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Es gibt eine Dub-Serie die seit Jahren für Furore sorgt, und das seit der VÖ der "KING SIZE DUB 1" (damals in Zusammenarbeit mit dem Kult-Magazin SPEX) im Jahre 1994! In der Serie gab es immer wieder Ausflüge zu obskursen Zählweisen (Vol.69) und Specials über bestimmte Regionen (Dub In Germany), Labels (ON-U Sound Records aus London) oder Bands (Dubmatix aus Toronto)! Wunderbar, dass nun mit KSD 25 eine weitere Compilation der Reihe Dub als vielschichtige Kunst des Klangmischens darstellt. Im Rahmen dieser Ausgabe dubben sich alte und neue Freunde des Hauses Echo Beach gegenseitig oder präsentieren eigene Versionen von Pop- und Reggae-Hits von u.a. Ramones, Bob Marley, Blondie, Robert Palmer und David Bowie. Die Musik suggeriert Sonnenschein und Sound Systems, heissen Sand und coole Drinks, der Bass schlurft gelassen aber auch aufreizend rebellisch. Dub ist die Kunst des Disk Jockeys, den sie zunächst in Jamaika zum Star erhoben haben. In den Fünfzigern waren dort Musikmobile, die "Sound Systems", der Ersatz für fehlende Radiosender. Die auf Exklusivität bedachten DJs nahmen ihre Hitsingles bald selbst auf, mit instrumentalen Rückseiten für Ulk und Ansagen. Ende der Sechziger verselbständigte sich dieser Dub durch den technischen Fortschritt. King Tubby und Lee "Scratch" Perry spielten mit Hall, Echo und rückläufigen Bändern. Dub löste sich von Jamaika, ging nach New York oder London, wo er in seiner Militanz gut zum Punk passte.

"Big Time" entstand mit einem Peitschenhieb in den seltenen, fruchtbaren Momenten, in denen sowohl frische Trauer als auch frische Liebe gleichzeitig auftreten, in denen sich Kummer und Verliebtheit gegenseitig verstärken, verkomplizieren und erklären. Verlust ist schon immer ein Thema in Olsens Songs gewesen, aber nur wenige können Elegien mit einer derart rücksichtslosen Energie schreiben, wie sie. Wenn diese aus allen Nähten platzende, bergab rasende Energie für ihre Arbeit unüberwindbar schien, beweist "Big Time", dass Olsen jetzt von einem verwurzelteren Ort der Klarheit aus schreibt. Dabei arbeitet sie mit einer elastischen Beherrschung ihrer Stimme - sowohl klanglich als auch künstlerisch. In diesen Liedern geht es nicht nur um die Transformation von Trauer, sondern auch darum, Freiheit und Freude in den Entbehrungen zu finden, die diese mit sich bringen. "Big Time" ist ein Album über die expansive Kraft der neuen Liebe, geschrieben in der Zeit, als Angel Olsen sich als queer outete und ihre ersten Erfahrungen mit queerer Liebe und Herzschmerz machte. Aber dieser Glanz und Optimismus wird durch ein tiefes und vielschichtiges Gefühl von Verlust gemildert. Während Olsens Prozess der Auseinandersetzung mit ihrem Queer-Sein und der Konfrontation mit den Traumata, die sie davon abgehalten hatten, sich selbst voll und ganz zu akzeptieren, fühlte sie, dass es an der Zeit war, sich ihren Eltern gegenüber zu outen - eine Hürde, die sie eine Zeit lang vermieden hatte. "Some experiences just make you feel as though you're five years old, no matter how wise or adult you think you are", schreibt sie über diese Zeit. Nach diesem tränenreichen, aber erleichternden Gespräch feierte sie mit ihrem/ihrer Partner*in, ihren Freund*innen, mit Austern und Wein. "Finally, at the ripe age of 34, I was free to be me." Drei Tage später starb ihr Vater, dessen Beerdigung Olsen zum Anlass nahm, den/die Partner*in ihrer Familie vorzustellen. Nur zwei Wochen später erhielt Olsen den Anruf, dass ihre Mutter in der Notaufnahme lag. Eine Zeit im Hospiz kam bald darauf, und eine zweite Beerdigung folgte kurz nach der ersten. Eine weitere Reise zurück nach St. Louis, eine weitere Trauerbewältigung, eine weitere Vertiefung und Intensivierung dieser noch jungen Liebe. Drei Wochen nach der Beerdigung ihrer Mutter war Olsen im Studio, um dieses unglaublich weise und zärtliche neue Album "Big Time" aufzunehmen. Ausgelassene Anspielungen an Tammy Wynette und Kitty Wells tauchen auf "Big Time" ebenso auf wie die komplexen Orchestrationen ihres genreübergreifenden 2019er Albums "All Mirrors". Während jenes Album voller dramatischer Veränderungen und Wendungen war, liegen die Überraschungen hier in ihrer Einfachheit - ein langsames Anschwellen der Streicher, eine Instrumentierung, die wie ein Sturm zyklisch ist, oder funkelnde Hörner in einer lichtdurchfluteten Break-up-Ballade, während kaum ein Synthesizer in Sicht ist. "Big Time" wurde zusammen mit dem Co-Produzenten Jonathan Wilson in seinen Fivestar Studios in Topanga, Kalifornien, aufgenommen und gemischt. Drew Erickson spielte Klavier, Orgel und kümmerte sich um die Streicherarrangements. Olsens langjährige Bandkollegin Emily Elhaj spielte durchgehend den Bass.

"Big Time" entstand mit einem Peitschenhieb in den seltenen, fruchtbaren Momenten, in denen sowohl frische Trauer als auch frische Liebe gleichzeitig auftreten, in denen sich Kummer und Verliebtheit gegenseitig verstärken, verkomplizieren und erklären. Verlust ist schon immer ein Thema in Olsens Songs gewesen, aber nur wenige können Elegien mit einer derart rücksichtslosen Energie schreiben, wie sie. Wenn diese aus allen Nähten platzende, bergab rasende Energie für ihre Arbeit unüberwindbar schien, beweist "Big Time", dass Olsen jetzt von einem verwurzelteren Ort der Klarheit aus schreibt. Dabei arbeitet sie mit einer elastischen Beherrschung ihrer Stimme - sowohl klanglich als auch künstlerisch. In diesen Liedern geht es nicht nur um die Transformation von Trauer, sondern auch darum, Freiheit und Freude in den Entbehrungen zu finden, die diese mit sich bringen. "Big Time" ist ein Album über die expansive Kraft der neuen Liebe, geschrieben in der Zeit, als Angel Olsen sich als queer outete und ihre ersten Erfahrungen mit queerer Liebe und Herzschmerz machte. Aber dieser Glanz und Optimismus wird durch ein tiefes und vielschichtiges Gefühl von Verlust gemildert. Während Olsens Prozess der Auseinandersetzung mit ihrem Queer-Sein und der Konfrontation mit den Traumata, die sie davon abgehalten hatten, sich selbst voll und ganz zu akzeptieren, fühlte sie, dass es an der Zeit war, sich ihren Eltern gegenüber zu outen - eine Hürde, die sie eine Zeit lang vermieden hatte. "Some experiences just make you feel as though you're five years old, no matter how wise or adult you think you are", schreibt sie über diese Zeit. Nach diesem tränenreichen, aber erleichternden Gespräch feierte sie mit ihrem/ihrer Partner*in, ihren Freund*innen, mit Austern und Wein. "Finally, at the ripe age of 34, I was free to be me." Drei Tage später starb ihr Vater, dessen Beerdigung Olsen zum Anlass nahm, den/die Partner*in ihrer Familie vorzustellen. Nur zwei Wochen später erhielt Olsen den Anruf, dass ihre Mutter in der Notaufnahme lag. Eine Zeit im Hospiz kam bald darauf, und eine zweite Beerdigung folgte kurz nach der ersten. Eine weitere Reise zurück nach St. Louis, eine weitere Trauerbewältigung, eine weitere Vertiefung und Intensivierung dieser noch jungen Liebe. Drei Wochen nach der Beerdigung ihrer Mutter war Olsen im Studio, um dieses unglaublich weise und zärtliche neue Album "Big Time" aufzunehmen. Ausgelassene Anspielungen an Tammy Wynette und Kitty Wells tauchen auf "Big Time" ebenso auf wie die komplexen Orchestrationen ihres genreübergreifenden 2019er Albums "All Mirrors". Während jenes Album voller dramatischer Veränderungen und Wendungen war, liegen die Überraschungen hier in ihrer Einfachheit - ein langsames Anschwellen der Streicher, eine Instrumentierung, die wie ein Sturm zyklisch ist, oder funkelnde Hörner in einer lichtdurchfluteten Break-up-Ballade, während kaum ein Synthesizer in Sicht ist. "Big Time" wurde zusammen mit dem Co-Produzenten Jonathan Wilson in seinen Fivestar Studios in Topanga, Kalifornien, aufgenommen und gemischt. Drew Erickson spielte Klavier, Orgel und kümmerte sich um die Streicherarrangements. Olsens langjährige Bandkollegin Emily Elhaj spielte durchgehend den Bass.

