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Reissue of this 1976 LP from Zambia. Deep minimal African music, lovely compositions over scarce drum machines and (fuzzy) guitars.. Beautiful music with a deeper message in the lyrics which is explained better in the long review below. Some words from the label. There is music that falls right into place, a perfectly articulated expression of a few distinct influences. Then, there is another kind of median music, something more mysterious, the result of time, place, technology, and alchemy. Zambian writer and musician Smokey Haangala’s Aunka Ma Kwacha (The Money is Gone) released in 1976 is an example of this more mystical metallurgy, falling somewhere between psychedelic Zamrock, US folk, Kalindula, and Sundown Beat (music played after dark) from Tongaland. The unique mix of languages on the album (Bemba, Tonga, Lozi, and English) also suggest this complex cultural crossroads. Underlying the whole album is the insistent beat of a simple drum machine, which was totally unheard of in Zambia at the time, and parallels pioneering experiments by Francis Bebey, Sly Stone, and Shuggie Otis, utilizing a technology which would later come to define dance music. Then there’s the album’s original artwork by Peter Kependa, done in style similar to the infamous Jamaican dancehall illustrator Wilfred Limonious, interpreting the album’s title and primary theme; the burden of financial inequality.

In this sense the album is political, but the theme is extrapolated and explored through its impact on personal life; love, marriage, social status, and diet. The album is full of cautionary tales, folklore and references to magic, aspects of Zambian culture simultaneously mystifying and alluring to outsiders, part of what attracted Western readers to Nigerian writer Amos Tutuola’s hallucinatory Yoruba folktales. After becoming a household name in Zambia for his music, writing, and television appearances, Smokey Haangala died at the age of 38, the very week his book The Black Eye was published, abruptly ending his brilliant and ascending career. We are lucky to have his inimitable work to remember him by, Aunka Ma Kwacha resting comfortably in the pantheon of re-visionary works by Rodriguez, Kissoon Ramasar, TJ Hustler, and William Onyeabor.

2x12"

The first LP from Scorn since 2010’s Refuse; Start Fires, ​Cafe Mor ​is Mick Harris in his happy place. Which just happens to be in studio, demolishing all standards and rules for electronic bass music, and embodying the darkest, deepest sound in dub. ​Cafe Mor ​takes risks outside of the conventional Scorn apparatus, and with these risks come substantial rewards.

The album is comprised of powerful dub excursions, from the deep dark dank of the front two tracks Elephant and The Lower The Middle Our Bit, and gaining steam towards the ultraviolence of Mugwump Tea Room to Never Let It Be Said to the CRUSHING DEATH KICK of Who Are They Which One. A quick drive under the lights with a lasered out snare on Dulce, then we come across the appearance from ​Sleaford Mods ​frontman​, Jason Williamson,​ on the standout track on the LP, “Talk Whiff”. A cruise around the Midlands sighting the Broke Fridge and Tinder Surprise, with an instant classic refrain:

“Talk Whiff // I’m a busy person // I’ve had enough of it”
Cafe Mor culminates in the all-in-one dub affair SA70, letting rip all the new mixer and fx techniques of Harris’ most recent incarnation of Scorn. The album is the official soundtrack for all smoked out backroom deals, situations and arrangments, cancelling all small tours, and mongoose rhinocharging the bass to level 24.

All tracks Created and Mixed ​by MJ Harris in the Lad’s Old Room

B14 Mastered​ by Daniele Antezza for ​Dadub Mastering Studio

Artwork​, ​Layout ​by ​MachineTM

Thousand Knives Of Ryuichi Sakamoto's Landmark First Solo Album From 1978 Issued On The Better Days Label And Featuring The Synth Classics "plastic Bamboo," "end Of Asia" & "thousand Knives" Is Reissued Outside Of Japan For The First Time In Decades.

