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The 7th edition in the Exit Planet Earth vinyl series features another serving of electronic cuts designed for space travel with 20/20 Vision debuts from The Exaltics & Paris The Black Fu, Alex Jann, Lost Souls of Saturn and Kim Cosmik.

Opening with an interstellar serving of classic electro funk from the pivotal figurehead of Germany's electro-tipped underground 'The Exaltics' of 'SolarOneMusic' and 'Paris The Black Fu' from the mighty 'Detroit Grand Puhbas'.
This heavy weight collaboration comes in the form of 'wea poni zedin form ation' a masterclass in acid-influenced and undoubtably charismatic electro, complete with distinctive Kraftwerk-esque vocals. Alex Jann follows up on the A side with 'Android Memory' combining bleep techno elements with futuristic electro in an expertly crafted high paced does of sci-fi funk peppered with chaotic glitches, driving grooves and punchy kicks.

On the flip side we're joined by Seth Troxler and Phil Moffa under their inter dimensional moniker 'Lost Souls Of Saturn'. L.S.O.F offer up a mind altering hybrid of sci-fi inspired electronica, techno, electro, acid, free-jazz and more, blurring genre lines and pushing boundaries deep into the cosmos. Under-pinned by a predominately break beat groove 'Rave is Back' incorporates a plethora of un expected elements, from orchestral drones and harmonic melodies to unidentifiable machine glitches.

Wrapping up the 7th outing in the Exit Planet Earth vinyl series, we're joined by long-time purveyor of UK Electro -
Cybersoul's 'Kim Cosmik', firing on all cylinders with a tripped out assault on the senses. Her track 'Moonrise' hammers home with a fast paced, glitch heavy groove, serving up complex patterns across an ominous soundscape littered with ghost like echoes.

Sturdy electro thumpery from Konery TMI, served up in five portions across what will surely prove a highly delectable EP for fans of the genre. Opening track 'Nauhuri' and 'Automaa' are both full of grace and gorgeous, effortless glide, while 'Lumivyory' alters the mood somewhat to get down and dirty with some thoroughly filthy acid squelch filth. 'Polaaritahti' takes its cue from the more minimal 80s sounds of Egyptian Lover or Hashim, before we draw to a close with the more serene and soothing 'Mustikka'.

Maenad Veyl returns to his namesake label along with The Sarcasm Ensemble for the new album, 'Comfort in Misery'. Made up of ten compositions exploring sparse beats, cinematic textures and mind altering experimentations, this is an offering of thought provoking pieces which perhaps make the perfect accompaniment to the modern world. As the name implies, 'Comfort in Misery' seeks to find ways of dealing with perpetual shifts and agonizing circumstances.
The opener, 'Weak & Weary', acts an almost rude awakening, while simultaneously cleansing the palette for the forthcoming journey. 'Harsh Whispers' quickly takes hold and feels like a fragmented dream you may or may not remember while then moving to the more minous, 'Life Expectancy'. From the sparkling tones of 'Deep Ruby' to the uncomfortable bliss of 'Always Worse', the project touches on the most known yet unknown of moods, emotions and states of being.
Winding down with 'Irreconcilable Differences' before concluding with the satisfying chaos of 'Shred', 'Comfort in Misery' cannot be pinpointed or married to any one sound or status. While tackling a seeming insurmountable subject, Veyl & The Sarcasm Ensemble provide a perfect solution for the everlasting pain.
Or do they?

After the success of critically acclaimed debut, SOS Music Volume 1 (praised by The Wire - ‘There isn’t a weak link’, RA, Gilles Peterson, Maryann Hobbs, Rough Trade, Love Injection, Mixmag, DJ mag, Basndcamp, Vinyl Factory etc.), the cutting edge Los Angeles electronic label are back with their sophomore release, another explosive compilation comprised of brand new female and female identifying talent.
The release, available on beautiful clear vinyl and digital features 7 of the most exciting emerging names in global dance music; Aura T-09, Closet Yi, Regular Fantasy + Yazzus to name a few. As dance floors open, SOS co-founders Maddy Maia and Tottie wanted to curate something positive, uplifting and reflective of sweaty summer dance floors, whilst retaining the edge that permeated their debut.
The release will be accompanied by an SOS tour North American + Europe at some of the most iconic global clubs - and expect mainly female, female identifying and non-binary artists on the bill.
Though only founded in 2020, SOS Music has been making waves in the independent dance community, and has helped to highlight the global underground dance scene growing rapidly in Los Angeles. The release made end of year lists including Bandcamp’s Best of Electronic and Rough Trade NY compilation of the year. SOS Music also hold a residency on Worldwide Fm, which continues to highlight ground breaking electronic talent with a female focus.

Our good frined who already released two stunning ep's as Psynote on CHIWAX, returns now on our flagship with a remarkeble release which will hopefully fill some open air floors this year!

10Questions is a record label by Dam Swindle’s Lars Dales and graphic designer Bas Koopmans. After two prolific first releases, 10Questions drops another EP, this time by long time friend and synth wizard Lorenz Rhode. Lorenz finds himself exploring the depths of 80’s inspired Italo disco with a modern touch. Just how we like it.

The ‘Le Noir EP’ is spearheaded by two A sides of which title track ‘Le Noir’ is the first one. “Le Noir’ features the sensual vocals of ‘Margerita’ and is one of those tracks that we love instantly because of it’s strong theme and even stronger execution. Italo drama in optima forma. The chord progression on this track gets you hooked and never seems to end; a perfect example of why we call Lorenz the ‘synth wizard’.

The second A side ‘Yayoi’ is a track with a big nod to Lorenz’ memories of 8bit games and early days music programming. This track pulls you in from the start with an emotional theme but with the drop into bassline and percussion it’s clear this theme is not one to linger on. The addition of both claps and stabs add loads of energy on top making this track a wolf in sheep’s clothing.

The full B side is reserved for ‘Pan Di Stelle’ and is the exact counterpart of ‘Yayoi’. It starts of with an Italo inspired bassline and with the percussion on top, it immediately dictates the energy. Only after the two minute mark the spacey theme comes lurking around the corner and fits perfectly in it’s own sonic pocket. This track is a another example of Lorenz’ expertise in utilising vintage synths and why he has been immensely popular for his production and playing skills.

10Questions is a label build on the concept that the record and record sleeve are an integral part of the full experience of an EP. The artist is given a questionnaire and depending on his/her answers the artwork is made. This way the music and art co-exist in the same creative universe, that of the artist and the label alike.

Special one Time Limited Edition in Rosé Colour Vinyl.

MARA is the debutalbum of Munich-based jazz group FAZER. The young musicians combine African and Latin rhythms with dubby basslines and melancholic melodies. The unusual lineup with two drummers (Simon Popp, Sebastian Wolfgruber), bass (Martin Brugger), guitar (Paul Brändle) and trumpet (Matthias Lindermayr) leaves an open space for unfettered improvisation. Through the concept of repetition and finely measured dynamics, Fazer create a drawing energy that can be felt directly at their live shows and has been captured perfecty on this record.

