prymek's work as Lake Mary leans sometimes more slow, open and pastoral, sometimes more visceral with prepared guitar and synthesizers, but can always be characterized by patience. A board member of Dismal Niche Arts, and founder of Yardwork Presents, Prymek's focus on curation and community for exploratory and expansive music and arts spills over into all his sonic works.

Daniel Wyche is a Chicago-based guitarist, composer, and improviser. Working with a wide range of physical preparations, extended techniques, and pedal instruments, his solo recordings and live performances are characterized by long-form structured improvisations and multichannel guitar. He has been a curator with the Elastic Arts Foundation in Chicago since 2013, where is work has been described as “crucial” by Dusted and “vital” by the Chicago Reader. In March of 2020, Daniel co-founded The Quarantine Concerts in collaboration with Chicago’s Experimental Sound Studio. The series has been widely praised as a model for online/streaming live music. Along with his solo guitar work, Daniel is involved in several ongoing collaborations, most notably the trio of Wyche, Mark Shippy (US Maple), and Ben Baker Billington, as well as new work with longtime collaborators like Patrick Shiroishi, Lake Mary, and many others.

Thirty years after it was released on CD and cassette, Fuemana’s cult classic New Urban Polynesian album is finally available on vinyl. Born from the blood, sweat and tears of the late great Polynesian renaissance man Phil Fuemana and his family and friends, Fuemana’s music transports the listener back to the autumn and winter days of 1994 in the antipodes, where they turned love, loss, grief and acceptance into the finest R&B/street soul album ever recorded in Aotearoa New Zealand.

Fuemana spent several late nights tracking one-take sessions at The Lab Recording Studio with engineers Simon Taylor, Chris Sinclair and Mark Tierney. From there, New Urban Polynesian came together quickly. Across the album, Phil showed off his prodigious skills as a multi-instrumentalist and producer, playing most of the smooth, sophisticated, and heartfelt music himself. In the studio, he shared the lead with Christina and Matty J, supported by a cast of backing vocalists, musicians and guest vocalists, including a young Carly Binding.

From the lush openings of their soulful Roberta Flack, Donny Hathaway, and Stevie Wonder covers ‘Closer’ and ‘Rocket Love’ to the misty new jack swing serenade of his original ‘Seasons,’ Phil’s goal was to craft material that would let the music industry know the Fuemanas had arrived while also inspiring the next generation.

In 1995, the Fuemana family’s youngest sibling, Pauly, borrowed the initials from Ōtara Millionaires Club and began performing as OMC. Not long after, he changed everything for New Zealand music by recording the feelgood guitar-laced Polynesian pop global mega-hit ‘How Bizarre’ with producer Alan Jansson.

Consumed by a desire to do more musically, Phil established Urban Pacifika Records, where he launched the careers of a new wave of Pacific hip-hop and R&B talent, including Lost Tribe, Moizna, AKA Brown, and Sani Sagala, aka Dei Hamo.

In 2005, Phil tragically passed away from a heart attack aged 41. Five years later, Pauly, equally tragically, joined him after an extended battle with a rare neurological disorder, leaving Tony and Chirstina to grieve and make sense of their family’s extraordinary story.

When New Urban Polynesian first hit record store shelves in 1994, the Fuemanas dedicated the album to their father, Takiula Fuemana. Three decades later, it has expanded in meaning to become a remembrance of their youngest brother Pauly and a celebration of the life and times of their big-hearted big brother, Mr. Fuemana, Mr. Phil Fuemana.

Words by Martyn Pepperell in conversation with Tony & Christina Fuemana.

Gazebo Records feel honoured for the opportunity to share this important album for our inaugural release, now available for the first time on vinyl with remastering by Mikey Young.

All proceeds from this record flowing to the Fuemana family.

With "Morir en otra habitación", Wild Honey delivers a wonderful record full of emotion and warmth. Beautiful pop music that travels through an intimate moment with an unusual and touching naturalness.

It has been just over three years since Guillermo Farré, the singer and multi-instrumentalist behind Wild Honey, released "Ruinas futuras" (2021). Hailed as one of the best albums of that year, that record reflected his recent fatherhood and the exceptional circumstances of the first stage of the pandemic. Now, his new songs are the echo of a difficult and convulsive time after the death of his father.

