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Roy Orbison was always noted for his impassioned singing style, complex song structures, and dark, emotional ballads. Roy Orbison released his 21st studio album Laminar Flow in 1979. It features guest performances by Steppenwolf- guitarist Larry Byrom and singer-songwriter Mac McAnally. The album includes the track “Hound Dog Man”, which is a tribute to Elvis Presley.

Laminar Flow is available as a limited edition of 750 individually numbered copies on “bloody mary” coloured vinyl and includes an insert.

Als Pioniere des Goth 'n' Roll suchen THE 69 EYES seit mittlerweile 33 Jahren die Bühnen dieser Welt heim und wurden somit zu einem wahrlich unsterblichen Teil der Dark Rock/Metal-Szene.

Allgemein auch bekannt als die Helsinki Vampires hat das Quintett mit Kultalben wie "Blessed Be" und "Paris Kills" mehrmals Platin erreicht und in ihrem Heimatland Finnland nicht nur die Spitze der Single- und Albumcharts dominiert, sondern auch allgemein die Welt in einen
sündigen Kosmos aus Liebe, Tod und Melancholie gestürzt, und dabei mehr Langlebigkeit als jeder andere Act bewiesen, der damals aus dem Goth Hype der frühen 2000er entstand.

Mit der Weiterentwicklung ihres Sounds in Richtung Sleaze Rock auf "Devils"(2004) und "Angels"(2007), der majestätisch-dunklen Stimme und den Elvis-Moves von Sänger Jyrki 69, hat sich die Band mit ihren 12 Alben weltweit eine große Fanbasis aufgebaut und durch
unablässige Touren in Europa, Amerika, Asien und Australien weiter gefestigt. Mit dem neuen "Death Of Darkness" eröffnen sie ein neues Hard Rock Kapitel ihrer langen Karriere und bleiben ihrem Sound weiter treu.

Als Pioniere des Goth 'n' Roll suchen THE 69 EYES seit mittlerweile 33 Jahren die Bühnen dieser Welt heim und wurden somit zu einem wahrlich unsterblichen Teil der Dark Rock/Metal-Szene.

Allgemein auch bekannt als die Helsinki Vampires hat das Quintett mit Kultalben wie "Blessed Be" und "Paris Kills" mehrmals Platin erreicht und in ihrem Heimatland Finnland nicht nur die Spitze der Single- und Albumcharts dominiert, sondern auch allgemein die Welt in einen
sündigen Kosmos aus Liebe, Tod und Melancholie gestürzt, und dabei mehr Langlebigkeit als jeder andere Act bewiesen, der damals aus dem Goth Hype der frühen 2000er entstand.

Mit der Weiterentwicklung ihres Sounds in Richtung Sleaze Rock auf "Devils"(2004) und "Angels"(2007), der majestätisch-dunklen Stimme und den Elvis-Moves von Sänger Jyrki 69, hat sich die Band mit ihren 12 Alben weltweit eine große Fanbasis aufgebaut und durch
unablässige Touren in Europa, Amerika, Asien und Australien weiter gefestigt. Mit dem neuen "Death Of Darkness" eröffnen sie ein neues Hard Rock Kapitel ihrer langen Karriere und bleiben ihrem Sound weiter treu.

There’s writing on the wall that speaks of time immemorial, where symbols exist on the edge of language and abstraction.

It’s upon this precipice that Dominic James Marshall makes his mark, at the helm and on the keys of Cave Art - a slate of scintillating digital sounds, spontaneously arranged, etched in wax. The project is a thoughtful and inventive response to a long tradition of musical sampling.

Familiarity is a vessel through which Marshall channels a fierce artistry and selection is at the heart of what moves it. The trio build upon what makes beat music burrow into us so deeply, maxing out their offerings of giant synths, splintering chords and impactful beats to soul-shifting degrees.

Marshall plunges into the uncanny valley and frolics in it, inventing a fresh path for the genre with irreverent wit and divine grace.

The duo WILDES from the south of Germany, consisting of Jana Pantha and Jenny Tulipa, presents a musical mix of electro-synth-pop, post-punk and dark disco influences. After the release of their first EP “RAWWR” in 2021, their debut album entitled “KLISCHEE” will be released on 3 February 2023. Released via the Kommando 84 label, the album features 11 songs and a musical re-interpretation of German-language Neue Deutsche Welle sounds. The songs combine spoken word passages in which the singers combine a certain irony with word-playful rhymes. In addition to world-political, social issues, the songs revolve around the complexity of the new romance in love - between cosmos and stereo. The strong and experimentally avant-garde lyrics accompany the danceable pulse of the drum computer, melodic synth waves and the shimmering solos of the lead guitar.

The album “Klischee” begins with an electro-pop track that combines consistent grooves with atmo- spheric sound arrangements and a lead guitar that accompanies our journey to the moon. With the chorus’ high-pitched words, „Konsum - leg mich auf den Moon“ (“Consumption - put me on the Moon”), WILDES dryly yet humorously allude to a society that couldn’t fly “higher”.

The following cheeky song Leger in Schwarz combines impeccable post punk with influences from the NNDW scene. A short love story led by the electronic beat of the synthesizer makes the hearts of the night beat faster. With casual reduction, a guitar riff leads through the song. The guitar solo finally rounds off the plea about the longing for a good flirt.

Italo disco shimmers and pulsates on the driving song Capri. With lyrics like “Pack the boats - Vai a bordo”, Capri is a homage to the tried and tested Italo feeling with a cappucino on the terrazza, or indeed on the yacht with a view of the rocky walls of the island. An electric charge of sequencers and synth tracks acts here as a lightness of being in contrast to the porosity of the rock.

An electrifying electric guitar solo kicks off the fourth track with a mysterious invitation to Steig ein translated, get in. Hypnotised by the lights of the road, dazzled in the side mirror, a clearly repeating rhythm leads into the chorus and through the coming verses. English spoken-word lyrics add to the stoicism of the German language. The song’s great power ends with the line Lost in the dark, holding open the finale of the “Night Drive” encounter.

Digital and stereo on all channels, the distinctly tight and robust rhythm sounds in the song Apparat. A clear and simple synth melody is heard as a contrast and the electric bass gives the balance of the machine at points. Hiddenly, WILDES points here to the superior power that can control human action beyond all limits. A piece as a laudation to all the science fiction novels that play with the switching of the individual parts.

Side One of the vinyl is finalised by a song called La Grande Bellezza that motivates to dance and sing along. The punky pop craft lives through the recurring beat of the rhythm guitar. Here the focus is on the woman in all her facets. The great beauty, una donna, who can do everything as well as wanting everything and nothing...a strong woman who, however, also staggers and wants to jump off the cliff. Clearly and distinctly, the musical accompaniment of the drum machine and the accompanying synth melody reflect hidden parallel worlds and the ambiguity of character - of life? We get a desire for more and turn the round record.

The B side starts with a powerful guitar riff, complemented by a catchy and strong bassline that runs through the song. In this work, WILDES provocatively describes the West’s lust for the much-cov- eted Schwarzes Gold black gold. The song is reminiscent of the works of the band D.A.F. and thus ties in with the electronic punk sound spate.

The driving guitar riff joins in with the reduced synth bass sequence - the electro-pop song with the title Hitze (Heat) came onto the digital music market as the first single from the LP in the summer of 2022. Pulsatingly, the drum computer lets the beats vibrate to the rhythm of heated air. The duo po- etically describes heat with supercooled voices, a clarity in the sky that makes everything flow, that makes the breath dry. The work ends with a melodic synth solo.

