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Ravanelli Disco Club is a disco house label based in Marseille that was established 2019. Over its three short years they have worked with key artists including Ron Basejam, Jimpster, JKriv, Cody Currie, Retromigration, Joe Corti, and Scruscru, with releases in the wings by Prins Thomas and Pete Herbert.

Next up on Ravanelli Disco Club comes slick French duo Palavas who hail from the sun-drenched coast of the South of France, somewhere between Montpellier and Marseille. Named after the Pavalas resort - that was once the splendid queen of Mediterranean sandy beaches - the AZZUR Records founders are the epitome of the French dolce vita! With previous releases on Toucan Sound and Future Disco, their music is an intoxicating blend of nostalgia and cosmic futurism that dazzles discerning dancefloors every weekend with their shimmering solar odyssey.

On ‘Déesse D’été’ – which poetically translates to Summer Goddess - Palavas pay homage to the vibrant and infectious sound of the 80s, blending disco, funk, and new wave with a contemporary twist. This full-length journey provides us with a perfect summer soundtrack for the sunshine season, with upbeat rhythms and warm catchy melodies designed to get sun drenched bodies moving and grooving. Composed and sung in both French and English, the duo show case their tasteful aesthetic, versatility, and artistic flair effortlessly blending their musical influences resulting in a sound that is totally unique.

From the infectious beats of ‘We Are Strong Enough’ to the soulful ballad ‘One Night is Not Enough featuring Ryan Konline' or the new wave tribute ‘You Can't Get Away’, each cut is a beauty in its own right. Guaranteed to make you feel the warmth of the sun on your face and to lift your winter spirits.

Skepta and fellow BBK member Jammer launch house label Más Tiempo, with the pair collaborating for the debut EP ‘Mas Murder’

The release sees the Mercury Prize-winning MC, songwriter, and producer showcase his house sounds ahead of the label launch party at London’s KOKO on 30th April 2023.

Skepta, the influential Mercury Prize-winning MC, producer, designer, director, and founding member of seminal British grime collective Boy Better Know, unveils his new label Más Tiempo on 28th April alongside instrumental LOTM founder and BBK mainstay Jammer, as the pair launch the house-centric project with their ‘Mas Murder’ EP.

Featuring London talents J Kolo and Ossie (Club Bad/Madhouse), the debut EP showcases a first glimpse of the musical direction of the label, with the imprint set to provide a platform for producers to ‘expand their current portfolio range’ - with Skepta building on his iconic DC10 debut for Circoloco last summer, plus forthcoming appearances in Milan, Ibiza and more.

“‘This generation rules the nation, with version’... that really resonated with us for the Más Tiempo journey. Musical Youth sampled on ‘Mas Murder’ was perfect to showcase the way we feel about giving people our spin on house production with instrumentals while paying homage to the ones that came before us.” - Jammer.

Collaborating on the lead cut, Skepta and Jammer’s ‘Mas Murder’ is a low-slung, heady house cut shaped for bustling terraces and built for clubs, fusing crisp percussion, a snaking bassline and eerie melodies for a heads-down effort. Handing over to Jammer, who links up with J Kolo and Ossie, ‘Touch Me’ draws from UK house influences for a skippy, slinking production.

Alongside the EP, Más Tiempo will also take over legendary London venue KOKO on 30th April, with the event being the first standalone show for the collective, having collaborated with The Martinez Brothers and Cuttin Headz at The Beams in December. Featuring performances from Benji B and DJ Maximum alongside sets from both label heads, the show will see Skepta return to the venue for the first time since 2016 following the release of his critically acclaimed LP ‘Konnichiwa’.

Hideo Shiraki travelled to the US from Japan in 1962 and was bowled over by Horace Silver and the Bossa Nova Craze happening at the same time. When he returned to Japan he went straight into the studio and cut this Blue Note inspired Japanese Jazz Masterpiece.

With a selection of tunes ranging from the 1940's stylings of "Tico Tico" through to the samba infused "Orfeo Negro" and arriving in Silversville with "Sayonara Blues" Hideo Shiraki has hit all the sweet spots!

With sleeve notes translated into English for the first time and laid out in the Blue Note Style this release is going to be seen as a landmark re-issue.

A special Vinyl Only release on Jazz Room Records.

For it's 46th outing, Klasse Wrecks recruits the Brooklyn based producer Gee Dee to it's ranks. Gee Dee aka Greg Droggitis turns in a wonderful and fully fledged collection of tracks that burst to the brim with atmosphere and sunny vibrations. True to the label's ethos, the music is as always, hard to pin down under one specific genre but instead slyly calls on various classic House, Electro and Acid tropes. The overall sound is one that is both universal and transcendent, feeling familiar but still surprising. 'Dream In Colour' is indeed an apt title for the EP as it spans the musical spectrum and is a lucid and vivid trip into the imagination of this new and exciting producer.

Orpheu the Wizard has a magic touch at finding records that fall between the gaps in music - oddities, curios, the weird, the wonderful. But that's just half the trick. It takes a sensitive and selective ear to construct a coherent, accessible narrative from them. So you get DJs who can play for the crowd and "selectors" adept at mining the black gold. In Orpheu, you've got yourself someone who can do both. On a festival main stage, he can keep it weird enough for the heads. In an audiophile setting, he'll keep the flow.

These skill sets come into play on the fifth The Sound of Love International compilation. Jumping between genres, decades, continents, the truly rare, and many B-side cuts that passed you by. But never eclecticism for its own sake; this collection makes sense. Orpheu never loses sight of the listener - he's a friendly and knowledgeable guide to the cosmic outer reaches.