The result is a mini-album of five songs that swing between fragility, the unexpected and the everyday. It is a snapshot that captures, as Guillermo describes in one of his lyrics, "slow motion avalanches". These are pieces charged with great emotional intensity but also full of light, driven by the expansion and openness of their exquisite arrangements.

"When I try to remember when something happened, I always think of historical events or personal milestones like moving houses, the birth of my children or the records I've made over the years. Recording an album is sort of like taking a photograph of a particular life moment and I've got used to records helping me sort out the time in my head."

"Morir en otra habitación" is the deliberate effort to document the strange and surprising feelings of that period, knowing that over the years these songs will be the easiest way to remember those months. A feverish exercise of describing in songs that journey of extremes where making breakfast for my children, explaining to them what a person's ashes are or playing the game of making a wish upon seeing a shooting star all come together."

In its vinyl edition, the album will include instrumental versions that, without the presence of Guillermo's voice, are close to the soundtracks he has recorded in recent years for film and TV.

Although Wild Honey is a project with a marked personal character, "Morir en otra habitación" has the support of collaborators close to Guillermo. Co-produced with Remate, the album includes contributions from Clara Viñals (Renaldo & Clara), Anna María Biffi, Javier Lorente and José María Rubio. In addition, Sean O'Hagan (The High Llamas) is responsible for the exquisite string arrangements, which recall Scott Walker, Belle & Sebastian or the most delicate Colin Blunstone, and Ali Chant (Aldous Harding, M. Ward, Katy J Pearson) has been in charge of the mixing.

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Mord.
Morderstwo.
Rotterdam.
Herdersmat.

***Limited amount of part 31 of the Herdersmat series available now. This vinyl was previously available only by purchasing the full MORDH005. Generic black sleeve.

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Mord.
Morderstwo.
Rotterdam.
Herdersmat.

Limited amount of part 33 of the Herdersmat series available now. This vinyl was previously available only by purchasing the full MORDH005. Generic black sleeve.

Limited to 500 copies on gold vinyl, contains download also. The second of three groundbreaking albums by the ultimate power trio who morphed blues into hard rock and spawned punk. A much-loved opus with a side-long concept piece. A bona fide inspirational rock classic. “Tony McPhee has turned to anarchic paranoid battlegrounds of the mind for inspiration,” Melody Maker. And a second side that delivers the mighty ‘Cherry Red’, McPhee’s take on The Beatles’ ‘A Day In the Life’, a sideswipe at junk food and a glorious interpretation of John Lee Hooker’s ‘Groundhogs Blues’. “Both musically and lyrically, ’Split’ speaks for a lost time, a nomad time when ideals took to the hoof and musicians stayed on the road rather than confront the fact that the '60s 'war' had been lost.” Julian Cope // “Murky, fuzzy, and wisely esoteric.” AllMusic. // “Supercharged, fractured and raging.” MOJO // Remastered and packaged with bonus tracks on the download (out-takes from the original sessions that spawned this spontaneous monster).

London based Multi National noiseniks ‘Michael’ return with their second album ‘Nite Salad’, released on Crackedankles Records on October 18th.Nite Salad, the second offering...One studio fire, several collapsed spinal discs, two swapped out axemen and a couple o’ kids, all dragged through a taste-battering pandemic. A seriously good bedrock recipe primed for the unwanted A-road that is Nite Salad, Michael’s second full lengther. Another helping of thuggy dirt, funky hurt, baggy spunk and general malaise confronting the state of shitlife in the 2020s.Look elsewhere for optimism but sneak onto the good ship Mike for a destinationless, ill-prepared voyage into the deep,dark ocean of H E A V Y F U T U R E S.