Wewantsounds is proud to announce the release of Ryuichi Sakamoto's first solo album originally released in 1978 on the soughtafter Better Days label. Sakamoto was a member of Yellow Magic Orchestra at the time but the group hadn't released their first album yet. Featuring Sakamoto on a wide range of synthesizers and keyboards programmed by Hideki Matsutake, and accompanied by a few musicians including Haruomi Hosono and Pecker, "Thousand Knives" was a blueprint for the YMO sound and includes cult classics that were to become live favourites. Save for a small-scale release in 1982, this is the first time the album is being released on vinyl outside of Japan. Remastered from the original tapes by renowned producer and engineer Seigen Ono, the LP edition comes with original artwork including OBI and 4p insert with new introduction by Paul Bowler. 1978 was a key year for Japanese music. Haruomi Hosono, one of the country's most innovative musicians had just formed Yellow Magic Orchestra pursuing the sonic experimentation he had started with his solo album "Paraiso." The album, credited to "Harry Hosono and The Yellow Magic Band," had been recorded between December 77 and January 78 and featured both Ryuichi Sakamoto and Yukihiro Takahashi. Hosono quickly invited both musicians to form YMO but before the group could release their first album, Sakamoto entered the Nippon Columbia studios in April 1978 with a plan. Sakamoto had become an in-demand session musician after studying composition at the Tokyo University of Art and had played in many key albums of the time: Taeko Ohnuki's "Sunshower" and Tatsuro Yamashita "Spacy" to name just two famous albums. This led to an invitation by Hosono to feature on "Paraiso". A penchant for avant-garde and improvisation had gotten Sakamoto interested in Electronic Music early on and with “Thousand Knives”, he decided to get Hideki Matsutake on board as he had mastered the art of synth programming following a stint with Electronic Music pioneer Isao Tomita. “Thousand Knives” took several months to record as Sakamoto would be busy during the day with his session work and would only record at night. Named after Belgian-born poet Henri Michaux’s description of a mescaline experience, the album is a reflection on how synthesizer technology might come to change the face of music. The first side conceived as a long suite opens with the title track and a recitation of the Mao Zedong poem "Jinggang Mountain" filtered through a vocoder, before morphing into a mid-tempo synthpop instrumental. It is followed by "Island Of Woods", a ten minute track buzzing with insect-like synth sounds reminiscent of the tropical exotica of "Femme Fatale" on “Paraiso” (also featuring Sakamoto). Side one ends with "Grasshoppers," a beautiful acoustic piano melody underlined by a subtle synthesizer soundscape. Side two opens with "Das Neue Japanische Elektronische Volkslied," acknowledging the influence of the German sound spearheaded by Kraftwerk. The track features a mid-tempo metronomic beat skilfully intertwined with a Japanese folk sounding melody. The album ends with two catchy uptempo synthpop tunes in the form of "Plastic Bamboo" and "The End Of Asia," which both became staples of YMO’s and Sakamoto's live shows. Although "Thousand Knives" sold modestly upon release, it was hugely influential in setting the agenda for what was to follow. YMO's sound included various influences from its three members but there is no denying “Thousand Knives” paved the way for the group's Computer Music sound. Thousand Knives remains a fascinating insight into the making of a music revolution.

‘Green & Gold’ is the second collaborative release from Mr Key & Greenwood Sharps, the long awaited follow up to their
critically acclaimed 2015 album ‘Yesterday’s Futures’. The record was written and recorded between Greenwood Sharps’
cottage in the verdant English countryside and the off grid Finca in the foothills of the Andalusian Sierra Nevada, Spain where
Key is based.
The title has multiple meanings none of which are anything to do with weed or money. First and foremost, green and gold are
the colours which synesthete (a person who sees sound) Greenwood Sharps, composed the record in. It also alludes to the
dialogue between the green of the UK and the dusty gold of Andalucia which created the project. Finally green and gold speaks
of the dynamic between the sun and photosynthesising organisms, the driving force of life on earth.
‘Yesterday’s Futures’ took the listener on a meandering journey through a vast landscape of moods, sounds and ideas,
leading ultimately to redemption and the possibility of resolution. Thematically, ‘Green & Gold’ picks up where ‘Yesterday’s
Futures’ left off, but structurally it takes the opposite tack; an extended exploration of a single ubiquitous idea: universal love for
all things and all people and the challenge of maintaining these shiny ideals in day to day life, as our cynical side reasserts itself.
Key’s first output after an extended hiatus from releasing music makes it obvious that during this time he continued honing his
craft. The unique perspectives and disarming honesty which set him apart from his peers remain, but his technical prowess and
capacity to convey sentiment are notably enhanced. The same applies to Greenwood Sharps, who’s masterful production has
risen to new heights yet still maintains the rich and subtle sonic palette he has become known for.
Dropping alongside the EP is a short film featuring the works of long time collaborator Jamie Johnson, the man behind the
artwork for both ‘Green & Gold’ & ‘Yesterday’s Futures’. The short film is the visual counterpart to the EP and serves as the
perfect introduction to the world of ‘Green & Gold’ as it visually explores all the themes present in the music & provides a snap
shot of the incredible tracks on offer.
In a troubled and busy world, marred with anxieties and uncertainties, ‘Green & Gold’ comes as a breath of fresh air and offers some valuable food for thought for those searching for real heart felt substance rather than the sanitised, individualised &
commodified norm we have all become accustomed to.