Ich lad dich ein, I invite you - we have all said or heard this sentence before. A chance meeting of two people later leads to the altar in love. A far-reaching question that more or less arises in many love relationships at some point “Do you dare?” positions itself in lyrical contrast to the simple ques- tion in the refrain “Do you need sugar?”. WILDES plays with laconic poetry and, full of irony, makes the listeners think about living together. Krautrock contours are skilfully used in this piece. Reduced to the essentials, the chorus immediately sticks in the ear. A cheerful mix of steel drums and infec- tious solo.

Toccami - touch me! We sit on padded leather chairs - “you’re a rocket! Peng Puff Peng” - this song by the band WILDES joins experimental art-punk-pop, electronically with flowing synth waves we take off immediately. Melodically sung, lyrical layers of lyrics dance loosely light and gracefully in the ears of the viewer. The rhythmic beat visualises the feeling of floating in a spaceship. It’s love in the universe - “I love you, my darling” sounds tipsy in the beat-heavy disco refrain.

Hypnotically, WILDES launches into the final song of the entire LP. The title Zone takes us on a journey through time. Inspired by the film Stalker, we find ourselves in a science fiction setting that couldn’t be more present in today’s European events. The musicality of the electric guitar riffs ac- companied by simple new wave drums drives the listener into unknown realms.

Repetition and electronic synth sounds play a compositional role alongside rocking guitar riffs like their forerunners in the NDW scene. Lyrically, each song varies between pop-romantic and politically critical passages. Listeners start pondering about hedonistic life and its consequences. Sometimes it feels like listening to a Tarantino soundtrack in German, other times it feels like listening to an 80s track by a James Bond. Science fiction fantasies and reality add up in dadaistic theatricality to spir- ited synthpunk of the New German Wave from the South. Discoid beats and driving drums in digital are included.

When Paul Janeway learned he was going to be a father he decided to scribe his thoughts—joy, fear, confusion—as messages to his then-unborn daughter. Those letters became Angels in Science Fiction, the stunning 5th LP from St. Paul & The Broken Bones. Produced by Matt Ross-Spang (Jason Isbell, Margo Price) at the legendary Sam Phillips Recording Studio in Memphis. It finds the band stretching further out, building on the shadowy psychedelia and intricate, experimental R&B of The Alien Coast.

Received a 7.5 rating from Pitchfork. The debut full length from Melbourne, Australia’s Romero is a burst of hard hitting, punk-laced powerpop. Well informed by the classics and every bit as relevant-as-it-is timeless, Turn It On! is a memorable party. An album that captures the vitality of a young band hitting their stride and doing it on their own terms without a single note of indecision. Much in the way that The Undertones, Blondie, and even Big Star debuted with a sense of purpose, Romero invite us to eleven tracks of soulful powerpop gold. Sharp production across Turn It On! catapults the impressive guitar work of both Adam Johnstone and Fergus Sinclair to the front of the mix alongside Alanna Oliver’s heart-pounding energy and show-stealing vocal prowess. Anchored by the smooth rhythm pocket of Justin “Murry” Tawil and Dave Johnstone, Romero waste no time in showing their hand on the quick-paced album opener ‘Talk About It’—recalling '80s powerpop rhapsodies. The title track beckons bodies to the dancefloor with a rich Runaways-like temper that naturally explodes into a fiery guitar solo. Meanwhile ‘Halfway Out The Door’ and ’White Dress’ show off the band’s adept ballad-writing, boasting truly emotional highs, lows and soaring choruses. Those hip to the incredible debut Romero single—‘Honey’ b/w ‘Neapolitan’ (Cool Death, 2020) will be overjoyed to see these relatable anthems recast in the album’s tracklisting. Turn It On! reveals stories of personal striving, restarting, mulling-over the unsaid, resisting control, deteriorating relationships, the emotional throes of uncertainty and celebrating growth through all such experiences. The rollercoaster of life is mirrored by the sonic and lyrical turns Romero have crafted into their debut album—a hopeful tonic for whatever you’re going through, and a dose of excitement for what’s to come. Includes lyric insert and 11"x17" poster.

It is no longer a secret that Lady Linn has a very rich and unique voice with a versatility that is second to none, ensuring that she is right at home in a myriad of styles.

She proved exactly that in her new 'trilogy', a series of three E.P.'s - 'I'm Fine', 'Sea of Trees' & 'Nocturne'- each one telling its own unique story, and now bundled on the album 'Trilogy'.

The common thread throughout the album is her affinity with jazz, soul and dance, but also lyrically, various themes return: the tenderness within family life, melancholy, nature, and the magic of the dance floor.

There is also a clear evolution with the arrangements going from a sober, stripped-down quasi-electronic sound of the JX-03 on 'I'm fine' (with contributions from Gustaph, Gregory Frateur and producer Frederik Segers) to dreamy and warm analog synths by producer Joris Caluwaerts on 'Sea of Trees', to an organic, energetic sixties sound on 'Nocturne' with starring role for her partner and bass player Filip Vandebril and partners in crime: The Magnificent Seven, arranger Frederik Heirman and producer Jan Chantrain.

In addition to a selection of the three EPs, 'Trilogy' also includes the extra song 'Hurricane', one of Linn's personal favorites, recorded at Daft Studios with The Magnificent Seven:

'I had just watched a documentary on Laurel Canyon (on the topic of Los Angeles - the epicentre of the 'counter culture' or better 'hippie culture' - in the late 60's and early 70's and the habitat of The Mamas and the Papas, Frank Zappa, Jim Morrison, etc.) which fed my fascination for the 60's that I already had thanks to my parents. The way in which music was created and recorded in that era is a dream for every musician, me included. With the surplus in time due to the lack of gigs during the pandemic the time was right to follow my dream and record in the Daft Studios with my own band. I felt a bit like Carol King behind my piano, but I was also inspired by Joni Mitchell.'

A quote from the lyrics of 'Hurricane': 'I wanna feel the wind like the birds outside/Dive like a seagull, enter the water from flight/Into the deep I slide'.

'A very personal song about losing yourself and the longing for freedom. I composed this one specifically with 60's songs in mind, with loads of modulations and pretty complex chords.'

Lady Linn wrote a versatile trilogy, inspired by a diverse set of influences that had her digging in music history in a very original and contemporary way. She also made her mark on the sound of the productions. On both 'I'm Fine' and 'Nocturne' she was co-producer.

Fiesta Soundsystem arrives on the burgeoning YUKU imprint with a fiercely experimental and timeless album - "Sinking" - which simultaneously draws on the nostalgic complexity of IDM and breakcore while leaning heavily into the future on the artist's own unique terms.

