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"To The End" is a tremendous demonstration of power that impressively unites all elements of its predecessors and paints a frightening picture of war, death and destruction at the end of which nothing remains but ashes and the realization of a masterpiece. It is the beginning of a new era. Since early October 2020, smoke is laying over Northampton near London. The machinery is well-oiled, the plan excellent - MEMORIAM have recorded their fourth studio album! The speed the British machinery has been working at since their early days is just enormous and equally amazing. Only back in 2016 the band inaugurated the public about their existence. Since those days the machines never stood still. The British Death Lead Commando caused a big rumble shortly after the first rumors about where the journey would go. "The Hellfire Demos" hit the worldwide scene with their old school Death Metal and left speechlessly torn open mouths which are still raving about the enthusiasm of this achievement today. When "For The Fallen", the debut album, is unleashed on mankind via Nuclear Blast Records in 2017, the impression is even more powerful – Truly an historic act for metal history. But as mentioned, there is no stand still in MEMORIAM. Meanwhile emancipated from other bands, they write their very own piece of history. While the first album was still heavy, oppressive and marked by grief, the second album "The Silent Vigil" (2018) showed a more merciless and aggressive side. The same applies to the third strike "Requiem For Mankind", which stands unmistakably in the short but impressive tradition of all previous MEMORIAM works. After this concentrated Death Metal trilogy, all signs were pointing to upheaval. As if the band wanted to completely break away from their old roots, they looked for a new home and signed a worldwide record deal with the upcoming label Reaper Entertainment Europe. While drummer Andy Whale had to take a forced break due to health reasons, Spike T Smith - a close friend of the band - took over the job in the rhythm section. Nevertheless "To The End" follows the tradition of its predecessors without leaving any doubt that one of the strongest albums of 2021 lurks here. Once again the groove is monstrous, the riffs deadly merciless and the atmosphere oppressive, paralyzing, even overwhelming. Willett's aggressive vocals give the sound the proverbial icing on the cake.

Saturations is a composition by Danish multidisciplinary artist Niels Lyhne Løkkegaard, and features a clarinet choir consisting of 19(!) clarinet players.

Niels Lyhne Løkkegaard (b. 1979) considers his work to be a basic research in realities working within the domains of imaginary & physical sound as well as other non-sonic media, and since 2012 Niels Lyhne Løkkegaard has experimented with creating music that lets the instruments transcend their inherent sonic norms and reappear in another form by way of multiplication of sound.

His work with multiplication of sound has led to numerous compositions in which one instrument is multiplied a number of times: One piece is written for 9 pianos, another for 10 hi-hats and yet another for countless triangles and so on.

The multiplication brings out bodily timbral phenomena, interference of sound waves and vibrations, and brings out what Niels Lyhne Løkkegaard calls the sound’s potential of transformation. He describes this as the quality in a musical piece, when you no longer hear recognizable instruments, but instead the individual sound, as well as the individual musician, is dissolved into the collective sound.

A sonic as well as human synthesis.

He explains the concept of this sound as follows:

“Imagine you enter a room with vibrant acoustics, such as a cafe full of people having conversations, and when you’re close to those conversations you hear the language and understand the words. If you step away from the tables, however, and stand in the doorway, you begin to loose the ability to distinguish the words from one another. Now instead of hearing the individual conversations, melts all the conversations together, and transform into a one new sound. A sound of people without words and language. Just as when you hear a group of geese squawk, or the wind in tree tops, a kind of nature given sound of people. Once the language is dissolved and the words stop making sense, what is left, is the sound."

The work of NLL has been presented at a variety of different venues and museums such as MoMA (NY - as a part of the René Magritte exhibition The Mystery of the Ordinary, 2013), Imaginary West Indies (Overgaden Copenhagen, 2017), ISCM (Vancouver, 2017), Radiophrenia (Glasgow’s Centre for Contemporary Arts, 2017), CPH:DOX (Copenhagen, 2017), Roskilde Festival (2017), Harpa (Reykjavik, 2017), G((o))ng Tomorrow Festival (Copenhagen 2016, 2018), Nordic Music Days (Norway, 2019), Akusmata (SF, 2020) and his works has been released on labels such as Topos (DK), Archive Officielle (CA) and Important Records (US). NLL is associate professor at RMC in Copenhagen, and has given lectures at the California Institute of the Arts (CalArts), Goldsmiths University of London a.o.p. NLL has been awarded with several prizes a.o. from the Danish Art Foundation and the Sonning Foundation.

Producer extraordinaire John Morales returns to BBE Music, celebrating the life and work of R&B / soul legend Teena Marie with a double album full of brand new remixes, lovingly crafted from the original studio tapes, entitled ‘Love Songs & Funky Beats’. “Teena is somewhat underrated, and people don't really know much about her.” Says Morales. “I set out to immerse people in her music and represent what she really did. That meant for me a dive into more than her R&B hits, to dig into her ballads and dance cuts. People know she was talented. I don't really think they really knew the depth of her abilities, her complete confidence to take it upon herself to do everything – singing, producing, arranging, songwriting. Teena Marie was the total package.” John Morales had the pleasure of mixing many of Teena Marie’s original records over the years, so it felt natural to dig into the archives and select his favourite cuts to rework, extend and subtly update in his own distinctive style. While by no means a definitive collection of Lady Tee’s expansive musical catalogue, ‘Love Songs & Funky Beats’ represents a fitting tribute to a multifaceted and important voice in popular music, by one of the most storied mix engineers and remixers of our age. Jumping into the music industry deep end in 1979 with a three-year mentorship from Berry Gordy & Rick James at Motown, Teena Marie then spent seven fertile years with Epic, which yielded her greatest commercial successes (including the classic album 'Starchild'). After founding an independent label ‘Sarai’, Marie took a ten-year hiatus which ended in 2004 in a deal with hip hop label Cash Money Records; a less unlikely partnership than some might assume, given that Teena was one of the first ‘mainstream’ artists to perform a rap verse, on 1981’s ‘Square Biz’. Teena Marie Brockert forged a unique path through the industry, an artist in-charge of her own destiny, influencing (and heavily sampled by) both the hip hop and R&B sounds of the 90’s and early 2000’s. Her 1982 lawsuit against Motown records resulted in "The Brockert Initiative", which has benefitted literally thousands of other artists by making it illegal for record companies to ‘shelve’ artists by keeping them under contract without releasing their material. She continued to tour regularly and deliver commercially successful, expertly sculpted music, right up until her untimely passing in 2010.

LTD. CLEAR BLUE VINYL

Fresh off of their 2020 offering Adult Themes, El Michels Affair is back with a new full-length release. Titled Yeti Season, this newest album has everything we've come to expect from EMA's patented cinematic style of instrumental soul music. Where Adult Themes inspired a soundtrack to an imaginary film, Yeti Season brings us to a different place in time_with new inspirations. Taken with Turkish-styled funk and an almost Mumbai-esque take on soul, El Michels Affair offers us a different kind of drama and imagination with Yeti Season. If you've been following along, this shouldn't be viewed as too far a departure for El Michels Affair. The first single off of Yeti Season showed their hand back in 2018. A double-sided banger, that release brought the musical textures to the fore that dominate this record. The first song, titled "Unathi," is fully realized with the beautifully haunting-yet-hopeful vocals of Piya Malik, formally of 79.5_another Big Crown artist. Singing in Hindi, Piya's ethereal voice is telling us to work and strive together toward progress. Even if you don't understand her language, you can still hear the urgency of purpose, creating a lasting vibe that sits on top of it all. Leon Michels explains that Piya had a vital influence on this record: "When Piya started singing in Hindi, she had a different voice, a different tone. I knew we had to do something together." And so Piya appears on three other songs on Yeti Season: "Zaharila," "Murkit Gem," and "Dhuaan." Each providing particular signatures to the album. "Zaharila" is a building and changing love song punctuated by blaring trumpets, driving drums, and Piya's pleading lyrics. While the more upbeat "Murkit Gem" opens with a fuzzed out, Wu-Tang-esque baseline that buoys Piya's stylings. The psychedelic guitar and Piya's changing tones and textures singing about an all-consuming love are what pushed "Dhuaan" on to the second single from Yeti Season. There is also a vocal appearance from Shannon Wise of The Shacks, yet another Big Crown artist. Her song called "Sha Na Na," lies more in the familiar EMA vein: melodic, hypnotic, soulfully visual. But between Shannon's airy singing, the jumpy baseline, moody vibes, the active drum lines, it sounds like a pensive walk home after a strangely dramatic night. So what is Yeti Season? It could be more of a feeling than an actual place or time of year. It's a heavy album_as evidenced by the signature musicianship and dramatic vocal expressions. But it's also a hopeful record, with phrasings, textures, and chord changes that hint at something better_or fuller_coming our way. You hear it in songs like "Ala Vida," with its stabby, pulsing chords laying a bedrock for EMA's bright, atmospheric horn lines. Or even in "Fazed Out," which leaves you with a feeling of determination, a striving for resolution even though the driving, march-like song structure should accompany some conquering army. This persistence has to come from the fact that Leon Michels and company finished this record during the lockdown. It was a tough and troublesome time. But look at what has come of it: Yeti Season_a record of high and heavy drama, but also one of hope and promise. It may take a year like 2020 behind us to find hope in a winter big footed creature like a Yeti, but that's where we are.

Back in 2015, to celebrate the 50th anniversary of the BBC broadcast of Delia Derbyshire & Barry Bermange’s “Inventions For Radio: The Dreams”, The Eccentronic Research Council released their own super-limited edition cassette soundtracking the recalled dreams (and nightmares) of friends, artists, actors, musicians, scientists, poets and filmmakers. The release was called “The Dreamcatcher Tapes Volume 1”. Five years on, and with a large part of the planet under lockdown and with nowhere to go but within their imagination, the ERC put a call out once again to music collaborators, nurses, teachers, truck drivers, writers, journalists and shop workers to upon waking, record their dreams straight into their phones and to then send them to the ERC to soundtrack. And thus, Volume 2 of The Dreamcatcher Tapes was born!