It took Mr Raoul K more than three years of work inside and outside the studio to complete his first album for Compost Records. His first goal was to show all the musical influences he came across during his time in Ivory Coast. Ivorian music has incorporated musical traditions and instruments from East-Africa, West-Africa and from Central Africa – a real musical melting pot.

15 years ago in a basement in the Bronx, I attended a bunch of sessions with my long time collaborator and friend, Ray West. Ray is a lifelong DJ and home producer, and only in 2012 did he begin to release music via his well-respected underground label, Red Apples 45. He had a main studio but also this much smaller room in the back which I dubbed “Studio B” in the tradition of any multi-room recording facility who would have a second “B” or third “C” room, and the name stuck. Despite the much lower-level quality equipment in that room, like a Yamaha MiniDisc board burning mixes realtime to CD-R, there was a certain vibe to it that inspired creativity, and a simplicity that encouraged faster working methods. One of the groups that worked there was called Results. Their philosophy was whatever happened in the moment was meant to be on tape and they didn’t spend hours perfecting it. This is rather opposite to how I work in the studio and especially on my own material, of which I can be thorough to the point of finishing less than I’d like. Through working there I realized the potential of having a smaller, simpler second setup, one that was not related to my work as an engineer, or my artist career as a performing electronic musician and techno producer.


Fast forward to 2016 and I would have both a professional studio outside of the home and enough spare gear to make a smaller studio based around a 4-track cassette recorder in my living room. This was a place where I could make whatever I wanted, whenever I wanted, without the disturbances of clients, the chaos of 30th St., or any genre restrictions that I might place on myself in the big studio. I spent some time tracking down a functioning Akai MG614, the holy grail of 4-track recorders. It’s a large machine, making even the MPC3000 look small on the table next to it. With no computer, things were focused. I went through a couple of variations of the setup in my living room beginning with an MPC1000, DSI Evolver, Sonic Potions LXR, Bastl Microgranny, and a variety of classic effects that I didn’t keep in the rack at Butcha Sound like the Yamaha SPX90 and Ensoniq DP-4, plus a bunch of pedals and eventually a Korg Karma keyboard. Then I had the good sense to bring home the Emu SP1200 I was borrowing from The Martinez Brothers. Eventually I brought home the MPC3000 as well. Another thing I kept connected was a Zoom field recorder that captured sirens, street noises, and me playing the upright piano in my apartment live to tape. Results. These recordings were made in Hell’s Kitchen from July 2016 - May 2017 with the window open and the sounds of my Manhattan block inspiring the takes. — Phil Moffa 2019