- FIRST EVER official vinyl reissue - definitive version with Nancy's involvement - Definitive reissue of Nancy & Lee's classic 1968 duet album - Includes the bonus tracks, "Tired Of Waiting for You" and "Love Is Strange," from the album sessions - Newly remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin - Vinyl pressed at RTI - Q&A with Nancy & GRAMMYr-nominated reissue co-producer Hunter Lea - Never-before-seen photos from Nancy Sinatra's personal archive - Beautifully packaged and expanded gatefold LP featuring a 20-pg booklet // "We had sort of a love/hate relationship. Maybe it was a sexual tension because we never had any kind of affair. I don't know exactly what it was, but it worked." - Nancy Sinatra Light in the Attic is thrilled to announce the first official reissue of Nancy & Lee: the highly-influential 1968 duet album from Nancy Sinatra and Lee Hazlewood. This definitive edition of Nancy & Lee features newly-remastered audio by the GRAMMYr-nominated engineer John Baldwin and includes an array of exclusive content, including a new interview with Nancy, never-before-seen photos, and two bonus tracks from the album sessions: an ethereal cover of The Kinks' "Tired of Waiting for You" and an uptempo version of "Love Is Strange" (first made famous by Mickey & Sylvia in 1956). This release marks the official debut on vinyl for both tracks. After a string of successful duet singles with Lee Hazlewood, including "Sand," "Summer Wine," "Jackson," and "Some Velvet Morning;" the pair released the duet album Nancy & Lee in 1968. The album features the lush, orchestral arrangements of Billy Strange and the famed Los Angeles session musicians, The Wrecking Crew, at the peak of their powers. The unique vocal blend, the iconic cover and the selection of classic songs attracted a huge following and sold over a million copies.

- FIRST EVER official vinyl reissue - definitive version with Nancy's involvement - Definitive reissue of Nancy & Lee's classic 1968 duet album - Includes the bonus tracks, "Tired Of Waiting for You" and "Love Is Strange," from the album sessions - Newly remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin - Vinyl pressed at RTI - Q&A with Nancy & GRAMMYr-nominated reissue co-producer Hunter Lea - Never-before-seen photos from Nancy Sinatra's personal archive - Beautifully packaged and expanded gatefold LP featuring a 20-pg booklet // "We had sort of a love/hate relationship. Maybe it was a sexual tension because we never had any kind of affair. I don't know exactly what it was, but it worked." - Nancy Sinatra Light in the Attic is thrilled to announce the first official reissue of Nancy & Lee: the highly-influential 1968 duet album from Nancy Sinatra and Lee Hazlewood. This definitive edition of Nancy & Lee features newly-remastered audio by the GRAMMYr-nominated engineer John Baldwin and includes an array of exclusive content, including a new interview with Nancy, never-before-seen photos, and two bonus tracks from the album sessions: an ethereal cover of The Kinks' "Tired of Waiting for You" and an uptempo version of "Love Is Strange" (first made famous by Mickey & Sylvia in 1956). This release marks the official debut on vinyl for both tracks. After a string of successful duet singles with Lee Hazlewood, including "Sand," "Summer Wine," "Jackson," and "Some Velvet Morning;" the pair released the duet album Nancy & Lee in 1968. The album features the lush, orchestral arrangements of Billy Strange and the famed Los Angeles session musicians, The Wrecking Crew, at the peak of their powers. The unique vocal blend, the iconic cover and the selection of classic songs attracted a huge following and sold over a million copies.

- FIRST EVER official vinyl reissue - definitive version with Nancy's involvement - Definitive reissue of Nancy & Lee's classic 1968 duet album - Includes the bonus tracks, "Tired Of Waiting for You" and "Love Is Strange," from the album sessions - Newly remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin - Vinyl pressed at RTI - Q&A with Nancy & GRAMMYr-nominated reissue co-producer Hunter Lea - Never-before-seen photos from Nancy Sinatra's personal archive - Beautifully packaged and expanded gatefold LP featuring a 20-pg booklet // "We had sort of a love/hate relationship. Maybe it was a sexual tension because we never had any kind of affair. I don't know exactly what it was, but it worked." - Nancy Sinatra Light in the Attic is thrilled to announce the first official reissue of Nancy & Lee: the highly-influential 1968 duet album from Nancy Sinatra and Lee Hazlewood. This definitive edition of Nancy & Lee features newly-remastered audio by the GRAMMYr-nominated engineer John Baldwin and includes an array of exclusive content, including a new interview with Nancy, never-before-seen photos, and two bonus tracks from the album sessions: an ethereal cover of The Kinks' "Tired of Waiting for You" and an uptempo version of "Love Is Strange" (first made famous by Mickey & Sylvia in 1956). This release marks the official debut on vinyl for both tracks. After a string of successful duet singles with Lee Hazlewood, including "Sand," "Summer Wine," "Jackson," and "Some Velvet Morning;" the pair released the duet album Nancy & Lee in 1968. The album features the lush, orchestral arrangements of Billy Strange and the famed Los Angeles session musicians, The Wrecking Crew, at the peak of their powers. The unique vocal blend, the iconic cover and the selection of classic songs attracted a huge following and sold over a million copies.

"Big Time" entstand mit einem Peitschenhieb in den seltenen, fruchtbaren Momenten, in denen sowohl frische Trauer als auch frische Liebe gleichzeitig auftreten, in denen sich Kummer und Verliebtheit gegenseitig verstärken, verkomplizieren und erklären. Verlust ist schon immer ein Thema in Olsens Songs gewesen, aber nur wenige können Elegien mit einer derart rücksichtslosen Energie schreiben, wie sie. Wenn diese aus allen Nähten platzende, bergab rasende Energie für ihre Arbeit unüberwindbar schien, beweist "Big Time", dass Olsen jetzt von einem verwurzelteren Ort der Klarheit aus schreibt. Dabei arbeitet sie mit einer elastischen Beherrschung ihrer Stimme - sowohl klanglich als auch künstlerisch. In diesen Liedern geht es nicht nur um die Transformation von Trauer, sondern auch darum, Freiheit und Freude in den Entbehrungen zu finden, die diese mit sich bringen. "Big Time" ist ein Album über die expansive Kraft der neuen Liebe, geschrieben in der Zeit, als Angel Olsen sich als queer outete und ihre ersten Erfahrungen mit queerer Liebe und Herzschmerz machte. Aber dieser Glanz und Optimismus wird durch ein tiefes und vielschichtiges Gefühl von Verlust gemildert. Während Olsens Prozess der Auseinandersetzung mit ihrem Queer-Sein und der Konfrontation mit den Traumata, die sie davon abgehalten hatten, sich selbst voll und ganz zu akzeptieren, fühlte sie, dass es an der Zeit war, sich ihren Eltern gegenüber zu outen - eine Hürde, die sie eine Zeit lang vermieden hatte. "Some experiences just make you feel as though you're five years old, no matter how wise or adult you think you are", schreibt sie über diese Zeit. Nach diesem tränenreichen, aber erleichternden Gespräch feierte sie mit ihrem/ihrer Partner*in, ihren Freund*innen, mit Austern und Wein. "Finally, at the ripe age of 34, I was free to be me." Drei Tage später starb ihr Vater, dessen Beerdigung Olsen zum Anlass nahm, den/die Partner*in ihrer Familie vorzustellen. Nur zwei Wochen später erhielt Olsen den Anruf, dass ihre Mutter in der Notaufnahme lag. Eine Zeit im Hospiz kam bald darauf, und eine zweite Beerdigung folgte kurz nach der ersten. Eine weitere Reise zurück nach St. Louis, eine weitere Trauerbewältigung, eine weitere Vertiefung und Intensivierung dieser noch jungen Liebe. Drei Wochen nach der Beerdigung ihrer Mutter war Olsen im Studio, um dieses unglaublich weise und zärtliche neue Album "Big Time" aufzunehmen. Ausgelassene Anspielungen an Tammy Wynette und Kitty Wells tauchen auf "Big Time" ebenso auf wie die komplexen Orchestrationen ihres genreübergreifenden 2019er Albums "All Mirrors". Während jenes Album voller dramatischer Veränderungen und Wendungen war, liegen die Überraschungen hier in ihrer Einfachheit - ein langsames Anschwellen der Streicher, eine Instrumentierung, die wie ein Sturm zyklisch ist, oder funkelnde Hörner in einer lichtdurchfluteten Break-up-Ballade, während kaum ein Synthesizer in Sicht ist. "Big Time" wurde zusammen mit dem Co-Produzenten Jonathan Wilson in seinen Fivestar Studios in Topanga, Kalifornien, aufgenommen und gemischt. Drew Erickson spielte Klavier, Orgel und kümmerte sich um die Streicherarrangements. Olsens langjährige Bandkollegin Emily Elhaj spielte durchgehend den Bass.