The debut recording from the duo of multi-award-winning Scottish author David Keenan and Bruce Russell, the guitarist from the greatest underground rock band of the late 20th century, New Zealand’s The Dead C, was recorded live in Christchurch, NZ, as part of the WORD festival in August 2023. A series of live improvised settings that pair readings from Keenan’s monolithic and critically-acclaimed modernist masterpiece, Monument Maker (White Rabbit 2021), with guitar and electronics from Russell, the music takes off on the kind of post-VU fantasy of punk-primitive free music posited by Russell in projects like A Handful of Dust while expanding on Russell’s no-technique blues w/scalpel sharp riffs and aformal blats of pure electricity that match the religious eroto-mania of the text. Keenan reads w/shamanistic intensity and with a sonorous, incantatory rhythm, while Russell conjures the very ghost of the book straight out of the air. Think the early Patti Smith/Lenny Kaye spoken word/guitar jams informed by religious painting, Bach cantatas, Pierre Reverdy, Goya, Charles Olson, Arthur Doyle and Rudolph Grey. Features full colour photography by musician and artist Heather Leigh taken in-situ during the writing of Monument Maker in France in 2018. Bruce Russell is a practitioner in sound, who for forty years has been a member of The Dead C and A Handful of Dust. He mixes rock, electro-acoustics, noise and improvisation in equal measures. Also directed two of New Zealand’s vanguard independent labels, Xpressway and Corpus Hermeticum. His solo guitar practice reconfigures the blues as a form of improvisational auto-destruction. He is also a writer and his next book is titled ‘Rock’n’roll: my part in its downfall’. David Keenan is the author of six novels; This is Memorial Device (Faber & Faber) which won the London Magazine Prize for Debut Fiction and was shortlisted for the Gordon Burn Prize; For the Good Times (Faber & Faber), which won the Gordon Burn Prize and was shortlisted for the Encore Award for Second Novels; Xstabeth (White Rabbit), which was shortlisted for the Dublin Literary Prize; The Towers The Fields The Transmitters (White Rabbit); Monument Maker (White Rabbit), which was a Rough Trade Book of the Year; and Industry of Magic & Light (White Rabbit). Edna O’Brien has said of him “I sometimes think David Keenan dreams aloud. His prose has the effortless, enigmatic, unsettling quality of dreams… reading him feels like being cut open to the accompanying sound of ecstatic music.”

For fans of Michael Kiwunaka, Jon Batiste, Leon Bridges, Gregory Porter, and Mg.Kee. Full tour in the works for 2025 in North America and Europe. Collaborated with a wide range of artists including Jack White, Dwele, Slum Village, Black Milk, Foreign Exchange, 14KT, and Daru Jones. Former musical director for tours for Black Milk and Slum Village, throughout North America, Europe, Australia, and Japan. “From the Throne Room” is Abernathy’s fourth official LP, following the trilogy of “Monologue,” “Dialogue,” and “Epilogue,” released between 2016 and 2019. Aaron Abernathy has been firmly established in the modern soul scene for almost two decades, and he continues to elevate his craft as a songwriter and performer. His latest LP “From the Throne Room” once again demonstrates a rare ability to seamlessly shift between lyrical themes and musical styles, and it is his most inspired and uplifting album to date.
The turmoil caused by the pandemic was especially hard on touring musicians, and as a veteran musical director and bandleader who has regularly traversed the globe, Abernathy was certainly affected. Instead of wallowing in grief and darkness, he tapped into his gifts as a songwriter and lyricist to manifest light and optimism in his own life. As expressed on the opening track “New Relationship,” this “new way of seeing” kicked open some new creative doors for him as a musician and producer, with a wide variety of influences. The four-to-the-floor push of “A Reason to Smile” brings to mind 80’s post-disco boogie, “Show Off” shows off a modern rock edge, and the booming, driving energy in tunes like “Hope Song” and “Joy” is reminiscent of the electric 60’s soul of Wilson Pickett and Otis Redding. With its catchy hooks, powerful lead vocals, and slick self-produced arrangements, “From the Throne Room” proves that Aaron Abernathy remains one of the most talented singer/songwriters of his generation in contemporary soul music.

A RADICAL HORIZON is comprised of a series of duets between cellist Lori Goldston and pianist Stefan Christoff, recorded on a late Fall afternoon in Brooklyn, NY. A conversation between friends, these improvised excursions reflect a willingness to be open to the spirits in the space and between the notes; a spirit of communion that, as Stefan writes, "guides and dances with our dialogue together".

Stefan Christoff is a Canadian musician, community organizer, and journalist based in Montreal, Quebec. He has collaborated with artists such as Sam Shalabi and Adriana Camacho, performs with his brother Jordan as a duo in Anarchist Mountains, and has released music on labels such as Moon Villain, Shimmering Moods, and Aural Canyon.

A lifelong community activist, he helped establish the Musicians For Palestine project and has engaged in street-level solidarity work in Lebanon and The Philippines as well as closer to home in Montreal. This is his second appearance on Beacon Sound after 'In Sofia', an album of piano improvisations recorded in Bulgaria, was released on the label in 2023.