Formed by Cream lyricist Pete Brown, The Battered Ornaments were a mixture of English jazz, blues, and psych rock in the late 60s. By the time they got around to recording their sophomore album Mantle-Piece, Brown was out of the band, yet they recorded his songs and sang his parts. The album was a critical and commercial disaster. It was later rediscovered by hip hop crate diggers for its raw funky production and open grooves especially on the track "The Crosswords And The Safety Pins".

Glimmering medieval weaponry forged, polished and brandished, Zhenya Lavrinov arrives to take us back in time and beyond the stars. As LVRIN, he appeared opposite Maoupa Mazzochetti on a split EP for Arma – but one pockmark in a scattering of machine-powered ruminations for respected, proudly underground labels – and now he returns to wield a new alias across five tracks of ominous, night-creeping sonics.



The tracks making up Milky Way were recorded by Bryansk-based Lavrinov between 2013 and 2020, reflecting a side of his musical demanour not betrothed to the demands of the dancefloor. Golden Axe is far from ambient though – this is still resolutely rhythmic music spoken by specifically sculpted synths and powered by purposeful sequencers.



There’s a cosmic theme at play here, but ‘Moon Influence’ speaks as much to ancient rites and man’s obsession with lunar forces as any space-age sci-fi symbolism you might associate with gurgling electronic patterns. ‘Rhythmbox From Space’ may be brimming with analogue freakery, but it’s also locked into a rhythmic mantra which tracks back to the dawn of humanity.



Cementing the philosophy of the record visually, Milky Way comes clothed in a striking artwork by Alina Vinogradova. Lavrinov’s Golden Axe seems to hail from this very space depicted on the cover, speaking through time-honoured tools and revelling in universal mysticism as it opens a new chapter in his darkly seductive, psychosomatic music.

After the worldwide success of their first album Puzzle (1999), which sold over 200,000 copies and went gold in Japan, Xavier Boyer (vocals, guitars), Pedro Resende (bass), Médéric Gontier (guitars) & Sylvain Marchand (drums) reunited with producer Andy Chase to record the follow-up, Wallpaper for the Soul, in New York City. Starting in November 2001 at Stratosphere Sound, the prolific sessions gave birth to twenty tracks, twelve of which appeared on the original tracklist. The eight outtakes were compiled on the mini albums A Piece of Sunshine (2003) & Extra Pieces of Sunshine (2004). This new vinyl edition will be the first time all these songs appear together.

Almost 20 years on, WFTS is a tour de force of contemporary songwriting with obvious nods to the past somehow revisited in a timeless fashion. Tahiti 80’s second effort can also be seen as an alternative and more sophisticated snapshot of an era often associated with the rebirth of rock (The White Stripes, The Strokes…). This set of songs also established them as stalwarts of the Post French Touch cannon, showcasing both their ability to write catchy songs and their knack for mélanges & experimentation. 1,000 Times or The Train are unique examples of blue-eyed soul augmented with French flair (« Prefab Sprout as produced by Thomas Bangalter » suggested Uncut which listed WFTS in their Top Ten’s albums of 2003). Listen to Don’t Look Below today, and ask yourself who was mixing Destiny’s Child with My Bloody Valentine in 2001? Delicate numbers like Open Book or live favorite Better Days Will Come both demonstrate T80’s songwriting skills and their innate sense of melancholia.

Listening back to WFTS today, one cannot help but think of it as an album recorded in a state-of-the-art fashion. All four members would typically perform together in the same room. Basic takes were printed on a 24-track analog tape machine and then bounced onto a computer for editing. A fine example of this method is the title track itself. Originally written on acoustic guitar, Wallpaper … is the result of three eight minutes synthesizer jams pieced together. The Frenchmen were keen to try out multitude of ideas and had developed a taste for experimentation. The sessions also coincide with a rich outburst of creativity from a band on top of their game after several months of touring around the world.

Another typical WFTS characteristic is Richard Hewson’s orchestration. Veteran string arranger, famous for arranging The Beatles’ The Long And Winding Road or writing RAH Band’s ‘80s classic Clouds Across The Moon Hewson gave the songs a sweeping orchestral touch. Strings, Horns & woodwinds were all performed at the now defunct Olympic Studios in London. Urban Soul Orchestra, a 24-piece ensemble who played on Oasis’ or Spice Girls’ hits can be heard on five songs: the opening trilogy Wallpaper…, 1,000 Times and The Other Side, then on the Northern Soul revival Soul Deep and lastly on the album’s closer Memories Of The Past.

Rouen’s most famous four-piece, now relocated in a house on France’s North West Coast, in the quiet seaside town of Étretat, added more bells & whistles and resumed production on the songs. With one last transatlantic leap during the summer of 2002, the boys flew to Portland, Oregon to attend the mixing sessions held by sound wizard Tony Lash (Elliott Smith, The Dandy Warhols…). Suggested by Sub Pop’s craftsman Eric Matthews, also a guest on trumpet and keyboards, Lash would later become a major collaborator on Tahiti 80’s subsequent albums.

In the meantime, Laurent Fétis, the designer behind Puzzle’s iconic artwork, had started working with artist Elisabeth Arkhipoff on a set of nostalgic photographs transfigured with a soft air-bush technique. Those visuals, like their predecessors, have since become an inseparable companion to Tahiti 80’s music.

Many musical fashions and flavors of the month have come and gone, but twenty years after its release, WFTS still sounds fresh and relevant. And always forward-looking, Tahiti 80 is currently wrapping up the recording of their eighth album, to be released in early 2022.

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

Renowned Finnish jazz innovator and band leader Iro Haarla takes a detour towards progressive rock Iro Haarla Electric Ensemble to release their debut album in October Known for her large number of works in the field of acoustic free jazz, Iro Haarla is a notable Finnish pianist, composer, arranger and band leader. Now, having inked a deal with Finnish cult label Svart Records, Haarla takes an eye-opening sidestep towards progressive rock. Her new band consisting of renowned Finnish musicians, Iro Haarla Electric Ensemble weaves a vastly colourful world of sound around Haarla’s peculiar melodies, and welcomes us to new sonic territory: a vibrant world where black music influenced rhythms, acoustic instruments, analog synthesizers and spacelike, valiant electric guitars converge. In her long career as one of the most distinctive creative powers in modern scandinavian jazz, Haarla’s history includes both the works with her past life partner Edward Vesala (d. 1999) and an extensive repertoire of her own innovative solo works, recorded for the renowned ECM Records. For What Will We Leave Behind - Images from Planet Earth Haarla has put together a band whose musical expression is strong and profound. The rhythm of the music lies in the dynamic hands of bass player Ulf Krokfors and drummer Aniida Vesala, and together with Sami Sippola’s (Hot Heroes) responsive tenor saxophone and Finnish rock legend Jukka Orma’s (Sielun Veljet) imaginative ability to dive into new dimensions with his electric guitar, What Will We Leave Behind grows into an unforgettable experience for both prog rock and jazz enthusiasts. Out on the 29th of October 2021, the Iro Haarla Electric Ensemble debut is a homage to nature - our common planet and home. Inspired by nature, the album is also a cry for help in the age of natural disasters and depletion of natural resources around us. “I admire nature’s grand beauty, which arises from extreme phenomena and the battle for survival. The thread of life is unbroken”, Haarla says. Each album track portrays a place on Earth: between the humane opening track The Song We Loaned From Our Children and the hopeful closing track What Will We Leave Behind? vibrates a variety of soundscapes from lakesides, oceans, glaciers and rainforests, all the way to the winds and rumbles of mountains and man-made cities. Adding even more depth to the musical themes and landscapes, the album’s cover art was picked up from environmental art pioneer Teuri Haarla’s photo collection.