“Radiant Bloom“ is the third full-length album from New England rock outfit, ASTRONOID. Often hard to categorize, the band has been dubbed "shoegaze black metal" due to their unique ability to weave together songs containing soaring, lush guitars over classic blast-beats. Coming in over the top are singer / guitarist Brett Boland's Mew-like vocals, a band he openly cites as a major influence. The band's last two albums, 2016's “Air“ and 2019's “Self-Titled“ follow up, have cemented ASTRONOID as trailblazers in the hard music genre with tons of support coming from the music press and some high profile tours under their belts with the likes of Periphery, Animals As Leaders, Between the Buried and Me, Coheed and Cambria and many more. While “Radiant Bloom“ is still squarely "Astronoid" and their sound is still remarkably obvious to those who know them, the album is focused more on song structure and arrangements, as they explored a more "pop" approach to writing. The combination of classic ASTRONOID songs written in that style leads to what is easily the band's most complete work to date, “Radiant Bloom“ is available as Ltd. CD Edition, Gatefold colored LP and Digital Album

Am 3. Juni erscheint das 3LP Album ”The Matrix (The Complete Score)” mit der gesamten Musik aus dem Original-Blockbuster-Film.

Mit insgesamt 44 neu gemasterte Tracks und ein exklusives Interview mit Komponist Don Davis! Die Matrix gilt seit langem als einer der einflussreichsten Filme aller Zeiten und läutete bei seiner Veröffentlichung 1999 eine neue Ära des Kinos ein. Unter der Regie der damals noch relativ unbekannten Wachowski-Geschwister schildert der Oscar-prämierte Film eine futuristische, dystopische Gesellschaft, in der die Menschen unwissentlich in einer simulierten Realität leben. Mit Keanu Reeves, Laurence Fishburne und Carrie-Anne Moss in den Hauptrollen verbindet The Matrix philosophische Grundsätze, CyberpunkKriegsführung und ausgefeilte Kampfsporttechniken mit bahnbrechenden Spezialeffekten. Der geschickt komponierte Soundtrack von Davis ist das Bindeglied zwischen der atemberaubenden Optik und der verblüffenden Handlung des Films.

Wie der Filmmusikjournalist Kaya Savas in seinem Interview mit Davis im Jahr 2020 feststellt, war die Filmmusik ”anders als alles, was man bis dahin in einem Action- oder Science-Fiction-Film gehört hatte.
Das gilt auch heute noch. Abgesehen von den Fortsetzungen gibt es keinen anderen Stil und keine andere Herangehensweise an die Vertonung von Science-Fiction- und Actionfilmen als die von The Matrix.”

“Radiant Bloom“ is the third full-length album from New England rock outfit, ASTRONOID. Often hard to categorize, the band has been dubbed "shoegaze black metal" due to their unique ability to weave together songs containing soaring, lush guitars over classic blast-beats. Coming in over the top are singer / guitarist Brett Boland's Mew-like vocals, a band he openly cites as a major influence. The band's last two albums, 2016's “Air“ and 2019's “Self-Titled“ follow up, have cemented ASTRONOID as trailblazers in the hard music genre with tons of support coming from the music press and some high profile tours under their belts with the likes of Periphery, Animals As Leaders, Between the Buried and Me, Coheed and Cambria and many more. While “Radiant Bloom“ is still squarely "Astronoid" and their sound is still remarkably obvious to those who know them, the album is focused more on song structure and arrangements, as they explored a more "pop" approach to writing. The combination of classic ASTRONOID songs written in that style leads to what is easily the band's most complete work to date, “Radiant Bloom“ is available as Ltd. CD Edition, Gatefold colored LP and Digital Album

Für sein neues Album "Time" hat sich Dirk Maassen in eine abgelegene Berghütte zurückgezogen, um in der Einsamkeit und Stille seine innere Melodie und sein wahres "Ich" zu finden.Das Zur-Ruhe-Kommen von Körper und Geist sieht der Pianist und Komponist, der auch als Software-Entwickler arbeitet, als Schlüssel zur Entstehung neuer musikalischer Ideen. "Die Arbeit an neuer Musik braucht Zeit und Raum und man muss geduldig sein und auf sich selbst hören", erklärt Dirk Maassen. Auf der Suche nach Ruhe verbrachte er mehrere Wochen in Südtirol, wo er zur Inspiration nur von seinem Klavier und den atemberaubenden Ausblicken auf die Wildnis der Berge Gesellschaft hatte. Auf ausgedehnten Spaziergängen fand Dirk Maassen zu sich selbst. "Das Leben in den Bergen reduziert alles auf seine wahre Essenz und diese einfache, grundlegende Welt eröffnet so viel Raum, um sein wahres Selbst zu finden" erklärt er. In dieser Umgebung konnte Maassen seine "innere Melodie" finden und sie auf natürliche Weise ins Bewusstsein aufsteigen zu lassen: "dann kommt alles zusammen, und es geschieht etwas Magisches". Diese Magie bildet die Grundlage für alle vierzehn Klavierstücke auf "Time". Dirk Maassen zeigt sich dabei abermals als Meister musikalischer Stimmungen und wechselt von trauriger, sanfter Melancholie zu strahlendem Optimismus. Gelegentlich werden seine berührenden Klavierlinien von subtilen orchestralen Verzierungen begleitet, etwa im titelgebenden Stück "Time". Darin erklingt das Ticken einer Uhr als Taktgeber für die akzentuierten Pizzikati der Streicher, die gemeinsam mit den auf- und absteigenden Klavierlinien eine Spannung erzeugen, die nie aufgelöst wird. "Landscapes" mit seinen sanften Crescendi ist dagegen langsam, nachdenklich und meditativ angelegt. Ebenso wie "Ethereal", dessen reduzierte Melodie von der Ehrfurcht vor der majestätischen Kulisse der Berge inspiriert wurde. Dieses stille Gefühl der Ehrfurcht zieht sich durch das gesamte Album "Time", von der eindringlichen, zerbrechlichen Schönheit von "Ascending" bis zum kargen, aber hellen "Mountains".

Greg Dowling and Shane Johnson return to the Go Deep label for their third album, ‘This Bit of Earth’. Beginning work in the relative normality of 2019 and finishing over the strange summer of 2020, the resulting music mirrors the thoughts that such upheaval brings out - our world and our place in it - while also functioning as a kind of travelogue of journeys past and planned, real and imaginary.

Mixing samples with modular synths, programmed drums with jazz loops, and quirky plugins with outboard gear, the album ranges far and wide while retaining a warm, natural core sound.

The title track opens proceedings on an ambiguous note. A simple double bass motif weaves around a misheard vocal sample, layers of piano and vibraphone take up the call, and the whole thing gradually spins off axis to a distorted, disjointed finish. ‘Suburban Key’ follows on a groove of busy drum work and deep sub bass, the stately piano and strings setting the stage for an undulating synth solo.

Further in, ‘Alice on Jupiter’ takes a deep breath and blends field recordings, gently swelling pads, modular bursts and a recurring picked melody.

‘Back Trace Dub’ strolls the imagined streets of Irish author Kevin Barry’s ‘City of Bohane’, noting the “taint of badness” in the air and revelling in the tense, dub-noir atmosphere. Later on, the spoken word intro of ‘I Could See’ expresses the dread of confinement and the relief and ecstasy of release, a theme the music reflects as it steadily builds to a joyful climax.

And closing the album on an optimistic note, the languid, emotional Culatra Ferry remembers better, beautiful days in the sun and looks hopefully forward to more.