Roadburn festival is arguably the world's most cutting edge boutique music festival out there, and has been a fertile breeding ground for innovative acts from a broad spectrum of musical genres for many years. Last year saw the unique collaboration of Danish electro-industrial duo John Cxnnor and Hungarian doom-folk artist The Devil's Trade take the stage to deliver a sonic journey into the void of deep space. Today, we are ex- cited to release this iconic set on vinyl to immortalise this one-time convergence of three akin artistic minds. John Cxnnor is made up of one half of Danish sci-fi-sludge metal juggernaut LLNN and sees the brothers Rasmus G. and Ketil G. Sejersen collaborating with numerous fellow artists to explore the synth side of their main project. Inspired by the Terminator-franchise and the scores of other sci-fi movies, the Sejersen brothers have been creating menacing industrial electronic opuses, the frst of which a crushing rendition of a The Devil's Trade track. "We've been enjoying the music from The Devil's Trade for quite some time now," commented the duo on the release of «Dead Sister Merope», describing it as "an interesting match of musical expressions formed by the same DNA." Indeed, the haunting atmospheric folk compositions of The Devil's Trade mastermind Da'vid Mako' carry a similarly cavernous quality which, when taken to the stage of Roadburn, is only reinforced by the sonic violence of John Cxnnor. Unlike many other live records, this set is captured and excellently produced down to the finest level of detail. On centrepiece «Lullaby», the trio seem to have perfected their definition of heaviness, with heavy bass blasts beyond anything you've heard before booming from the speakers. Together John Cxnnor and The Devil's Trade reach new heights in their respective trades capturing both the pressing darkness that gathers `round a bonfire at night as well as the void darkness of deep space. FOR FANS OF Author & Punisher, Godfesh, Lustmord, LLNN, The Devil's Trade, The Body, Uniform Ltd Gold (single colour) edition!

"Albert King’s legendary first album for Stax Records, Born Under A Bad Sign – featuring Booker T. & The M.G.’s and The Memphis Horns, the album is pressed on 180-gram Vinyl with ALL-ANALOG mastering from the original stereo tapes by Jeff Powell at Take Out Vinyl. Inducted into the GRAMMY Hall of Fame and included in Rolling Stone’s “500 Greatest Albums of All Time” this album should be a staple in every music fan’s collection. "

Multidisciplinary artists Lex Rütten and Jana Kerima Stolzer alias A2iCE & BO3 are the faces behind Paryìa records’ fourth release – further manifesting Paryìa's role as a genre-bending entity while also expanding the artist’s respective portfolio. The debut EP Extracted Soil unites four enthralling tracks with broken beats and evocative percussions as the common denominator, including a remix by Mor Elian. With this release Paryìa brings together sound, art and physical elements, conceptually working around the artist's exhibitions, combining different formats and creating space to break out of conventions and experiment freely.

Veteran artist Sebra Cruz releases his debut album ‘Don't Worry Psy Happy’ on DJ Tennis’ revered Life & Death imprint. The daring eleven track LP is as experimental as it is definitive and encapsulates the Italian spirit in perfect style.

The LP follows two previously teased singles; ‘Margaret’, an ode to Cruz’ girlfriend which is a deeply passionate and expressive melodic house offering and album title ‘Don’t Worry Psy Happy’ a hedonistic, tripped out soundscape.
The lead track ‘Sunfish’ is a melange of powerful synths overlaid with sporadic vocals and a swinging breakbeat which make the record the perfect soundtrack for early morning dancefloor euphoria.

The album continues its genreless motif and is hard to pin down. It broaches a variety of styles including cinematic and ambient leaning sonics such as ‘Optimist’ and ‘Poliziesco’, the latter which includes Gabriele Fabbri’s atmospheric guitar riff throughout.

‘The Siebel Road To Mars’ is a similarly powerful yet emotive record which samples current Italian President Sergio Mattarella between the piano and the extraterrestrial sound palette. Continuing with the more abstract tracks ‘Flying Junior’, which was named after Cruz’ own sailboat, emulates the peacefulness and tranquillity of the sea. It’s yet another reflection of Sebra Cruz’ artistic personality.

Juxtaposing the calm and serene records from the album, ‘AltreCose’, inspired by the energy of the Neapolitan people during Sebra’s DJing residency in the 90s, is a more high energy disco-infused record. Similarly ‘When Life Was Slow’, released on Life & Death back in 2020, is another upbeat dance interpretation and a tribute to Cruz’ passion for Italian composers from the 60s and 70s.

Speaking about the album Sebra says: “What emerges is in my opinion an album with predominantly Italian spirit, disco, house with both edgy and gentle influences. I never decide what to do first, I simply follow my spur of the moment instinct. Releasing an album for Life & Death is cool because I've always had huge respect for Manfredi.”

Sebra Cruz and DJ Tennis have a long lasting and trusting collaborative relationship exhibited by the former's numerous releases on Tennis’ Life and Death label. DJ Tennis’ encyclopaedic musical brain and shared passion for Italian composers perfectly complements Sebra’s stylings.

Striking an impeccable balance between abstract and obscure sonics and more methodical and conventional melodies, 'Don't Worry Psy Happy’ is a body of work that exquisitely expresses Sebra Cruz’ personality via different worlds and mediums.

Brainticket was an obscure Krautrock band born out of a 60's jazz group featuring Belgian born keyboardist Joel Van Droogenbroeck, based in Switzerland. The leader went for a fortunate solo career after the former group disbanded, reaching a cult status especially in Italy with a series of sought after libraries. Released in 1978 on Cenacolo, Images Of Flute In Nature is pure magic translated in music. Conceived by Joel with a little help from vocalist Carole Muriel (an American performer already involved in Brainticket and Drum Circus), the album is literally a deep connection between kosmische music, ambient and ethno-global rhythms.

Dauw presents 'babel', the debut album from Belgian duo ZONDERWERK. The duo’s name means ‘’without work’’, but it also comes from “bijzonder werk”, where bijzonder is particular, special, unique. They like to work with images/paintings that are “bijzondere werken”, odd works.

babel is an ambitious exercise in translating images into sound. babel was initially created for the eponymous theatre piece by architect and artist Steve Salembier. Inspired by the biblical legend, Salembier envisions the legendary city as an abstract, sprawling modern metropolis in continuous flux. Its steel and glass skeleton is a representation of both an accumulation of overlapping contemporary cityscapes and a metaphor for the anonymous repetitiveness of our daily routines mirrored by the architecture. Subway lines, sky scrapers and whirling highways converge into a megalopolis of monstrous proportions. Despite the composition’s initial context as soundtrack for a theatre play, for the band this album is seen as a standalone work, whose complex sonic material can be appreciated without having seen the piece.

Their score focuses on fleshing out the imposing imaginary universe both in terms of scale and meaning. One of their biggest inspirations were Michael Woolf’s photographs, which served as the basis for the original theatre piece. His use of grey and repetition is translated into looped harmonies and fine-grained drones that progressively open up like blooming ice flowers.

With sounds of bells and metal as their primary materials, Carrijn and Sanders build soundscapes that are at once seductive and unsettling. The atmosphere on tracks like “DreamArp4Kort4” make for majestic, mysterious synths conjuring otherworldly visions, while the angelic glockenspiel set against subtle explosions in “VuurFeest” suggest a serene yet potentially dangerous place. Other tracks like “RoomCarousselTapeLoop5” create multi- layered textured drones through the process of tape decay, a commentary on the cannibalistic nature of the city.

Resulting from an arduous improvisational processusingold samplers with elements such as the Beam harp, a self-made metal instrument with piano strings, reel to reel tape recorders, field recordings and violin, babel perfectly captures the oxymoron of the man-made concrete jungle that is at once inhospitable yet endlessly awe-inducing.

ZONDERWERK is a duo consisting of Linde Carrijn and Dijf Sanders who started this project during the pandemic as a way of exploring their relationship as creative partners. Carrijn has a background in acting but recently came more to the fore as composer/performer with original scores for theatre and her other band Brik Tu-Tok founded with multi-disciplinary artist Maxim Storms. Sanders is a composer and gear enthusiast, more well-known for his eclectic works that draw from a wide-array of non-Western music. His milestone-album Moonlit Planetarium paved to way to a broader audience and recognition from major press in Belgium. In 2021, his work as a producer was recognized with a nomination at the Music Industry Awards.