Classically trained and rigorously de-trained, possessor of a restless, semi-feral spirit, Lori Goldston is a cellist, composer, improvisor, producer, writer and teacher from Seattle. Her voice as a cellist, amplified or acoustic, is full, textured, committed and original. A relentless inquirer, her work drifts freely across borders that separate genre, discipline, time and geography.

Current and former collaborators and/or bosses include Earth, Nirvana, Mirah, Jessika Kenney, Ilan Volkov, Eyvind Kang, Stuart Dempster, David Byrne, Terry Riley, Jherek Bischoff, Malcom Goldstein, Steve Von Till, Lonnie Holley, Cat Power, Ellen Fullman, Maya Dunietz, Mik Quantius, Embryo, O Paon, Tara Jane O’Neil, Natacha Atlas, Broken Water, Ed Pias, Christian Rizzo and Sophie Laly, Threnody Ensemble, Cynthia Hopkins, 33 Fainting Spells, Vanessa Renwick, Mark Mitchell, Lynn Shelton, and many more.

Her work has been commissioned by and/or performed at the Kennedy Center, Sydney Festival, Cineteca Nacional de México, Tectonics Festival, Frye Art Museum, Time Based Art Festival (TBA), WNYC, The New Foundation, Paris Fashion Week, Northwest Film Forum, On the Boards, Seattle International Film Festival, Seattle Jewish Film Festival, Bumbershoot, Crossing Border Festival, Boston’s Museum of Fine Arts, Joe’s Pub, the Stone, University of Chicago, and venues large and small throughout North America, Mexico, Australia, and Europe.

Bobbi Lu is the moniker of Lucy Ryan, born and raised in Oxfordshire in the UK, now living in Bruges after following love a few years ago. As a DIY bedroom producer, she’s released a handful of singles and is now ready with a debut album – ‘Arrow, Four’ – that will be out on 25 October. Drawing inspiration from acts like Radiohead, FKA Twigs, Jockstrap and Saya Grey, Bobbi Lu intertwines piano melodies with deep crunchy bass, electronica and samples, coming together in a dystopian and mysterious sound. As Ryan started gigging, she quickly attracted attention and went from supporting acts like The Haunted Youth and Sylvie Kreusch to playing her own headline shows and amazing festivals like The Great Escape (UK).

‘Arrow, Four’ is a collection of ten songs, written over the course of a few years, the process of each one completely different. “I guess the individual tracks have their own story, but in my head each story is just a symptom of a bigger theme, mostly inspired by the book Future Shock by Alvin Toffler. In it he talks about people’s ability to adapt having essentially a limit, and with growth accelerating could we be overloaded and experience a 'future shock'. And maybe that’s already happening, most notably in the form of mental health struggles.” “It made me think of how progression creates new challenges, an arrow going one way is pulled back by another in the opposite direction. I feel like it’s a topic more relevant than ever, especially with AI most recently. I think I use this topic to fuel my lyrics mainly as a way of forgiving myself and others, in those moments where we struggle and make mistakes, that we're all just doing our best in trying to keep up with a rapidly changing environment.” This is also reflected in the artwork by Maarten Derous. “It ties everything together. He came to me after listening to it and said something that came out for him was fragility, which at the time I completely did not think of. But he nailed it. It’s like, yes do it, be fragile and take it easy, it’s a pretty good answer to stuff being pulled in all directions.”