“Highlights are the stunning sonics of Suburban Key, with its dusty groove and fast paced drums, stately piano, and cinematic strings reminiscent of a Four Hero orchestral masterpiece. High As Scaffold is full of warmth and soul and is yet another example of Fish Go Deep going even deeper into the dark blue waters of their brilliant musical minds.” Ban Ban Ton Ton review, Japan

“So good. Real beauty” Laurent Garnier, Radio FG, France

“Really liking this, would love to support on radio” Colleen 'Cosmo' Murphy, WorldwideFM, UK

“Lovely album” Osunlade, Yoruba Soul, US

“Very very nice album...love the new directions here” Charles Webster, Openlab, SA

“Absolutely beautiful piece of work” Darimont, RWAV, Germany

“A lovely LP of eclectic sounds” Jimpster, Freerange Records, UK

“Delightful album this. Very much appreciate the musicianship and we need that in the world right now as the commercial music world starts to fire up its nonsense for the new beginning” Vince Watson, Yoruba, Netherlands

“Such a fucking great body of work, and on par with ANY of the great albums I've listened to recently” Billy Scurry, Ireland

“There’s some REAL magic here. Possibly the deepest year from this duo” Charles Levine, Soul Clap, US

“A fabulous surprise. I'm sure if he were still alive Jose Padilla would have hailed this as his number one album of the year, it certainly is mine” Steve Miller, Afterlife, UK

“Great album... will play in next shows” Franck Roger, Real Tone, France

“Beautifully produced and great atmospherics” Ashley Beedle, Black Science Orchestra, UK

Radio and DJ support from Ron Trent, Hector Romero, Ame, Cian Ó Cíobháin, Bill Brewster, DJ Sprinkles, Harri, Honey Soundsystem, Alexkid, Moodymanc, Hifi Sean, Kassian, Freddie Garcia, 6th Borough Project, Stuart Patterson, Lars Behrenroth, Fred Everything, Mark Roberts, Cut n Shut, Will McGiven, Stefano Tucci, Tristan Jong, Matthias Schober, Trevor Fung, Ben Davis, Max P and more.

Originally self-released in 2007 under the moniker Monarch, Wye Oak’s debut If Children was given a proper introduction to the world the following spring on Merge Records. Jenn Wasner and Andy Stack take their minimalist setup to maximalist ends, pairing gentle campfire folk with bombastic hazy shoegaze, sometimes within the same song. Their assured mission statement makes its vinyl debut, on red and white splatter, no less, exclusively for RSD 2022

Imperial Tiger Orchestra's Mercato 12th years Anniversary Edition includes the best of both albums Mercato & Addis Abeba remastered with bonuses live recordings in London, Paris, Addis, Tokyo & Cape Town.

Imperial Tiger Orchestra, the finest connoisseurs and grooviest performers of Ethiopian music from the Golden Age.

Back in 2007 in underground Geneva, band leader Raphaël Anker decides to gather musicians for a one off live performance revisiting the golden age of Ethiopian music.
A memorable event that forced all the musicians to carry on.
As Imperial Tiger Orchestra.

Consisting of members with very diverse backgrounds (free jazz, noise experimentations, contemporary music, twisted pop…) the Orchestra soon travels to Addis-Abeba where they perform with local luminaries and deep learn about the large diversity of Ethiopian music.
A life-changing experience which brings them back to the studio and to a plethora of successful gigs around Europe, Eastern Europe, Japan and Africa.

The Tiger's unique sound is a mesmerizing re-interpretation of Ethiopian music's golden age mixed with the digitalized themes that appeared in the 80s and filtered through their eclectic influences, a sort of retro-futuristic and progressive Ethiopian rock. This Anniversary edition brings back thunderous rhythms and feverish hooks, down tempo moments and fast paced epiphanies, electronic sounds and ambient nirvanas.

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Pauline Oliveros' The Wanderer is available on LP for the first time since it was originally released in 1984. Cut at Golden and pressed at RTI for maximum fidelity.

An utterly essential document of early American minimalism from this Pauline Oliveros. The Wanderer is the sister record to Accordion & Voice, also available on LP from Important Records.

The Wanderer is based on a single modal scale (B C# D D# E F# G#) and rhythmic modes based on a meter consisting of ¾ and ⅜. Part I, Song, is intended to explore the unique resonant qualities of accordion reeds through long sounds. Subtle variations come about from differences in tuning and air pressure. Part II, Dance, demonstrates the sharp accenting power of the accordion bellows in a mixture of cross-rhythms characteristic of jigs, reels, batucadas, Bulgars, klezmer forms, Cajun dances, and music of other diverse cultures.

The Wanderer was composed in November, 1982 especially for the Springfield Accordion Orchestra, directed by Sam Falcetti. This recording documents The Wanderer's world premiere, as it was performed 27 January, 1983 at Marymount Manhattan Theatre. The orchestra consists of twenty accordions, two bass accordions, and five percussionists, with Pauline Oliveros as soloist, Sam Falcetti conducting.

Horse Sings From Cloud, written in 1975, is one of Oliveros' best known works. Like most of her Sonic Meditations, it can be performed vocally and/or instrumentally, solo or in collaboration. A solo version of Horse Sings From Cloud has been recorded on Accordion & Voice. An early version of the score reads, “Sustain a tone or sound until any desire to change it disappears. When there is no longer any desire to change the tone or sound, then change it.” This time, Horse Sings From Cloud is performed in ensemble. Joining Pauline Oliveros on bandoneon are Heloise Gold on Harmonium, Julia Haines on accordion, and Linda Montano on concertina. This quartet version incorporates the microtonal differences in tuning of the selected instruments, creating shimmering reed sounds somewhat similar to the shimmering of a Balinese gamelan.

Tom Tykwer discussed the composers’ work on The Matrix Resurrections. “There’s a powerful and distinct musical legacy here. In my opinion, The Matrix Trilogy is one of the great scores of all time. And what’s particularly fantastic about it is that it was also, to my knowledge, one of the first film scores that so implemented electronic music and connected it with progressive late-modern orchestral music. It started a movement, which we are paying tribute to with this music. And yet, this film is playful and emotional with complex development, open in every direction. Johnny and I felt our challenge for the music was to pay tribute to The Matrix lineage and also support this cinematic endeavor of expanding that legacy to explore new directions. That needs to be represented in the music and that is what we are trying to investigate musically.”
Johnny Klimek elaborated, “We spent several months working on material for The Matrix Resurrections, building the main themes, crafting alternative arrangements and electronic variants. We had a lot of fun mixing electronics with classical orchestra. The technology has come so far since I started scoring film.”

The Matrix Resurrections - Original Motion Picture Soundtrack Includes all 24 tracks composed for the film by Johnny Klimek and Tom Tykwer, mastered for vinyl and pressed on 2x 180 Gram Black vinyl, with original artwork by Mondo's creative director Mo Shafeek

Camille Bertault and David Helbock are two of the most jawdroppingly talented members of the cohort of European jazz
musicians currently in their mid-Thirties. Their journeys in improvised
music are always adventurous, playful and exciting.
 She is the rising star of French vocal jazz. He, Austrian-born, is one
of the most fascinating pianists on the scene. Their personalities
appear to be polar opposites, yet Bertault’s livewire humour and
Helbock’s calm self-assuredness only appear different on the surface.
When it comes to the musical choices they make, they are
emphatically on the same page. Each is astonishingly versatile, with
an innate sense of dramaturgy. This voice / piano duo reaches
unbelievable levels of inventiveness here on ‘Playground’.
 “We both love Egberto Gismonti and Hermeto Pascoal, Björk and
Monk,” Helbock explains. “We also wanted a classical piece.” The
duo found the initial repertoire to explore and to spread their musical
wings with relative ease. Bertault’s vocal artistry is hers and hers
alone. Her voice is a magnificent instrument to carry a melody,
whether at breakneck speed and with devastating precision or at
pindrop volume. Helbock’s creativity, as he exploits all the sound
possibilities of the grand piano, is completely ‘sui generis’ as well. He
dampens the piano strings, he plays directly on them, he uses the
piano case as a percussion instrument, he makes use of electronics.
And ‘Playground’ is the first time he has worked with loops.
 His accompaniment therefore has an almost orchestral scale and
depth, a jewel case for this scintillating and very special voice. The
pair have written seven new numbers for the album: we hear the
whimsical blues of ‘Lonely Supamen’, the mysterious ‘Fabelwesen’,
the chanson-esque ‘Aide-moi’ and the ethereal-melancholic ‘Bizarre’.
 ‘Playground’ is a kaleidoscope of sounds and emotions which
invigorates, excites - and will always surprise. The craft and
technique may be breath taking, but neither musician ever forgets the
essential: “It’s not about showing strength or virtuosity, but about
expressing the truth of the moment,” says Camille Bertault. And that
is what she and David Helbock have delivered with each and every
track.