A new expanded reissue of the sold out & extremely limited LP from 2017. Concert recordings spanning the 1950s to the 1980s from opera singer Mary Mazzacane, the mother of guitarist Loren Connors.

“These recordings, no matter how rough the sound quality, capture the essence of the art of bel canto soprano Mary Mazzacane. Born in an Italian American neighborhood (Fairhaven) near Yale, she was one of the first women to graduate from the Yale School of Music. Ms. Mazzacane, who was active on the opera stage from 1947 through the 1970’s, playing leading roles in Madame Butterfly, Tosca, Amahl and the Night Visitors and other works, left no commercial recordings. All we have is a shoebox full of muddy practice sessions and live performance recordings on barely playable cassette tapes, along with a few radio broadcast acetates… Throughout these pieces, her voice has a unique inner warmth and a beautifully clear tone, the closest I know to the pure clarity of bells.” - Loren Connors

Second edition of 250 copies, including 12″x12″ double sided insert of program notes and photos.

Since its creation in 2007, Hifiklub has led more than 150 collaborations which have allowed the Toulon trio to open its music to multiple artistic experiences revealing a constant desire for research and novelty. From unprecedented encounters to unique projects, Hifiklub has developed over the years a now substantial discography whose musical proposals range from pop to jazz through the most experimental sounds and even traditional music. One path, however, remained unexplored: contemporary music."Last Party On Earth" is organized around the association of three energies: contemporary composer Jean-Michel Bossini, singer Duke Garwood and the instrumental ensemble Hifiklub.

Surrounded by mysticism and darkness, the creation has cinematographic dimensions. It positions the listener in a depth and disposition of soul where the voice - and the poetry - of Duke Garwood is carried by Hifiklub and Jean-Michel Bossini around cold and tormented atmospheres. The album seduces by the detail of its sounds, its apparent tranquility and its intimate atmospheres thwarted by harsh flashes.

Mixed by Alain Johannes (Queens of the Stone Age, Them Crooked Vultures, Eleven), the album sees the exceptional participation of the string trio Anpapié (Alice Piérot, Fanny Paccoud and Elena Andreyev) who magnificently perform the score by Jean-Michel Bossini.

All songs performed by Hifiklub, Duke Garwood and trio Anpapié (conducted by Jean-Michel Bossini)

Pascal Abbatucci Julien – drums, percussion
Eléna Andreyev – cello
Jean-Loup Faurat – guitar
Duke Garwood - vocals, guitar
Régis Laugier – bass
Nico Morcillo – guitar
Alice Piérot – violin
Fanny Paccoud – alto

Collaboration is an essential ingredient to this open trio’s creative approach, forming a recurring theme in Hifiklub’s extensive discography and filmography. Based in Toulon, the hyperactive experimental rock band offer a diverse ever-evolving catalogue that now boasts over 150 artist collaborations since they started in 2006. Over the years they have formed as many fruitful artistic friendships allowing them to explore the endless possibilities of expression combining sound, image and text.

Some of the artists that feature in Hifiklub’s kaleidoscopic discography: Lee Ranaldo (Sonic Youth), Alain Johannes (Queens of the Stone Age, Them Crooked Vultures, Eleven), Roddy Bottum (Faith no More, Imperial Teen), Matt Cameron (Pearl Jam, Soundgarden), The Legendary Tigerman, Jad Fair (Half Japanese), Iggor Cavalera (Sepultura, MixHell), Jean-Marc Montera, R. Stevie Moore, Mike Watt (Minutemen, The Stooges), Fatso Jetson, Nels Cline (Wilco), Scanner, Mike Cooper, Eugene Chadbourne…

This collection of 12 luk thung* songs from the 1960s-70s, all produced by Surin Phaksiri, is a superb showcase of cross-genre/multi-national fertilization, with Latin, jazz, western pop, Indian and Japanese music seamlessly melding with the musical culture of Isan (northeast Thailand), which is strongly rooted in Laotian culture; indeed, the Isan language, as featured in these songs, is a form of Laotian. Esteemed producer Surin Phaksiri, an Isan icon, always strove to drive Thai music forward, with innovative techniques and open ears, introducing international elements as well as Lao influences, including the use of the khaen. Many of the singers here, all famed and respected, have Lao roots, and it is predominantly through music that the Isan Lao-Thai culture has entered the Thai national consciousness. These lovely and joyous songs are, for the most part, previously unavailable outside of Thailand; more than half are first-time reissues. The wide range of songs here includes covers of Japanese folk and pop songs, a paean to marijuana, proto-Thai funk, a ramwong-style** dance tune, a cover of a Bollywood classic, some straight-ahead luk thung, a unique Indian-style luk thung, and a gorgeous answer song to a movie hit. An array of gems, available on vinyl and CD, with English translations of the lyrics and Soi48’s liner notes. Cover art by Shinsuke Takagi (Soi48)

* Lukthung: A musical genre whose name means ‘country person’s song’ or ‘children of the field’. The name became established in the latter half of the 1960s and now has the status of a national genre of popular song unique to Thailand. The lyrics of luk thung songs deal mainly with the rural idyll, comparisons between the city and the countryside, life in the big city and current affairs. There are certain typical traits to the music, but no official musical form.

** Ramwong: A unique form of Thai dance music, fostered as a means of promoting national pride and unity. Similar to Japanese Bon Odori, participants form a circle and dance together. The term can refer to the particular style of music, or the actual dance.

Editions Mego is proud to welcome Powell to its roster with a bizarre and strangely emotive new LP of synthetic computer works entitled Piano Music 1-7.

Via his own Diagonal Records imprint, his work on XL Recordings and, most recently, the opening of audio/film platform A Folder afolder.studio, Powell has firm footing in the contemporary electronic landscape. During a wry and obstinate musical life he has twisted myriad synthetic forms into shapes that explore and expand upon the districts of post-punk, techno, noise + computer music, and in the the last year alone he has released four albums of hi-def abstractions, each inspired by a formalisation of music proposed by Iannis Xenakis.

As an extension of this intense period of work/research/play with stochastic functions using probabilities to compose music, various processes emerged that Powell then began to apply to more traditional musical events. Where ordinarily in his work the probabilities and relationships are used to define parameters such as wave-shape, folding, FM, filter modes etc., he now began to use them to create musical formations and visual scores that could be played back using any software/MIDI instrument one of these can be seen on the rear cover of the LP release. While mapping out this cartography of relations, he used a basic Grand Steinway sampler as a placeholder instrument; the longer the process went on, though, the more he began to embrace the acoustic properties of the synthetic piano and make it the bedrock for this new constellation of work.