How did you make the album during lockdown?
“We got around 26 dreams sent to us via email over the space of a couple of weeks then Dean Honer my partner in The ERC and I revved up the old analogue equipment and would record music and collage sounds to the dreams (remotely) from our home recording studios and bounce them back and forth to each other till they were done. It was a really good way to work actually, sometimes I didn’t even have to put on any trousers!” says ERC/ Moonlandingz founder Adrian Flanagan. Why a second volume of The Dreamcatcher Tapes? “I was really interested to see how the enforced lockdown and the removal of people’s basic needs such as human contact and hanging out in close proximity to friends was affecting the dreams of my friends, peers and those at the very front line of this horrible pandemic”, Adrian continues. “The Important shared experiences for people’s mental health such as going out to gigs, the pub, the cinema etc. ”It was an interesting experiment. Nurses dreaming of inadequate PPE and having to use blow up Elvis costumes to protect themselves. Teachers dreaming of zombies and lots of people dreaming about sex - where the hair of Greek sorceress’s Circe meets bouncy castle breasts and where other dreamers dream of serial killers or seeing dead family members, or taking baby elephants for a walk, or having discos for one in the middle of the ocean and so much more. I’m really proud of this record. It’s psychedelic in its truest most cerebral form”

Who’s on “The Dreamcatcher Tapes Volumes 1 & 2”? Who are the dreamers?
“Although our long time collaborator Maxine Peake wasn’t on the very first tape (her dream ended up on LTD edition split 7” ERC single we did with Pye Corner Audio) - she was the first dream that we soundtracked when I came up with the idea of doing the concept record. However, on the new vinyl and tape box set - she opens volume 1. Across the 2 volumes there’s film maker Carol Morley, Andy Votel from Finders Keepers records, John Doran from The Quietus (who also wrote the albums brilliant sleeve notes), acclaimed writers Benjamin Myers & Adelle Stripe, musicians such as Evangeline Ling from the group Audiobooks, Lias Saoudi from my ‘semi fictional band’, The Moonlandingz and fat white family, Sidonie from The Orielles, journalists /writers Wyndham Wallace (he wrote lee Hazelwood’s brilliant biography) and Daniel Dylan Wray amongst a whole array of musician friends, eccentrics and people with actual proper jobs!”

Why did you chose Castles in Space for this release?
“Jim Jupp at Ghost Box records suggested them to me so I looked into them and saw they were doing loads of really great strange little bespoke electronic record releases. I think that because this is a very niche limited run release, it required a label that was willing to treat it like a piece of art and not a throwaway mass produced commodity. So making sure the packaging was special, the artwork was bang on point and the sleeve notes were written by a writer we like all were very important to us. “It was also important that we could turn it around from the finished recording to being in people’s hands really quickly as Dean and I have another ten projects between us on the boil - and so far, Castles in Space have been true to their word. It’s an artists label done with love and there’s not many of them about anymore - believe it or not.“

“The Dreamcatcher Tapes Volumes 1 & 2” is an immense collaborative achievement which makes for a thoroughly compelling, and gloriously disorientating listening experience.

It is released as a double coloured vinyl LP in deluxe gatefold sleeve w/insert and a highly limited deluxe double cassette box set. The album is released on March 19th, 2021.

Still only 29 years old when composing and recording this album, Kjetil Mulelid is one of the brightest talents in Norwegian jazz, and these days that really says something. In Kjetil's childhood home they had a subscription for a "Classical Masterpieces" CD collection. One that especially caught his attention, and would be played repeatedly, included the most melodic piano music of Beethoven, Chopin and Debussy. At the same time his elder brother introduced him to "old" rock like Led Zeppelin and Queen, winning him over and getting him interested in the guitar rather than the piano. When he later applied to music education in high school with electric guitar as his main instrument, the teachers asked if he played other instruments. He duly played a song on the piano, and heard nothing more of it. Months later, thinking he was enrolled as a guitarist, he was (to his horror) introduced to the class as a pianist. While he loved listening to classical piano music, playing it he felt tied up in the "rules" and the sheet music. It was simply more fun to play rock music on electric guitar_ surely a familiar story! Later a classically trained piano teacher played him some gospel and boogie woogie and introduced him to some simple pentatonic hooks on a C major blues. He hadn't really touched the piano in a very long time, but the same night he started experimenting and improvising around what she had shown him, and from that moment he was all into the piano and would dig further into improvisation and jazz. And the rest is history, as they say. Kjetil was sceptical when we first suggested a solo piano record back in early 2018, but the idéa slowly grew on him and when the pandemic exploded and other plans had to be scrapped, he suddenly had the time as well as the means to do it. So the bulk of the album was written in a hectic lockdown period and recorded on a steaming hot June day in the legendary Athletic Sound studio on their unique and characteristic Bösendorfer grand piano from 1919. Of the piano Kjetil says the sound is one of a kind, very clear and not typically "perfect" like most new ones. We can only wholeheartedly agree, it sounds great and is also very well recorded and mixed, giving the impression that you sit next to him, and not in a concert hall. In turn joyful, playful and elegant, the album fully shows Kjetil's harmonic and melodic mastery and the influence from those early introductions to the classical masters. Whether staying with the tune or taking off on improvised flights, there is an ease and assurance in his playing that betrays his young age.Kjetil has a bachelor degree in jazz performance from NTNU in Trondheim, has played in most European countries, Japan and USA, released two acclaimed albums with his trio on Rune Grammofon, and is also a member of Wako.

Once upon a time, two operators stared at their screens. They sat silently for hours, their whole being dedicated to the task they had been assigned to. Days and nights passed in the same monotonous manner. Suddenly signals showed up on their monitors. Alarms started to ring. Both reacted at the same speed and did what they were supposed to do. Controls and commands were entered, as was protocol. After observing these waves for 61:01 minutes, everything became quiet again. What they had just witnessed made them wonder. For the first time they addressed each other. "The data is transferring through our system," announced the first. “Let us both check how this can be interpreted.” The second validated the response. Together, they looked at what had been recorded. Ideas raced through their complicated minds until they realized simultaneously: sounds! They listened. “Is this an unknown language?” one asked. “This is the first time this has been heard throughout our history,” the other answered. They listened again and again. “This electricity has been arranged to form a cohesive entity,” the first said. “Why would machines be used to create that?” the second mused. Something had awakened inside of them, an obsessive curiosity they had never experienced before. They did not understand and were blown away by the beauty of it. “Do you think it could have been left by humans before us?” one whispered. “If it was, these would be Major Signals,” the other concluded. As they processed these thoughts, the two artificial intelligences sat still.

It took Sibille Attar five years and a lot of soul searching to produce Paloma’s Hand, the 2018 EP that served as the long-awaited follow-up to her debut album, Sleepyhead. Both that record and her first EP, 2012’s The Flower’s Bed, seemingly left her with the world at her feet, with widespread critical acclaim, television appearances and a Swedish Grammy nomination for Best Newcomer. The years that followed, though, involved both creative and personal turmoil, and left her feeling increasingly adrift musically as the uglier side of the industry reared its head.

“For a long time in my life, I tried to sit in certain constellations to please other people,” she says. “And it didn’t work, because I could only do it for a little while before I’d get frustrated and want to do things my own way. There was a time when I felt like I couldn’t trust the business, and it was draining me of my love for the music. Eventually, I realised you can’t live your life trying to fit into somebody else’s mould all the time.”

Paloma’s Hand, a six-track pop odyssey that slalomed through genres, brought years of struggle to a long-overdue end. Just as importantly, though, it served as a much-needed palate cleanser for Attar, breaking through the barrier of writer’s block. Just two years later, she’s back with her second full-length, the aptly-titled A History of Silence, a reference to that long period of searching for her voice. “I thought about calling it A History of Violence, because in many ways, the album is like a violent attempt to tell my own story when I’ve been silenced,” she explains.

Key to the pace at which she was able to work this time around was a realisation that she functions best on her own - “I just felt like, “fuck it - I can’t be bothered dealing with other people and their opinions.” Accordingly, A History of Silence was written, recorded and mixed entirely by Attar herself, and where she needed a little bit of outside help - sweeping strings on the epic "Dream State", for instance - she penned the arrangements herself and had friends record them exactly as directed. “It seems like that’s the way I have to work to get things done, and it helped things come together really quickly - the first song was done at the start of 2019, and the last one was finished around the time the pandemic was taking hold. It was frantically fast, but I work one song at a time, so it was never too chaotic."

The album never sounds too chaotic, either; like Paloma's Hand, it takes a broad approach to pop, but one that’s anchored by the key through-lines of sharp melodies and atmospheric soundscapes. Largely recorded in Attar’s Stockholm apartment, A History of Silence finds room for everything from sparse alt-rock ("Go Hard or Go Home") to spacey, electropop (the Madonna cover "Oh Father"), via the more up-tempo likes of "Somebody’s Watching". “On some tracks, I had really specific influences in mind,” says Attar. “There’s a lot of eighties stuff going on, and I was deliberately tracking down those kinds of synthesizers to try to capture that sound.”

Attar shies away from talking in too much detail about the themes that run through A History of Silence - she wants the record to be received as universally as possible - but it’s clear that the album marks the beginning of a hugely exciting new chapter after the rebirth that Paloma’s Hand represented. “If anything, it’s like a preacher’s album,” she says. “I’m preaching to myself, teaching myself, telling myself off in the lyrics. It’s about accepting loss of power, changing expectations, and getting rid of some heavy baggage. That’s the way I made the album, and it meant I had no limits - every single idea I had, I tried. When I said I was falling out of love with music, that feels like a very long time ago now.”