He opens his account with the warm, psychedelic electronics of Drawing Future Life, with ‘1969’. Tucked away on the B-side of an LP of ambient/trance hailing from Fukuoka, this is a very pretty piece of music on a truly rare piece of wax. Then, leapfrogging a couple of decades and timezones, we have Rutuu Poiss' "IHATSIN." Off-kilter, experimental sounds with an endearing melodic hook, followed up by the with lethargic ambient breakbeat of Digital Distortion's "Mellow Bug".

On the B-side, things start to get lively. French Audacity featuring Valerie's "That Fine One" is Gallic garage that has simultaneously got it hugely wrong and mas­sively right. Owing as much to new wave as New York house, this is propulsive and quirky dance music at its finest. Next, we're on a ferry over the channel for DJ Spike and "Gaps In Space." Up-tempo electro with a fondness for sampled vocal cut-ups, like its predecessor.

lnterdance's "Kurz" (another B-side) is the perfect segway - house from 1990 with that sweet, slightly goofy naivete. Things move toward the gnarly with Bad Behaviour and "Living on Smoke," a lesser-known cut on the legendary Atmosphere records. The tempo edges upward on "Systematic Input" by Frequency, hectic hardcore techno that still retains a lightness of touch.

"Lushes" by Diffusion spins us off into space, filigree techno with an emotive trance edge. The chiming intro of "Blue to Be Happy" by MFA lulls us into a sense of false security before massively putting the boot in with a pounding kick drum, bassline, and arpeggiation. From there, it's a sharp left turn into the urban psychedelic dub of R.I.P's "E.O Pan" on cult label Digi Dub.

Sticking with UK sound system music but taking it down a notch, Orpheu closes proceedings with a leftfield reggae excursion from the master of the mixing desk, Mad Professor’s"Oh Hell".

It's a compilation as varied as the many moods and grooves of Love International itself - from sun-dappled olive groves to moments deep in the strobes. This is serious music for party freaks or party music for serious freaks. Tisno is calling.

Greg Paulus joins forces with fellow Brooklynite Taylor Bense for a new Freerange EP showcasing their left field, raw house sounds across three original tracks plus a bonus Martinez Brothers edit.

With previous releases appearing on labels as diverse as Soul Clap, Let’s Play House, Ghostly International and Kompakt, the producer, DJ and trumpeter is perhaps best known for being one half of No Regular Play who have recorded LP’s and EP’s for Wolf & Lamb, Crew Love, and Let’s Play House. Never one to be confined to one genre, Greg takes influence from Jazz, Funk, Hip Hop and underground house to form a unique sound primed for discerning dance floors. Taylor Bense is an in-house composer and producer at the highly regarded Hyperballad Studios in Brooklyn, where he works and records a wide spectrum of music for everything from high end commercial work to EP’s for Wolf + Lamb and Soul Clap Records. The entire EP was recorded and produced at Hyperballad Studios over the past few years.

Title track Heat Make Sense wears its Prince inspiration on its sleeve with a hooky whistled tune, crunchy live bass fills and punchy, raw beats. Next up we have Switch which features Brooklyn MC’s Stimulus and Malik Work on vocal duties and Greg’s own trumpet adding top lines to the deep pads and rolling groove.

Marino takes us back to golden era jacking Chicago house of the 00’s but with Greg’s trumpet flourishes bringing a live, jazzy energy to the track. Fellow NYC mainstay Big $exy provides his trademark deep baritone vocal to give a little hip house flavour. Closing out the EP we have NYC’s Martinez Brothers providing an uptempo minimal edit of Do You Love Me, a track from Greg’s previous Freerange EP. The MB’s keep things rolling and stripped back for maximum club impact creating a useful DJ tool whilst allowing Greg’s musical and vocal parts to shine.

Limited edition sampler from Japanese producer CALM. These two tracks have been taken from the Japan only Music Conception release ‘Quiet Music Under The Moon’ that came out early 2023 . Featuring his signature ambient musical meditations. Mukatsuku has worked with Calm several times over the years releasing music on Exceptional Records plus compilations on Fuego (Moshi Moshi) & Kriztal (Sakura Aural Bliss) but this is the first time to release his output on Mukatsuku. Limited to 400 only hand-numbered copies

Egyptian-Australian DJ/producer moktar announces his second boundary-pushing five track EP, ‘Immigrant’. An expressive and considered journey that combines his Middle Eastern heritage and influential club sounds in one.

‘Immigrant’ sees moktar continue to bring traditional Arabic instrumentation into the club by weaving samples like polyrhythmic drumming and the Arabic Oud into experimental club music which has captured the attention of many tastemakers. Giant Swan, Anz, Tash LC, Raji Rags, Jamie XX, Bonobo, Groove Armada, Hudson Mohawke, Mary Anne Hobbs and Jamz Supernova all championed his highly favoured self-titled EP in 2021, which topped the Australian community radio charts as a number #1 most played alongside the global support it received. The release represented re-learning the value of his Egyptian heritage following racism and stereotyping growing up. ‘Immigrant’ expands on the story.

Debut single ‘Immigrant’ was released in September and served as a backdrop for moktar to air the stories of many as well as his own, told through a chopped vocal sample of Arsenal Football Club’s host and hype man, Frimpon. ‘North Africa’ and ‘Al-Duqqi’ are a homage to moktar’s roots. ‘Crossroads’ represents his need to push himself and grow in life and music, and ‘Send it’ (a term in Australia that means you're about to do something wild) also aims to represent Middle Eastern communities in Bankstown, Sydney.

moktar explains - “Through Immigrant I wanted to highlight the struggle many people all over the world go through to be accepted, while representing the community in Egypt, North Africa and Australia. Fusing Middle Eastern sounds into sounds into my music has been a big part of helping me become proud of who I am. I feel passionate about bringing these sounds to a wider audience in the hope it helps others in the identity struggle feel a sense of pride too”

The EP falls just as moktar’s highly anticipated debut EU tour comes to a close, playing b2b with DJ Plead at Phonox for Yung Singh, Adaptations Festival, Repercussions Festival, Werkhaus Festival, b2b with Mr Scruff at Field Day, Lost Village, Amsterdam for ADE with Kode 9, Rex Club in Paris, and Takseer festival Berlin.