Piano Music 1-7, subtitled 'Music for Synthetic Piano and Assorted Electronics', consists of seven different synthetic islands strung together into a single composition. All were composed using the aforementioned processes that allowed Powell to play a piano, even if he never learned to do so with his hands. After all, 'In writing electronic music,' Robin Mackay once wrote, 'you also have to direct the invention of new tools.'

At times the piano skips gleefully over shadowing synthesis, whilst at others the synthetic sheets swarm and envelope the keys. The interplay between the two create a fantastical alternate reality, a cosmic machine in which time is eroded, shrunk and expanded, like a wax upon which operations and relations are inscribed or engraved. Many of the pieces express a playfulness or optimism verging on vitalism, as bundles of piano notes dance and interpolate with a never-repeating range of electronic gestures. The feel is of a brightly coloured flower-bed in various stage of bloom. This interplay of the artifical acoustic and the electronic builds on the pioneering processes developed by David Behrman in works such as Leapday Night, and Piano Music 1-7 could also be posited as a modern take on Conlon Nancarrow's investigations for player piano. Similarly, the razor-sharp sonic properties and unfolding of non-human events recall the computer works of Xenakis and the surgical precision of Mego mainstay Florian Hecker.

Recorded in late 2020, these new Powell works propose not just a bold and bright vision of electronic music but serve also as a map with which, for 35 minutes at least, we can navigate our way out of the current milieu. As the artist himself remarks in the sleeve-notes, '. . . What emerged from this fog or soup for me were ideas and processes that felt affirmative and life giving — sensations I had always hoped to convey in my music. Perhaps the optimism or positivity I felt at these musical events unfolding, these clusters and knots tumbling in different directions across time, can also be felt by you.'

UK label Wisdom Teeth returns with its third long-form offering - Sculpturegardening: a new LP by Mexico City-based artist and producer, Tristan Arp. Incorporating elements of ambient, glitch, microhouse and downtempo, it’s an otherworldly record populated by knotty modular textures, blossoming floral melodies, tight pointillist rhythms and glossy acoustic instrumentation. The record was born from a process of “collaborating with machines”: using modular synthesisers to generate probabilistic melodies and rhythms, with the artist taking on the role of sculptor and curator. Throughout, the boundaries between the organic and digital are playfully blurred: we hear synthesisers played by guitars; emotive and distinctly human melodies generated by modular circuits; digital percussion drummed by hand; and live cello processed with a digital finish. The results sometimes recall Roman Flügel at his most colourful, or Benge’s meandering synth workouts, and even at times echo the dubbed-out cello experiments of Arthur Russell.But really sculpturegardening occupies a sonic world of its own, born from a unique web of happy accidents and incidental arrangements. The record’s bright colours and subtle rhythms make it a fitting follow-up to K-LONE’s 2020 LP Cape Cira and Facta’s 2021 LP Blush, and place it neatly alongside the work of label mates Duckett, Benoit B, Steevio and Iglew.
“With sculpturegardening, my concept was to approach music like gardening. I collaborated with machines inspired by the way a gardener collaborates with the earth. A gardener creates the conditions for the plants to come to life and develop on their own. In a similar way, I created a set of conditions and probabilities for the music to make itself. Who is making the music here? “A sculpture garden to me can be a really beautiful environment of balance between randomness and order––between nature and human interaction. Things that are either extremely organized or completely random tend to not resonate with us. On the other hand, something very interesting happens when a balance between the randomness and organization is struck. I invented this verb sculpturegardening to represent creating with the aim of this balance, and the with the aim of building a world in which each piece is a zone, or a sculpture in a garden.” The record will be twinned with a physical iteration - a sound installation at an exhibition curated by Tristan Arp titled Nada Se Pierde; Todo Se Transforma. The show opens on 9th October in Mexico City at Avant.dev. The physical sculpture garden will be a collaboration with Mexican sculptor Pablo Arellano. The sound installation will centre around a 4-channel audio system that gives voice to different sculptures and allows visitors to create a mix of the sounds depending on their position in the garden.

Originally recorded in 1986

featuring Nate Morgan and Horace Tapscott

Finally on LP as originally intended:

Straight from the 1/2” MASTER TAPES (All Analog Cut)

With Unseen Photos from the recording session

Tip-On Sleeve

Insert with Liner Notes by Mark Weber



First official Nimbus vinyl release of this classic album. LP cut directly from the 1/2” Master Tapes, this is, without a doubt, the definitive version of “Sharps and Flats” … the sound is akin to sitting in the control room while the band recorded, very detailed and deep in presentation and articulation. One of the very best (and also very last) studio recordings that Tom Albach undertook in the USA for his Nimbus label… this album sat in the vaults for many years before a cd was issued in the early 2000’s. (Unfortunately, the Cd and subsequent versions were sourced from a dubious DAT transfer which was 4 generations removed from the master tapes (at best).) This is really the first opportunity to hear the album as it was originally intended… Featuring a tip- on sleeve with session photos and a great shot of Jesse from the original cover shoot, and an insert with a new essay by Mark Weber.

Swedish group Roxette celebrates the 30th Anniversary of their third album “Joyride”, following the band’s spectacular global breakthrough with “Look Sharp!” in 1989. The 30th Anniversary of ”Joyride” will be celebrated with the release of a marbled pressed vinyl and original black vinyl, this time with gatefold cover. 4-album vinyl set and a 3-CD box also available, containing the original release as well as previously unreleased or hard-to-get material.

Joyride” was the album that was supposed to cement Roxette’s new-found status as a global hit-makers. Which indeed it did. On May 1, the title track zoomed all the way up to #1 position on the Billboard Hot 100 chart – setting a record no Scandinavian group or artist has yet been able to break, helping to make “Joyride” a 11+ million seller.

Twelve of the songs are previously unreleased, among them the first recording of ”Hotblooded”, which originally was meant to be the album’s opening track until ”Joyride” knocked it down a notch, giving the album and the upcoming “Join the Joyride” World Tour its name. The “Joyride” box set also offers a chance to hear two previously unreleased demos of songs originally released by Per’s former group Gyllene Tider, who in 1984 tried to break the international market with the album “Heartland Café”.

The vanguard of the Polish psychedelic heavy rock scene returns
with a brand new album! Continuing to defy expectations and
challenge what it means to be a “stoner” band, Weedpecker have
crafted a new masterpiece. After several fundamental lineup
changes in the past years, fans of
Weedpecker were left wondering
what might become of the band’s
newest incarnation. “III”, their
last outing from 2018, was the
final one with longtime bandmates
Bartek Dobry, Robert Kulakowski
and Grzegorz Pawlowski (the first
of whom is remaining founding
member Piotr Dobry’s brother).
In 2019, the band gave a very brief
glimpse into their new lineup featuring
members of Dopelord, Major
Kong and Belzebong while on
a short tour. The most surprising
change was the switch from dual
guitars to a full-time keyboardist.
So much for history, where does
this take us to now with the new
album?
“IV” is a deep, vividly textured IV” is a deep, vividly textured psychedelic
rock record with tons of
layers begging to be picked apart
upon multiple spins. Beginning
with the driving opener “No Heartbeat
Collective”, the song immediately
beings new elements into
the mix. Etherial keys and twisting
guitar lines meld in harmony,
giving way to chunky riffs. Moving
forward, “IV” continues to surprise
with mellow psychedelic gems
reminiscent of early Tame Impala,
blistering Oh Sees-esque rock
bursts and of course the trademark
melodic heavy riffage.
Former co-lead guitarist Bartek
has teamed up with the band
in the position of engineer and
producer, while also lending his
arrangement skills. This combination
of new input and experimentation
has led to the most radical
Weedpecker record thus far, a
killer album which will doubtless
make a late entry for 2021’s album
of the year.
Available on 180gr. transparent
yellow LP including download card
and on CD.