- The definitive overview of one of Canada's unsung musical heroes - Rare/previously unreleased recordings, photos, and interviews - Lyrics, discography, and filmography - Audio re-mastered by John Baldwin Mastering - Artwork by Christi Belcourt and Alanna Edwards - Liner notes by Kevin Howes (Voluntary In Nature) - Contributions from the Dunn family, Bob Robb, and Alanis Obomsawin (OC) // How did you first experience the poetry, music, and film of Willie Dunn? In a Montreal coffeehouse during the mid-1960s? On a CBC Indian Magazine broadcast with host Johnny Yesno? At a Toronto record store or Native Friendship Centre at the turn of the 1970s? Waiting outside of the Mohawk Nation Longhouse? Maybe in your parent's record collection on the Rez? A White Roots of Peace gathering? Pow wow? The Mariposa Folk Festival? Or was it that Save James Bay Benefit back in '73? On a good friend's stereo? Sitting around a crackling campfire? How about an old NFB film reel or VHS tape in high school? Or while attending Manitou College? A German concert hall in the 1980s? Maybe a direct action protest on the colonial streets of Canada? Busking in Ottawa during the 1990s? College radio? At Willie's celebration of life service in 2013 alongside Alanis Obomsawin and Willy Mitchell? LITA's Grammy-nominated Native North America (Vol. 1) compilation or the very anthology you hold in your hands? There should be no judgment for coming to things when you do. All that's important is remaining open to life-changing messages such as these_ Willie Dunn shared truth through song and celluloid. His original composition, "I Pity the Country," is an unparalleled statement on the greed and hate created by humankind, recorded in 1971 and still unfortunately needed today. "It's like the reason you're supposed to make music," said Kurt Vile about the song to MOJO Magazine in 2015. With "Charlie," Willie was the first to deliver the devastating story of Chanie Wenjack and the Canadian residential school system to the music community, nearly 50 years before the much-celebrated Secret Path, yet ignored outside of Indian Country and the folk festival circuit. Dunn's film technique, featured in 1968's The Ballad of Crowfoot (NFB), predates the "Ken Burns effect" to great effect. Are you catching the drift? Willie Dunn was not only a trailblazing leader in his time, but well ahead of the curve, simply without the PR push and big money backing of major label players. "He was our Leonard Cohen," said singer-songwriter Eric Landry about his musical hero. The only difference is that Willie refused to play the Hollywood showbiz game. In talent, he is Cohen, Dylan, and Cash rolled into one and along with Buffy Sainte-Marie, Floyd Red Crow Westerman, and A. Paul Ortega, brought a new set of perspectives and realities to the folk music tradition. Willie spoke directly to his people and Mother Earth through his creations, not only from experience but by examining his roots and connecting with the world in which he lived. We are humbled to help honor Willie Dunn. May he never be forgotten_ PEACE

The year 2021 is a special year full of people looking into the future and anticipating the closer and further changes that are coming for many of us. Sincerely believing in positive changes and a return to
normalcy, we are leaving this difficult year 2020 which many of us will never forget.

Our message as the Unknown Timeline is an approximation and insight into a possible timeline that may occur somewhere in a parallel version of our own world. We believe that our home-world and this parallel universe can be linked through the music we present to you on a transparent vinyl record. An "interconnecting disk” between two timelines. As the title of the disk refers to a thing of the unpleasant past, we hope our brothers and sisters from parallel universe are safe and did not stuck in a dark 2020- loop, as the past would be the point at which time was eternity.

Everyhing is a concept until it become a real thing. Raroh - an Unknown Timeline member - created two sonic time breakers, that are able to break the boundaries between timelines of universes and go back and forth with the message. He sequentially joined with special forces of the Polish underground duo called OTHK who translated Raroh's vision into their own language pervading the wall of time. For the final contact with the parallel world, Nternal Bserver receive an answer and presented it a stable but sad and difficult situation from the other side of the time curtain.

Two of our favorite records that we here at Real Gone Music have reissued in the last few years were the debut pair of records (both originally released in the early ‘70s) by legendary Brazilian percussionist Airto; each album serves up a savory, bubbling stew of Brazilian folk, fusion jazz and bossa nova spiced with a hint of tropicalia. While Airto’s contributions on each record were, of course, front and center, there was another player on those records that almost stole the show: one Severino Dias de Oliveira a.k.a. Sivuca, a small, wizened man (often somewhat uncharitably described as “gnomish”) whose dazzling virtuosity on accordion, guitar, and keyboards—coupled with a powerful singing voice that belied his small stature—made one instantly sit up and take notice. Further investigation revealed that stealing the show was nothing new to Sivuca; championed by Oscar Brown, Jr., he was the instant star of tours by both Harry Belafonte and Miriam Makeba among others. Sivuca started making records back in the mid ‘50s, and recorded for a number of labels in the States, including Reprise and RCA, but it is this record, made in 1973 for the Vanguard label, that is the one that collectors worldwide have zeroed in upon. And with good reason; it offers the same beautiful blend of styles found on those Airto records, but with an emotional shading all its own, a joyfulness paradoxically infused with melancholy, best expressed on Sivuca’s mesmerizing take on Bill Withers’ oft-covered “Ain’t No Sunshine,” which is likely to become your favorite version.

They Say: “Exploring the wide range of moods and sounds produced by percussion”.

We say: MPCs at the ready because this does exactly what it says on the tin, to devastating effect. Oh, and the sleeve is stunning.

Originally released in 1979, Percussion Spectrum was produced by the legendary percussionists Barry Morgan and Ray Cooper. With dope beats taking in diverse styles, from funk and soul and jazz through to Latin, Brazilian, samba and Afro-Cuban, this is an amazing sample source filled with killer drum-breaks and percussion flares. Unsurprisingly it’s one of the most sought-after records from the Themes catalogue.

This library LP is a library in itself, with its mix of short themes of single beats, short breaks and some longer, more fully-formed DJ-friendly tracks. Trust us when we say that this is a box full of percussion firework ready to be thrown onto the dancefloor at the just right moment. We don’t have anywhere near enough space to describe all 34 tracks (there isn’t even enough room on the labels to list them all!) so we’ll pick out some favourites.

Favourites like opener “Impulsion”, a percussive masterclass with drum upon drum upon drum making it feel like a neat prototype to the percussive underscores of Peter Lüdemann and Pit Troja’s eternal The Now Generation LP. And the dramatic “Fast Action” is exactly that, racing along on a rapid roll of congas, cymbal crashes and throbbing kicks. “The Chaser” is classic library cop-funk with dilapidated drum figures, and the outrageously funky “Heat On” is the perfect accompaniment to your wild action sequences.

A real highlight is “Runaway”, and not just because it sounds like nothing else on the record. Here are drums and percussion in that tight funk style that just cries out to be sampled. “Percussion Power” is an extended, near-three minute suite of funky drum solo after funky drum solo that just aches to be looped: open drums to die for people! “Shivers” is a tense, apprehensive underscore with shock stabs that builds to a climax whilst “Drums On Parade” is a showcase of head-nod drums and cymbals in march time. Did someone say “funky”?

Side B starts with a stroll down “Samba Street”. With the noise of the crowd in the background, this is riotous, authentically drawn samba that sounds like it’s been beamed straight in from Rio in full flow. Drop this at midnight and watch the cobwebs fly off any dancefloor. Prefer it without the fake crowd? “Samba Street (b)” has you covered.

The simple, innocent “Child’s Themes” (all five of them) provide a nice, sweet respite from all the funk. Nursery sounds tinged with only a touch of melancholy. The gentle marimba solo of “Tropical Peace” only adds to the sense of serenity we get from the relatively calm second side. The album closes out with a veritable toolkit of tom toms, snare drum rolls, timpani, vibraphones and chiming bells.

Percussion Spectrum is a joyous collection of sounds, as bright, beaming and downright funky as the vibrant cover. The Themes series is known for each record having its own particularly striking sleeve, which was unusual for library records at the time, and Percussion Spectrums’s multi-coloured drumsticks make for one of the most eye-catching.

As with all of our other Themes re-issues, the audio for Percussion Spectrum comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. As usual Richard Robinson has taken the same care with restoring the original sleeve from archive scans. This is another one ticked off the list of library records that should be out there for anyone who wants a copy.

Obviously is the new album from beloved band Lake Street Dive. It includes the new single ‘Nobody’s Stopping You Now’, a letter of encouragement from lead vocalist Rachael Price to her teenaged self, co-written with bassist Bridget Kearney. Lake Street Dive has figured out how to write tunes that reflect this particularly turbulent chapter in our shared history. The album track ‘Making Do’, which was released at the end of last year, speaks to the world that future generations are inheriting while exploring the lasting impacts of climate change and our responsibility to address it (featuring a cameo from Senator Ed Markey who co-sponsored the Green New Deal).

As Price puts it, “You’re trying to express your anxieties, your feelings, your sadness, your happiness, all of these things – your authentic state of being in a song. But you’re also trying to create something people will listen to over and over again. That’s the unique fun thing about music, putting these messages into three and a half minute snippets, dropping whatever truth we can and hoping it’s the type of thing that people want to ruminate on.”

Obviously was produced by Grammy Award-winning producer, songwriter, and multi-instrumentalist Mike Elizondo who is best known as a songwriting collaborator for Dr. Dre, Eminem, and 50 Cent and has also served as a record producer for Fiona Apple, Mary J. Blige, Carrie Underwood, and 21 Pilots, among many others. Utilizing Elizondo’s hip-hop record-making expertise coupled with the permanent addition of keyboardist Akie Bermiss, Lake Street Dive’s wide-ranging taste in pop, rock, R&B, and jazz have blended together to make an impressively cohesive sound, combining retro influences with a contemporary attitude. “We’ve been a band for so long that we didn’t want to just become a feedback loop of our own ideas,” recounts Kearney. “It felt like a really good time to bring another person like Mike Elizondo, and he really opened us up. He encouraged us to make bolder arrangement choices, take those chances and try those things. The record really is a success in what we set out to do: continue to challenge ourselves, continue to grow, and do things we’ve never done before.”