Soul Jazz Records’ Nigeria Soul Power 70 album showcases the influence of funk, rock and disco on Nigerian music during the 1970s. Originally released as a now-long-out-of-print collectors’ 7” RSD box, this fully expanded album release now also includes extra tracks from Sonny Okosuns, Wings, Chief Kollington Ayinla and more. While for many people the fusion of funk and jazz music with Nigerian rhythms and aesthetics began with Fela Kuti and his afro-beat sound, in fact this can be traced further back to the phenomena of the 1960s Nigerian artists and house bands in nightclubs and hotels who interpreted US soul and pop music with a local flavour and none more so than Geraldo Pino, the ‘African James Brown’ who features heavily in this collection. Other similarly inspired Nigerian funk and soul artists featured here included Tony Grey and his Ozimba Messengers and Don Bruce and The Angels. Nigeria Soul Power 70 includes a number of tracks from the group Wings originally known as BAF (Biafran
Air Force) Wings, an army band formed during the Biafran civil war in Nigeria. The groups’ heavy mixture of funk, rock and African styles was popular among many Nigerian groups at the time.
Beneath the shadow of the few Nigerian artists who signed international recording deals in the 1970s – Fela Kuti, King Sunny Ade, Chief Ebenezer Obey – lies of vast wealth of largely undiscovered musical transmutation and cultural cross-pollination, and included here are heavy afro-funk/rock and disco tracks
from artists such as the legendary Sonny Okosuns as well as rare cuts from little-known outside of Nigeria - groups such as Colomach and MFB. Most of these obscure artists signed to major labels in Nigeria in the commercial slipstream that opened up as Philips, Decca and EMI tried to emulate the international
success of the big three international Nigerian artists. Finally featured here is Kollington Ayinla, one of the co-founders of Nigerian Fuji music, who gives us perhaps the heaviest of all tracks on this album. Ayinla is the great moderniser of the Fuji sound and in the late 1970s began adding Bata drums and synthesizers to his authentic music to create a powerful and heavy new fusion of traditional and modernist aesthetics, embracing both new technology and experimentation while rooted firmly in Nigerian historical lineage. Nigeria Soul Power 70 is released as a heavyweight gatefold double vinyl LP (+ free download code),
deluxe slipcase CD and digital album.

The legendary Disk Union Japan and180gpresent the best of today's Brazilian music!

An essential album from contemporary Brazil, Xenia's first solo effort pays tribute to the sounds of the black diaspora, masterfully blending soul music with jazz, samba, r&b and electronic flavors.

Latin Grammy nominated album

180gheavy vinyl, comes with download card

Xenia França is a singer from Bahia, Brazil. She has been nominated for the 2018 Latin Grammy for this debut album Xenia, and for the song "Pra que me Chamas?", a favorite among listeners. Part of an art scene concerned with reviving and disseminating the African-Brazilian culture, the singer became a reference of female empowerment and behavior, especially among black women.

Xenia has performed at major Brazilian festivals, such as Recbeat, Coala, Coma and Queremos, among others. In 2018 she took to Central Park's SummerStage Festival in NYC, and has also performed in Philadelphia and at the Pablo Toblón Theater, in Medellin, Colombia.

Her first solo effort here, "Xenia", is an essential album from contemporary Brazil, paying tribute to the sounds of the black diaspora, masterfully blending soul music with jazz, samba, r&b and electronic flavors, now available for the first time outside of Brazil!

Body Beat: Soca-Dub and Electronic Calypso (1979-98) comprises 17 obscure Soca B-side versions, dubs, instrumentals and edits as well as vocal tracks influenced by disco, boogie, house-music, soul and the more conscious lyrics of roots reggae. This compilation traces the soca genre from its explosion in the late 1970s right up to the period just before contemporary soca became established around the end of the 1990s. TIP!!

Compiled by Soundway Records label founder Miles Cleret and DJ/collector Jeremy Spellacey, Body Beat, as with many compilations on the label, explores the fringes of this often maligned (by outsiders) genre. Boiled down to the bare bones of the matter though: soca is party music.

Soca was originally a re-invention of Calypso music; a genre that in the 1970s was fast becoming usurped around the Caribbean by Jamaican reggae and American soul, funk and later disco. The originator of soca (or sokah as he called it), the calypsonian Lord Shorty, began experimenting and modernising on the formulation of calypso in the early 1970s. His first album featured a strong emphasis on East African rhythms and a punchier recording style that emphasised the beat, and introduced arrangements that often owed as much to American funk and soul as to calypso.

So here you go - seventeen slabs of soca crossover, rapso, electronic calypso, and Caribbean ‘soca-soul’ for your enjoyment - and bound to fit well into modern, open-minded DJ sets alongside the resurgence of burger-highlife, digi-reggae, soukous and zouk.