Für LORNA SHORE ist das Dreigestirn von Songs im Herzen von '...And I Return to Nothingness' nichts weniger als ein Exorzismus - und ein Eintauchen in etwas Dunkleres. Von der orchestralen Passage, die den Titeltrack der EP eröffnet, geradewegs in einen Bombast aus geschwärzter Intensität und wütender Erhabenheit, sind diese aus New Jersey stammenden Extremisten zurück und erheben sich wie ein Phönix aus der Asche. Wiedergeboren und auf die Dunkelheit eingeschworen. Ein kommendes Feuer, das selbst die LORNA SHORE-Gläubigen fassungslos machen wird.Als die Welt im Jahr 2020 stillstand, tauchten LORNA SHORE tiefer in die kreativen Instinkte ein, die sie ursprünglich mit bahnbrechenden Alben zu einer festen Größe in der extremen Metal-Szene machten: 2015's 'Psalms' und 2017's 'Flesh Coffin'. Seitdem haben sie Einflüsse und Ideen miteinander verwoben, die von der symphonischen Grimmigkeit des europäischen Black Metals bis hin zu den komplexen, tödlichen Klangformeln des Death Metals und der auralen Intensität des Hardcore reichen. Was LORNA SHORE erreicht haben, ist ein neues Level an geschwärzter Technizität und der nächste Schritt auf ihrer Darkside-Reise. Verschönert mit dem Artwork des bekannten polnischen Malers Mariusz Lewnadowski (Bell Witch, Fuming Mouth) bekräftigt '...And I Return to Nothingness' den kreativen Fokus und die Intensität von LORNA SHORE. Die drei Tracks der EP: 'To the Hellfire', 'Of the Abyss' und der Titeltrack sind der Beweis, dass LORNA SHORE nicht nur ihr feuriges Vermächtnis fortsetzen. Sie entfachen es und setzen ihr eigenes Vermächtnis spektakulär in Brand.'...And I Return to Nothingness' ist nun als schwarze LP+CD mit Ätzung auf Seite B erhältlich.

"His music filled me with the urge to connect with the world," Kaitlyn Aurelia Smith says of Emile Mosseri. She first heard his work while watching the 2019 film The Last Black Man In San Francisco; just minutes in, she paused it to look up who did the score and wrote to him immediately. "I love Emile's ability to create melodies that feel magically scenic and familiar like they are reminding you of the innocence of loving life." Those talents saw recognition in 2020 with an Oscar nomination for Mosseri's original score to the film Minari. He was already a fan of Smith's and became increasingly intrigued by her impressionistic process as they started to talk. "The music feels so spiritual and alive and made from the earth," Mosseri says. "I think of her as the great conductor, summoning musical poetry from her orchestra of machines." I Could Be Your Dog / I Could Be Your Moon, their two-part collaborative album, introduces an uncanny fusion of their sonics. Constructed using synthesizer, piano, electronics, and voice, this soft-focus dream world is lush, evocative, and fleeting. It finds two composers tuning their respective styles inward as an ode to mutual inspiration, a celebration of the human spirit and its will to surrender to the currents of life. As a full album set, I Could Be Your Dog / I Could Be Your Moon moves fluidly from track to track, panning through textural vignettes. Two roughly 17-minute halves, the set evokes the bittersweet sense of something too bright or rare to last, a short-lived glimpse into a golden hour. There is a dreamy, elemental intention to this music, which Smith and Mosseri say came naturally, as they both embraced intuitive interplay throughout their creative back-and-forth. The stylistic threads of each composer are recognizable yet become more ambiguous as the album progresses, sewn into a singular vision.

RE-Relase
From St Germain to Boogalox or Mighty Bop go deep into the best selection of Nu Jazz.

Trees Speak are back!
Speak’s new album, “Vertigo of Flaws: Emancipation of the Dissonance and Temperaments in
Irrational Waveforms” comes as a double-vinyl edition, single CD and digital release. The limitededition first pressing only of the vinyl includes a bonus 45 enclosed in an 8-page 7”x7” booklet
insert housed within the gatefold sleeve with cover artwork created by Soviet Union propaganda
artist Lazar Markovich Lissitzky in 1911.
Trees Speak are back!
This new release is a vast leap into an ocean of space and sound, a quantum leap into cybernetics, biology, anti-gravity,
time travel, dream speech and transfiguration. A seriously next step release!
Showing no signs of slowing down their rapid creative pace – incredibly this is their fourth album in the space of just over
one year – ‘Vertigo of Flaws’ is a mighty 29 tracks, one and a half hours of music across one double album that is surely
going to be a defining point in their musical career, a giant leap into the sonic unknown, an epic exploration of intensity
and sound.
Alongside their now trademark German krautrock motoric-beat rhythms, angular New York post-punk attitude, tripped-out
60s spy soundtrack, psyche-rock, and 70s synthesizers and vocoders, here you will also hear a new cosmic spacial
awareness (both personal inner space and galactic outer space) and a truly wilful pushing of sonic boundaries - as police
sirens, static noise, alarms, radio signals, avant-garde voices, and orchestral string quartets, all collide to add beautiful
dissonance to uber-powerful, intense, addictive and propulsive rhythms - in the process creating a truly unique
soundscape that Trees Speak have made wholly their own.
If you ever wanted to hear Can, Hawkwind, Destroy All Monsters, Pere Ubu, electric eels, John Cage, Liquid Liquid,
Tangerine Dream, Suicide, Neu!, Laurie Spiegel, Art Ensemble of Chicago, John Barry, Mother Mallard’s Portable
Masterpiece Company, Sun Ra, Stockhausen, John Carpenter, Electro-Acoustic and Musique Concrete and Mars in one
band - then this is it!
Trees Speak are Daniel Martin Diaz and Damian Diaz from Tucson, Arizona and their music often draws on the cosmic nighttime magic of Arizona’s natural desert landscapes. ‘Trees Speak’ relates to the idea of future technologies storing
information and data in trees and plants - using them as hard drives - and the idea that Trees communicate collectively.
Special guests from the hyper-creative hub of the Tucson music scene on this release are Gabriel Sullivan, Ben Nisbet, Saul
Millan, Stephani Guilmette, and Davis Jones.
The album Vertigo of Flaws was recorded in Brooklyn, New York, and Tucson, Arizona during the plague of 2021.
Extract from Vertigo of Flaws sleevenotes:
‘As we travel through space and time, avoiding the discarded remains of the industrial period, the
deconstruction of social norms through the expression of art, music, and philosophy guide the human
experience towards the unknown.
All that remains are musical echoes scattered throughout the universe, like ancient vibrations that now
populate the cosmos. These waves now show signs of decay. Melody, beauty, tonality have all but fallen
away as dissonance blossoms. As John Cage wrote in 1937,
“Whereas, in the past, the point of disagreement has been between dissonance and consonance, it will be,
in the immediate future, between noise and so-called musical sounds. New methods will be discovered,
bearing a definite relation to Schoenberg’s twelve-tone system and present methods of writing percussion
music and any other methods which are
free from the concept of a fundamental tone”.
Similarly, George Van Tassel claimed the Integratron as capable of
rejuvenation, anti-gravity, and time travel. So, what remains of the
“people”? We have adopted from them our own Zeitgeber: their pulses
now guide our sun, our planets, our earths, and are the new circadian,
diurnal, and ultradian rhythms of the galaxy. Traumsprache, dream
speech, is now the internal language of trees.
Decaying metal and machines liberated the note unto nature’s table,
and we sip the delicious nectar of music once more irrational, elaborate,
violent, vast. The past is the future, musical disintegration its own rebirth.
We are nature, once more the computer of the Universe.’

“Modern Primitive” is the new album by SEPTICFLESH who present a stunning combination of symphonic and cinematic music with aggressive yet catchy Death Metal. Picking up on the group’s sonic evolution in the past decades, “Modern Primitive” proves to be more emotional, epic and heavy than ever.

SEPTICFLESH was formed as “Septic Flesh” in Greece in the early '90s by Spyridon Antoniou (a.k.a. Seth Siro Anton): vocals/bass, Christos Antoniou: guitar and Sotirios Vagenas (a.k.a. Sotiris Anunnaki V.): guitar/ clean vocals. A debut Ep was released in 1991, entitled "Temple of The Lost Race". Their first full-length album "Mystic Places of Dawn" was released in 1994, followed by "EΣΟΠΤΡΟΝ" that was released in 1995. With the release of "Ophidian Wheel" in 1997, a female soprano vocalist (Natalie Rassoulis) was introduced, as the band moved towards a more symphonic style. "A Fallen Temple" (1998) continued in the same musical direction. In 1999, "Revolution DNA" was released, followed by “Sumerian Daemons” in 2003, both albums produced by Fredrik Nordström (At The Gates, Opeth, In Flames). Although the band's popularity was growing, the band members decided to disband, in order to focus on other personal projects and goals. But that was not the end of the story... After a reunion, the band returned with the album "Communion" in 2008, again with Fredrik Nordström at the helm of production. From that point onwards, the symphonic element (composed by Christos Antoniou, that has a Master Degree in Concert Music) was fully implemented in the structure of the songs, with the collaboration of Filmharmonic Orchestra of Prague. “The Great Mass” (2011) followed with Peter Tägtgren (Hypocrisy, Pain) producing, "Titan" (2014) with Logan Mader (ex-Machine Head) as producer and "Codex Omega" (2017) which started the group’s collaboration with Jens Bogren that continues to the very day. In 2020, the recording of the epic and fully orchestrated Live in Mexico entitled "Infernus Sinfonica MMXIX", was released on CD/LP/DVD/Blu-Ray.