The members of Lake Street Dive founded the group in 2004 while attending the New England Conservatory of Music in Boston. The band features Rachael Price (lead vocals), Mike “McDuck” Olson (trumpet, guitar), Bridget Kearney (bass) and Mike Calabrese (drums) as well as their newest member Akie Bermiss (keyboards), who has been a touring member of the group since 2017. Since the band’s inception, they have released six studio albums. Their 2018 self-produced record, Free Yourself Up, debuted at #4 on the US’s Top Album Chart and charted #8 on the Billboard 200. In addition, the album’s hit single ‘Good Kisser’ peaked at #5 at Americana radio and appeared in the Top 20 at AAA radio, both career peaks for the band. The group has toured worldwide performing at major music festivals including Bonnaroo, New Orleans Jazz Festival and Newport Folk Festival while preforming alongside artists such as T Bone Burnett, The Avett Brothers, Robert Finley, Jack Johnson and Trombone Shorty.

An unlikely meeting of two like-minded spirits, »First Man in the Moon« sees the former Swans guitarist and Hallow Ground regular Norman Westberg and the prolific double bass player Jacek Mazurkiewicz collaborate for five evocative tracks. The pair finds common ground beyond the boundaries of atmospheric drone, abstract jazz and experimental music and blurs the lines between the acoustic and the electronic.The two first met when the composer Mazurkiewicz supported Swans with his solo project 3FoNIA on their 2014 European tour. »I really enjoyed his approach,« says Westberg about the Polish musician’s blending of the acoustic qualities of his instrument with electronically generated sounds. A decision to collaborate was made and when the US-American musician returned to Eastern Europe to support Michael Gira on his solo tour in late 2019, Mazurkiewicz reached out to him with the idea of booking some studio time before Gira’s two concerts in Warsaw. »Recording was very fun and easy,« remembers Westberg. »It was just two people enjoying hearing and reacting to what the other is doing.« »First Man in the Moon« is not however a plain document of these improvised sessions, but also shaped by Mazurkiewicz’s approach as a composer. Once the recordings were finished, he selected and edited the recorded material, refining the peculiar dialogue between the guitarist’s meditative drones and bright chords and his own rhythmic yet subtle approach to playing the double bass, sometimes plucking the strings and occasionally using his bow to underscore
Westberg’s fleeting melodies, but also using the instrument in unconventional ways to generate sound. A feeling of weightlessness prevails throughout the aptly-titled »First Man in the Moon.« Even at their most abstract however, these five improvisations-turned-compositions remain tangible, lively, and joyfully explorative. It is a record that you wouldn’t expect from either of these musicians, but
the logical result of two idiosyncratic minds sharing not only space and time, but also their respective visions with each other. Credits:
Recorded at Studio Diamentowy Pies/ Damian Pielka, engineering/Piotr Mazurek, engineering assistance/Jacek Mazurkiewicz, mix/
Lawrence English, mastering/John Fell, photographs.

British artist Robin Rimbaud (Scanner) traverses the experimental terrain between sound and space connecting a bewilderingly diverse array of genres. Since 1991 he has been intensely active in sonic art, producing concerts, installations and recordings, the albums Mass Observation (1994), Delivery (1997), and The Garden is Full of Metal (1998) hailed by critics innovative and inspirational works of contemporary electronic music. Committed to working with cutting edge practitioners he has collaborated with Bryan Ferry, Wayne McGregor, Mike Kelley, Carsten Nicolai, Michael Nyman, Steve McQueen, Laurie Anderson and Hussein Chalayan, amongst many others.

Rimbaud first met Belgian artist Hans Op de Beeck at Le Fresnoy Studio national des Arts Contemporains when they were both Visiting Professors in 2012. Op de Beeck lives and works in Brussels, Belgium and creates sculpture, installations, video, photography, animated films, drawing, painting, and writing. His various works show the viewer non-existent, but identifiable places, moments and characters that appear to have been taken from everyday life.

The artists found an immediate creative connection, and a year after meeting Staging Silence (2) was completed. In 2019, they returned to the theme and created Staging Silence (3).

Each of the films is realised through the same principles, as two pairs of anonymous hands construct and deconstruct fictional interiors and landscapes on a mini film set of just three-square metres in size. The films take the viewer on a visual journey through depopulated, enigmatic and often melancholic, but nonetheless playful, small-scaled places, which are built up and taken down before the eye of the camera.

Ranging from hyper-realistic fictional land and cityscapes to absurd, almost surreal, dreamscapes, the various locations are connected by the sense of mystery and melancholy that pervades them. And at every moment Rimbaud's score is amplifying and illustrating these moments, from tragedy to nostalgia, witty to optimistic.

Introspective and lyrical, Staging Silence offers us a world of mystery and intrigue, held together by nature and time. This is a very humane works experienced at a time when many of us feel disconnected from the world around us. The peculiar silence that permeates this hauntingly beautiful work is very much an illustration of our times, anticipating a future in the past. Staging Silence is an exquisite study in dreamlike abstract ambience, a kaleidoscope of sounds and tones that engage the head and the heart.

Favorite Recordings proudly presents an exclusive eponymous LP by Brazilian singer and composer George Sauma Jr., originally produced in 1985. Imagine a never-marketed release on which you’d hear not only the beautiful and genuine George’s songs but also the work from two figures of the Brazilian Music Golden Age: Arthur Verocai and Junior Mendes! A much-needed album for all Brazilian connoisseurs.

Back in the days, George Sauma Jr. was a young artist from Rio de Janeiro, learning on his side how to play chords and compose songs since he was 10. Still at the university, he’s influenced by Brazilian artists like Cassiano or Tim Maia, deeply fascinated by the arrangements and the “levada” (the groove) of all these new Brazilian songs. Simple and romantic music that resonated to his soul and creativity.

Around 1985, the story took an unexpected turn. George tells: “Dna Deyse Lucidy, the mother of Junior Mendes was a candidate for deputy and went to my father’s company to advertise. When I saw her, I shouted, “I’m a big fan of your son!” ” Of course, she could not praise more the work of her son. On her advises, George went to his studio on Rua Siqueria Campos at Copacabana. Junior loved the project and sent him to Arthur Verocai to improve the arrangements. Without money, the decision was taken to record everything at Junior Mendes’ studio on an 8-channel mixer. It was a small set-up but the emotions were there! George surely had other plans for some of his songs but without the budget, they ended up doing everything the best they could. And they did very fine with a top-notch team of musicians: Paulo Black on Drums, Arthur Verocai on Guitar, Ricardo Do Canto on Bass and Helvius Vilela on Keyboards.

Leaving the studio with the tapes, George tried to knock doors of international labels, but none did even dare to give him an answer. With less than 1000 copies pressed back in the days and without any distributor or label behind him, he went with proud to record stores, but received nothing than a strong reality check regarding the difficulties for a young Brazilian artist to achieve something on the saturated market of the 80s. Even for free, record stores didn’t want it. In the end, he ended up giving copies to friends and families, knowing deep inside that the songs were good! George tells: “I decided to leave, calm and conscious. I’ve still made three more albums, however on tapes, as it was more affordable. This time, just for my pleasure…”.

Thirty-five years after, it’s with great emotion that this first album by George Sauma Jr. is now made available as Vinyl LP with its original offset printed innersleeve & CD

No other pairing in the history of Darkwave ever matched the unfettered creativity, resolve, and DIY attitude from the collaboration between the two creative minds that compromise Lebanon Hanover.

The meeting of the Swiss musician Larissa Georgiou, aka Larissa Iceglass and British artist William Maybelline a decade ago in the latter’s hometown of Sunderland in the UK, was a monumental occasion, reverberating throughout the European music scene and even across the Atlantic.

Lebanon Hanover would emerge from the peak of the world-wide minimal wave revival, with their 2011 split 7-inch record with La Fete Triste issued as the catalog debut of Europe’s most ubiquitous Techno-Industrial EBM labels, Aufnahme + Wiedergabe

With Berlin as their new physical home, William and Larissa would soon, however, join the Fabrika Records family. From here, they would go on to release two full-length albums through the Athens based label, starting in early 2012 with their winter debut LP The World Is Getting Colder, and it’s All Hallows Eve follow up Why Not Just Be Solo.

It was Lebanon Hanover’s 2013 third studio outing Tomb for Two that would go on to cement the duo’s legacy, with the album’s single “Gallow Dance” becoming a post-punk anthem for the times, with artwork became the band’s defacto logo. Not only that, the song “Sadness is Rebellion”, also featured on the album, became the band’s official Mantra.

Two years would pass before the release of 2015’s critically acclaimed fourth record, “Besides the Abyss”. In the intervening years, William and Larissa, initially a couple, would find other partners, and relocate to Athens.

Meanwhile, Lebanon Hanover as a live act would expand rapidly in popularity, exceeding capacity during their performances at Wave Gotik Treffen in Leipzig, and performing sold-out shows across Europe and the UK.

With the playful Babes of the 80s maxi-single released in the interim, three years would pass before the next record from Lebanon Hanover, with 2018’s Let Them Be Alien, the band’s fifth studio album.

At the dawn of the global pandemic, where dystopian nightmares that were only ever seen before within the pages of books and flashes of silver screen celluloid, has become a daily reality, a new kind of darkness envelops the world. It was at this Lebanon Hanover returned, sharing a glimmer of hope with the single “The Last Thing,” the duo’s first song from their forthcoming sixth studio album Sci-Fi Sky.