Kraak & Smaak's 6th studio album - 'Pleasure Centre' is the culmination of two years hard work since their critically acclaimed 'Juicy Fruit' LP and their first Kraak & Smaak LP released on their own label – Boogie Angst. As expected it's a glorious record packed with future classics, flitting between funky dancefloor focused jams and more relaxed downtempo affairs.

The album has a definite US West Coast vibe to it and sees them fuse classic 70's and 80's yacht rock, dream pop, and indie influences in with their signature electronic funk sound. And this result is no mere accident or emulation… Working on the demos in their own studio before travelling to LA for a month last year to meet and work with featured artists, they stayed in Echo Park and recorded in local studios and sometimes even in the homes or backyards garages of their collaborators.

Hand- picking the best of the local talent: dance diva - Gavin Turek, indie upstarts - The Palms and dream pop dealer – Satchmode all contribute their talents to the cause.

The Dutchmen have earned a deserved reputation in particular for the A&R side of the industry, with both the discovery and collaboration of new rising acts high on their agenda. Previous successes include working with Parcels, Alxndr London (championed by Annie Mac) Eric Biddines (6Music playlisted) and Cleopold (signed to Nick Murphy fka Chet Faker's own label). And they continue to uncover hidden gems outside of LA on this record too...

Moon Boots collaborator – Nic Hanson, Jalapeno Records' gospel/soul powerhouse - Izo FitzRoy and soul man Wolfgang Valbrun (Ephemerals/Kungs), New Zealand's imugi and previous collaborator and soul songstress - Sanguita are accompanied by regular members of the Kraak & Smaak live band - IVAR and Berenice Van Leer across 15 fantastic new tracks.

'Pleasure Centre' is everything you'd want in an album and everything we've come to expect from these dance stalwarts – innovative, relevant, and modern tracks with great production and exciting guest features that are guaranteed to fire up your own pleasure centre!











k 11 Sweet Time (feat. Izo FitzRoy) clip

"Nicolas Gaunin's surreal sound experiments lift you out of the everyday and transport you to an off-world Tiki lounge set high amongst the tree tops of a tropical rainforest, where you're surrounded by bizarre, colourful creatures and weird psychotropic plants. Noa Noa Noa is modern Dada, a neon soundtrack to your most outlandish fever dreams.
Nicolas Gaunin is the alter ego of Nicola Sanguin, part of the vibrant experimental music scene around Padua, Italy where he plays in outsider rock groups The Lay Llamas and Orange Car Crash. Nicolas Gaunin is his solo electronic project, a bright and playful cosmic mash-up that uses the rhythms of traditional African percussion groups and skews them slightly to create unsettling, off-kilter grooves. These drum machine experiments are laid over a teeming microscopic sound world of bird calls, insect chatter and weird jingles reminiscent of advertising earworms or video game soundtracks.
Noa Noa Noa takes its influences from music from around the world, and inspiration from high and low culture; from composer Gyorgy Ligeti to the cosmic sounds of Italian DJ Danielle Baldelli, from the experimental music of Moondog or Harry Partch to the playful sounds of Francis Bebey or the exotica of Martin Denny, from Iannis Xenakis to 8-bit video game music. Noa Noa Noa ends up sounding something like the imaginary soundtrack to the Nintendo Gameboy version of a lost William S. Burroughs novel.
Incredibly, most of the tracks on Noa Noa Noa were recorded live in one take with the express intention of creating music that is, in contrast to much of today's electronic music, bright, sunny, light-hearted and mischevious. The resulting album is both totally essential and also completely throwaway.
These tracks were originally released in 2018 by Artetetra Records (Italy) as Noa Noa (cassette & digital) and Danse de l'Oiseau (digital only). Hive Mind Records are proud to present Noa Noa Noa on vinyl for the first time."

The album »Pillars of Salt« creates a space of freedom and activity in which Ozan Tekin shows his various skills as a keyboard player and producer, but also turns his innermost to the outside: Nothing sweet or narcissistic here. Three of the seven tracks were produced for the independent Turkish film »Tuzdan Kaide«, which had its premiere at Berlinale 2018. The surreal epos is transformed into a seductive hypnosis, not least thanks to Tekin’s music. Although just a few people have heard about Ozan Tekin before, the artist from Istanbul has already shown up in prestigious scenes: as the keyboarder of the Libyan disco star Ahmed Fakroun, as a part of Cologne’s nextbigthing Boddy and also under his singer-songwriter alias Seyrek Rifat.