VE ABOULKHEIR - 22/12/2017 GUILIN SYNTHETIC DAYDREAM (2021)

22/12/2017 Guilin Synthetic Daydream is a perceptual trap. Inspired by an experience of intense perceptive disorientation while crossing a market in China, Eve Aboulkheir reinstantiates, in the field of sounds, the swirling and anamorphic universe of thwarted perceptions, surrounding multitudes and shifted sensations. She thus constructs a dreamlike and artificial universe, suspended and hyperactive, which is both an electronic vortex sucking us in and a mechanical ballet developing its arabesques around us, caught and fascinated by these volutes of sound that fracture like a kaleidoscope in which our eyes-ears are immersed. 22/12/2017 Guilin Synthetic Daydream approaches the musical form in the most direct way possible, i.e. through its effects and its empire on our sensorium.

(fr) 22/12/2017 Guilin Synthetic Daydream est un piège à perception. S’inspirant justement d’une expérience de désorientation perceptive intense lors de la traversée d’un marché, en Chine, Eve Aboulkheir réinstancie, dans le champ sonore, l’univers tourbillonnant et anamorphique des perceptions déjouées, des multitudes environnantes, des sensations décalibrées. Elle construit ainsi un univers onirique et artificiel, suspendu et hyperactif, à la fois vortex électronique nous aspirant et ballet mécanique développant ses arabesques autour de nous, piégés et fascinés par ces volutes de sons qui se fractalisent comme un kaléidoscope dans lequel sont plongés nos yeux-oreilles. 22/12/2017 Guilin Synthetic Daydream aborde la forme musicale de la manière la plus directe qui soit, c’est-à-dire à travers ses effets et son empire sur notre sensorium.

LASSE MARHAUG - HOW TO AVOID ANTS (2020)

Using concrète techniques to collect, transform and assemble sounds of various origins (sounds of tree branches, leaves, but also guitars or synthesizers), Lasse Marhaug elaborates a dense and subterranean work, which unfolds through the multiple dimensions induced by the great diversity of its sound material. There is a labyrinthine feeling in this work, a feeling that is better understood when the inspiration for the title of the piece How to avoid ants is revealed, a very practical and then poetic undertaking, that of avoiding the anthills lining the path to the forest camp in the kindergarten to which his little girl, who was then frightened of insects, was going. It is such an activity of circumvention, diversion and byways that Lasse Marhaug uses to create an exploratory and evasive music.

(fr) Utilisant les techniques concrètes pour collecter, transformer et assembler des sons d’origines variés (sons de branches, de feuillages, mais aussi de guitares ou de synthétiseurs), Lasse Marhaug élabore une œuvre dense et souterraine, qui se déploie au travers des multiples dimensions induites par la grande diversité du matériau sonore. Il y a un sentiment labyrinthique dans cette œuvre, sentiment qu’on comprend mieux lorsque se dévoile l’inspiration du titre de la pièce How to avoid ants, entreprise très pratique et devenue poétique, celle d’éviter les fourmilières jalonnant le chemin vers le camp forestier du jardin d’enfant dans lequel se rendait sa petite fille, alors effrayée par les insectes. C’est une telle activité de contournement, de déroute et de chemins de traverse qu’emprunte Lasse Marhaug pour créer une musique exploratoire et évasive.

In 1998, New West Records was in its infancy - The label had only
released a handful of records before becoming fortunate enough to work with Shaver, a duo consisting of Billy Joe Shaver and his son, Eddy Shaver - The guitar virtuoso son and the outlaw-country hit-songwriter formed an incredible pair that would go on to release 6 critically acclaimed albums.

In 1999 the duo released Electric Shaver and the title says it all. Billy Joe had made a career out of playing acoustic country songs but with Electric Shaver, he and Eddy plugged in and delivered an outlaw country record with blues licks and rock solos.

In celebration of 25 years working with this amazing catalog, New West Records is proud to release Electric Shaver on vinyl for the first time.

This is a one-time color pressing. These will not be pressed again.
Each record is packaged in a colored foil paper sleeve with foil stamped sequential numbering 0001-2000. This record is limited to 2000 copies

Oceans flow through the center of Cinder Well's music and 'Cadence', the
new album from Amelia Baker's experimental folk project,drifts between
two far-flung seas: the hazy California coast where she grew up, and the
wind-torn swells of Western Ireland that she's come to love
Written soon after the release of 2020's acclaimed 'No Summer', Baker returned
to her hometown in central California to record at Harlan Steinberger's nearby
Hen House Studios in Venice Beach. Inspired by this new setting, Baker expanded
Cinder Well's sound to include percussion, provided by her old friend Phillip
Rogers (Haley Heynderickx), as well as trance electric guitar and expansive string
parts courtesy of Cormac MacDiarmada (Lankum). The doom folk and traditional
Irish influences of 'No Summer' are still present but often give way to a more
optimistic and relaxed atmosphere that nods to LA's mythical Laurel Canyon
years. Across nine epic tracks, Baker treads a sonic and lyrical path between the
two coastal towns she calls home, her transcendental voice given new wings by
the record's sweeping arrangements. "Overgrown" is the first major key Cinder
Well song in nearly a decade while the uneasy and pulsating title track is a love
letter to the self for our darkest days. Fittingly, Baker opens 'Cadence' with a song
about selkies-- seals that turn human on land. More than just a bit of folklore,
shapeshifting selkies are a metaphor for Baker herself: a songwriter tied to the
ebb and flow of the ocean (and humanity's) currents, whether they be half a world
away or a few steps from home.

Four decades on and Azymuth has reached legendary status amongst fans worldwide and across the music industry thanks to the trio's pioneering blend of traditional Brazilian jazz and proto funk fusion from the early 70's right through to the present day.

In 1979 the band's first Milestone Records release, 'Light As A Feather' quickly became one of the best-selling LPs of the year. Featuring the worldwide disco/fusion hit single 'Jazz Carnival' and going on to sell more than half a million copies internationally, the album stayed in the UK Top 20 for eight straight weeks.
An incredibly well thought out album both in pace, song selection and musicality, 'Light As A Feather' marked a maturing of the band as they began to rightfully utilise the studio as an instrument itself, embracing numerous mixing and recording techniques not yet common for the time as well as pioneering the use of the Big Muff and Dolby System to great effect. The end result is an album that endures to this day as a samba/jazz-funk masterpiece.

Now Far Out is pleased to present this seminal recording remixed and re-mastered from the original 16-track tapes, which were given to Joe Davis by Azymuth, lovingly reproduced on heavy weight vinyl and CD. This definitive edition of Azymuth's breakthrough LP is a must-have for connoisseurs and an invaluable introduction to the Azymuth sound for the uninitiated.

Sadly with this re-release album well into production at the untimely recent passing of Jose Roberto Betrami, 'Light as a feather' stands as a solemn reminder of our dearly departed friend and the effortless musical genius of Azymuth in their ascendancy.

Since its beginnings, Hypnótica Colectiva has always shown a special interest in the music recorded and released in the city of Detroit.

A place with which we have both a blood and spiritual bond because of what occurred there socially and artistically during the 20th century.

This love led us to become ambassadors of what was happening there on a musical level, holding cultural events to screen documentaries translated into Spanish, as well as a number of themed sets at our events, dedicated motor city sections in our record shop or recently lectures on the history of the city and its music at the Museum of Illustration and Contemporary Art of Valencia (Muvim).