Spanning an epic journey across ten tracks that wander through industrial landscapes, and ascend beyond the atmospheric aether, Sci Fi Sky is Lebanon Hanover’s most cohesive artistic statement to date. With their icy hearts on their sleeves, this is the culmination of a decade’s worth of musical creativity radiating from the minds of both Iceglass and Maybelline, and altogether an otherworldly beacon of hope in a time of sheer darkness.

The Pet Parade,” the title track to Fruit Bats’ newest album, might be a surprising opening track for longtime fans of Eric D. Johnson’s beloved indie folk-rock project. The six-and-a-half-minute tone poem smolders and drones over just two chords, inspired by the strange and silly community events that he saw growing up outside of Chicago, in La Grange, Illinois, in which people dressed up and showed off their pets. Decades later, The Pet Parade emerges in troubled times, living within what Johnson refers to as the beauty and absurdity of existence. While many of the songs on The Pet Parade were actually written before the pandemic, it’s impossible to disassociate the record from the times. As an example, producer Josh Kaufman (Bob Weir, The National, and Bonny Light Horseman, in which he plays with Johnson and Anaïs Mitchell) was brought in for his deep emotional touch and bandleading abilities. However, Johnson, Kaufman, and the other musicians on The Pet Parade drummers Joe Russo and Matt Barrick (The Walkmen, Fleet Foxes), singer-songwriter Johanna Samuels, pianist Thomas Bartlett (Nico Muhly, Sufjan Stevens), and fiddler Jim Becker (Califone, Iron & Wine) were forced to self-record their parts in bedrooms and home studios across America. Still, says Johnson, “The songs have enough intimacy that it doesn’t sound like it was made a million miles away.” Such tension and turmoil also impacted the lyrics of The Pet Parade. While “Cub Pilot” and “Here For Now, For You” began as more traditional love songs from a personal “I” to a specific “you” Johnson quickly realized that these songs needed to comfort broader audiences, changing the words to a more inclusive “we” and “us.” So too in “The Balcony,” a song ostensibly about a particular space in his grandmother’s apartment, but one that evolved into a metaphor on patience. At times upbeat and reassuring (“Eagles Below Us”) and at times quietly contemplative (“On the Avalon Stairs”), The Pet Parade marks a milestone for Johnson, who celebrates 20 years of Fruit Bats in 2021. In some ways still a cult band, in other ways a time-tested act, Fruit Bats has consistently earned enough small victories to carve out a career in a notoriously fickle scene. And Johnson himself who has played in The Shins, composed film scores, gone solo and returned back to the moniker that started it all, and most recently, earned two GRAMMY® nominations with Bonny Light Horseman doesn’t take this long route of life’s pet parade for granted. “I’m still really excited to make records,” he says. “Lucky and happy and maybe happier that things went slower for me. I’m savoring it a lot more.

Hawkwind have always been associated with music festivals, most notably the free festivals, where Dave Brock has said that, at

those events, the band is not shackled to appease an audience by giving them what they expect and have paid to see. With that obligation removed, the band can relax and experiment more than usual and gigs become even more fun. Their sessions, where they played for free, sometimes with the Pink Fairies, at Canvas City, outside the official site of the Isle Of White Festival in 1970, are a matter of legend and Nik Turner gained much attention when he painted his face silver and was much photographed as a result. During his set, Jimi Hendrix referred to him as 'the cat with the silver face'. However, when we think of Hawkwind and festivals, the word Stonehenge leaps to the fore.

The band always loved being there, enjoying the whole event as well as the freedom of how and when they played. This was not a time of business, but a time of fun. The most important one of these was Stonehenge 1984, which proved to be the last festival before the authorities moved in the following year to block the festival from being set up and Hawkwind ended up playing a few miles away instead. It was the sad end to an era. It had taken place twelve times and, had it been allowed one more time, it would have become a public event and the powers that be were determined to prevent that from happening. Happily, the 1984 festival was recorded and filmed and the Hawkwind Solstice Eve and Solstice Morning were both preserved...and we should be grateful for that.


The fact that Hawkwind were playing for free didn't mean it was a basic show. As well as the line-up of Dave Brock, Harvey Bainbridge, Huw Lloyd Langton (who played the evening session, but not the following morning), Nik Turner, Alan Davey and Danny Thompson, there were half a dozen dancers, a mime artist and fire spitting. A free event, it was the ideal time to introduce the new rhythm section to the band in the form of Danny Thompson on drums and Alan Davey on bass, with Harvey moved to keyboards. A move which was to have a long term affect in the way he made music, leading to his solo career, as well as years playing synths for Hawklords, in years to come, after his stint as the Hawkwind keyboards player came to an end.. Danny fitted the bill comfortably and drummed for the band until he left in 1988, to be replaced by Richard Chadwick. Danny went on to play for other bands including Bedouin and Pre Med. He also recorded a cassette album called Skinwalker. Alan made a good team alongside Dave Brock and it can be seen on the video just how pleased he was to be playing alongside Dave Brock, a man whom he had only met for the first time in November 1982, backstage at the Ipswich Gaumont. He went on to be the longest serving Hawkwind bass player, before moving on to pursue solo projects and form a nmber of bands. So in terms of the line-up, Stonehenge 1984 had a notable impact on the formation of the band for a number of years and, indeed, the destinies of Harvey, Danny and Alan. As if that were not enough to make the event special in the annals of Hawkwind, they played an interesting and varied main set in the evening, featuring a blend of old and new Hawkwind songs, along with numbers from Inner City Unit and

Bob Calvert's Lucky Leif And The Starfighters album. In keeping with the relaxed atmosphere, there was a considerably extended

version of Ghost Dance, lasting around ten minutes. The sunrise set was special too, with a long, laid-back, jam at dawn, in fitting with the occasion.



A lovely and relaxing start to the day and the kind of jam they couldn't really play to a paying audience. It's good to have the

memories of this significant festival gathered together in three formats.

Enjoy this special set, which commemorates a special event, not only in the history of Hawkwind, but of the saga of Stonehenge festivals.

“The rumors are true; Providence, Rhode Island is permeated with a mysterious energy”. So says Dave Litifreri, guitarist and vocalist of
Urdog. “Some of us focused this energy, learned to live with the ghosts and tell their story.” It’s a story chronicled on Long Shadows, the new Urdog retrospective on Rocket Recordings - the work of a mercurial band whose music may have been summoned from fog and ghosts, yet possesses considerable staying power beyond their brief time on the planet. “We were influenced by the horror of late-capitalism in general every day” says drummer and vocalist Erin Rosenthal, “This glued and glues us together, also love of bicycles, french fries and faerie folk. Big influences for me were Robert Wyatt, Incredible String Band, Dagmar Krause, but especially This Heat, Riot Grrrl and 90’s hardcore.” From such disparate inspiration came psychically heavy jams and wild improvisational voyages from this triumvirate which chart an instinctive and wild journey, drawing the interplanetary dots between early ‘70s freak-flag-waving transgressions and the folk-tinged frontiers of the early 21st century US underground. Mantric repetition, ceremonial ambience
and fuzz/wah tinged blowouts take equal prominence in this dreamlike realm. Drawing the interplanetary dots between the drone ’n’ klang of Amon Düül II and the cultish hallucinations of Sunburned Hand Of The Man, and replete with both an earthiness of approach and a powerful celestial intensity. “We used our intuitive connection to let three distinct voices be heard” reflects Dave. “There was no foundation; they supported each other. Once that is achieved, a vibe develops. Getting into the space of a song is something you can’t notate. We had the keys, but getting to the door was the trick. Some nights we got all the way through the roof to the stars.”

Barbarossa, AKA British singer songwriter and producer
James Mathé, releases his new album ‘Love Here Listen’
via Memphis Industries.
For this latest batch of songs James Mathé collaborated
with producer du jour Ghost Culture (Daniel Avery, Kelly
Lee Owens, Falle Nioke) at his studio in Margate, Kent in
the South East of England. The pair worked with a
limited range of vintage synths - a Mono Poly, Korg MS-
20 a Roland SH-101 and a Juno 108 borrowed from the
local skate store Palm Bay Skates - with the recordings
bounced down to Mathé’s Fostex R8 reel to reel to give
it that undeniable warmth.
Mathé says of the recording process: “It was probably
the most stress-free record to date and so much fun just
messing around with synth arps. It’s easy with James as
we really understand each other and I trust him totally.
He lives five minutes’ walk along the seafront from me.
We even jumped in the sea a couple times after lunch.”
‘Love Here Listen’ is Mathé’s sixth album since his debut,
‘Sea Like Blood’, released on the Fence Collective back in
2006, since which time he’s joined the Jose Gonzales
live show, become a member of Junip, toured with
Poliça and This Is The Kit and morphed from acoustic
troubadoury to electronic song smithery all the while
seemingly searching for an elusive balance between
hopefulness and melancholy. On ‘Love Here Listen’,
thanks to a reconnecting with the visceral forces of nature, it feels like he’s found it.
Yellow vinyl LP.

Clarinetist, composer, singer & spiritual jazz soothsayer Angel Bat Dawid presents this powerful live document alongside her band, Tha Brothahood. LIVE was mostly recorded on November 1st, 2019, at Haus der Berliner Festspiele in Berlin, Germany, during the 2019 edition of JazzFest Berlin. For Angel and Tha Brothahood - which includes Deacon Otis Cooke (vocals, synth), Viktor Le Givens (vocals, auxiliary instruments), Xristian Espinoza (tenor sax, percussion), Norman W. Long (electronics, synths), Dr. Adam Zanolini (double bass, bass guitar, soprano sax, flute, percussion), Isaiah Collier (drums), and Asher Gamedze (drums) - it was the first stop of their first European tour. Angel and her band experienced a number of difficult, racially charged interactions during their two days in Berlin. But despite, or perhaps in light of the difficulties they faced, they performed a set at Berliner Festspiele that Angel considers to be one of their best ever. "The show was very deep, and really helped me to process all the rage, and uncomfortable things I was feeling... It made me think of all the artists of the past who endured way more than I ever will with this music industry. It was a very freeing and beautiful show... we played our ass off!!"