Felix Lee has created a world for his debut album “Inna Daze“, a kind of post-human environment where the sun never really rises and everything is lit with a burnt out glow. These are survival ballads for the near future, whose vocals, mutated to fit into this setting, drift in a haze of dissociation. Musically, at first glance, it's sparse and minimal but with continued immersion, subtle iridescent-light shadows shimmer around grainy colour, sub bass rises through kicks and snares retooled from their surroundings, not so much refixed as decaying. Felix has been here before in his incarnation as Lexxi, making his debut appearance on Total Freedom’s 2012 “Blasting Voice“ compilation, and as a co-producer on Elysia Crampton's “Demon City“ album. He then went on to release his first instrumental EP “5TARB01” in 2016 on his own imprint Endless. He also runs an NTS show of the same name, along with previously holding raves, cross pollinating and interacting with the vanguard of the electronic underground. The punky crunch of those earlier releases is reflected in tracks like “Smoke” made with long time collaborator and southside resident Kamixlo. These club moments inevitably give way to the vocals, conveying a feeling of loss and renewal. Intended to exist both inside and outside the club, it's an electronic music that at times feels like a skeletal take on shoegaze, solidifying that feeling with the intense rising synths of the album closer “Slow Decay“.
Inna Daze's features include Drain Gang members Ecco2k and Whitearmor, Yayoyanoh, Quantum Natives' Oxhy, and Gaika, as well as Felix making his debut as a vocalist, his voice filtered through effects to give it a slippery, steam-like texture, echoing around the songs, giving them a second skin of sensed abstraction. One of the most thoughtful and interesting debuts of 2019, “Inna Daze“ beckons the listener into its simultaneously toxic and beautiful sound-world. Keeping enough distance to provoke more questions than answers, the album unfolds in a different way on every listen.

"We Can Do Anything We Want Because They Say We Can't Afford The Police"

Talking Heads lost in Ancoats. Prince in a Berghaus. The Compass Point All-Stars meet the Piccadilly Gardens Spiceheads.
Welcome to the world of SEE THRU HANDS.

Here to bring salvation to a Broken Brexit Britain, See Thru Hands is a fresh band from Manchester with hooks for days and a SERIOUS live vibe. Their debut EP on Manchester legend RUF DUG's label RUF KUTZ - "The Hot City EP" - brings you two new songs backed with remixes tested on the world's best dance floors.

Opener HOT CITY's energetic punk/funk conveys a dark story of British city life outside the London bubble.
Our councils are fucked, our public services neutered and all anyone cares about is when Deliveroo is gonna be available in their neighbourhood. Throw away your post-apocalyptic fantasies because it's already like that - the only option is to dance. It's grim up north.

After dancing ur arse off and simultaneously coming to the realisation that we're all fucked pls don't worry - See Thru Hands are here to pick up your pieces with NOTHING TO LOSE, a whimsical modern pop banger with shades of New British House that will instil in you a sense of freedom and ease all your worries.
Yes we are all going to hell in a handcart but with See Thru Hands as our companions, I think it's all gonna be just fine.

The package comes backed with a pair of deadly remixes - boss man RUF DUG strips back Hot City to the bare bones, rigs up a couple of jazzy neon lights and a DMX drum machine and brings you his 'Metrolink Vibes In The Area' version, while young upstart METRODOME completes the all-Mancunian lineup on this record with a twisted Marmite 2-step interpretation that is either gonna make you buzz or spew. It's not for everyone.

Time is Local is a project by Danish collective We like We and sound artist Jacob Kirkegaard built around a 12-hour live sound installation and performance at Thorvaldsen Museum in Copenhagen.