Following their recent solo releases Soniscope (Dauw) and Cells #5 (Important Records), Berlin-based multi-instrumentalist Midori Hirano and Tokyo based string experimentalist Atsuko Hatano have teamed up for their first collaborative full-length: Water Ladder. An intense, multilayered continuation of earlier collaborations (Atsuko was featured on Midori’s debut LP back in 2006), the foundation for this new collaborative album was laid when they shared stages in Berlin (Ausland) and Japan in 2019. Working remotely at first, they later recorded parts of the album in Nara’s snoihouse (using omnidirectional polyhedral speakers).

“As we rallied back and forth with our recordings in the process of creating this album, unanticipated fluctuations and irregularities emerged, coming together into a kind of music with a unique resilience and buoyancy that cannot be confined to existing molds. It was as though we had built a Water Ladder to bridge the gap between us,” explains prolific composer and viola player Atsuko Hatano, who’s been busy recording solo and with colleagues such as Jim O’Rourke, Eiko Ishibashi, Mocky, Tatsuhisa Yamamoto, Takeo Toyama, and Anzu Suhara (Asa-chang & Junrei).

Kyoto-born, Berlin-based Midori Hirano, who’s also been releasing music under her MimiCof moniker, adds multiple instruments to the ever-changing sonic landscapes of Water Ladder – an album defined by suspenseful and seemingly suspended compositions that often feel like floating in midair, a sensation the musicians compare to “that distinctive feeling you get from riding a high-speed elevator, where you can no longer tell whether you’re going up or down.”

Devoid of birdsong, the late summer air is nevertheless full of buzzing, whirring, hissing sounds on foreboding album opener “Summer Noise,” a cinematic intro with slow-moving piano chords and an ominous build-up over the course of its sprawling eight minutes. Elsewhere, sudden bursts of viola cut through nighttime peace (“Nocturnal Awakening”), followed by “Cotton Sphere” – which makes the sensation of floating in midair complete: harmonies and melodies rise and form to fall apart again, leaving only trails of previously defined space shimmering in their wake…

Whereas the title track truly explodes half-way in, the final “Cascade” brings closure to the electro-acoustic six-track collection: the floating continues, but the interlocking musical planes are no longer ruffled or rippling, no longer torn in many directions at once. Instead, the sonic streams merge and eventually disappear like ephemeral water falls after heavy rain or sudden snowmelt.

“Water cannot retain its form on its own, and can take any shape as effected by external forces. Its movements cannot be captured by eyesight alone: A body of water that appears to be crashing down into a deep, bottomless waterfall could actually be rising up very slowly into midair,” says Atsuko. “This is an invitation for you to cross the ever-transforming Water Ladder built between Midori and myself.”

For many years now, the comparative of epic has simply been EPICA. Since their formation in 2002 and their quick ascension to stalwarts of symphonic metal noblesse with trailblazing masterpieces “The Divine Conspiracy” (2007) or “Requiem for the Indifferent” (2012), Dutch metal titans only knew one way: Up. Especially with their last three releases “The Quantum Enigma”, “The Holographic Principle” and this years’ “Ωmega”, forming a metaphysical trilogy that’s both alpha and omega of all things symphonic metal, EPICA became rightful monarchs of a genre they themselves helped made become a global phenomenon.

Yet, as every other band, EPICA couldn’t take their latest installment of breathtaking cinematic grandeur to the seven corners of the world as they would have normally done. You know why. Thus, plans have been made and visions fulfilled to produce a once-in-a-lifetime event that couldn’t be further away from yet another streaming show. What EPICA unleashed upon the world on Saturday, June 12th, 2021, was a monument to their music, their career, and their enduring legacy as forebears of a whole genre. Now finally being released on Blu-ray and DVD and various audio formats, “Ωmega Alive” is the EPICA show of your wildest dreams, brought to life by blood, sweat, tears and a healthy dose of megalomania. Think Marvel meeting Cirque de Soleil in a Tim Burton universe.

Celebrating the release of their gargantuan new opus magnum, „Ωmega“, the streaming event saw fans from over a 100 countries flock to the screens to witness a show that has proven to be the defining moment in EPICA‘s concert history. A show that’s nothing short of the band’s most explosive performance to date, brought to life with an enormous production on an ever-evolving stage setting that’s full of visual surprises. For the first time ever, EPICA performed songs like ‘The Skeleton Key’ or the insanely monumental “Kingdom of Heaven Part 3” from “Ωmega”, alongside the band’s most popular songs, rare songs, fan favorites and huge surprises. “What started as a basic idea to do an online release show for “Ωmega” quickly spiraled out of control and became our most ambitious project to date,” creative director and keyboard wizard Coen Janssen says. “As usual, we wanted to push the boundaries, explore the limits, and think outside the box. We found ourselves back in our happy place. This concert film, our ray of light for you in the dark times that we have all been living in.”

For half a year, the band worked tirelessly on a show that’s been setting a new standard for concert films and streaming events. “What we wanted to do was the ultimate EPICA show where we could fulfill every dream we ever had, where there was room for all the ideas, effects and props that are just too big to be taken on tour.” Far from your usual streaming concert, the band developed a trademark feature called a “living backdrop.” Coen explains: “We built another stage right behind our stage where lots of things were going on the whole time. And we meant that very literally,” he laughs. “Every song got something extra, something unique that was fitting its world.”

He can say that again: Elaborate visuals, tailor-made videos and graphic effects, fire, and flames on a Nibelungen level, dancers and actors, artistic performances or fire performers all add to the aura of symbolism and cinematic splendor, setting the stage for a band that can’t be happier to finally bring their new album to life, harmonizing wonderfully and giving their A game for a show to remember. “It was so great finally playing with the band again, actually standing on stage with them. Boy, did we miss this,” Coen emphasizes and adds: “We also built a pretty cool new stage with some fire-breathing snakes and lots of rotating elements. Good thing is, we might also take it on the road when we can finally tour again.”

Until then, “Ωmega Alive” will be a more than efficient remedy against no-concerteritis – for bands, fans, and crew alike who all look back on an extra-long dry spell. Divided into five acts as there are letters in EPICA and “Ωmega”, each part gets a different theme, look, and feel, complemented with references to the history of EPICA, the symbolism of the band and the videos they did. It’s, in short, the best show they ever did, a two-hour spectacle spanning their storied career up to their latest endeavors and graced by Simone Simons’ breathtaking a-cappella rendition of ‘Rivers’ from “Ωmega” complete with choir, easily the most emotional and achingly beautiful moment in their entire career. Frankly, you don’t see this on a normal tour.