It's always good to have Norbak onboard again with this brand new slice of plastic. Four cuts of precise and gymnastic techno aimed for the most advanced dancefloors energetic and intelligent at the same time, as we like.

A side starts with "Tell me I'm wrong" a fast paced hypnotic exercise with adrenalinic synth lines running over complex rhythms, properly arranged in a constantly changing structure.

"Amongst Them" follow, textured flanged sounds running across the stereo field, shuffled beats and lots of space, the definition of how profound techno should be.

Flipping the vinyl, B1 is "Pure and Faithful", funk infused sequences constantly altered in shape, complex grooves and as always a profound structure full of twists.

Last cut in this exercise is "Unbearable Lightness", continuous and repetitive randomized synth lines spiced with lots of reverb over a well crafted drum workout, intense and spacious at the same time.

Another demonstration of studio skills and sound design from this young Portuguese producer.

blue + red marbled vinyl
"Dog Eared"! Named as such as it marks a turning point in my productions and releases. Made while moving from Bristol back to London this as a theme pops up throughout the EP.

"Ithaca Vox" is the name of my first ever favourite preset - a CMI-inspired pad from GarageBand which I've been using since I was 11 but never on a release. The track also samples the screeching of Victoria line on my way back from nights out.

"Bubble Trouble" caused many headaches to finish hence the addition of the word "Trouble". The track pops, floats and bursts into the space between simplistic cartoon sound sources and excessively over the top sound design and production.

"Dive" dives further into these production ideas swapping tight space tiny bubbles for wide grinning resonance. The twisting track cuts these resonances leaving a large valley of missing frequencies that gets suddenly filled by an unrelentingly simple bell centring the listeners balance.

"From Window to Wall" gives a not so subtle nod to one of my favourite excessive chart hits as well as a further nod to the source of some of the track samples (see if you spot them).

"Calpohol" is the first collaboration Ive released (another reason to Dog Ear this release). Made from an afternoon of recording with Delay Grounds on his custom Eurorack the track was shaped by us over the weeks that followed.

Rule of Thirds is the debut album from Nine Windows, a collaborative project between Kid Drama & DJ Trace.

The album pulls inspiration from the golden era of atmospheric jungle with the focus on labels like Good Looking, Deejay Recordings and Lucky Spin.

Expect deep nostalgia and euphoria as the pads wash over you and breaks skitter over subsonic 808 basslines as these two veterans take you on a journey into 90s bliss.

To top it off there are features with the Pioneer of the new Jungle movement - Tim Reaper and the legendary Skream making an appearance on the album.

So sit back, reminisce and listen to the sounds of Nine Windows.

Superb 45 featuring two Hammond-led instrumentals. The A-side is taken from The Guy HamperTrio's second long player due out on Hangman Records. The B-side is exclusive to this release. 'Man in the Mouth of a Cave' - I have painted St. Cuthbert's Cave, Northumberland on many occasions and decided that it was imperative that I write a great jazz /beat theme all about it. (Important info: After Viking raids monks from Lindisfarne wandered the north-east carrying the body of St. Cuthbert. Legend has it that they took refuge in 'St. Cuthbert's Cave.') I wrote the song with my friend Jamie Taylor in mind to have his way with it, which he does to thunderous applause - I should imagine. '107 Sleepless' is a tune I wrote in the early 1980s when me and Mick Hampshire would stay up the entire weekend writing songs for our group The Milkshakes. (We lived at 107 Rochester Street, Chatham.) About 3am Sunday morning we would be flagging and sitting there senseless. I would play this jazz riff over and over for some unknown reason. Meanwhile it should make a nice theme tune to some yet to be written HBO series and make me a millionaire - I should imagine. GUY HAMPER - APRIL 2023

In August 2020, following some typical delays at the plant, Fourth Dimension Records released the limited edition 2LP (and now sold out) set of Kleistwahr's This World Is Not My Home and Over Your Heads Forever albums, originally released by the same label in 2014 and 2016 respectively. Packaged together in a single sleeve with printed inners reproducing all the artwork found on the original CDs, the 2LP was always designed to represent the first volume in a series of them. This next volume gathers everything on the next two albums, Down But Defiant Yet and Acceptance is Not Respect, both also initially released on CD in, respectively, 2017 and 2018, and presented in the exact same way. 2017's long sold out at source album, Down But Defiant Yet, collects four lengthy cuts which catch Gary Mundy (also known for Ramleh, Breathless and Broken Flag Records) furrowing his distinct and recognisable take on a kinda contemporary psychedelia with dystopian leanings. Each piece nods towards the fug generated by certain ‘krautrock’ groups whilst retaining threads of those uncompromising power-noise surges he built his reputation on, this is music guaranteed to take you to new spaces before forcing you to nervously look over your shoulder. 2018's Acceptance is Not Respect collects two lengthy pieces themselves broken down into seven parts often tempered to the point restraint assumes new, often disturbed (and disturbing) psychedelic or even filmic, properties, this music arrives like a spitting and foaming scream into the insanity of the void and the myriad challenges and questions it inexorably keeps hurling at us. Whereas Ramleh captures the sound of at least two people dealing as best they know how with the constantly rising rivers of shit around us, Kleistwahr is akin to one man having scaled a great height poking out of an infinite chasm and wondering why he bothered. This is uneasy listening sometimes renderedvirtually elegiac by dint of a prowess rarely found in such realms. Of this, Gary himself quite prophetically, in light of how events have shaped the world since said, “I was trying to make the music more spiritual sounding this time as the album is about belief. The first half is about personal and political belief and the second half about religious belief. I was wondering about whether in the 21st Century, you can seriously get anyone to completely change their beliefs and [am] asking is there anything you believe that you would be willing to die for, and the difference between the way that most beliefs have been accepted/tolerated and [are] supposedly respected in recent times in [the UK]. Now our society is starting to break down, it becomes clear that that acceptance tends not to actually be the same thing as respect at all.”