No other pairing in the history of Darkwave ever matched the unfettered creativity, resolve, and DIY attitude from the collaboration between the two creative minds that compromise Lebanon Hanover.

The meeting of the Swiss musician Larissa Georgiou, aka Larissa Iceglass and British artist William Maybelline a decade ago in the latter’s hometown of Sunderland in the UK, was a monumental occasion, reverberating throughout the European music scene and even across the Atlantic.

Lebanon Hanover would emerge from the peak of the world-wide minimal wave revival, with their 2011 split 7-inch record with La Fete Triste issued as the catalog debut of Europe’s most ubiquitous Techno-Industrial EBM labels, Aufnahme + Wiedergabe

With Berlin as their new physical home, William and Larissa would soon, however, join the Fabrika Records family. From here, they would go on to release two full-length albums through the Athens based label, starting in early 2012 with their winter debut LP The World Is Getting Colder, and it’s All Hallows Eve follow up Why Not Just Be Solo.

It was Lebanon Hanover’s 2013 third studio outing Tomb for Two that would go on to cement the duo’s legacy, with the album’s single “Gallow Dance” becoming a post-punk anthem for the times, with artwork became the band’s defacto logo. Not only that, the song “Sadness is Rebellion”, also featured on the album, became the band’s official Mantra.

Two years would pass before the release of 2015’s critically acclaimed fourth record, “Besides the Abyss”. In the intervening years, William and Larissa, initially a couple, would find other partners, and relocate to Athens.

Meanwhile, Lebanon Hanover as a live act would expand rapidly in popularity, exceeding capacity during their performances at Wave Gotik Treffen in Leipzig, and performing sold-out shows across Europe and the UK.

With the playful Babes of the 80s maxi-single released in the interim, three years would pass before the next record from Lebanon Hanover, with 2018’s Let Them Be Alien, the band’s fifth studio album.

At the dawn of the global pandemic, where dystopian nightmares that were only ever seen before within the pages of books and flashes of silver screen celluloid, has become a daily reality, a new kind of darkness envelops the world. It was at this Lebanon Hanover returned, sharing a glimmer of hope with the single “The Last Thing,” the duo’s first song from their forthcoming sixth studio album Sci-Fi Sky.

Spanning an epic journey across ten tracks that wander through industrial landscapes, and ascend beyond the atmospheric aether, Sci Fi Sky is Lebanon Hanover’s most cohesive artistic statement to date. With their icy hearts on their sleeves, this is the culmination of a decade’s worth of musical creativity radiating from the minds of both Iceglass and Maybelline, and altogether an otherworldly beacon of hope in a time of sheer darkness.

Kuldaboli returns to bbbbbb records, this time with a 6-track EP on which his idiosyncratic sound of icy, cryptic electro fully emerges. BBB015 being the second release of Kuldaboli on bbbbbb records is destined to be a historical release for the Icelandic dance music scene and a very important one for Kuldaboli’s legacy. The EP title ‘Ekkert nema ískaldur veruleikinn’ roughly translates to “nothing but the ice cold reality” and that is exactly what is delivered across the six tracks laden with poetic lyrics and spoken word.

In the opening track ‘Ég er bara ég’ Kuldaboli’s signature sound of uncompromising electro is overlaid with haunting vocals recited in Icelandic saying “I am only me and you are only you, people exchange words measuring each other out, trying their best at discerning life’s riddles’’. It is easy to say that Kuldaboli knows how to capture the listeners with deep reflections on subjects that most people are aware of but hardly ever speak of.

A2 ‘Ískaldur veruleikinn’ or ‘the ice cold reality’ is the most bouncy dancefloor track of the EP with the openings lyrics saying ‘’Are you telling me the truth? If I were to guess you are lying cold to my face’. The power of word play in this release is by far the most interesting poetic turn for Kuldaboli to date, where he shows great insight to the subconscious and human behaviour.

The smooth sounds of possessed Italo disco on A3 ‘Finn innri frið’, along with the funky bassline and trance like synths has perhaps the most positive vibe to it if you are not familiar to Kuldaboli, along with the playful opener of B-side ‘Afi kenndi mér íslensku’.

Following B2 no-bullshit-electro-track ‘Kuklari’, the final track B3 ‘Fönix úr ösku’ shows the haunting dark depth of depressurisation that vocal and electronics can create, where melancholic lyrics convey images of lost dreams of former lives.

"Dreamwalks" as well as the other songs on "A Dive Into the Subconscious" musically reflect the emotional level of memories and experiences of the producer. Drips Zacheer deals with central issues of his life, such as family, friends, travel and also fears and tries to reach the subconscious of his listeners through this sound game. The appropriately playful cover designs come from the Berlin artist and illustrator Rahel Süßkind.
Drips Zacheer is a real beatgeek on the midi controller. The 25-year-old musician has been producing hip-hop instrumentals for almost ten years, which are based on LoFi, Chill-Hop, BoomBap, jazz and also progressive rock and Bossanova. Until he was 19 he grew up in Chalkida, the capital of the Greek island of Evia, until he moved to Rhethymno on Crete to study audio engineering. He started out in 2011 as a producer for a befriended hip-hop crew, and in 2016 he began producing beats for himself. Since then he has established himself as one of the most relevant producers in the Greek beat scene and with his choice of sounds shows that he has a knack for vinyl samples and harmonic arrangements. His upcoming album "A Dive Into the Subconscious" makes it clear that instrumentals are not only used as a background for rappers, but have earned their own standing in the scene. Drips Zacheer produces beats to listen and linger - a little journey into your own subconscious.

Sealed original copies of the Horace Tapscott's 'The Tapscott Sessions' solo piano series, released on Nimbus West Records ‎from 1982 to 1984. Horace Tapscott has been one of the top "unknown" jazz pianists in the Los Angeles area since the 1960s, recording far too few sessions which has led to him being continually overlooked by jazz fans from outside L.A. During 1982-84 he recorded seven solo piano albums for the tiny Nimbus label, playing unaccompanied solos, his improvisations consist of deeply emotional exploration of his music. Tapscott has always had a strikingly original sound that, despite occasional hints at other pianists, is quite distinctive, falling between advanced hard bop and the avant-garde. Totally Essential.




Jazz, with its many iterations and forms, has always been a music on the move - its own changes and evolutions mirroring a flux in the perception of what is and was. This is all too evident when addressing its avant-garde realisations, particularly those rising across the 1960s and 70s - free and spiritual - musics which were both of their moment and beyond them - of a specific people, culture, social reality, philosophy, and political position, while transcending each. These radical sounds have rarely received the wide understanding, recognition, and appreciation in their own time. Thankfully, we have have hindsight. Historical Avant-garde jazz, springing from African American communities and taking seed in every corner of the globe, is increasingly celebrated for the seminal music is was and remains, but there’s still plenty of work to be done, especially when addressing the long standing rift in the United States which favours the east coast over the west.

Credited as one of the best late '60s German psych-rock albums, Bokaj Retsiem's ('meister Jakob' in reverse) Psychedelic Underground is an eccentric, soulful, acidn and fuzzy rockin' essay that clearly prefigures a part of the krautrock movement. Featuring Rainer Deigner, former guitar for the '60s beat German group Former Bonds, as the only credited musician and composer on this album (although other musicians assisted him on bass, keyboards, and that B3 Hammond and Leslie sound), this is basically Rainer's freaked-out tribute to his favorite children's song, 'Meister Jakob,' consisting in trippy instrumental sections, furiously savage E-guitar crescendos, amazing psych-rock improvisation, with just a hint of '60s US psych-garage. A real enthusiastic psych-kraut trip for fans of Vanilla Fudge, Hendrix,and Iron Butterfly.

Enter, ANGST a series of musical ‘essays on the ephemeral being’ by Portuguese pianist and composer Tiago Sousa.

After 2015’s Um Piano nas Barricadas (Discrepant, CREP23) Sousa expands his compositional chops by writing and performing along with a trio made of clarinet, percussion and vibraphone adding a magical realism aura to the music.

It was fate that the releasing of these compositions would arrive in one of the most troubled passages of recent memory, just as a new decade begins. If it was already established that anguish is one of the hallmarks haunting our modern era, these last few years expose this existential feeling with even greater urgency.

The album that Tiago now presents, part angst part nostalgic escapism addresses this very modern concern as well as other themes dear to the so-called existentialist thinkers such as Heidegger, Camus or Kierkegaard, who among others, seek to directly challenge the Being with various concepts such as Repetition, Temporality, Interiority, Despair…

Throughout the 8 themes here presented, a delicate attempt is made to sketch a phenomenological cartography through its content and form, loosely describing the feeling of being launched into the wide world and the discovery of one self. In other words, the artist’s aim here is to convey the growing pains that the whole question about the meaning of life throws at us.

In an approach that is difficult to catalogue, the album tries to avoid genres and crystallizations in which music presents itself as a vehicle to express the ineffable and the incommunicable, expressing instead a magical world of wonder and enchantment.