The time has now come to bring all this history, this musical influence, to the editorial section of our label HC records.

Detroit Legacy was born from the idea of capturing these influences on vinyl. Seeking artists from all over the world who share this passion that inspires them to create their music, what we can define as the universal Neo-Detroit.

For this first edition or first volume, the collective has enlisted in its ranks creators affiliated to the label who have shown us in their careers, this influence and this feeling.

Paul Cignol opens the record with Distance. From Dublin he offers us a track of warm sequences inspired by Deep Techno, with deep pads responding to organ keys and a subtle touch of 303.

Mallorcan LLuis Barcelo Sureda is responsible for the second track Funk Station. With a Techno Soul character that we might hear from Detroitish labels like Acacia or producers like Blake Baxter.

A real eminence in Techno is the Catalan Don Alex Martín, who already released in the mid-90s on Monssieur Garnier's label (France Communications). The Barcelona native brings his wealth of experience and wisdom through Megatech, which transports us to the spectrum of Derrick May’s Transmat who, in his day, was nicknamed "The Innovator". This track provides agile sequences of complex syncopated rhythms, combining with a dreamy Michigan style synth.

The anthem of the album comes from Ghent. The sublime Belgian creator, Mariska Neerman, once again makes our hairs stand on end and our hearts melt with a heavenly composition entitled Stellium.

No one interprets Neo-Detroit quite like Mariska, whom we baptise as a sovereign heiress of the genre in the world. If we have to think of an influence for this piece, we go straight to the genius of Detroit, the one and only Jeff Mills, in his most symphonic and harmonic facet of tracks released on his label Axis Records such as "The March", A Universal Voice That Speaks To All That Will Listen or A New Found Sense Of Being.

Some of these songs have been re-interpreted by world class philharmonic orchestras such as the Montpellier Philharmonic Orchestra at the 2005 Blue Potential (Pont Du Garde). Mariska's score in this song fuses organ keys with harmonic layers and violin - favourite instruments of the Detroitian extraterrestrial - with a harmonic result of strength and hope. An authentic anthem of classic emotional Techno.

Old School electro takes centre stage with the Master from Terrassa Ivan Arnau a.k.a. Dark Vektor. In the influence of Juan Atkins (the creator) as Cybotron or Model 500 and later creators who developed this sound like Aux 88. Metaverso Frik is a great recital of a urban poetry created and interpreted by Ivan, to completely devastating effect.

Croatian Bojan Jascur a.k.a. N-TER, closes the vinyl with We Will Emerge, in a exercise of vindication, a common weapon in the context of Detroit music. Raging, trippy electro in the purest style of Cosmic Force or Dynarec.

This first tribute to 8 Mile doesn't end with the vinyl, as 2 digital bonus tracks are included in the release.

We return to Barcelona with Pastin Futon in another sequence of consecutive oscillated rhythms oscillated much like Kevin Saunderson (The Elevator) in his day and the Techno Groove that we know today.

The most robotic touch of the release is the closer with this synthetic jigsaw puzzle of a track with echoes of the 1967 Detroit Riot, the Detroit Rebellion. Again produced by another Barcelona native, The Bandit (Dj Spy / Util Records). The sequences are very reminiscent of Arpanet and Drexciya.

The idea for the cover comes from Motor City itself by Jon Yowell, first cousin of HC records founder and head of HC records David Verdeguer.

Born, raised and a lifelong resident of Detroit, Jon is an enormously talented musician capable of writing lyrics, performing them on the mic and manipulating a number of stringed instruments as well as the drums, where he is a true master.

The cover is a tribute to the formative backgrounds of many of the city's musicians in every sonic trend. Wayne State University in the capital of Michigan.

Founded in 1868, it has offered didactic teaching to many of the city's musicians.

Not all of Detroit's creators went to university, and even less so when talking about Techno, many artists are self-taught or learned in a non-academic way, but it seems to us a good base to begin to highlight the origins of the city's music in a historic building, where those who have the opportunity to learn about music have been and continue to be educated.

The adapted designs are the work of our image manager Dani Requeni.

Mastering by Steve Voidloss at Black Monolith Studios in London (UK).

I"ve been focused on who I am in my music, but now I"m exploring where I am," Alfa Mist says. "I"m asking: how did I get here?" This is the journeying question that underpins Alfa"s fifth album, Variables. Traversing luscious, big band swing, head-nodding boom-bap rhythms and yearning vocal melodies, the record is expansive, soulful and moving, in both body and spirit. On Variables, his second release for ANTI-, Alfa achieves his most fully-realised, expressive musical work to date, coupling his keen ear for looping, memorably emotive piano melodies with intuitive grooves and a free-flowing jazz improvisation. Since the release of his first full-length project Nocturne in 2015, Alfa has established himself as one of the UK"s most focused, indemand and distinct musical voices. He has worked with the likes of Jordan Rakei and Tom Misch. Artists look to him for his unique blend of intimate bedroom production and expansive jazz group orchestration, since Alfa is yet to be boxed into a specific genre. His music spans everything from hip-hop beat-making to producing for artists such as rapper Loyle Carner, composing neo-classical works for the London Contemporary Orchestra, and reworking tracks from composer Olafur Arnalds and pioneering jazz label Blue Note. The return to live shows has been a welcome one for Alfa and his fans, resulting in an extensive tour throughout UK and Europe. Including a sold-out headline show at the Barbican in London. Alfa Mist will be touring Europe, UK and North America in 2023 again. It is a balance between feeling and perfectionism that ultimately gives Alfa"s music its depth and capacity for repeated listening. It is also an ethos that has enabled his remarkable work-ethic to date. "I"ve never been a "one album every four years" artist - I want to put out new projects every year," he says. "Music is an extension of my life; it is the practice of creating."

In a career laden with highlights and hallmarks in the annals of soul history, 'Just As I Am' is rather overlooked as one of the best soul debuts ever issued. Beautifully remastered, 'Just as I Am' is presented to a new generation of listeners who may have missed out the first time. With this remastering comes an intimacy, warmth, and immediacy to the recordings that was only hinted at with previous versions; it's almost as if Withers is in a living room singing to a small group of people, rather than making a record. Of course, the instantly recognizable anthem "Ain't No Sunshine" gets all of the acclaim it so richly deserves, but also in tracks like "Harlem", 'Grandma's Hands' and "Better Off Dead" you can hear the intensity and maturity of Bill's performances. Even when he's doing covers, Withers makes them sound as if they are his own compositions.
Give this classic record a spin, and get ready to be submersed in the Soul of one of the true masters of the genre!