Kalita are delighted to announce the first ever re-release of Los Angeles-based outfit Addmoro’s three sought-after recordings from their privately released invisible 1985 boogie grail ‘Keep On Trying’. With original copies of the album out of reach for all but a select few since its initial release over thirty-five years ago, this is a much overdue retrospective of the group’s musical output.

Originally privately released on the group’s eponymous label Addmoro Records, Kalita’s 12” reissue single features both the vocal and instrumental versions of ‘Keep On Tryin’, plus the saxophone-featuring boogie monster ‘Rock & Roll Skate (Sax Version)’, arguably one of the heaviest boogie recordings of the genre.

With original copies of Addmoro’s album selling for over £600 on the rare occasion that they come up for sale, Kalita now deliver a loud and remastered 12” single for all.

"Another Love Song - The Frames are an Irish indie rock band formed in Dublin in 1990. The band is known for their passionate and emotive sound, which blends elements of rock, folk, and traditional Irish music. Over the years, they have released several critically acclaimed albums, including ""Another Love Song,"" which is widely regarded as one of their most influential works.
""Another Love Song"" was released in 1991 and marked a turning point in the band's career. The album featured a raw, stripped-down sound that was a departure from their earlier, more polished work. The songs on the album were deeply personal and introspective, exploring themes of love, loss, and the complexities of human relationships. The album's title track, ""Another Love Song,"" became an instant classic, showcasing the band's signature sound with its driving rhythms and soaring vocals. The song's bittersweet lyrics and haunting melody struck a chord with listeners and quickly became a fan favourite.
In addition to ""Another Love Song,"" the album features several other standout tracks, including ""Say It to Me Now,"" ""The Dancer,"" and ""Downhill."" Each song on the album showcases the band's dynamic musicianship and poetic lyricism, earning the album a reputation as a seminal work in the Irish indie rock scene. Over the years, The Frames have continued to evolve and innovate, releasing several more critically acclaimed albums and earning a dedicated following of fans around the world. With their unique blend of raw emotion and musical artistry, The Frames continue to inspire and captivate audiences with their powerful, soulful music.


Fitzcarraldo - ""Fitzcarraldo"" is the sixth studio album by the Irish rock band The Frames, released in 1995. The album marked a significant departure from the band's earlier work, with a more experimental sound that blended rock, folk, and experimental elements.
The album takes its name from the Werner Herzog film of the same name, which tells the story of a man who attempts to build an opera house in the Amazon jungle. This theme of ambition and perseverance in the face of adversity runs throughout the album, as frontman Glen Hansard explores themes of love, loss, and the human experience. The album opens with the hauntingly beautiful track ""Revelate,"" which sets the tone for the rest of the album with its soaring vocals and intricate guitar work. From there, the album takes the listener on a journey through a diverse range of sounds and emotions, from the upbeat rock of ""What Happens When the Heart Just Stops"" to the melancholic balladry of ""Fitzcarraldo.""
One of the standout tracks on the album is ""Lay Me Down,"" a tender and heartfelt ballad that showcases Hansard's powerful vocals and poetic lyricism. The song has become a fan favourite and is often performed live by the band. Another highlight of the album is the epic nine-minute track ""Fitzcarraldo,"" which features lush instrumentation and intricate guitar work. The song is a tribute to the film of the same name and explores themes of ambition and determination in the face of seemingly insurmountable obstacles.
Overall, ""Fitzcarraldo"" is a powerful and deeply personal album that showcases The Frames at their most ambitious and experimental. With its diverse range of sounds and emotions, the album remains a fan favourite and a landmark in the Irish rock canon.

Dance the Devil
Dance the Devil is the fourth studio album by the Irish rock band, The Frames. Released in 1999, it marked a significant departure from the band's earlier sound and was a critical and commercial success.
The album features 10 tracks, including the hit single ""Pavement Tune,"" which received extensive radio play and helped to propel The Frames to greater prominence in the music industry. Dance the Devil showcases the band's versatility and musical prowess, blending elements of rock, folk, and pop to create a unique and compelling sound. The lyrics are introspective and poetic, exploring themes of love, loss, and self-discovery.
Produced by Steve Albini, the album was recorded in just five days, giving it a raw and unpolished feel that perfectly captures the energy and passion of The Frames' live performances.
Dance the Devil remains a beloved album among fans of Irish music and continues to inspire new generations of musicians. Its enduring popularity is a testament to the artistry and vision of The Frames and their commitment to pushing the boundaries of what is possible in rock music.
"