The Martha’s Vineyard Ferries - ‘Suns Out Guns Out’ Over the course of two prior releases — 2010’s ‘In The Pond’ (Sickroom) and 2013’s ‘Mass Grave’ (Kiam) — The Martha’s Vineyard Ferries quietly carved out a high-IQ corner of the U.S. rock underground reserved for taut, deathly catchy songs that showcased deft (if get-to-the-point) instrumentation. That the band have been kinda/sorta under the collective radar has more to do with their being otherwise occupied (more on that in a minute) than a lack of artistic ambition; they’ve slayed before and after a long break, they’re back to slay again. So you’re wondering, what could possibly take precedence in real life terms over playing in a band this awesome? Much as I hate to compare and contrast, part of the dilemma is that the principals of The Martha’s Vineyard Ferries — commonly referred to by their fans as “the Fuckin’ Ferries”, “The Martha’s Vineyard Ferries” by everyone else --- are in too many awesome bands already. Guitarist/vocalist Elisha Wiesner has previously set the world on fire with the Massachusetts sextet Kahoots and earlier this year released a 63 song (!) digital masterclass in songwriting under the John Pancake nom de plume. Drummer/vocalist Chris Brokaw has previously pounded on things for heavyweights including but not limited to Codeine, The New Year and Obnox, though there’s a fair chance you’ve also heard his guitar/vocal performances, both solo and with Come (as well as an impossibly long list of contributions to the likes of The Lemonheads, Dirtmusic, Thurston Moore, Consonant and more). Bassist/vocalist Bob Weston is internationally renowned for his sternum-crushing work on behalf of Shellac, Volcano Suns and sound manipulation tactics for Mission Of Burma (I’ve not heard any of the above, but I’m told they’re all “ok, if you’re into that sort of thing”) Add to this workload the tiny matter of the 3 players having spent most of the last 7 years living in 3 different time zones, it’s nothing short of a miracle the 3rd and finest Martha’s Vineyard Ferries album could pass for the sustained effort of 3 men who’ve been locked up together all this time, writing and recording a powerful statement to rival anything in their collective catalogs (I’m thinking of a scenario kind of like “The Lighthouse”, except there’s 3 men instead of two and there’s more guitars than birds, but maybe the occasional bird, as you tend to get a few of them near the water).

After three years of waiting since her seminal Sister funk hit single "2 Kinds Of Men", Record Kicks finally presents "Stop Look Listen" the debut album from the new Oporto soul diva Marta Ren & The Groovelvets that will hit the streets 19 February 2016. Anticipated from the first single "I'm Not A Regular Woman", which is getting airwaves all over Europe (including BBC 6, Rai Radio 1, LeMouv / Radio France), produced and recorded on an Ampex eight-track tape machine by New Max from Portuguese funk combo Expensive Soul and mastered in NYC by Andy Vandette, "Stop Look Listen" is pure dynamite and follows the best tradition of the Soul Sisters of the 60s. Marta Ren, not surprisingly described as the new Marva Whitney, brilliantly supported by her super tight 8-piece rhythm & soul combo The Groovelvets, serves you 11 tracks of pure fire and takes-no-prisoners. From the floorshakin' opening track "Don't Look" to the mellow feel-good anthems "Smiling Faces", "So Long" and the afrotastic "Be Ma Fela", the Portuguese combo deliver a visceral deep funk album, proving that they're the new 'real deal'.

Marta Ren is not a newcomer as she has been around in the Portuguese scene since the mid 90s lending her deep and powerful voice, amongst others, to break-beat outfit The Bombazines, recording two albums and establishing her unique talent at clubs and festivals all around Portugal. But Marta's passion has always been for the deepest funk and rawest soul of the sixties, and now the time has come for her to show the world her immense talent. With a powerful voice that would make the founding soul sisters proud, Marta Ren is looking to rule the world and make herself a household name. Fans of Sharon Jones & the Dap-Kings get on it!

Driving anywhere in Texas can cost you half a day, easy. For example, it’ll take you over four hours just to get from R&B singer Leon Bridges’ hometown of Fort Worth down to Houston, where the psychedelic wanderers in Khruangbin hail from. The state is vast, crisscrossed with rugged expanses of road flanked by limestone cliffs and granite mountains, forests of pine and mesquite, miles of desert or acres of sprawling grassland, all depending on what part you’re in. And it’s all baking under the Texas Sun that lends its name to Bridges and Khruangbin’s new collaborative release. “Big sky country, that’s what they call Texas,” Khruangbin bassist Laura Lee says. “The horizon line goes all the way from one side to another without interruption. There’s something really comforting about that.” On ‘Texas Sun’, these two members of the state’s musical vanguard meet up somewhere in the middle of that scene, in the mythical nexus of Texas’ past, present, and future - a dreamy badlands where genres blur as seamlessly as the terrain. It calls equally to the cowboys bootscooting at Billy Bob’s in Fort Worth, the chopped-andscrewed hip hop fans rattling slabs on the southside of Houston, the art-school kids dropping acid in Austin, the cross-cultural progeny who grew up on listening to both mariachi and post-hardcore out on the Mexican borders of El Paso. All of these things, overlapping in a multi-coloured melange, purple hues as vivid and unpredictable as one of the state’s rightfully celebrated sunsets. A journey through homesick reminiscences, backseat romances and late night contemplations, the kind of record made for listening with the windows down and the road humming softly beneath you. Like the highways that inspired it, ‘Texas Sun’ is guaranteed to get you where you’re going - especially if you’re in no particular hurry to get there. Khruangbin and Leon Bridges are critically acclaimed artists with extensive coverage in print and online, including the New York Times, NPR, FADER, four Grammy nominations (Leon Bridges), The New Yorker, Washington Post and Pitchfork, among many others.

Mats Gustafsson - Flute, baritone sax, live electronics, Johan Berthling - Electric bass, Andreas Werliin - Drums with Goran Kajfes - Quartertone trumpet, Mats Aleklint - Trombone, sousaphone, horn arrangements. Fire! tracking new paths and reaching new levels of excellence, still honoring their 12 year old vow of presenting a fresh approach to improvised music. Their debut album, You Liked Me Five Minutes Ago, was released in 2009 to wide international acclaim. "The basic strategy of pairing the expressive energy of free jazz with a sturdy sense of groove has yielded something potent and self-contained" (New York Times). Between this and Defeat there's been five albums, including collaborations with Jim O'Rourke (Unreleased?, 2011) and Oren Ambarchi (In The Mouth A Hand, 2012). No two Fire! records sound the same, but with Defeat they have taken their biggest leap so far, with Gustafsson giving the flute a prominent place in the sound image, a surprising and most successful move, his both expressive and ornamental approach given ample room to breathe, especially on the two long tracks bookending the album. In places more subdued than on previous efforts, but with the distinctive bass figures and hypnotic mood fully intact. There are some lively stretches with guests Goran Kajfes and Mats Aleklint, bringing to mind their big band offshoot Fire! Orchestra, albeit on a smaller scale. For over 20 years we have made a habit of releasing music that is beyond easy classification, in later years typified by Hedvig Mollestad, Elephant9 and Krokofant, but cemented by Fire! and their exploratory curiosity and deep love of music in general. We, and many others, have tried to compare the trio to other groups, but listening to Defeat we realize how futile this is. Given the above there's no doubt there are many influences at play, but the resulting brew is in a class by itself.

At an age of plastic and digital screen reigning, when it is almost impossible to feel anything in front of a contemporary art piece, it is still possible to be moved by a drum machine …. and a keyboard……

There are still artisans and sunday painters who will put a little of their troubles and their humanity at the service of their art. Certainly a merchant of colors in a previous life, Med paints his songs with a Benedictine patience, distilling its doubts in its small pop compositions with soft water reflections where everyone could see themselves as in a mirror.

MED is Médéric Gontier, guitarist of Tahiti 80, first solo effort. Where the band had not often ventured outside English, Med uses the French language and caresses it in the direction of its melodies. Produced with the help of Pedro Resende, these are ten pieces both aerial and aquatic, light but finally of a real consistency.

Immediately pop («Dans ses yeux»), reminiscent of the great French composers of the sixties («Avec toi») and with them that of the English of Broadcast to Vanishing Twin («Muzak»).

It’s a bit time for the Norman to make a pause and for that, to put his nose out, it’s freetime, the one of those who will never claim to be better than the others but whose records will be kept close to the heart.

Generally speaking, albums are created over the course of a few weeks, months, or years. However when it comes to Airplane Mode, not only has it spanned the latter, but its DNA was formed across two continents, a multitude of significant life changes, and an overall renaming of the projects title.

What started as a collaboration effort morphed in to a sonic space that Tall Black Guy used to highlight questions many of us frequently ask, but struggle to answer; Why am I here? Am I enough? What makes me happy? How do I move forward? What does real love feel like? Although the answers may be different for us all, Airplane Mode sets the path that the listeners use to reach their own conclusion.

In closing, rarely does 40 minutes capture the essence of so many different facades of an artist’s process, and personal transition. As intimate as the album may be, Tall Black Guy leaves room for people to shape their own interpretation by what they bring to the listening experience. Airplane Mode demands your complete consideration, and is intended to be consumed without skips, or interruptions. In other words, sit back, relax, and put your mind in….Airplane Mode!

On his first full length effort, singer / songwriter Mav Karlo, otherwise known as Menno Versteeg, offers up a much more elaborately realized, yet no less intensely intimate body of work. With its gracefully sparse arrangements, the album centres on Versteeg’s lyrical storytelling, revealing a narrative voice deeply attuned to the beauty in the ordinary and routinely overlooked. Strangers Like Us closely documents an especially tough period in Versteeg’s life but the album ultimately showcases an undeniable courage in its commitment to truth-telling and unsparing self- examination. He is supported by spirited guest performances from Katy Goodman of Vivian Girls (on vocals), Charlie Spencer of Dizzy (keys, drums) and Versteeg’s Hollerado bandmate Nixon Boyd (guitar, bass). Album produced by Chris Coady (Yeah Yeah Yeahs, Amen Dunes, Beach House) and recorded at Sunset Sound and Sonic Ranch. Menno Versteeg is the owner of Royal Mountain Records and a former member of both Hollerado and Anyway Gang.