Last year, Eartheater released her latest album, Phoenix: Flames Are Dew Upon My Skin, via PAN. After sharing a fully reworked version of the album, Phoenix: La Petite Mort Edition, digitally out February 26, 2021, PAN is now releasing a special, color vinyl LP edition of it. Originally conceived as a "sleep" mix for CRACK Magazine, Eartheater re-sculpted her entire album Phoenix into a seamless ambient edit. "This is Phoenix crushing, undressing, and compressing like carbon particles under the weight of boulders folded into silky soil, and decomposing. She is folding over and over and over and over like the rolls of young gummy stone. This is one REM cycle. I suggest listening to Phoenix: La Petite Mort Edition while asleep after climax. You are wet ash smudged across a pillow case." - Eartheater

Happiness Therapy continues its 2023 release schedule this April with a welcome re-appearance from French talent Mogan. The five track Flowers Remember marks his debut full-length feature on the imprint and includes a remix by label mainstay B From E.
Fast-emerging, with a clear ear for what makes the perfect dancefloor melody, French talent Mogan is one of the country’s leading musical exponents. His discography speaks for itself, with a string of releases on Gents & Dandy’s and Sampling As An Art Records. He’s no stranger to Happiness Therapy either, having appeared on the two most recent Happy House compilations, which led to him receiving massive support from french legend Laurent Garnier. Yeah that’s right! Now, Flowers Remember marks his first full-length outing on the imprint, proving that Mogan is just getting started.

lack Marble Vinyl! High Vis were formed in 2016 from the ashes of some of the UK's best hardcore bands. Gild-toothed frontman Graham Sayle's anguished lyrics about life in working class Britain were familiar to fans of Tremors' full-throttle thrash, but alongside his former bandmate Edward `Ski' Harper and veterans of Dirty Money, DiE and The Smear, High Vis sought to transform that energy and intensity into something entirely new.Like scene-mates Chubby and the Gang did by pulling in unlikely source material from classic doo-wop or Micromoon have by combining everything from psychedelia and metal into their high potency mix, High Vis' 2019 debut album, No Sense No Feeling showed the band were never going to be constrained by any sense of genre rules or regulations. Its claustrophobic rattle bore traces of Joy Division, Bauhaus, Crisis, The Cure and Gang Of Four lurking in the shadows. 2020's synth-driven EP, Society Exists, was further evidence of the band's restless creative MO.High Vis' second album Blending sees them open their viewfinder wider than ever before.

Alongside longstanding favourites such as Fugazi and Echo and The Bunnymen; Ride and even Flock Of Seagulls were shared reference points as the band worked on the album together.From the anthemic sweep of opener "Talk For Hours", through the title track's psychedelic swirl and "Fever Dream"'s baggy groove, it sees High Vis' sound blossoming into something with an unlimited richness. The hazy drift of "Shame" or the melodic jangle of "Trauma Bonds" may take them until uncharted waters, but they still have all the power and bite that made No Sense No Feeling so remarkable.Lyrically, the album represents another leap forward too. Talking frankly about poverty, class politics, and the challenges of everyday life, Sayle's lyrics have always addressed the downtrodden and discarded communities across Britain slipping below the waterline. This time around, Sayle's lost not of that social consciousness, but he's looked at himself and his own emotional landscape, and in the process created something that feels more universal, that reaches a hand-out to people and ultimately gives a message of hope."To me, the lyrics are less selfish," reflects Sayle. "In the past, I couldn't see past whatever was going on with me.

It's about accepting things and being open to conversations and learning to talk to people rather than just thinking that we're all doomed."The song "Talk for Hours" is a prime example of that. Born out of an afternoon meeting up with an old group of mates "repeating the same thing and not actually learning anything about each other" it offers to actually break the cycle and to listen and speak frankly about shared feelings and experiences. "Trauma Bonds", meanwhile, traces the broken lines of those living in lost communities, but ultimately realises that despite our shared scars, there's still hope to move on to a better future."The message of the album is you're not who you're told you are," Sayle summarises. "You're not your class background. Whatever it is, you're not that. Don't resign yourself to thinking you can't be this and you can't be that."It's a vitally important message right now, and one that could be the motto for not only Blending, but for High Vis themselves.

Beautiful, soulful jazz record by Jimetta Rose and The Voices of Creation, a Los Angeles-based community choir, a mainstay of the local scene. Highly recommended!!

The Voices of Creation are a community-based choir led by vocalist, songwriter, arranger, producer and mainstay of the Los Angeles scene Jimetta Rose. Made up of a multigenerational group of mainly non-professional singers backed by some of the city’s finest musicians,their music marries hip strains of gospel with layers of jazz, soul and funk. While aspects of their music might recall Kamasi Washington, The Staple Singers or Sly Stone, Jimetta’s unique vision has resulted in new spiritually-charged forms of music whose whole-hearted embrace of love, joy and peace act as sonic healing balms for the soul.

For Jimetta - whose resume includes collaborations with Miguel Atwood Ferguson, Georgia Anne Muldrow, Sa-Ra Creative Partners, Angel Bat Dawid, Shafiq Husayn, MED and Blu - the very act of creation was part of a healing process: “I was very low at the time and I wrote most of the songs going through hardship. But I found comfort in the songs and a way to adjust my mindset to where things got better. So I thought ‘if this music works for me, maybe it will work for other people’ I believe that every person has their own voice and their own note and that we can use our voices to heal ourselves. That’s the intention behind creating the project.”

After putting out a call on social media for people interested in joining her choir she was met with a sea of replies. Members were chosen in less-than conventional fashion: “I recruited people based on their interest in healing themselves and others, not necessarily on their musical experience or being seasoned performers” she says. Among those accepted into the ever-evolving collective, which was begun initially as a community choir, were the likes of Sly Stone’s daughter Novena Carmel, better known as a radio DJ for KCRW’s flagship breakfast show. Jimetta’s upbringing in the Pentecostal church, where she was a youth choir director, fed into her otherwise intuitive teachings of her songs and arrangements to the inexperienced members with help from the group’s seasoned organ player/co-musical director Jack Maeby.

Produced by Mario Caldato Jr. (Beastie Boys, Seu Jorge) and his wife Samantha Caldato the results show the incredible sense of togetherness and communal spirit that the group had built up over time in the rehearsal sessions. The six tracks of their debut album, a mixture of originals and rearranged covers, are performed in a wide-eyed mix of styles that reflect Jimetta’s vision for borderless music: “It’s new black classical music,” she explains. “It’s all the hodgepodge of being an African American but also with creativity and vision for the future. It has a taste of what is to come and what we can do. What we have gone through and who we are now.”

The group’s propensity for warm and buoyant sonics finds representation on album opener Let The Sunshine In, a sparkling rework of the Sons and Daughters of Lite’s deep jazz classic. Their version finds the group’s dynamic group harmonies offset with Allakoi Peete’s nimble afro-percussive touches and plenty of soul- drenched keys courtesy of pianist Quran Shaheed and organ player Jack Maeby. A similarly uplifting take on Rahsaan Roland Kirk’s choral jazz classic Spirits Up Above follows, with Maeby’s groove-laden organ lines inspiring some gorgeous group harmonies as well as prime solo turns from the likes of Kellye Hawkins, Zavier Wise, Tamara Blue, and Khalila Gardner.

Another Sons and Daughters of Lite cover follows as Jimetta leads the choir in the groove-drenched ode to self-affirmation Operation Feed Yourself. Written as a series of mantras for everyday living, the Jimetta-penned composition How Good It Is harnesses the full transformative power of music to generate a stirring and joyful ode to positivity - it’s chanted declarations bringing out some of the group’s most deeply-felt and affecting vocal performances over some superlative piano and organ accompaniment with a surprise feature vocal from Novena Carmel.

Jimetta’s talent for re-imagining songs in her own light is highlighted in Answer The Call, her vivid re-telling of Funkadelic’s Cosmic Slop: “When I listened to the original song, the Mom in the story was really going through it. I thought of how I could turn this into a song that can encompass the glorification of all mothers and I thought of the Egyptian cosmic goddess Nut. To that mother we’re all the seeds planted in the garden. Answering the call in your life is literally that. Finding out exactly what you’re here for through your heart.”