Limited LEMON Vinyl Edition

HOO - master builders of woozy dynamics, songs unfurl with a mysterious, hooky logic all their own to create deeply emotive, chaotic, cinematic and - surprisingly, with this album ‘III’ - indie pop tunes! Songs clocking in just over 2 or 3 minutes, driven by heavy grunge guitars & potty Moog magic, opening out at times during the breathtaking prog Ov Violence/ Evil Weeks and the epic gothy final track Method Papers. ‘III’ has been 10 years in the making and features friends Simon Rowe (Chapterhouse, Mojave 3), Ian McCutcheon (Mojave 3, Slowdive), Paul Blewett (Moon Attendant), Lee Lavender & long-time collaborator & award-winning folk artist Jackie Oates. The themes and feel of the songs meant they had to lay in wait in HOO’s church-like studio, patiently growing & spawning like a 70's Dr WHO monster. Newer songs like the almost indie disco Snake & Myself When I Am Real finally gave the album foundation. HOO songwriter Nick Holton explains “All my music, including stuff in the past with Coley Park & Neil Halstead (Slowdive), is made at home in my own studio ‘Oaki Room’, so they blend into one another and my broader life. This is why musicians like Paul Blewett, Ian McCutcheon and Simon Rowe are always in the band or on my records - because they are part of my life. I have always made music this way and intended to. Jackie’s beautiful lead on England Theme, a high for me, was a simple idea. A mirror, as is so much of what I write about, here pride and disappointment in your world. Politics, religion, conflict, human frailty & alien tentacles, the collapsing environment all feature heavily and inspire. Despite this, we aim to make these dark songs engaging & endearing, skipping about you at volume in a psychedelic fug.” “I cannot and will not explain what is going on, but ‘III’ definitely closes a door and feels the most complete work of my life” Holton concludes. ’III’ is playful, eccentric, explosive and shamelessly takes itself seriously. Finished and mastered by Heba Kadry (Beach House, Bjork, Slowdive). We hope you now enjoy HOO’s third album. “Highly recommended to those who dig cinematic dream pop & Krautrock.” Echoes & Dust “50s sci-fi meets peak Reading shoegaze. It’s an ideal soundtrack for the new normal” Mojo “Shoegaze guitars, space-folk synths, otherworldly drones & krautrock drums into soundscapes immersive, possibly hallucinogenic.” Uncut “Textural & cinematic guitar driven epic” Shindig “A place where you see shadows of ghosts and echoes of your imagination” HiFi World Highlights “50s sci-fi meets peak Reading shoegaze. It’s an ideal soundtrack for the new normal” Mojo feat ex-Slowdive & Coley Park

HOO - master builders of woozy dynamics, songs unfurl with a mysterious, hooky logic all their own to create deeply emotive, chaotic, cinematic and - surprisingly, with this album ‘III’ - indie pop tunes! Songs clocking in just over 2 or 3 minutes, driven by heavy grunge guitars & potty Moog magic, opening out at times during the breathtaking prog Ov Violence/ Evil Weeks and the epic gothy final track Method Papers. ‘III’ has been 10 years in the making and features friends Simon Rowe (Chapterhouse, Mojave 3), Ian McCutcheon (Mojave 3, Slowdive), Paul Blewett (Moon Attendant), Lee Lavender & long-time collaborator & award-winning folk artist Jackie Oates. The themes and feel of the songs meant they had to lay in wait in HOO’s church-like studio, patiently growing & spawning like a 70's Dr WHO monster. Newer songs like the almost indie disco Snake & Myself When I Am Real finally gave the album foundation. HOO songwriter Nick Holton explains “All my music, including stuff in the past with Coley Park & Neil Halstead (Slowdive), is made at home in my own studio ‘Oaki Room’, so they blend into one another and my broader life. This is why musicians like Paul Blewett, Ian McCutcheon and Simon Rowe are always in the band or on my records - because they are part of my life. I have always made music this way and intended to. Jackie’s beautiful lead on England Theme, a high for me, was a simple idea. A mirror, as is so much of what I write about, here pride and disappointment in your world. Politics, religion, conflict, human frailty & alien tentacles, the collapsing environment all feature heavily and inspire. Despite this, we aim to make these dark songs engaging & endearing, skipping about you at volume in a psychedelic fug.” “I cannot and will not explain what is going on, but ‘III’ definitely closes a door and feels the most complete work of my life” Holton concludes. ’III’ is playful, eccentric, explosive and shamelessly takes itself seriously. Finished and mastered by Heba Kadry (Beach House, Bjork, Slowdive). We hope you now enjoy HOO’s third album. “Highly recommended to those who dig cinematic dream pop & Krautrock.” Echoes & Dust “50s sci-fi meets peak Reading shoegaze. It’s an ideal soundtrack for the new normal” Mojo “Shoegaze guitars, space-folk synths, otherworldly drones & krautrock drums into soundscapes immersive, possibly hallucinogenic.” Uncut “Textural & cinematic guitar driven epic” Shindig “A place where you see shadows of ghosts and echoes of your imagination” HiFi World Highlights “50s sci-fi meets peak Reading shoegaze. It’s an ideal soundtrack for the new normal” Mojo feat ex-Slowdive & Coley Park