What EPICA brought to life here with the help of 75 artists and crew members is a testimony to their burning will to take their band ever higher – even now, in the darkest of times we ever had to endure. Let “Ωmega Alive” be your ray of light as it was theirs, a journey into the heart, body and soul of one of the most passionate and visionary metal bands alive today.

An origin story since time immemorial, this DIY garage
rock five piece came together in 2018 through the
traps of the Melbourne music scene. Bonding over a
shared love of tightly coiled riffs and a collective
musical ethos, Civic made a name for themselves
through the intensity of their live shows, which would
become local folklore.
 On ‘Future Forecast’, Civic pay homage to the
classics, but pivot on them with avant-charged edge.
It’s raw, searing guitars, pummelling rhythms, driving
bass and vocals that lock into and synergize with their
wall of sound. All of this is balanced by the raucous
and restrained weaving of melodies and textures, and
vocal variation which broadens their sound past any
one genre label.
 There’s the horn-fuelled drive of album opener
‘Radiant Eye’, the power pop-laden hook of ‘As Seen
On TV’, the emotively atmospheric and vocally
subdued ‘Sunday Best’, all culminating with closer
‘Come To Know’, before ending in a tightly wound
splay of feedback and groove.
 Coloured vinyl LP in custom inner sleeve. Includes
digital download

Geese are a band that begins and ends in Brooklyn, as a
project between friends to build a home studio out of a
basement.
 Their debut album, ‘Projector’ is born from the same
ambition: make music by any means necessary. The
songs were recorded with sneakers as mic stands and
blankets draped over the amps, all within the afternoon
following a school day, up until they ran the risk of noise
complaints.
 As a result, ‘Projector’ is as much a moment in time as it is
an album. It represents five teenagers whose love of
music touches every part of their lives: their restless
anxiety about their futures, and their pent-up frustration
with their present - a perspective all too familiar in today’s
uncertain world. Perhaps then it only makes sense that the
figure on the album cover was born from a dream:
curiously alien, yet strangely familiar.
 Creative direction by Matt De Jong and Jamie JamesMedina (Fontaines D.C., Arlo Parks, Mura Masa, FKA
Twigs).
 Two sold out London shows at The Windmill and The
Sebright Arms. First time ever playing in the UK

Geese are a band that begins and ends in Brooklyn, as a
project between friends to build a home studio out of a
basement.
 Their debut album, ‘Projector’ is born from the same
ambition: make music by any means necessary. The
songs were recorded with sneakers as mic stands and
blankets draped over the amps, all within the afternoon
following a school day, up until they ran the risk of noise
complaints.
 As a result, ‘Projector’ is as much a moment in time as it is
an album. It represents five teenagers whose love of
music touches every part of their lives: their restless
anxiety about their futures, and their pent-up frustration
with their present - a perspective all too familiar in today’s
uncertain world. Perhaps then it only makes sense that the
figure on the album cover was born from a dream:
curiously alien, yet strangely familiar.
 Creative direction by Matt De Jong and Jamie JamesMedina (Fontaines D.C., Arlo Parks, Mura Masa, FKA
Twigs).
 Two sold out London shows at The Windmill and The
Sebright Arms. First time ever playing in the UK

In most any Dungeons & Dragons adventure worth
completing, the hero must come face-to-face with
themselves in some form - a cursed, mystical mirror that
reveals all that our hero is and is not; a reflection in some
Blood River that displays for our hero the monster they
have become; a doppelganger that reveals how much our
hero has changed since the beginning of the adventure.
 So, as their year-long 25th Anniversary campaign enters
its final chapter, Jagjaguwar must also confront their
former self. They’re going all the way back to the
basement of the sushi joint in Charlottesville; all the way
back to when they were just a haphazardly made zine; all
the way back to the original mantra which served at
Jagjaguwar’s early guiding force. The Sentimental Noise
echoing through the caverns of self-discovery is tender
and deafening.
 The label have uncovered new and unreleased work from
some of their earliest friends like Drunk, Manishevitz and
Bevel. They’ve called upon necromancers like Norway’s
Jenny Hval, Jagjaguwar legends Wilderness and
Bloomington post-rock heroes Tammar. Mysterious noise
mongers like Canada’s Wold and Oslo’s Some Nerve have
delivered on their promise to absolutely split skulls open.
There are two loving tributes to Patron Saint of Jagjaguwar
John Prine. And they have unearthed two songs from
Atsushi Miura, who once upon a time allowed founder
Darius Van Arman to book shows in the basement of the
sushi restaurant he ran. He dedicates one song to Darius
and in the other, humorously lambasts the college town he
called home for all those years. Today Jagjaguwar dies;
tomorrow Jagjaguwar is reborn.
 Double LP on metallic silver vinyl.

Capping off a busy year as producer, DJ and label owner, Rory Hamilton provides a quick follow up to October's ‘Think About Me’ EP with the third release on his Italo Hiits imprint.

Once again arriving on coloured 10” vinyl, ’Strangeness’ takes the label's twisted disco sound into new territories that draws on both the genre’s darker hedonistic side and its more nostalgic leanings. The two-tracker will arrive on opaque green 10” vinyl & digital formats in November 2021.

Back in 2004, Vampisoul was extremely honoured to play a role in the return to recording of the legendary Joe Bataan, which fully materialized in the lauded 2005 album "Call My Name", written and produced by Daniel Collás.After being out of print for a while, the LP has now been revamped featuring new artwork and liner notes written by Andrew Mason and Daniel Collás, plus photos from the sessions.

“This whole project grew out of a song called 'Cycles Of You', which I had written around 2000-2001 with the guitarist and bassist of my band at the time, Easy. The chord progression and vocal melody really reminded me of Bataan, and it occurred to me that it wouldn't be impossible to get him into the studio to do a guest vocal if we ever recorded it. I had met Bataan a few years before at a small, family-reunion style show at the Nuyorican Poets Cafe in my neighborhood, where he not only still sounded great, but was also gracious and easy to talk to.

He was agreeable, so we decided to turn it into a Joe Bataan session and do 'Cycles Of You'. The funny thing is, 'Chick-A-Boom', a live favorite with Easy, was hastily added so we could have a B-side, but it ended up chosen to be the A-side of the single. When I got the opportunity from Vampisoul to do a full album, I was hoping Bataan and I could write some songs together, but our schedules proved tough to coordinate. I figured the best way to go about it was to do most of the work and just have him come sing on it. I thought this might be a little weird for him, since he is used to writing and producing most of his own records, but he was open to it.

The reactions to this album were gratifying. Diehard fans accepted it as a welcome addition to the canon and regularly compared it to some of my favorite records of Bataan's. At one point a New York radio station's listener poll listed two songs off of the album in the top ten of all-time best-loved Joe Bataan songs, and Ry Cooder enthusiastically mentioned "Call My Name" in a Wall Street Journal interview.” Daniel Collás, producer of "Call My Name".