The album finishes with the standout original gospel number Ain’t Life Grand. Over swaying organs and clapped percussion Jimetta’s lyrical mantras serve to emphasise the good feelings that come to those with a grateful heart. Good feeling is an apt descriptor for the mood of the album as a whole. Its shining positivity provides a welcome ray of light in an increasingly dark world. “It’s a shortcut if you will to the better feelings” Jimetta says. “The hope that we need to keep pressing forward. We are saturated and inundated with images of chaos and destruction, death and hatred. There’s so much we can witness. So, I want to make sure that there is a representation sonically of the other parts that are still there to witness so that we can continue to build those things. So that the systems we support actually reflect what we want to experience. So it’s like: “Don’t give up and Let The Sunshine Into You” and then find out what your purpose is and answer the call.”

New RAWAX 069 Series is dedicated to the musical history of Frankfurt“s artists, clubs and labels. We are honored to present you the genius Gerald Becker aka Virtual Symmetry on first edition. This beauty was released on legendary Eye Q Records in 1993, now nearly 30 years later it will be out on vinyl again - re-mastered!

Edition OF 500 copies, Comes with insert and download code.

An album that sounds like The Menahan Street Band playing in a tropical jungle, at dawn, right at the point when the first rays of sunlight penetrate the dark depths of the forest. During the 2022 summer of natural disasters, under an unprecedented heatwave, and haunted by news reports of ancient relics, sunken ships, and hunger stones resurfacing as rivers dried-up all-over Europe, Amsterdam based multi-instrumentalist producer Alex Figueira started to hear uncanny metallic vibrations And eerie melodies of untraceable origins, day and night. He recalls nightmares of winged creatures inside timeless structures of Escherian architectures playing cosmic instruments amidst tropical storms
and acid rains. As the visions came more often, his wife reported that he babbled during his sleep about South American demon Yurupari. Soon, Alex found himself in a sleepless state and decided to cleanse the studio, with hallowed rites and
the intense burning of Palo Santo. After almost burning the studio down, he turned to his neighbourhood’s most experienced psychic, seeking answers. He was told there were “cosmic entities” trying to manifest a message “too complex for us to understand in this dimension” and the only way he could find peace was to deliver those messages in a decipherable form. It was then he decided to transmute his hallucinations into music, an all-or-nothing cathartic solution.

Alex entered a feverish dream, fuelled by the kaleidoscopic motion of the cosmos, ancient meteor showers, and visions of forgotten interstellar South American gods. He remembers very little of the work, but the outcome is this record. Entirely composed, recorded, produced, and mixed in a frenetic nine-day studio stint.

How the experts describe it:

”Just when outernational vinyl vampires thought they had it all sewn up, the metronomic makeshift
magician known as Alex Figueira unravels the entire fabric of your record collection to expose a gaping
hole where PUNKUMBIA and Transplant-Tropicalia should be. Reducing an expansive palette of
influences to a recipe that tastes wildly exotic but comfortably over-familiar, Alex’s roles as both
scavenger and chef, bookend a whole ensemble of other highly adept musical personalities in between.
Discover this record NOW, or wait until all your friends (or enemies) recommend it to you later.”
Andy Votel (Finders Keepers)

“Incendiary, lysergic takes on South American and Caribbean music from one of the scene's truly
authentic and eccentric producers. You can always count on Venezuelan-born, Amsterdam-based,
multi-instrumentalist, music-fanatic Alex Figueira to surprise and innovate, whilst consistently keeping it
true and real. The former Fumaça Preta drummer & front-man's debut solo album does not disappoint!”
Miles Cleret (Soundway)

“The one man band Alex Figueira comes through with some major flavors on this one. Cumbia beats and
psychedelic elements with that Latin touch of soul & Funk!”
Kenny Dope (Masters at Work)

“I really respect Alex Figueira’s DIY ethos. From running his own little funky recordstore to running his
own label and making his own music by playing every instrument himself. I was already a fan of the song
“Aprende” which he released on 7 inch and with“Mentallogenic” he takes it a step further in that same
vibe. From songs like “La Culebra” making use of a vocoder in his typical latin sound to songs like
“Serious” playing with rhythmic changes and topping it off with some synth flavors. A lovely and fun
album”.
Antal (Rush Hour).

GAB002 sees Gimme A Break Records keep things local with a rowdy EP from Leeds-based DJ and producer BEERUS. Over the last six months, BEERUS has demonstrated his production power through two bodacious releases on Gunfinger Food’s new sub-label, Booty Frooty Records. Fusing UK styles including hardcore, acid and jungle with US staples such as electro, juke and footwork, BEERUS has established a playful sound primed for the dancefloor.

BEERUS’s “9000” EP opens with a hardcore weapon which combines rave stabs with Dragon Ball samples and an acid line threatening to spiral out of control at any given moment. “Play This Shit” sees the EP take a sensual turn as BEERUS channels the sounds of Chicago with an enticing juke number. “Booty Acid” follows suit, offering up a particularly self-explanatory track title: luscious electro meets 303s. “Love4U” is BEERUS’s love letter to the happy hardcore scene as a thumping 4x4 bassline collides with melancholic vocals and piano lunacy. Finally, BEERUS rounds off GAB002 in style with the junglist mediation “DO U WANT ME”.

Sepia returns to Infernal Sounds for his 4th outing on the imprint and on this occasion he unveils a 4-track EP featuring both Rider Shafique and Ickle. Spanning all the way back to 002 on the label with 'Remember', Sepia provided some of the rawest music he'd provided the label, whereas this new batch of tunes arguably showcase his progression and evolution of sound.

The title track 'Time Stands Still' is a perfect example of this, using the off-beat and beautifully floaty mainframe to allow Rider Shafique to ride perfectly between the space, and stylishly provide his trademark storytelling. 'Gatekeeper' on the other hand is the stripped back, tough Sepia sound we know and love, giving you the grit right between your teeth. 'Whispers' swirls into a different vibe, cross threading dubbed out vibes with the added input from Bristol's Ickle. 'Trust' is the final track and a perfectly solemn note to finish the EP on, divisely placing drum pads amongst dripping atmospheres and voice snips. The EP is finished off elegantly with full sleeve artwork from Lewis Optics.

Aim 2 Pleez was a label made primarily for N-Zo & DJ Invincible to have an outlet for jungle in the early days of the genre but they definitely leaned more towards the more musical side of the sound. The label didn’t last that long but the end result is that the few releases on the label are now very sought after, fetching absurd prices on second hand websites, and this EP is in particular demand.

They are two tracks of immense proportions, that not only appeal to the junglists but to breakbeat hardcore lovers alike. A proper crossover EP that has stood the test of time, sounding just as fresh today as it did back in 1994!

Since the beginning, space and the sound of it has been one of the cornerstones of Tapani Rinne and Teho Majamäki's music. The two previous albums contain meditative music recorded in acoustically interesting and atmospheric locations - temples and caves in India, as well as deep underground in the railway tunnels of Helsinki's metropolitan area.

With the new album, the musicians wanted to keep outside factors to a minimum and record compositions in controlled studio conditions. In this way, different spaces can be created electronically afterwards into the works. Aleksi Myllykoski and Mika Kalmi are responsible for mixing and post-production. The tracks are based on Teho's metal percussion instruments and Tapani's woodwinds.

In the finished pieces, the duo went towards free musical dialogue, in which the boundaries between improvisation and composed music become blurred and insignificant. Instead of listening to the sound of the space itself, musicians tuned in to listen to the vibration of the metal and wooden instruments. ”We focused on sensing the mutual resonance of the instruments and the sensitivity of the improvisation. A presence on the border of familiar and unknown.” Says Tapani and Teho. The recordings took place in Kitee, Eastern Finland, near the Russian border. The location and way of working gave birth to the name of the record - On The Border.