Why the Eye is an experimental masked quartet from Brussels that propels bodies into trance during its live performances. All instruments are DIY and played in real time, without loops or sequencers. Fans of The Residents, Société Étrange, Autechre, Boards Of Canada, The Meridian Brothers and Fulu Miziki could easily relate to their sound. Describing their music as "Prehistoric Techno", Why The Eye are set to release their new album ‘Inspirex’ on the 4th of October via Exag Records. Opening with the fidgety JNSP, the vindictive summons La Machine is a brash, abstract experience with a deep yearning to set us free from everyday political confinement while the raw Où cours-je explodes into a wild rage of disorder and mayhem. At the heart of each track are the DIY instruments band member DjP (Jean Paul Domb) has assembled over the years, some of them directly inspired by the African sanzas. With names such as ‘radiocaphone’ and ‘castabignettes’, the instruments are cleverly connected to different effects pedals and are the heartbeat of Why The Eye. Elsewhere, the album title track reveals a snappy rhythmic quality with skittish sounds while Prairies and Animal are tribal-like in delivery with a deep-lying punk ethosele

Showcase A delivers a refined collection of four stylish tracks, each crafted by a different artist, yet unified by their high-quality production and distinctiveness.

Opening with Fedo's 'Tunisian Rex', it immediately strikes you with a sophisticated fusion of house and techno. The track's smooth, polished sound is anchored by a key bassline, effortlessly guiding the listener through its very enjoyable flow. Following this, Andrey Djackonda & Ovil bring a lively energy with 'Lui Lui'. This song blends upbeat house vibes with playful jazz elements, creating an atmosphere of fun and positive spirit that's impossible to resist. On the second side, Legit Trip's 'Skripi Daddy' introduces a deeper, more minimal groove. The track's busy tech rhythm is skillfully layered with just enough room to then include a melody to elevate it further. Closing the album, Firesc's 'Left Or Right' offers a techy sound infused with eastern samples. The track's bouncy bassline and snapping percussion give it a unique, vibrant character that leaves a lasting impression.

Opaque Mango Colored Vinyl. RIYL: Black Milk, Kendrick Lamar, Kamasi Washington, Mos Def, Blood Orange, Milo, Pharcyde, Blackalicious, Anderson Paak. Richmond, Virginia-based artist McKinley Dixon has always used his music as a tool for healing, exploring, and unpacking the Black experience in order to create stories for others like him. For My Mama And Anyone Who Look Like Her, Dixon's debut album on Spacebomb, is the culmination of a journey where heartbreak and introspection challenged him to adapt new ways of communicating physically and mentally, as well as across time and space. The language accessibility aspect of this project draws right back to communication and connecting," Dixon explains. "I think about the messaging, and how this can be a way for another Black person, someone who looks like me, to listen to this and process the past. Everything I've learned about communication for this album culminates with this bigger question about time. Is time linear when you're still healing and processing? Westerners look at time travel as something to conquer or control - it's a colonizer mindset. That's ignoring how time travel can be done through stories and non-verbal communication, and doesn't acknowledge how close indigenous people are to the land and the connections groups have because they've existed somewhere for so long. Storytelling is time travel, it's taking the listener to that place. Quick time travel. Magic." Never relying solely on beats, Dixon taps into a hybrid of jazz and rap, pulling in an array of piercing strings, soulful horns, percussion, and angelic vocalists throughout the album-plus features by Micah James, Lord Jah-Monte Ogbon, Pink Siifu, and more. Jazz instrumentals add a level of uncertainty, with the sounds and shifts evoking a lot of emotion and vulnerability. It's an energy he describes as "Pre-Kendrick Lamar To Pimp A Butterfly," the era when rap adopted more live instrumentation. The best way to sum up this album is: I was sad, I was mad, and now I'm alive," Dixon explains. "These things I talk about on the record have had harmful and brilliant effects on my timeline, and have forced me to be cognizant of the fact that living is complex. Rap has allowed me the language to communicate, and be someone who can communicate with people from all over. Knowing how far I've come, I think people will find trust in the message I'm sending."

GǼG, the production unit of Tokyo's leading club sound Monkey Timers and Okayama-based maverick producer Keita Sano, is proud to present this heavyweight, alternative, and leftfield release on the "Sound of Vast."

Over a powerful and mysterious bassline, the hypnotic A1 'Jack' builds up with sharp synth stabs, dark pads, and ACID voices taken from Ron Hardy's open reel soundtrack series Jackmaster Hater.
AA1 is followed by the obscure percussion track 'Yamato.' It is a reinterpretation of the drumming of legendary drummer Curt Cress from the German jazz-rock scene of the 80s in the context of dance music.
AA2, 'Central' takes the funky bassline of The S.O.S. Band's 1982 album 'High Hopes' and infuses it with roaring feedback, cutting guitars, and spacy synth sounds, giving it a fresh, modern twist and elevating it to the realm of cosmic disco.