GENOCIDE PACT return with their eponymous new album. An overdose of gut-wrenching Death Metal, Genocide Pact is heavy, engrossing, and undoubtedly brutal. "This album reflects on the feeling of watching the world crumble while dealing with personal tragedy," says guitarist/vocalist Tim Mullaney. True to his word - every track on Genocide Pact is a sonic assault brimming with palpable malaise. From the guttural screams in the album's opener "Led to Extinction", to the driving double bass that carries "Perverse Dominion", and a head rattling low end on "Deprive Degrade" - Genocide Pact is wholly negative Death Metal. The fury behind Genocide Pact captures the band's collective frustrations and personal journeys through these turbulent times. "You turn on the news and see mass shootings, a global pandemic, endless war, and corporations and politicians trying to sell you bullshit. You pick up your phone and another friend or family member has died. On top of that, you’re broke as fuck and work endlessly for a boss that doesn’t even know your name. You find yourself paranoid, pissed off, and embracing nihilism," Tim Mullaney says. GENOCIDE PACT have learned to embrace the negativity, churning out one of 2021's ugliest and unforgiving records.

Hailing from the almighty Midwestern USA is Richmond, Indiana’s very own WOLFTOOTH – offering a colossal slab of genuine, proto-metal influenced heaviness with a deep dose of doom essence and addictive stoner riffage to boot. In the same vein as their previous releases of subterranean acclaim, Wolftooth (dubbed a “best of” 2018 via Doom Charts) and Valhalla (2020), the band’s latest release and label debut, entitled Blood & Iron, continues the band’s journey through a treasure trove of fantasy-themed lyrical influences – exploring mystical and often treacherous themes of mythology, lore and legend with a focus on sorcery, battle and non-stop adventure! Recorded, mixed and mastered by longtime producer Jeremy Lovins, Blood & Iron is a true nod to classic, feel-good American heavy metal with modernized flair, providing an escape for the listener that hits hard without ever feeling pretentious or aloof. BLurb IG1: Burgeoning WOLFTOOTH have already performed with the likes of Black Label Society, EYEHATEGOD and more, and their live onslaught is matched by their storytelling prowess! On new single “The Voyage”, the noteworthy Indiana four-piece tells a Viking saga of success, reaping the rewards of a prosperous invasion. Fists will be pumping within the first few notes of the track as it gallops forth to victory, dosed with chugging riffage, soaring vocals, piercing basslines and powerful melodies. Blurb IG2: Heavy metal unit WOLFTOOTH have already performed with the likes of Black Label Society, EYEHATEGOD and more, and their live onslaught is deftly matched by their unforgettable epics! Thrash-injected "Broken Sword” begins with a galloping riff that will have listeners ready for the adventure to come, as WOLFTOOTH tells the story of a warrior so battle-worn, he’s utterly unbeatable! As he lays waste to all in his path, the band charges forward with soaring guitar melodies and an addictive chorus. Blurb IG3: Echoing the tale of Moby Dick, Blood & Iron opener “Ahab” begins ominously, beckoning the listener to join WOLFTOOTH’s pack with isolated guitar before bursting into a sticky, metallic blues jam. The track reverberates the likes of classic and modern greats like Black Sabbath and Pallbearer while maintaining a unique trademark, impressing from start to finish with a psychedelic intertwining of haunting guitar melodies, glorious vocals and winding riffage.

CAM Sugar launches its new HERITAGE collection dedicated to the most celebrated soundtracks that made the history of Italian cinema. The opening title is Federico Fellini’s milestone AMARCORD, which is here presented for the first time ever as a 180gr gatefold double LP, carefully restored and remastered from the original master tapes. AMARCORD won an Academy Award in 1974 as Best Foreign Film, besides receiving two nominations for Best Director and Best Screenplay. The sweet and evocative music by Nino Rota takes the listener on a journey through the places of Fellini’s boyhood in Rimini, creating a combination of music and images that is absolutely perfect and still internationally appreciated today. This edition includes a 30x75cm illustrated poster, with a reproduction of the original Nino Rota music sheets. This very special re-release of this classic by Nino Rota is in honor of what would have been his 110th birthday.

"Brand new music from Warpaint's jennylee (Jenny Lee Lindburg). Newtopia is the first release of a series of singles, culminating in full album to come on RSD 2022.
Feeling is at the core of jennylee’s music. Having spent the past decade defining the grove that allows Warpaint the luxury to drift between genres and eras, jennylee’s solo record proved more loose, open, and driven by the rhythm of the heart. Critically acclaimed LA quartet Warpaint have been confounding expectation since the band’s inception in 2004. Releasing their third album ‘Heads Up’ to rave reviews in 2016, Warpaint remain on top of their game; cementing themselves as one of the bands of a generation."

Breathe captures the Hammond B-3 organ legend Dr. Lonnie Smith during his 75th birthday run at the Jazz Standard in NYC in 2017, the same week he recorded his acclaimed trio album All In My Mind. On this night the good doctor took the stage with an expanded line-up featuring Jonathan Kreisberg on guitar, Johnathan Blake on drums, John Ellis on tenor saxophone, Jason Marshall on baritone saxophone, Sean Jones on trumpet, and Robin Eubanks on trombone. Two additional studio tracks that open and close the album present the unique collaboration between Doc and Iggy Pop including a sublime cover of Donovan’s 1966 hit “Sunshine Superman.”

 Nils Landgren was born in 1956 and grew up with the music of his
father, a jazz cornetist, and the church music of his grandfather, a
pastor. He never lost his strong affinity for his own musical heritage.
 Esbjörn Svensson, born in 1964, didn’t want to play folk music at first.
At home with the music of Chopin, Ellington, or disco-pop groups
such as The Sweet, the pianist had first found his place in the
competitive music scene in Sweden. His trio was a success and in his
homeland, he was voted Jazz Musician Of The Year in 1995 and
1996. The first sprinkling of jobs became a steady flow. Svensson
proved himself in the bands of his friend Nils Landgren. The music
was about funk and soul, occasionally pop and, in the main, classic
jazz. But not folklore.
 It was through the influence of Landgren and Svensson’s former
teacher Bengt-Arne Wallin, who recorded the landmark album ‘Old
Folklore In Swedish Modern’ back in 1962, that Svensson and
Landgren were inspired to make a duo album centred around folk
songs. In August 1997, both went into the studio and, with only
trombone and piano, recorded ‘Swedish Folk Modern’. Their
improvised treatments of the classic songs of the folk culture not only
impressed the public; it brought praise from the press. Svensson and
Landgren had created more than just a few impressions in duo.
Discarding any sort of large conceptual superstructure, they had
continued what Jan Johansson’s Jazz på Svenska and Bengt-Arne
Wallin had begun in the early Sixties and what has since become a
major force within the inner workings of European jazz.
 The time after ‘Swedish Folk Modern’ was hectic and exciting. Nils
Landgren’s Funk Unit advanced to the position of a celebrated festival
act. Svensson’s own trio, E.S.T., expanded beyond Scandinavia’s
borders, where the band’s fortunes skyrocketed. Inundated with jobs,
the musicians finally found the time to once again get together, in
December 1999 in Oslo’s Rainbow Studio. It would be a meeting full
of exceptional jazz energy. Even more than the first time, they would
rely on the force of reduction. Moods would be suggested, left open.
Melodies worked out in simple clarity. Delicate variations
supplemented and amplified both the original and traditional motifs of
the central musical im- pressions. ‘Layers Of Light’ is an affair of the
hearts of two artists who went back to their roots. That makes their
music truthful, direct and authentic in a wondrous way.