The piece was initiated and performed by the artists during the G((o))ng Tomorrow Festival in 2017. As they slowly wandered the halls and rooms of the museum for a whole day, they performed extended sound compositions for a visiting audience at each of the 12 chambers for a longer session - a haunting experience as the outside world disappeared and the focus was on quiet sonic moments unfolding in midst of the grand, reverberous space. For this album they have collected 12 fragments revolving around the chambers in the museum. Each chamber is being represented by its own handful of tones, instruments and voice. The statues within, depicted by neo-classicist sculptor Bertel Thorvaldsen get their own soundtrack of quiet emanating gusts. Barely heard frequencies reflect through the walls. The marble carved busts of Greek gods that line the museum hallways gaze eternally with a blank stare as decades pass and new audience arrives.

Although We like We should need no introduction to followers of the Sonic Pieces label, the Danish all female sound quartet consists of Katrine Grarup Elbo (violin), Josefine Opsahl (cello), Sara Nigard Rosendal (percussion) and Katinka Fogh Vindelev (voice). Together they have forged a dynamic and intuitional sound beyond genres through the last decade. Only two years ago they released the nordic neo-classical opus Next to the entire All. This time they emerge in collaboration with sound artist Jacob Kirkegaard. Jacob’s works are sonic reflections on complex aspects of the human civilisation, treating themes such as radioactivity, melting ice, border walls and tones emitted by the ears. Through the last decades he has released records and sound documents through labels such as Touch, Important Records and more. As a document of their 12h performance, Time is Local is a beautiful sonic evocation that shines as a bright line of sun through the cracks of a tomb.

Long overdue, here comes AIR LQD’s first full-length player, Repeat Itself, making up for the direct follow-up of his acclaimed vinyl debut released on the label in 2016. Mixing science fiction, social criticism and punk ethics in the most cryptic fashion, the latest entry in the discography of the taciturn Belgian groove-maker sees him pushing further his electronic experimentation. Delving into the meanders of the human consciousness through hazy and abrasive rituals, brainpowered by robotics, artificial intelligence and urban metamorphism. The weird looping echo of a man-machine drifting through a vortex of feral scratches and overworked machinery. Slowly moving towards the event horizon of a supermassive black hole, leading to unexpected aural aberrations full of hidden, past and new meanings. Giving a last disillusioned glance at our human condition facing technological progress and the toxicity of the outside world.

Our secret agent in Oslo returns with another urgent communique in the Norsk Tripping series...Six more tracks selected from a private vault of dance floor dynamite, which takes in modern Italo, solid gold punk-funkery, synth-outs, outsider pop & 80's obscurities.
All given the sonic once-over for maximum playability...
As always, a VERY limited run.

Death & Leisure is proud to announce the sophomore album from the very special Autumns.
6 tracks of raw sneering electronics. Coming out in spring.
Autumns is the solo project of Christian Donaghey, From Derry, Ireland, an outlet for electronic post-punk with a lethal pulse. After a brace of rough demos without preliminary hype, the project emerged fully formed on Karl O’Connor’s (aka Regis) illustrious label Downwards back in 2014, the youngest act in a new vanguard of artists that included the likes of Tropic of Cancer, DVA DAMAS and The Kvb.

– Extended Autumns biography here-

Autumns is the solo project of Christian Donaghey, From Derry, Ireland, an outlet for electronic post-punk with a lethal pulse. After a brace of rough demos without preliminary hype, the project emerged fully formed on Karl O’Connor’s (aka Regis) illustrious label Downwards back in 2014, the youngest act in a new vanguard of artists that included the likes of Tropic of Cancer, DVA DAMAS and The Kvb.

Preceding releases for Clan Destine Records, iDEAL Recordings and DKA Records have seen the project engaged in a rough trade of transgressive noise, dysfunctional metal dance and DIY punk angst, yet each of these milestones has represented a different proposition. 2016’s ‘A Product of 30 Years of Violence’ saw the project moving into vast glacial spaces after propulsive post-punk discord of 2015’s ‘Das Nichts’. 2017 presented a further progression into Autumns’ journey from his post-punk beginnings to producing some of the tautest and no bullshite electronic music around with the release of his debut album ‘Suffocating Brothers’ on Clan Destine Records. Gaining radio play from selectors like Trevor Jackson, Regis, Debonair and Giant Swan.