Limited Edition RED Vinyl – 100 units Hand numbered

Omid's parents were Iranian but he spent his childhood in Putney, London. He grew up listening to rock music, and listed Jimi Hendrix, Neil Young and the Cure among his favourite artists – after Robert Smith became a fan Omid would later remix various Cure songs. He learnt to play guitar and formed a rock band, but after hearing hardcore records played on pirate music stations he began making his own tracks on basic equipment that he had bought. Beginning in 1995, his early house and techno singles were released on his own Alola and Disclosure labels under the names of 16B and Phaser, but they soon attracted the attention of big-name DJs such as Derrick Carter, François Kevorkian and Sasha, and he signed to Sven Väth's Eye Q label to release his debut album Sounds from Another Room in March 1998, which was described by the Independent on Sunday as "avant-garde" and by Muzik as "quite breathtaking".
Although he started out as a producer, Omid gradually moved into DJing, at the request of friends who asked him to play records at parties. He secured a regular spot playing the Elements club night run by Hooj Choons record label boss Red Jerry. In October 2001 Omid released The Witch/Which Equation under the alias of the Sixteen Million Dollar Man.Inspired by Prince initially releasing his Planet Earth album as a covermount with a British newspaper, Omid released his third studio album Like 3 Ears and 1 Eye (Part 1) in a similar manner as a covermount with the November 2007 issue of DJ Mag.
Omid also formed the SOS collective of DJs, consisting of him, Desyn Masiello and Demi. The trio secured a residency at London's Ministry of Sound nightclub, and were asked to produce the club's first mix CD in 2010

Limited Edition COLOR Green Dark mixed Vinyl – 75 units Hand numbered

Mourad started djing in the mid-eighties. His mixing style and musical knowledge have taken him all over Europe and all the way to Asia. Born and raised in Tunis, Tunisia where he sharpened his skills by playing hip hop and electro but also soul, reggae and rare groove. His love for soul and jazz came from an eclectic father who was and still is very serious about his music. As a DJ Mourad plays a blend of Detroit techno and deep house. His sets are known for being diverse and highly loaded with soul and funk. He has played alongside people like Larry Heard, Farley jack master funk, Derrick May, Juan Atkins, Alexi Delano, Dimitri from Amsterdam, Olivier le Castor, BRS, Club Session,Darren Price, Joel Mull , Cari Lekebusch , Subject 13, Alex Reece, Ivan Smaghe , Alton Miller, Jeff Mills , Damon Wilde, 4 Hero , etc. (too many to mention all of them here). Production wise Mourad started producing music during the early 90s and Put out his first release in 1995 as CHRISMOUR Production, in collaboration with his soul brother Calico (svek, deep touch, lace, etc ) The journey continues…

Following up his score for the japanese Netflix Anime series “Carole & Tuesday”, Mocky returns to album mode with his new orchestral opus “Overtones For The Omniverse”. Just days before the first Covid lockdowns, Mocky brought a 16 person orchestra comprising of his usual who’s who of underground talent into LA’s Barefoot Studios (and into the same room where Stevie Wonder recorded “Songs in the Key of Life”) to record a pile of scores he had come up with during his previous year’s sabbatical in Portugal. The result is a stunning orchestral album recorded in 36 hours in one or two takes straight off the written page. Shunning the “possible perfection” of today's recording techniques, Mocky looked back as a way to find an alternate future.

According to Mocky:
“We had to do it quick with no rehearsal to capture that big open sound of people working together in a room - in all its imperfect glory. In the imperfections you find the humanity. And in today’s tech driven spaces you have to fight to preserve a space for humanity. I felt a deep desire to create a sonic trajectory path for us to follow as we ascend and evolve our understanding of love and what it means to be human. This is the inspiration for „Overtones for the Omniverse“”.

The album runs the gamut from Steve Reich infused minimalism overlaid with Dorothy Ashby style harp runs (“Overtures”) to atonal analogue synth sounds over Martin Denny style percussion (“Bora!”). There's a classic Mocky crooning number that gives a Jim Henson-esque take on the state of “Humans” and the album as a whole captures Mocky's skill of bringing together the joyful energy of a unique cast of LA collaborators.

Featuring:
Randal Fisher / Flute, Vicky Farewell / Piano, Vocals, Harry Foster / Bass, Vibraphone, Tubular Bells, Vocals Joey Dosik / Organ and Glockenspiel, Vocals, Guilermo E. Brown aka Pw / Percussion, Vocals, Jhan Lee Aponte (TossTones) / Percussion, Vocals, Timpani, Paul Cartwright / Violin, Molly Rogers / Viola, Gabe Noel / Cello, Contrabass, Liza Wallace / Harp, Coco O. / Vocals, Mocky / Compositions, Drums, Vocals, Roland Sh-1000

O for the O Choir :
Nia Andrews, Leslie Feist, Moses Sumney, Durand Bernarr, Eddie Chacon

Recorded at Barefoot Studios, Los Angeles March 6 + 7, 2020.
All songs written by Dominic “Mocky” Salole and published by Heavy Sheet Music/Warner Chappell except "Wishful Thinking" written by Dominic “Mocky” Salole and Matt Corby and "Bora!" written by Dominic “Mocky” Salole, Guillermo Brown, Aponte Poro.

Produced by Mocky, Justin Stanley and Renaud Letang. Mixed by Renaud Letang at Ferber Studios Paris
Mastered by Emilie Daelemans. Cover artwork by Rand Sevilla. Photo by Vice Cooler.

ABOUT MOCKY
Performer, producer, songwriter, composer and multi-instrumentalist, Dominic "Mocky" Salole came to prominence in the Berlin electronic scene of the mid 2000s, releasing three acclaimed solo albums, co-writing and producing classics like Jamie Lidell's "Multiply" and Feist's "The Reminder" and making waves on stage with close collaborators (and fellow Canadians) Peaches, Feist and Chilly Gonzales.
In 2009, his music took a jazz-inflected turn to the acoustic with the release of "Saskamodie" and in 2011, after work in Big Sur on Feist's "Metals", Mocky relocated to Los Angeles, where he quickly established himself as a co-writer with uncommon credentials and eccentric working methods collaborating with L.A.’s brightest breakthrough artists like Kelela, Joey Dosik, Vulfpeck or Moses Sumney.

Whilst in L.A. songs he has written have been sung by Mary J. Blige, Jill Scott and many more and he has collaborated with artists as diverse as Mali’s Bassekou Kouyate and the GZA. His monthly rooftops gigs at the ACE Hotel breathed new life into the LA live scene and Mocky channeled those new creative energies into his fifth full length album "Key Change" and four digital mixtapes/EPs "The Moxtapes" Vol. I-IV.

After co-producing and co-writing Feist's "Pleasure", Kelela's "Take Me Apart" and Joey Dosik's "Inside Voice", in 2018 Mocky released two albums: "Music Save Me (One More Time)" - a collection of the best of Japan-only/unreleased gems and favorites from his so far digital only "Moxtapes" series and "A Day At United", an instrumental jazz album, recorded in a single day in the legendary LA recording studio United Recording.

In 2019 Mocky delved into soundtrack work by collaborating with legendary Anime director Shinichiro Watanabe (Cowboy Bebop) on the first two seasons of the breakthrough show “Carole and Tuesday” (Netflix) for which he won Best Score at the Anime Awards 2020.