 In November, the new ABBA album, ‘Voyage’, will
be released, after 40 years. Just in time for the
music comeback of the year, and as a tribute to the
Swedish supergroup, a classic is now being
released on vinyl for the first time: ‘Funky ABBA’ by
the Nils Landgren Funk Unit from 2004.
 Fans and music magazines count the cover
numbers by Mr. Redhorn and his cult band among
the best in the world, and even today they are
played on the radio and in clubs by DJs. Landgren,
who once played trombone himself on the ABBA
hit ‘Voulez-Vous’, personally asked ABBA
mastermind Benny Andersson for his blessing for
the album: “ABBA was never funky. But if you can
do it, then do it!” replied Andersson. Andersson
was so enthusiastic about the project that he was
also present at the legendary Polar Studio during
the recording sessions and did not miss the
opportunity to record a bonus track for the album
himself as a duo with Viktoria Tolstoy.
 The result was celebrated, and ‘Funky ABBA’
became the best-selling Funk Unit album of all
time. “It's hard to believe: ABBA grooves, and
how!” claimed STEREO in their review after the
CD’s release.
 For this vinyl edition, the album has been
remastered.
 180g vinyl with digital download code.

Brown Marbled Vinyl

Following many visionary outings such as "Inhuman Series Vol 1.2.3.4" released on New Flesh Records in 2012, "Days of Dissent" released on Killekill in 2016 (repress soon) talking about the rebellion of the World and the moving "Abandon In Place" LP released on New Flesh Records in 2018 telling about the destruction of Earth by the Humans, French producer Umwelt presents his very first cinematographic yet conceptual album on his own label New Flesh Records.

Titled "Subversive Territory", this much anticipated opus sees the founder of Rave Or Die imprint exploring a post-apocalyptic world via twelve haunting songs spreading their infectious melodies and gloomy atmosphere throughout.

Don't expect any beat here as this experimental-ambient manifesto will dive you into the famous tense and dystopian universe Umwelt is building year after year. As visual as auditive, this heartbreaking masterpiece comes illustrated by Yann Legendre. This French illustrator and art director is the father of numerous beautiful illustrations for magazines, books in the movie & music industries. He is the brillant creator of great comic "Flesh Empire" edited by Casterman in 2019.

Working on his forthcoming comic "Vega" anounced for 2022 by Albin Michel, Yann Legendre joined Umwelt for this perfect matching of two arts and two artists offering us this esthetic collaboration. At the end who can say who is illustrating who: the illustrator or the musician? "Subversive Territory" sounds like the perfect soundtrack of a frightening and nottoo-distant future where humanity has collapsed! Fans will appreciate to collect two coloured vinyls in a trifold sleeve.

Following their recent Difference and Repetition, A Musical Evocation Of Gilles Deleuze 2LP/CD this limited 7'' edition features The Tears of Nietszche on side A with Richard Pinhas as guest musician and Vecteur d'abolition on side B with the voice of Gilles Deleuze.

Formed in Paris in 1989, Palo Alto released his first album (a cassette) on the Italian label Old Europa Cafe in 1990. The year 2020 is therefore an opportunity to celebrate the 30th anniversary of this first stone, the founder of a discography rich with 10 albums. The band is now composed of Jacques Barbéri (also a science fiction author), Laurent Pernice (ex-member of the French industrial band Nox) and Philippe Perreaudin (also coordinator of several compilations and reissues: Legendary Pink Dots, Un Département, Nino Ferrer Revisited, Ptôse, Hardy FoxŠ). Literature, and particularly science fiction, is a leitmotiv in the band's work. Antoine Volodine, Thomas Pynchon, Philip K. Dick, Lewis Carroll or J. G. Ballard have been invoked many times. In recent years, Palo Alto has multiplied musical collaborations with, among others, The Residents, Ptôse, Klimperei, Tuxedomoon... From industrial music to inextricable electronic ramifications, by making a detour through improvisation, the musical universe of Palo Alto is multifaceted.

CAM Sugar launches its new HERITAGE collection dedicated to the most celebrated soundtracks that made the history of Italian cinema. The opening title is Federico Fellini’s milestone AMARCORD, which is here presented for the first time ever as a 180gr gatefold double LP, carefully restored and remastered from the original master tapes. AMARCORD won an Academy Award in 1974 as Best Foreign Film, besides receiving two nominations for Best Director and Best Screenplay. The sweet and evocative music by Nino Rota takes the listener on a journey through the places of Fellini’s boyhood in Rimini, creating a combination of music and images that is absolutely perfect and still internationally appreciated today. This edition includes a 30x75cm illustrated poster, with a reproduction of the original Nino Rota music sheets. This very special re-release of this classic by Nino Rota is in honor of what would have been his 110th birthday.

Hailing from the almighty Midwestern USA is Richmond, Indiana’s very own WOLFTOOTH – offering a colossal slab of genuine, proto-metal influenced heaviness with a deep dose of doom essence and addictive stoner riffage to boot. In the same vein as their previous releases of subterranean acclaim, Wolftooth (dubbed a “best of” 2018 via Doom Charts) and Valhalla (2020), the band’s latest release and label debut, entitled Blood & Iron, continues the band’s journey through a treasure trove of fantasy-themed lyrical influences – exploring mystical and often treacherous themes of mythology, lore and legend with a focus on sorcery, battle and non-stop adventure! Recorded, mixed and mastered by longtime producer Jeremy Lovins, Blood & Iron is a true nod to classic, feel-good American heavy metal with modernized flair, providing an escape for the listener that hits hard without ever feeling pretentious or aloof. BLurb IG1: Burgeoning WOLFTOOTH have already performed with the likes of Black Label Society, EYEHATEGOD and more, and their live onslaught is matched by their storytelling prowess! On new single “The Voyage”, the noteworthy Indiana four-piece tells a Viking saga of success, reaping the rewards of a prosperous invasion. Fists will be pumping within the first few notes of the track as it gallops forth to victory, dosed with chugging riffage, soaring vocals, piercing basslines and powerful melodies. Blurb IG2: Heavy metal unit WOLFTOOTH have already performed with the likes of Black Label Society, EYEHATEGOD and more, and their live onslaught is deftly matched by their unforgettable epics! Thrash-injected "Broken Sword” begins with a galloping riff that will have listeners ready for the adventure to come, as WOLFTOOTH tells the story of a warrior so battle-worn, he’s utterly unbeatable! As he lays waste to all in his path, the band charges forward with soaring guitar melodies and an addictive chorus. Blurb IG3: Echoing the tale of Moby Dick, Blood & Iron opener “Ahab” begins ominously, beckoning the listener to join WOLFTOOTH’s pack with isolated guitar before bursting into a sticky, metallic blues jam. The track reverberates the likes of classic and modern greats like Black Sabbath and Pallbearer while maintaining a unique trademark, impressing from start to finish with a psychedelic intertwining of haunting guitar melodies, glorious vocals and winding riffage.