Now, SEPTICFLESH has joined forces with Nuclear Blast Records and initiates the next phase in the band’s history, with a new album to be released in May 2022. Once again Jens Bogren is responsible for the bombastic mix and sound whereas Seth Siro Anton - who is also in charge for the visual aesthetics of the band and worked for artists like Nile, Paradise Lost or Moonspell - has crafted a really intense cover and over-the-top artwork for this release. The new songs impress with many layers, gloomy and empowering atmosphere while being heavy and memorable. Besides the continuous collaboration with the Filmharmonic Orchestra of Prague, the band used a full adult choir, a full children choir and a variety of ethnic instruments.

ITALIAN LIBRARY MUSIC MASTERPIECE!

“L’uomo dagli occhiali a specchio” is a 1975 2-part thriller film directed for Rai Television by Mariano Foglietti, former collaborator of Dario Argento in “Quattro mosche di velluto grigio” (Four flies on grey velvet).

The music composed by Sandro Brugnolini for the occasion are exceptional, and in the 14 tracks of the soundtrack it is possible to find all the typical ingredients of a ’70s score: a sublime fusion of rock, pop, jazz, classical and symphonic music, with urban funk sparkles typical of the blaxploitation genre. Brugnolini's taste and skill in dealing with these different elements are still astounding today, starting from the four versions of the main theme “La notte muore” included in this record.

Originally released on Vroommm Records label by Edizioni Leonardi in an LP that is today extremely rare and precious, this soundtrack is exclusively repressed by Redi Edizioni on clear transparent vinyl for Record Store Day 2022. Not to be missed!

LIMITED EDITION OF 300 YELLOW VINYL COPIES

Shawn Lee follows up his country-soul solo album "Rides Again", released in 2019, with an even more personal, intriguing set of songs. The US born and London based prolific singer, songwriter, musician, producer, arranger, filmmaker and author puts the story of "Rides Yet Again" in his own words.

"When the original pandemic lockdown of 2020 ascended upon the world, I found myself like many others a prisoner in my own home. I began thinking about making new music. What do I wanna do I pondered… 'Rides Again' was a personal once in a lifetime album or was it? After some reflection, I realised there was more to this story, this sound. As I eventually crept back to my studio ducking and diving all the way, I started writing and recording new songs for Rides YET Again. The lyrics heavily informed by life during lockdown, my new dog Carla and my recent health problems. I had suffered a stroke which left me with some brain damage and I struggled with Aphasia for well over a year with extremely impaired speech. It was hard … I found solace in song and a musical context to share my ups and downs. It was a beautiful place to retreat to. John Pickup brought his brilliant orchestral treatments. Also Nichol Thomson, Tom Walsh, Mike Davis & Andy Ross blessed me with their sublime horn stylings. Suffice to say I'm really quite fond of this little record. Much love to you wherever you may be."

The second LP by California rock n roll unit SPICE expands their palette of damaged anthems and addiction poetics with a more bristling, visceral sound, distilled from years in the trenches of bands, break-ups, and breakdowns. Singer Ross Farrar explains their chemistry succinctly: "We all got in a room and this is what came out." Viv is named for a precursor project of bassist Cody Sullivan and violinist Victoria Skudlarek, but also alludes to broader notions of vividness, sonic, visual, and otherwise. Engineered by Jack Shirley and mixed/mastered by Sam Pura in Oakland, the mix achieves that rare balance of every element being elevated but distinct, with voices, strings, and drums each given space to blaze parallel paths. Opener "Recovery" captures SPICE at their stormy, weathered best, booming drums and East Bay riffs skidding out in a rockslide of rapture, regret, and bruised melody ("You sacrifice perfect days to laugh through the night / you have to get out of bed / and it's hard / and it's hard / it's so hard to admit"), peaking in Ian Simpson's poignant single-note vibrato guitar solo; Farrar agrees: "The guitar says what we cannot." Other tracks embrace the group's shredded pop potential ("Any Day Now," "Dining Out," "Live Scene") and their speedway ripper mode ("Threnody"), with detours into oblique instrumentals ("Melody Drive") and orchestral balladeering ("Ashes In The Birdbath"). But what unites and ignites these songs across different energies and arrangements is their specific sense of emotion. Rawness refined into reckonings, approaching truth, born of cold mornings, bad luck, and too many wrong turns. Waking up where you're not supposed to be, living a life you don't recognize. The album ends with no end to its narrative, still fighting, still slipping. Farrar calls "Climbing Down The Ladder" a "relapse song - telling people you're okay but you're still fucking up." Heartbeat drums march under heartbroken guitars in an elegant downward spiral of defeat, delusion, and desperate hope, dreamed more than believed: "I said it was the last time / but I was up so high / 100 miles / 1000 miles / no me in sight / I saw into the next life / I wasn't dead / I felt so vivid in the next life."

The second LP by California rock n roll unit SPICE expands their palette of damaged anthems and addiction poetics with a more bristling, visceral sound, distilled from years in the trenches of bands, break-ups, and breakdowns. Singer Ross Farrar explains their chemistry succinctly: "We all got in a room and this is what came out." Viv is named for a precursor project of bassist Cody Sullivan and violinist Victoria Skudlarek, but also alludes to broader notions of vividness, sonic, visual, and otherwise. Engineered by Jack Shirley and mixed/mastered by Sam Pura in Oakland, the mix achieves that rare balance of every element being elevated but distinct, with voices, strings, and drums each given space to blaze parallel paths. Opener "Recovery" captures SPICE at their stormy, weathered best, booming drums and East Bay riffs skidding out in a rockslide of rapture, regret, and bruised melody ("You sacrifice perfect days to laugh through the night / you have to get out of bed / and it's hard / and it's hard / it's so hard to admit"), peaking in Ian Simpson's poignant single-note vibrato guitar solo; Farrar agrees: "The guitar says what we cannot." Other tracks embrace the group's shredded pop potential ("Any Day Now," "Dining Out," "Live Scene") and their speedway ripper mode ("Threnody"), with detours into oblique instrumentals ("Melody Drive") and orchestral balladeering ("Ashes In The Birdbath"). But what unites and ignites these songs across different energies and arrangements is their specific sense of emotion. Rawness refined into reckonings, approaching truth, born of cold mornings, bad luck, and too many wrong turns. Waking up where you're not supposed to be, living a life you don't recognize. The album ends with no end to its narrative, still fighting, still slipping. Farrar calls "Climbing Down The Ladder" a "relapse song - telling people you're okay but you're still fucking up." Heartbeat drums march under heartbroken guitars in an elegant downward spiral of defeat, delusion, and desperate hope, dreamed more than believed: "I said it was the last time / but I was up so high / 100 miles / 1000 miles / no me in sight / I saw into the next life / I wasn't dead / I felt so vivid in the next life."

Beach House release their eighth album, titled ‘Once Twice Melody’.
 ‘Once Twice Melody’, the first album produced entirely by Beach
House, was recorded at Pachyderm studio in Cannon Falls, MN,
United Studio in Los Angeles, CA, and Apple Orchard Studios in
Baltimore, MD.
 For the first time, a live string ensemble was used, with arrangements
by David Campbell.
 ‘Once Twice Melody’ was mostly mixed by Alan Moulder but a few
tracks were also mixed by Caesar Edmunds, Trevor Spencer and
Dave Fridmann.
 2CD in wide spine sleeve with silver and black print, inner CD wallets
and a 9.5” x 14.5” pull-out poster.
 Standard 2LP format features 140g double vinyl in wide spine outer
sleeve with silver and black print, inner sleeves and 24” x 36” pull-out
poster.
 Double cassette format (tape 1 - gold, tape 2 clear) features O Card
outer sleeve with silver and black print, two cassette cases and five
panel J Card insert

Oops, Four Flies did it again! Like other rare Italian gems, Berto Pisano's La Novizia was long thought lost before the FF team rescued, restored and remastered it from the original tapes. And wow, it's just one of the best things, if not the best thing, about the 1975 film it was written for – an erotic comedy with melodramatic overtones directed by Pisano's long-time collaborator Giuliano Biagetti (they previously worked together on Interrabang and La Svergognata) and starring a young and mesmerizing Gloria Guida.

The film's low budget meant that Pisano had to make a virtue out of necessity. Rather than using a big orchestra and strings (as is well known, he was a brilliant conductor and string arranger), he relied on a smaller ensemble – almost a chamber ensemble, but with a jazz-like rhythm section – to create sensual late-night soundscapes that exude a downtempo ambience. In a nutshell: smooth, warm, velvety music. The epitome of the lounge sound.