Monkey Timers' love for the classics of disco, krautrock, and Chicago house, the intensity and immersion of current club music created by their real-life experience in the field, and Keita Sano's unique free-form outlandish sound techniques coexist on this 12" EP.

東京のクラブサウンドをレペゼンしてきたMonkey Timersと岡山の奇才プロデューサーKeita SanoによるプロダクションユニットGǼGが〈Sound of Vast〉より満を持して放つ超重量級オルタナティブ・レフトフィールド・ストンパー！

パワフルで不穏なベースライン上にRon Hardyのオープンリール音源シリーズJackmaster Haterから割愛した”Acid! Acid! Acid!” ヴォイスリフレインを刻み、鋭利なシンセスタブとダークなパッドでビルドアップしたヒプノティックなナンバーA1. Jackを皮切りに、80年代ドイツジャズロックシーンの伝説的ドラマーCurt Cressのドラミングをダンスミュージックの文脈で再解釈したオブスキュアなパーカッション・トラックAA1. Yamato、そしてThe S.O.S. Bandの82年作”High Hopes”のファンキーなベースラインに轟音フィードバックやカッティングギター、スペーシーなシンセサウンドで現代的なコズミックディスコへと昇華したAA2. Central。

ディスコ、クラウトロック、シカゴハウスといった古典への愛情と現場で積み重ねてきたリアルな経験が生み出す現行のクラブミュージックとしての強度と没入感、そしてKeita Sanoのフリーフォームで奇天烈なサウンドテクニックが同居した渾身の3曲を12“EPに収録。

"In the mood for love"
A bohemian atmosphere caught between Paris and Rio. Melodies and Harmonics that have a french taste and rhythms rooted in Brazil. Laura Fedele the time stopping voice.

"Take 4"
Up tempo track characterized by a soprano sax that swirls out melodies making you feel like you have travel back to the 70's. The jazzy guitar riffs opposed to flutes makes the picture complete; all weaved by S-tone inc. 's hand.

"Rendez-vous à minuit"
A Bossa Lounge motif with Wes Montgomery guitar riffs combined to scat voices all packed in relaxin' cruise formation.

"Vai Ser Bom"
Dedicated to Iemanjà, Brazilian sea god. A dreamy rhythmic atmosphere sweatened by the tender voice of Adi Souza and acoustic guitars inpired to Baden Powell.

"La Boca del Rio"
The acoustic bass distinguishes this up tempo track that creates great ambience. The acoustic piano duets the keyboards enriched by strings. The rhythms falling between house and bossa nova.

"Limbe"
A scent of India in a down tempo track, a bit psychedelic with sitars and tablas making the background for a French melody. Velvet voice of Laura Fedele gives the track that extra dimension.

"Memphis Freeway"
Funky track with a 70's taste starting with the flute that plays the theme with horns 'Temptations' style. The beat is a straight 4/4 kick with a groovy bass.

"Entre o Ceus e a Terra"
Like the dualism in the title, the track is divided between the tension of the spoken riff and the solarity of the melody both moved by a "bossy" up tempo base.

"Effetto Notte"
A cinematic feel for a soothing chill out theme on the keyboard alternating with dreamy orchestrations.

Repress!

The seventh release on M.A.D Records - label bosses Make A Dance are back.

The El U Vee E.P sees the London duo serve up an eclectic mix of influences from across the board. ‘Cool Girls’ opens with italo arps, gated snares and seductive vocal samples. Title track ‘El U Vee’ follows, blending house heat with a dash of Latin spice. This is a love-song body groover.

Flip it over and find the percussive basement jam ‘Oh Yeah’, before ‘No Way Out’ rounds off the EP with an acid tinged, new beat blend of M.A.D.ness.

Ranges welcomes Elias. with an exclusive reminiscent dub EP. The A-Side opens with the expansive soundscapes in “Aquatic”, followed by a beautifully designed 4/4 dub action in “Red Lantern”. The B-side puts emphasis on faster shades of dub. “Severe” delivers a reminiscent chord action accompanied by peak-time grooves. “FM Therapy” and “Fog” showcase a darker edge of dub with raw energy supported by cold yet evocative atmospheres. A compelling collection of 5 diverse tracks making a unique contribution to the label catalog. Limited 12” pressing!