Montreal-based producer & DJ Slick Shoota brings us Function, his debut LP and first solo release on the Teklife imprint. A native of Norway known for his renowned Oslo club night Ball Em Up, he's been a member of the elite crew since 2015, contributing tracks to the label's compilations such as On Life Vol. 2 and VIP Trax. Using a unique palate that combines both traditional footwork drums and eclectic otherworld sonics, this album expands on the signature sound he's been brewing during the course of his career, celebrating his longtime love of the Chicago soundscape, with a healthy helping of UK rave, jungle, and vibes from other fast paced club realms. Slick starts the record off with Hovercraft, a big burly mutant rap beat riding a glowing titanic wave of jungle subbass, with vicious hi-hats stabbing through the mix. Desire Path follows with hysterical horns cruising along a stampede of erratic Chicago percussion. A glitchy, malfunctioning computer meets drumline stomps on See Me Flex, resulting in a psychotic, yet psychedelic sci-fi soundscape. Ultra-distorted hardcore kicks open up Jellyneck, dropping straight into a dungeon of ghostly vocals and headlong toms. Warehouse 2K opens up the B-side with R&B chops and lasers floating on a charming cloud of pulsating pads. Mad doppler sirens loop around your head on Delahaze, as distant clangs and crashes fight an impatient, throbbing bassline. Classic rave atmospheres are met with Slick's elegant sound design on MTL Hardcore, his ode to his adoptive city. The album closes off with Special Tek, channeling the signature quirky drum sounds of the late DJ Rashad over a pounding, fast paced house beat, a wonderful nod to the Windy City and its influential sonic culture. Carving out his own sound from the legacies of Chicago, the UK, and other underground club hotspots, Slick Shoota has found his own recognizable voice within these realms of dance music, and this LP serves as documentation of that solidified voice. Years of studying the masters and immersing himself with their work has clearly paid off, and he's respectfully taking these sounds he loves in exciting new directions. Bridging gaps both historical and geographical, Function marks a pivotal point in his career, and is clear evidence that Slick Shoota is vital member of the legendary Teklife family.

When a synth master like Steve Moore joins forces with the legendary KPM, magic must materialise. And so it does with Analog Sensitivity: cinematic, enigmatic synthscapes to both haunt and heal.

New York-based multi-instrumentalist/producer/film composer Steve Moore is probably best known for his synthesizer and bass guitar work as Zombi, together with Anthony Paterra. But he is also part of Miracle and Titan as well as being a prolific solo artist releasing music as Gianni Rossi, Lovelock and under his own name. Steve’s music has found a home across labels like Future Times, Mexican Summer, LIES, Static Caravan, Relapse, Kompakt, Spectrum Spools, Death Waltz and Ghost Box, and much of his recent work has been scoring films like The Guest and Cub. Prolific indeed.

The story of Analog Sensitivity starts with those soundtracks, or more specifically the time in between them. Rather than being commissioned by KPM, this LP comes from music Steve was recording sporadically and tinkering with for over three years during the downtime between his film projects. There were no ideas about what it was nor a plan for how it would be released, or even if it was going to be released at all.

However, after Jon Tye invited him to play on the Ocean Moon project for KPM Steve realised that the hallowed library label might be the perfect home for what he had been working on. The people at KPM agreed. Finishing production in late 2019 in Albany, NY, he came up with the track sequencing and suddenly, he had an album: Analog Sensitivity.

The LP opens with the dystopian electronic minimalism of “Eldborg”, its dark synth bass unfolding to ominous synth pads, shadowy sustains and glistening arpeggios. “At The Edge Of Perception” brings an unsettling retro-future of edgy analogue leads and desolate FX. The sound of a robotic core tears through the sparse textures of the enigmatic “Rose Of Charon”. A chilling breeze blows through a persistent, hypnotic synth sequence on “Time Freeze”. Title track “Analog Sensitivity” is a sparkling transcendental synthscape of melody, drones and celestial synth. The brooding “Behind The Waterfall” winds down the first side, building subtle strings and a desolate sound beneath its haunting organ.

“Mirror Mountain” ushers in side two, its woozy bass and arpeggio unfolding to envelop the muffled, muted echos of its organic leads. "Syzygy" emerges you in bubbling sequences, airiness and ambient electric guitar tones. It’s followed by the cinematic minimalism of “Pentagram Of Venus” and its trickling FX. The wind swirls through the otherworldly “Of Dust Thou Art” kicking up clouds of unsettling, plodding synth sequences leading to the uneasy atmosphere of “Message From The Beast” which builds to the echo of the last refrain of some choral incantation. Closing track “Urge Surfing” is as cool a climax as you’d hope from something so brilliantly titled, riding along hushed waves of brooding electronics.

With the clue right there in the title, Analog Sensitivity is built up from the quieter aspects of the sound Steve has been exploring and evolving for over 20 years. It’s a layering of ambivalently dense and airy, muffled and echoing sounds from his collection of synthesizers and other electronic music hardware. And whilst some of Steve’s other work uses this vintage equipment to conjure the past, that wasn’t his intention here. Steve explains “I wanted Analog Sensitivity to feel atemporal, as though it could have been released any time over the past 30 or 40 years. While not specifically in the spirit of any particular album, I’m really into old KPM artists like Alan Hawkshaw and Brian Bennett”.

Emmylou Harris made her Nonesuch Records debut with the release of her album Red Dirt Girl 20 years ago, in September 2000. To mark its twentieth anniversary, Nonesuch releases the album – which won the Grammy Award for Best Contemporary Folk Album – on limited-edition, translucent red vinyl.

Harris – whom the Los Angeles Times dubbed ‘the most captivating female artist ever in country music’ – wrote all but one of the twelve tracks on Red Dirt Girl, marking only the second time in her career that she had been so involved in the composition of an album. ‘In songs about lonely journeys and lost companions,’ said the New York Times, ‘Ms. Harris has found herself.’

Red Dirt Girl was produced by Malcolm Burn, who had worked with Harris engineering and mixing her previous solo studio recording, 1995's Wrecking Ball, and features Burn on piano, guitar, and bass; Buddy Miller on lead guitar; Daryl Johnson on bass and drums; and Ethan Johns on drums, guitar, and other miscellaneous instruments. Dave Matthews sings a duet with Harris on the album, and Bruce Springsteen, Patti Scialfa, and Patty Griffin also contribute vocals.

Commenting on her new label and record back in 2000, Harris said: "I take pride in my new association with Nonesuch, a label for whom I have great admiration. Red Dirt Girl is a very meaningful record for me. I’ve only written this much for an album once before – The Ballad of Sally Rose – and I’m very pleased as well with what we have accomplished in the studio."

Nonesuch Records President David Bither said at the time: "We have had the privilege over many years to work with some of the most creative and influential artists and producers in music. This launches a new area of musical exploration for Nonesuch, and we are thrilled that Emmylou is the artist to open this door for us. It is an honor to work with an artist who has such a formidable body of work behind her, but who is now creating possibly the best music of her career."

Harris has since released three additional solo studio albums on Nonesuch, Stumble into Grace (2003), All I Intended to Be (2008), Hard Bargain (2011); reissues of Wrecking Ball (2014) and her 1992 album with the Nash Ramblers, At the Ryman (2017); two duo albums with Rodney Crowell, the Grammy-winning Old Yellow Moon (2013) and The Traveling Kind (2015); two releases in 2006 with Marc Knopfler, All the Roadrunning and Real Live Roadrunning; and vinyl box sets of her early albums, in 2017 and 2019.

US based label, Lurid welcomes Spanish producer Señora for a stunning new double gatefold album entitled ‘Fósil’ that showcases his unique take on hypnotic rhythm, found sounds and sampling.

Señora became a firm favourite with the likes of Andrew Weatherall (R.I.P.) and Sean Johnston for his rugged grooves and innovative approach to production, melding the sounds of machines, animals, electricity and other weird noises in a flurry of FX and sonic experimentation. He debuted on this label in 2017 and has also landed on Shango Records, Night Noise and LNDKHN since then. Now based in Berlin and a regular at clubs and festivals round Europe he offers up a debut album that features nine stunning pieces that ”aim to reflect on the next evolutionary steps of the human race".

The otherworldly ‘Preludio: Ocaso Hominido’ kicks off with a swampy bass sound overlaid with cosmic details and downtempo drums. It’s a brilliantly mysterious opener than leads on to ‘Antropoceno’, a spacious soundtrack with bubbling synths, undulating drums and plenty of sonic details that paint a picture of a starry night sky up above. The tumbling drums of ‘Segundo Sexo’ sink you into a dubby reverie with bird calls and wordless vocal sounds mixing with percolating percussion.

The excellent ‘El Elefante Que Siempre Andaba Solo’ is a perfectly flabby and chugging dark disco cut with bright chords and scintillating drum work while ‘Código y Marfil’ is a futurist landscape in outer space with modulated synths and deft astral details making it colourful and cinematic. This most escapist of listens then plays out through the supple bass warbles and spacecraft sound effects of the entrancing ‘Papaver Somniferum’ and churning drums and twisted bass funk of the brilliantly slow burning ‘El Último Discurso’ before closing on ‘Fuga: La Gran Desconexión’ a downbeat offering with myriad pads circling the skies above a deeply rooted rhythm.

This is a hugely atmospheric album of perfectly realised inter planetary sounds, the whole thing taking you on a cerebral and evocative journey far away from here.

Supported by: Tim Sweeney (Beats In Space), Dr. Rob (Ban Ban Ton Ton), Balearic Mike, Elena Colombi (NTS), Andrew Wowk (Decoded Magazine), Faze Magazine Germany, DJ Mag Espana, Future Music UK, ClubbingSpain, and others.

Take Away re-opens after a short hiatus with two new chefs, Swedish DJ, crate digger legend and Lighthouse resident Farsta Kalle and Samo DJ, Born Free boss and more than 100 other exotic projects on his plate.
Together they've created a three course feast for your taste buds.

It's a spicy stew for those that like it hot...