At times, whispered, sexy vocals by (the then ubiquitous) Edda Dell'Orso float dreamily over brushed drums, bass, guitars and electric pianos. At others, we find Italian library heavyweights like Alessandro Alessandroni (whose unmistakable whistle can be heard in "Canto Notturno") and even psychedelic rock influences, as in the acid distorted guitars, furious drums and crazy synths of "Free Dimension". At yet other times, we're taken into more easy-listening territory – "Fiore Rosso", for instance, offers a wonderfully cinematic example of Mediterranean, rather than Brazilian, bossa nova (did they ever thought of using a spinet in Brazil??).

The secret to the charm of La Novizia is that it encapsulates the Italian erotic sound of the 70s in all of its nuances, from the morbid, to the prudish, to the naïve. Because yes, this is a record of nuance and musicianship. And while the themes are in themselves simple, the fantastic quality of the writing, arrangement and production is a testament to Berto Pisano's superb talent, style and professionalism.

Finally back to life after decades of obscurity, La Novizia is a thing of beauty – which, as a pretty bright fellow once said, is a joy forever. Don't miss out on joy.

Comes on vinyl, CD and Digi with original artwork by Eric Adrian Lee and exclusive liner notes by the Pisano family. All tracks are previously unreleased in any format.

Multi-Grammy nominated singer, Seth MacFarlane, announces his 7th studio album, Blue Skies. The 14-track collection of swinging tunes showcases acclaimed arranger and conductor Andrew Cottee’s deft take on an uptempo album full of modern big band jazz orchestrations. The first track off the upbeat set is the classic jazz standard, “No Moon At All.” You can listen to the song and pre-order the album here. You can watch the accompanying lyric video here. Recorded at the celebrated Abbey Road studios, Blue Skies features an all-star group of musicians enlisted by MacFarlane including Chuck Berghofer (Bass), Peter Erskine (Drums), Larry Koonse (Guitar), Dan Higgins (Alto Sax), and Tom Ranier (piano). Together, with longtime friend, collaborator, and producer, Joel McNeely, and superb engineer, Rich Breen, the album covers compositions by musical writing luminaries that include Irving Berlin, Sammy Cahn, Edward Heyman and Frank Loesser.

The British composer, musician and audio engineer Daphne Oram was a pioneering figure in the use of electronic music. Coming to prominence through her work with the BBC Radiophonic Workshop, which she co-founded, Oram was one of the first British composers to feature electronic instruments in her work and has been rightly hailed as helping musique concrete to become accepted in Britain. Born in 1925 and raised in rural Wiltshire, close to Stonehenge and the ancient stone circle at Avebury, Oram eschewed a place at the prestigious Royal College of Music to take a junior engineering role at the BBC in 1942, she was often tasked with creating sound effects, leading to cut-up experiments with tape recorders and the development of synthetic sound; her composition Still Point, involving two orchestras, two turntables and five microphones, was deemed too radical by the BBC, though she was promoted to studio manager in 1950, leading to the gradual introduction of electronic music and musique concrete techniques on BBC soundtracks. In 1957, she composed the music for the play Amphitryon 38, using a sine wave oscillator and homemade filters, and this and other subsequent works led to the establishment of the BBC Radiophonic Workshop the following year, but Oram soon tired of the conservative constraints of the BBC, leading to her resignation in 1959 to pursue her own vision at the Oramics Studios for Electronic Composition, located in Tower Folly, a former hop kiln located at Fairseat, near the village of Wrotham in rural Kent. Oramics was a radical sound composition technique that sought to transform images to music, enacted by drawing onto 35mm film, which would then be read by photo-electric cells; in addition to its use in Radiophonic Workshop material, Oramics was also employed for sound installations, theatre productions and feature films, such as The Innocents, though financial pressures forced Oram to seek a range of commercial engagements in addition to creating her own artistic works. The Listen Move And Dance series of BBC programmes were devised as a radical new technique to help British schoolchildren learn how to dance; on the LP releases, Vera Gray arranged short adaptations of classical pieces by Bartok, Stravinsky, Shostakovich and others, designed for “stamping, punching, kicking and jumping” movements, as well as “running lightly, dancing on toes” and “shaking all about,” which contrasted sharply with Oram’s electronic abstractions, which seemed to have been beamed in from outer space.

Polarity, the first album from percussionist and multi-instrumentalist James Larter is a cross-genre Psychedelic journey with driving rhythms at its core.

Larter has always been obsessed with rhythm; whether it be the roaring sound of Brazilian Samba or the intricate and hypnotic drums from the African diaspora, music that makes people move is a passion. He is an in demand musician that has played with a staggering variety of groups and artists

from Sampha to the London Philharmonic Orchestra.

Hailing from the UK and studying in London and New York, his soundscape crosses genres and styles all with a psychedelic twist. Marimba and vibraphone feature heavily with echoes of electronic music played out by an all-star accompanying 10 piece band.

Pachakuti is a musician and producer with family roots in Colombia. He plays keys, tenor saxophone and clarinet. While living and working in Berlin, he draws inspiration from the natural world, investigative travels, and ancestral traditions of Latin America and beyond. His expressive and rhythmical playing and his instantaneous compositions are directed at the human core, arousing subtle experiences. While not being conformed to one style, it always invokes a sense of liveliness and depth to be delved in. young.vishnu is a producer and DJ. He has studied philosophy and music in Hildesheim, Germany, which heavily influenced his views on meaning and mythology in music. In his DJ sets he selects and plays classic and contemporary Funk, Soul and Afrobeat. His practice as a DJ informs his work behind the boards directly, adding also more organic grooves and broader spectrum of musical styles to his in Hip-Hop based production. If you had to put one single tag on their forthcoming album Dédalo, the best choice would be Jazz. That being said, Pachakuti and young.vishnu's sound worlds might be better described in their own words: "We just make music and try to incorporate what we love about it". They are musical freethinkers with shared interests in eastern philosophy and botany who interweave Hip-Hop, Latin and Funk with musical storytelling and world mythology. Undoubtedly, their most ambitious work to date, Dédalo (Spanish synonym for labyrinth), recorded and produced over the course of a year, shows Pachakuti & young.vishnu's ambitions and growth. Where their debut work Semilla (2020) centered around the image of the seed, Dédalo takes on the entire garden. Besides playing multiple instruments by themselves, Pachakuti & young.vishnu invited a growing group of befriended musicians into the studio, including percussionist maestro Eric Owusu (Pat Thomas, Ebo Taylor, Jembaa Groove) and drummer Leon Raum (Bokoya, Wyl), as well as Brazilian newcomer vocalist Laíz, and members of their former band project Soularkestra. The 16 recorded songs, ranging from 1:19 to 14:58 minutes, take you on an emotionally honest, metaphoric journey through the maze of human existence, of modern society and mythic poetry. The mostly instrumental tracks build on expressive melodies, layered rhythms, and a wide range of musical instruments, merging the sounds of Jazz with the classical word of orchestras and choirs, and urban soundscapes with traditional instruments such as the Andean Kena and Charango, the Colombian Gaita and Marimba de Chonta, and an Indian harmonium. The Album thus weaves together past and future, and diverse cultural threads, sounds and ideas in an act of cultural appreciation and global conscience. Mixed and mastered by Roe Beardie at The Brewery Studios, Berlin. The album artwork itself merges the visionary art of Mexican painter Sergio Chávez Hollar with an original artwork-inlay of Brazilian artist Laíz and the work of Carsten Pölking of the Nima Compositions Archive.

Dédalo will be available digitally and on double-vinyl with inside-out print cover and colored inlay with credits and painting by Laís De Mello Barbero.

In a generation of musicians that came of age in postwar Japan, Kazuki Tomokawa stands as a pioneer of radical individualism, with a sound marked by shocking intimacy and blistering honesty. In his third album, A String of Paper Cranes Clenched between My Teeth, released by Harvest Records in 1977, Tomokawa creeps "ever more inward," as Kiichi Takahara writes in the record's original introductory text-embracing an attitude pervasive amongst musicians of the time who interrogated the prosaic and the profound alike, eschewing politics and society in favor of an "attitude of total self-containment." Tomokawa recorded the album over the course of a month-from August 24 to September 25, 1977-at Tokyo's famed Onkio Haus studio in the bustling Ginza district. The arrangements, accordingly, are amped up: paired with the Black Panther Orchestra, Tomokawa's "screaming philosopher" vocals find their match with the orchestra's electric guitar, bass, piano, tuba, and ground-thumping drums played by the Brain Police's Toshi Ishizuka-who appears on Tomokawa's first three records and remains his collaborator to this day. "This is Kazuki Tomokawa in the flesh," concludes Takahara. A String of Paper Cranes Clenched between My Teeth is, in Tomokawa's uncanny way, able to cut through facade and artifice in pursuit of truth. "You call that life?" he heckles, exhausted by the melodrama and nihilism of youth counterculture, "try saying you're alive!"