"Another Love Song - The Frames are an Irish indie rock band formed in Dublin in 1990. The band is known for their passionate and emotive sound, which blends elements of rock, folk, and traditional Irish music. Over the years, they have released several critically acclaimed albums, including ""Another Love Song,"" which is widely regarded as one of their most influential works.
""Another Love Song"" was released in 1991 and marked a turning point in the band's career. The album featured a raw, stripped-down sound that was a departure from their earlier, more polished work. The songs on the album were deeply personal and introspective, exploring themes of love, loss, and the complexities of human relationships. The album's title track, ""Another Love Song,"" became an instant classic, showcasing the band's signature sound with its driving rhythms and soaring vocals. The song's bittersweet lyrics and haunting melody struck a chord with listeners and quickly became a fan favourite.
In addition to ""Another Love Song,"" the album features several other standout tracks, including ""Say It to Me Now,"" ""The Dancer,"" and ""Downhill."" Each song on the album showcases the band's dynamic musicianship and poetic lyricism, earning the album a reputation as a seminal work in the Irish indie rock scene. Over the years, The Frames have continued to evolve and innovate, releasing several more critically acclaimed albums and earning a dedicated following of fans around the world. With their unique blend of raw emotion and musical artistry, The Frames continue to inspire and captivate audiences with their powerful, soulful music.


Fitzcarraldo - ""Fitzcarraldo"" is the sixth studio album by the Irish rock band The Frames, released in 1995. The album marked a significant departure from the band's earlier work, with a more experimental sound that blended rock, folk, and experimental elements.
The album takes its name from the Werner Herzog film of the same name, which tells the story of a man who attempts to build an opera house in the Amazon jungle. This theme of ambition and perseverance in the face of adversity runs throughout the album, as frontman Glen Hansard explores themes of love, loss, and the human experience. The album opens with the hauntingly beautiful track ""Revelate,"" which sets the tone for the rest of the album with its soaring vocals and intricate guitar work. From there, the album takes the listener on a journey through a diverse range of sounds and emotions, from the upbeat rock of ""What Happens When the Heart Just Stops"" to the melancholic balladry of ""Fitzcarraldo.""
One of the standout tracks on the album is ""Lay Me Down,"" a tender and heartfelt ballad that showcases Hansard's powerful vocals and poetic lyricism. The song has become a fan favourite and is often performed live by the band. Another highlight of the album is the epic nine-minute track ""Fitzcarraldo,"" which features lush instrumentation and intricate guitar work. The song is a tribute to the film of the same name and explores themes of ambition and determination in the face of seemingly insurmountable obstacles.
Overall, ""Fitzcarraldo"" is a powerful and deeply personal album that showcases The Frames at their most ambitious and experimental. With its diverse range of sounds and emotions, the album remains a fan favourite and a landmark in the Irish rock canon.

Dance the Devil
Dance the Devil is the fourth studio album by the Irish rock band, The Frames. Released in 1999, it marked a significant departure from the band's earlier sound and was a critical and commercial success.
The album features 10 tracks, including the hit single ""Pavement Tune,"" which received extensive radio play and helped to propel The Frames to greater prominence in the music industry. Dance the Devil showcases the band's versatility and musical prowess, blending elements of rock, folk, and pop to create a unique and compelling sound. The lyrics are introspective and poetic, exploring themes of love, loss, and self-discovery.
Produced by Steve Albini, the album was recorded in just five days, giving it a raw and unpolished feel that perfectly captures the energy and passion of The Frames' live performances.
Dance the Devil remains a beloved album among fans of Irish music and continues to inspire new generations of musicians. Its enduring popularity is a testament to the artistry and vision of The Frames and their commitment to pushing the boundaries of what is possible in rock music.
"

Repress!

N0!zy blighter Russell Haswell returns to Diagonal 5 years after his label debut with a spontaneously combusting follow-up to ’37 Minute Workout’ generated again from a mix of analog/digital synths and modular systems edited on a computer. It was inspired by a visit to CERN, The European Organisation for Nuclear Research, in Geneva; and dinner with Ted Nelson, whose theories of interwingularity and transclusion chimed with the direction recordings took.There are few artists who can genuinely make music that sounds like your needle and/or record is melting, but Russell Haswell is one of them. His 2nd volume of extremely kinky calisthenics is a potent example of daring to be different in a world where exponentially increasing production options are leading producers of all stripes to the exact same conclusions. But, with thanks to Russell’s iconoclastic intent, restless nature and ascetic aesthetics, he still sounds quite like nobody else, and, even better yet, doesn’t give a shit if you like it or not. For the record (this one in particular), we’re all over it like a hot rash.
Since reincorporating his early love of freestyle electro and Industrial dance music into his patented n0!ze matrices circa the 1st volume of ’37 Minute Workout’, Russell has steered that rhythm-driven style into a string of fizzy bangers for Diagonal and even applied it to his production for Consumer Electronics with typically radical results. Russell’s 2nd volume of ’37 Minute Workout’ is cut from similarly (but never the same) ragged material as the first batch, and spits, kicks and claws with equal amounts of eething, pent energy and rambunctiousness ready to jab the ‘floor in the eye or dissolve a party where needed.
Crowbarring cues ranging from the Latin Rascals to Incapacitants and Jeff Mills into 7 wickedly awkward designs, Haswell keeps his avant aerobics radically irregular as he hops from the tendon-twitching angularity of ‘The Wild Horses of the Revolution have arrived Without Knight’ to steel-hoofed clatter in ‘Central Crisis Management Cell’ and the lacquer-eating dynamics of ‘Painful
Memories From The Past Need To Be Acknowledged’, before toning a proper nasty acid special in the UR inversion ‘Dancing on the Head of an Eagle’, and seemingly sucking your brain out thru a straw with ‘Starting Something You’re Not Able To Finish’, with the dry witted, skeletal jazz-funk squirm of ‘Diplomatic Cocktail Circuit’ closing the party down in style.

repress !