Alongside progressive appearances on cult labels the project has developed a notorious high-intensity live show, having played and toured with artists such as Silent Servant, Veronica Vasicka and Wire, performing to audiences from Los Angeles to Beirut, and Moscow to Berlin. Autumns’ has also ventured outside the typical music world by taking up projects such as performing alongside Samuel Kerridge at the 2016 edition of Paris Fashion Week for Downwards, creating a sound installation at Void Gallery, and improvising a desolate live score to David Lynch’s ‘Twin Peaks: Fire Walk With Me’. Earning Autumns a fierce reputation not only as a live act, but as a multi-disciplinary artist.

Following contributions to labels such as Amok Tapes, Touch Sensitive, Veyl (Maenad Veyl) and Earwiggle (Sunil Sharpe), as well as remixes for Strange Therapy, Infidel Bodies, and Clan Destine Records. 2019 see’s Autumns’ experimentation in the studio go much deeper, with the release of his sophomore album ‘Shortly After Nothing’ on Oliver Ho’s (aka Broken English Club) innovative ‘Death & Leisure’ label, alongside a heavy touring schedule, a collaboration with post-punk legend Eric Random, the launch of his radio show ‘Dyslexia Tracks’ on Dublin Digital Radio and more upcoming releases to surface throughout the year.

In-demand deep modal jazz tune from Belgium featuring Babs Roberts!

The lesser-spotted jazz atoms that formed the fusion of Futurist Flanders! It might sound like an ambitious claim but having been a firm fixture at the top of many European jazz collector want lists over the past decade Finders Keepers wouldn’t be alone when proclaiming this extremely rare, lesser-known two-track 7” from 1969 as one of the best jazz 45s of all time! Alongside Polish pianist Krzysztof Komeda’s soundtrack 7” for the film Cul-De-Sac and ranking closely with François Tusques’ commemorative Le Corbusier exhibition 45 (featuring Don Cherry) this format-specific release known only as Brussels Art Quintet might well sit at the top of the podium while striking similarities and arguably combining the best stylistic traits of both aforementioned contenders.

This is all speculative and clearly a matter of individual opinion but it’s not often that one should find a recording from this era, comprising such high production qualities, keen compositional values and robust craftsmanship spread across two equally spellbinding individual tracks, all of which awards this record justified hyperbole albeit subject to a 50 year delay. It is safe to say that this unique release is “rare” on many levels. Like all privately pressed art projects this 45 comprises some serious outsider art trappings. However, on closer inspection it also stands as a pivotal record in the micro-genre of Belgian jazz, pin-pointing an early axis for some vital progressive jazz players who went on to become sturdy pillars of the central European happening.

Essentially as a five-piece, the short-lived Brussels Art Quintet neatly combines members of both the mythical Babs Robert Quartet (early exponents of Belgian spiritual jazz) and key players from the leading progressive jazz/rock/funk unit known as COS (formally Classroom) who would stand as close affiliates of the likes of Marc Moulin, Kiosk and Placebo through the 1970s. Reproduced in close collaboration with COS leader Daniel Schell, who, under the early guise of Daniel “Max” Schellekens, authored both tracks that make up this facsimile 45 single, this one-off single includes the only known output by the Brussels Art Quintet thus marking the essential in-road to instantly start and complete your entire BAQ collection not without reliving the early germination of the froward-thinking jazz fusion that came to shape Belgium’s truly unique movement.

In this post-industrial, post-enlightenment religion of ourselves, we have manifested a serpent of consumerism which now coils back upon us. It seduces us with our own bait as we betray the better instincts of our nature and the future of our own world. We throw ourselves out of our own garden. We poison ourselves to the edges of an endless sleep.

Animated Violence Mild was written throughout 2018, at Blanck Mass’ studio outside of Edinburgh. These eight tracks are the diary of a year of work steeped in honing craft, self-discovery, and grief - the latter of which reared its head at the final hurdle of producing this record and created a whole separate narrative: grief, both for what I have lost personally, but also in a global sense, for what we as a species have lost and handed over to our blood-sucking counterpart, consumerism, only to be ravaged by it.

I believe that many of us have willfully allowed our survival instinct to become engulfed by the snake we birthed. Animated — brought to life by humankind. Violent — insurmountable and wild beyond our control. Mild — delicious.