Ltd to 100 copies

Presented in a double vinyl gatefold edition with two beautiful paintings by Tenerife painter Sema Castro.

For fans of Sun Ra, Alice Coltrane and every single mystic brother and sister carrying the free spiritual jazz torch! Dive DEEP!

Spectacular mystical jazz infused psychedelics from Canary Islands’ cult band GAF.

Using a series of different add-ons to their (already obscure) band acronym GAF (Grifa Ambient Factory) such as Love Supreme Arkestra or GAF & La Estrela de la Muerte amongst a few, the Tenerife based band illustrate clearly what mutation or influence they’re feeding through (their mind) by the judicious use of these referential add-ons. Rotating around the vision of local lynchpin, Mladen Kurajica aka Bonni, Keroxen label head, festival organizer, producer and musician with numerous projects including helming the GAF outfit. The Love Supreme Arkestra variation here being the more Coltrane leaning (Alice rather than John) and Sun Ra- esque influenced thematic of the 6 piece band. Over a series of 7 huge sounding themes, we can hear twirling saxophones, trumpets, marimbas, modulars and rhythmic sections intertwining like flying spiral snakes over a burning sea of lava.

Recorded live and freely over a completely improvised jam session on a sunny afternoon in the mountainous region of La Esperanza in Tenerife, the band lets rip free of any previous albums particular sound choosing instead to purge into a world of musical liberation by embracing the aforementioned pioneers of the genre whilst unconsciously absorbing in their surroundings - as an additional inspiration for musical freedom.

The result really shines through its 74 mins of mind blowing adventurous music. A journey to the peaks of the Teide Volcano and down the green valleys, into the blue and black volcanic coasts of liberation!

The second album from the transatlantic duo Wilma Vritra is richly orchestrated, replete with references to faith, mythology, and the cosmos, its 11 tracks grapple with themes of self-preservation and refuge from the world, even as they edge their way to a sort of redemption. Grotto is the work of two musicians separated by an ocean but undoubtedly operating on a shared wavelength. One is Will Archer, a Newcastle-born but London-based multi-instrumentalist and composer who today records as Wilma Archer, but who you might also know for his writing and production for artists like Celeste, Nilufer Yanya and Jessie Ware. Wilma Archer’s debut solo album A Western Circular, featured guest spots from the late MF DOOM, Future Islands’ Samuel T Herring, Sudan Archives and Laura Grove. The other is Hal Donell Williams Jr, aka VRITRA - a Los Angeles-based rapper whose tales of graft and grind are often couched in spiritual or cosmic terms. VRITRA has previously collaborated with Matt Martians via The Jet Age of Tomorrow, Pink Siifu and YUNGMORPHEUS. Grotto’s striking cover image is by Swampy, an enigmatic Californian street artist whose itinerant lifestyle – tales of squatting and train-hopping across North America – have made him a demi-mythical figure. A playful image, but it communicates the album’s themes – of a voyage through darkness, and the promise of light at the end of the tunnel.

Limited 300 180g white vinyl LPs with printed inner Discobag and digital download.

500 CDs in gatefold digifile sleeve.

Each drum controls a virtual musical instrument (synthesizers, samplers, arpeggiators, etc.) within Ableton Live music software that, in combination with a custom step sequencer developed with MaxforLive app, allows Davide to perform real melodies/electronic orchestration without the use of any backing track. 100% live. In addition to that, he also uses a microphone set up in the middle of the drumkit to capture the dynamics of the acoustic drums and translate them through an 'envelope follower' into electronic parts in several ways. About ‘Perceive Reality’: Opener Belief bursts the record into life, as skittering arpeggios spin across a vast open plain of pad synths, before the ground splits beneath it with thrashing drums. On Conceived, Davide creates a simultaneously dark and euphoric wall of crystallised sound, a cacophony of pounding drum hits and icy electronic stabs, with an intensity that continues into Collide. With its shuddering, cut-out reverbed synth pads split in two by crashing cymbals and snares, the song spins itself into a transformative cycling trance, before slowly fading and washing away into silence, only to be broken by Conjectures’ sudden cymbal slams and transfixed toms that roll like thunder into a frenzy, before their final lightning strike. On Subjective, arpeggios twist around beating kick drums and toms, quickly scaling to a furious yet tightly wound sequence that envelops the listener, before Relief, where the album finally takes the shape of a huge wave of calm, glimmering hope and reflection. About the concept behind this latest album, Davide says, “Perceive Reality is a vivid exhortation to deepen the relationship with reality, avoiding simple and often illusory visions. In a historical context that fosters the proliferation of dual information and visions, individuals are increasingly exposed to the danger of perceiving less the complexity of events, thus losing the training to express complex and articulated opinions, the result of a reflection, whether individual or collective. Without having the presumption of resolving epochal issues, the project alerts to the fact that univocal answers do not exist and that only by developing a path of knowledge and giving ourselves the opportunity to examine things in depth, can we enter into the relationship with the existing.” Press highlights so far: Video premiere on Rumore.IT (Italy).

Tinnitus Tonight is the latest & sneakiest full-measure serving from LARS FINBERG, world-class bon vivant and prolific Panic Rock artiste. Why so sneaky? Here’s the dirt: Finberg developed a nerve rash leading up his 2017 tootle, the TY SEGALL-assisted Moonlight Over Bakersfield. Rather than blindly leap from the comfy zone, he tip-toed in secret to a friendly but far-flung (cough*Sacramento*cough) studio to capture a reserve of slanted tunes with a proven-effective team of buds. Those comrades – the glorious LAUREN MARIE MIKUS on keys, frequent collaborator & forever-gent KAANAN TUPPER on drums and, at the controls and elsewhere, the indestructible CHRIS WOODHOUSE – all fostered a supportive framework that first allowed Finberg to “think” beyond THE INTELLIGENCE, gearing him up for a life in the spotlight (or moonlight, as it were). So yes indeed: what appears to be an adventurous follow-up also doubles as a prequel. Keep accurate score or you’re dusted. The core of Tinnitus Tonight centers on an assemblage of Finberg’s most golden riffs – trash-coustic but driftwood-smooth, naughty and infinite, all of ‘em bangers and/or buggers. Tunes sprout and move matador-like until an inevitable goring. The past-it grunt that kicks off “Burger Queen” prompts a mimed chef’s kiss. “My Prison” and “The Doors” are quintessential, truly distilled Finberg moments, compounding his trademark acerbic, out-for-blood wit with these absurdly cool, whip-crack guitars. The massively impressive “Public Admirer” is unequivocally the loudest, most damaged blurt from this doggie in at least a decade. In total, Tinnitus Tonight is a wonderful and welcome reminder that our guy is a very real rouser and a vital, unique purveyor of artful aggression, playful and powerful. Finberg beams really fuckin’ brightly under his own name, perhaps more so than with any group orchestration he happens to be braising with. Do these higher personal stakes call for a dastardlier delivery? Maybe this permeating 2020 End Times feeling prohibits the normal corralling of the subconscious mind? Whatever the answers are, you will find them here.
"The gift Lars Finberg has to disfigure rock riffs into minor chord marvels should serve as a glowing example for those who feel the need to pick up a guitar and make some noise to share with the world. Using the conventional tools of rock and roll flavored with a mix of garage punk, post punk, synth punk and mutant surf, Mr. Finberg, with seemingly effortless cool, has crafted or contributed to countless albums with bands like The Intelligence, Puberty, Rubber Blanket, A Frames and more, all with a magnetic pull and genius lyrics that stand out from the indie rock heap and reveal an exceptionally creative mind that’s actually done its homework." - Noise For Zeros

Far from the twin epicenters of New York and Miami, Carlos Ruiz and his Ebirac label were both feeling and generating the aftershocks of the mid-’70s salsa boom. Holed up in their own bustling Puerto Rican community center on Chicago’s west side, these third coast salseros plied their trade outside the hot lights, cutting their teeth in city parks, VFW halls, and Holiday Inn rec rooms. Nearly 50 records survive in the wake of orquestas La Justicia, La Solucion, and Tipica Leal ’79, the most impassioned, singular moments of which are compiled here.

Far from the twin epicenters of New York and Miami, Carlos Ruiz and his Ebirac label were both feeling and generating the aftershocks of the mid-'70s salsa boom. Holed up in their own bustling Puerto Rican community center on Chicago's west side, these third coast salseros plied their trade outside the hot lights, cutting their teeth in city parks, VFW halls, and Holiday Inn rec rooms. Nearly 50 records survive in the wake of orquestas La Justicia, La Solucion, and Tipica Leal '79, the most impassioned, singular moments of which are compiled here.