Label boss Coco Bryce aka DJ-Y finally delivers the second volume of Faces Of Bass, the Myor sublabel focussing on 4x4 hardcore in all its shapes and forms.

Speed Fever is one for the Gabber and Acid heads alike. Its mixture of distorted kick drums, ruffneck 303 melodies and rushy rave stabs echoes the late 90s squat party heydays of the Netherlands.

Get On Up sees Coco opting for a slightly more subtle approach, blending acid bleeps with warm chords and a moody Reese bassline over a rolling Jungle Techno framework.

Over the course of eight thrilling tracks, ‘Royal’ leads listeners on a topsy-turvy journey from Middle Eastern exotica to Spaghetti Western style scores, via scorching Mediterranean beaches.
Highlights of the album include the surf-meets-Western delights of “Silver Lining”, where irresistible guitar lines are piled high and topped with euphoric synths and rock drums, resulting in a timeless soundtrack for both headless nights in dive bars and heedless days at the funfair.
“Juda” follows, a deadly combination of Zepellin and Middle Eastern rock with subtle hints of synth funk. The track is named after living legend and Middle Eastern guitar hero, Yehuda Keisar, who also joins the band for this song, contributing a scorching solo. The thunderous guitar riffs are matched pound-for-pound by the irresistible percussive groove.
Boom Pam, widely renowned for their spellbinding Middle Eastern guitar music, have unveiled their highly anticipated fifth album, 'Royal'. Celebrating their twentieth anniversary, the Tel Aviv based band combine cinematic atmospherics and high-powered surf rock on
their first album for international ambassadors of Middle Eastern grooves, Batov Records.

Boom Pam “Rock the Casbah” on title track “Royal”, revealing another card up their sleeve, as they transform a famous 80's Israeli radio theme into a discoinspired super jam with a punk edge.

The band maintain their reputation for first-rate and distinctive surf rock on the fast paced “Daber Yafé” and “Monsour”.
The sonic imprint is both warmed and widened by the rare addition of a tuba supplying the lower frequencies.
Meanwhile, opener “Lava Tongue”, and “Golden” emphasize the melodic side to the band, conjuring dreamy sunset mirages to hypnotize the listener.

Boom Pam have established themselves as pioneers of modern Middle Eastern surf rock, combining sophisticated yet catchy guitar riffs, with roaring tuba basslines and fiery drums. In the past decade the band have frequently collaborated with and backed legendary Turkish folk singer-songwriter, Selda Bagcan, on stage and record, and performed at some of the world's most renowned festivals, including Primavera Sound, Lollapalooza, Fuji Rock, the Montreal Jazz Festival and many more.
An engaging listen from beginning to end, ‘Royal’ is the perfect representation of Boom Pam’s incredible 20-year journey, showcasing their superior skills in pushing the boundaries of their genre.

Proudly presenting you the new VA of the Ruhr Area based Recordlabel Inhale Exhale Records. This Record comes with a huge Bandwidth. From pumpy Floorfillers over Classy Deep House to Oldschool Acid Baselines. INEX014 will be truly a Gem.

ARCHETYPE ist die Klangwelt zweier gegenüberliegender Magnetkräfte: Produzent/Komponist/Keyboarder Joe Armon-Jones mit Jazz, Soul und Improvisation und Produzent/DJ Maxwell Owin mit den Sounds seines Hardcore-Continuums aus Jungle, Dubstep und Drill. Fasziniert von den Philosophien, die diese subkulturellen Welten miteinander verbinden, lässt das Duo unterschiedliche Instinkte, Disziplinen und Stärken zu etwas verblüffend Frischem verschmelzen. Gefangen zwischen Club und Schlafzimmer, ist ARCHETYPE - mit den Featuregästen Lex Amor, Shabaka Hutchings, Fatima, Rocks FOE, O the Ghost, Mala, Maysia Osu & YUIS - der Nachfolger ihres Debüts IDIOM (2017), das ihnen die Zusammenarbeit mit seelenverwandten Künstlern wie Ezra Collective, Greentea Peng, Nubya Garcia, Oscar Jerome und Moses Boyd eröffnete.

The legendary Tru Comers release their first instrumental double album "Avantgarde"! On the album you can expect over 60 minutes of finest productions which will not only excite all lovers of the CominTru sound. The music on this album reaches deep and sweeps the listener along from the first minute. This project is a must have! Get your vinyl copy now!

While Duster went into hibernation in the year 2000, Clay Parton's four-track never stopped rolling. Recorded alone at home over several years, Birds In The Ground is an album of 30-something, post-9/11 malaise. Under his Eiafuawn (Everything Is All Fucked Up And What Not) acronym, Parton hides beneath layers of fuzzy and clean guitars, his hesitant, cottony vocal disappear into noise. This deluxe pressing is packaged in a gorgeous tip on sleeve and includes the complete lyrics for this cryptic entry of the Dusterverse.

Bunny White Vinyl! While Duster went into hibernation in the year 2000, Clay Parton's four-track never stopped rolling. Recorded alone at home over several years, Birds In The Ground is an album of 30-something, post-9/11 malaise. Under his Eiafuawn (Everything Is All Fucked Up And What Not) acronym, Parton hides beneath layers of fuzzy and clean guitars, his hesitant, cottony vocal disappear into noise. This deluxe pressing is packaged in a gorgeous tip on sleeve and includes the complete lyrics for this cryptic entry of the Dusterverse.

Monkey is the second single by The Rellies since releasing 'Isabella is Annoying/ Brainwaves' in 2020. Ryan, guitarist and dual singer and songwriter for the band describes the making of 'Monkey' during lockdown with his brother Riley. "During covid we got very bored. Originally, we wanted to get our Monkeys and run them over with our dad's car, but we settled for filming them falling down the stairs and writing a song about it. When the other members of band finally heard the song, they liked the Monkey and then we made a clip with our friends and some TV monkeys. Everyone sang 'I like the Monkey' and soon everyone liked the Monkey!" Helicopter is Ryan's sonic representation of "hunks of steel flying through the sky. I'm an aviation nerd." He doesn't disappoint. Helicopter's opening riff is catchy and travels. Ryan's vocal powers through the song and the background vocals from kid brother Riley kicks it up a notch as he improvises his way through the chorus begging for a ride. The Rellies ages range from 13-16 and developed at Kings Cross Conservatorium. The brothers began writing and recording at age 9 and 11 respectively and doing shows as The Rellies in 2018 with Jarlath Kiernan on drums. In 2021, the band replaced guitarist Aiden Burke with Lachlan Knight when Aiden decided rehearsal was too loud. Ryan: "We love the Beatles but lately we've got more of a punk energy in our songs. Also, Riley likes a lot of different stuff like Tyler the Creator... his lyrics are inspiring us to be creative with humour."

Did you know that if we go back 10 generations, we could count for each of us some 2,046 ancestors, going back 20 generations there would be 2.097.150 ancestors and going back 40 generations each of us would have more than a trillion ancestors, which is more than all the people who have ever lived on earth?

This complicated paradox, known as the Pedigree Collapse, however, leads to the simple conclusion that we all share at least one ancestor with each other.

Inspired by this reflection, "How many ancestors do we have?" is the latest EP by Woxow, sound mixologist and mastermind of Little Beat More, translating the concept into a profound journey in search of the roots of music, to find that ancestral vibration that has resonated in every human being since the dawn of time.

Jazz atmospheres, refined hip hop beats, world music overtones, dub rhythms and reggae reminiscences, all enriched by the dense and meaningful voices of London's Reggae RoastMC Natty Campbell, the eclectic and electric Raashan Ahmad and the legendary rapper and
performance poet Azeem, bringing to light the infinite connections that unite all humanity.

The album is further enriched by the precious remixes of underground legend Koralle, electronic shaman Deela, dub master Paolo Baldini Dubfiles, and gifted hip-hop head Luke Beats, who hybridise Woxow's ancestral vision with their skillful artistry, giving a new dimension to the tracks.

The artwork by visual artist and filmmaker Simone Brillarelli captures the essence of the album in a vibrant bloom of colourful flowers sharing the same soil, and ultimately the same planet, reiterating the message of shared family and unity that is celebrated in the music.

The EP is available both as a gatefold with two 7-inch vinyls and as a single 12-inch vinyl, as well as digital. Join the family now.

Did you know that if we go back 10 generations, we could count for each of us some 2,046 ancestors, going back 20 generations there would be 2.097.150 ancestors and going back 40 generations each of us would have more than a trillion ancestors, which is more than all the people who have ever lived on earth?

This complicated paradox, known as the Pedigree Collapse, however, leads to the simple conclusion that we all share at least one ancestor with each other.

Inspired by this reflection, "How many ancestors do we have?" is the latest EP by Woxow, sound mixologist and mastermind of Little Beat More, translating the concept into a profound journey in search of the roots of music, to find that ancestral vibration that has resonated in every human being since the dawn of time.

Jazz atmospheres, refined hip hop beats, world music overtones, dub rhythms and reggae reminiscences, all enriched by the dense and meaningful voices of London's Reggae RoastMC Natty Campbell, the eclectic and electric Raashan Ahmad and the legendary rapper and
performance poet Azeem, bringing to light the infinite connections that unite all humanity.

The album is further enriched by the precious remixes of underground legend Koralle, electronic shaman Deela, dub master Paolo Baldini Dubfiles, and gifted hip-hop head Luke Beats, who hybridise Woxow's ancestral vision with their skillful artistry, giving a new dimension to the tracks.

The artwork by visual artist and filmmaker Simone Brillarelli captures the essence of the album in a vibrant bloom of colourful flowers sharing the same soil, and ultimately the same planet, reiterating the message of shared family and unity that is celebrated in the music.

The EP is available both as a gatefold with two 7-inch vinyls and as a single 12-inch vinyl, as well as digital. Join the family now.

Did you know that if we go back 10 generations, we could count for each of us some 2,046 ancestors, going back 20 generations there would be 2.097.150 ancestors and going back 40 generations each of us would have more than a trillion ancestors, which is more than all the people who have ever lived on earth?

This complicated paradox, known as the Pedigree Collapse, however, leads to the simple conclusion that we all share at least one ancestor with each other.

Inspired by this reflection, "How many ancestors do we have?" is the latest EP by Woxow, sound mixologist and mastermind of Little Beat More, translating the concept into a profound journey in search of the roots of music, to find that ancestral vibration that has resonated in every human being since the dawn of time.

Jazz atmospheres, refined hip hop beats, world music overtones, dub rhythms and reggae reminiscences, all enriched by the dense and meaningful voices of London's Reggae RoastMC Natty Campbell, the eclectic and electric Raashan Ahmad and the legendary rapper and
performance poet Azeem, bringing to light the infinite connections that unite all humanity.

The album is further enriched by the precious remixes of underground legend Koralle, electronic shaman Deela, dub master Paolo Baldini Dubfiles, and gifted hip-hop head Luke Beats, who hybridise Woxow's ancestral vision with their skillful artistry, giving a new dimension to the tracks.

The artwork by visual artist and filmmaker Simone Brillarelli captures the essence of the album in a vibrant bloom of colourful flowers sharing the same soil, and ultimately the same planet, reiterating the message of shared family and unity that is celebrated in the music.

The EP is available both as a gatefold with two 7-inch vinyls and as a single 12-inch vinyl, as well as digital. Join the family now.

TURQUOISE VINYL

The first full-length collaboration from two artists who have expanded the field of rock thru their work over the last 3 decades, both as individuals and in their time together in The Sea and Cake.

In February 2017, Midnight Oil announced The Great Circle World Tour from the Sydney Harbour. The tour was the band’s first in over 15 years, commenced in Sydney, travelled to 16 countries, completed 76 performances in six months and concluded at The Domain in November 2017. The performance of their final show at the Domain was recorded and now available on 3 LPs. They performed both their gigantic solo hits, such as “Beds Are Burning” and “Blue Sky Mine”, as fan favourites like “Read About It” and “Only the Strong”. It’s a fantastic live experience full of energy and with much attention to their often political subjects. Armistice Day: Live At The Domain, Sydney showcases Midnight Oil at their absolute finest.

This release is available as a limited edition of 2000 individually numbered copies on transparent red vinyl and the package includes an extensive 12-page booklet.

Next up is an overdue reunion with a familiar face. After his outstanding contribution to Cocoon Compilation S and his first solo EP on Cocoon Recordings, Raxon is back with a more than equally fascinating sound. The Egyptian-born and now Barcelona-based artist is back on it again, delivering two tracks that will take you on a journey through the depths of robotic soundscapes.
Intricate beats, hypnotic synthesizer melodies, deep bassline grooves, and distinctive EFX sounds create Raxon’s very special signature sound.

Straight drum programming paired with chirping percussions takes us away to embark on a travel through space and time while distinctive claps poke through a futuristic nebula of floating and shifting sequences. The twisted melody of “Robotalia” carries us to a parallel dimension of machine sound and if you listen closely, you can hear the robots’ screwing and sawing. Warping bleeps and mechanical effects complete the robotic feeling. Raxon’s understanding of structures and architectural abilities are reflected through the arrangement, slowly increasing to ecstasy.

“Kryptonite” scores with alien soundscapes. Stuttering vocals are the questions, while futuristic and dramatic chord stabs are the direct answer. A straight, radiant sound appears as an electronic trombone from outer space, offensively supporting the driving bassline. The symbiotic interplay between the euphoric synthesizer hook line and the relentless beat with pushing sharp hi-hats visualize powerful images in one's mind's eye. Suddenly the beat stagnates and results in a morphing break going head over heels developing a start-stop pitch effect that not only builds up tremendous tension but also bears an increased risk of melting your brain. We just love tape delay!

Black Duck captures a band already deeply in tune with one another. The three-piece super-group consists of Douglas McCombs, Charles Rumback, and Bill MacKay each has a distinct musical voice that is instantly recognizable, yet blends seamlessly with one another-their time performing together, playing to the moment and reading each other and the spaces they"re in formed a fluency between the trio which allows them to follow each other down winding paths and short tangents alike. McCombs is a founding member of Tortoise, Pullman, and Brokeback and the long-standing bassist for Eleventh Dream Day, an artist whose contribution to the music world can not be overstated. MacKay began releasing records in the early 2000s. He has released several acclaimed solo albums with Drag City as well as a duo album each with Nathan Bowles (Banjo, Black Twig Pickers), and Katinka Kleijn (Cello, Chicago Symphony Orchestra (CSO)), and two beloved records with Ryley Walker. Rumback burst onto the fertile Chicago improvised music scene in the early 2000"s. His fluid technique and expressive playing garnered him much attention. In addition to his solo releases, Rumback has recorded with Ryley Walker, jazz greats such as Jim Baker, James Singleton, and Greg Ward. Black Duck"s debut is a testament to that fluency, an expedition led by three veterans into alluring worlds bathed in myriad splendors. Black Duck is a gallery of sonic tapestries, unbound by any genre constraints. Black Duck redefines what two guitarists and a drummer can do, pieces move from breezy shuffles to stormy blues rumbles to gorgeous textural drones. Playing entirely improvised live sets for years helped develop the trio"s acute senses for one another, knowing precisely how to listen to the others and bolster whatever direction they move in. In the short time the trio have played together, they have performed at Big Ears Festival and alongside acts like Yo La Tengo.

As a member of seminal hip-hop group The Pharcyde, Fatlip helped expand the boundaries of the 1990s L.A. rap scene, releasing classic albums steeped in eccentric creative excursions rather than hard-edged gangsta bravado.

Following in those footsteps, acclaimed emcee Blu has been at the forefront of the independent hip-hop landscape since the late 2000s, narrating the full range of experience in the City of Angels with impressive lyrical ingenuity.

These two famed artists recently joined forces for the collaborative album Live From The End Of The World, a dazzling rhyme whirlwind boasting an overwhelming collection of West Coast lyrical talent, including Del The Funky Homosapien, Gift Of Gab, MC Eiht, and Ras Kass, along with members of iconic groups Jurassic 5, Tha Alkaholiks, Souls Of Mischief, Freestyle Fellowship, and Digital Underground. With production by Madlib, Nottz, Sa-Ra, Knxwledge, and Exile, the album is now available in physical form for the first time ever. This deluxe release includes two new bonus tracks featuring Slimkid3 (of The Pharcyde) and Pigeon John.

First ever commercial releases of New Orleans’ legend Alvin Batiste’s Spiritual Jazz albums created with the college band he instructed and led in Baton Rouge - Goes To Africa With Love and Live at The 1971 American College Jazz Festival Originally given away as souvenirs at Southern University, these albums contains deep Batiste originals and are some of the most sought after albums of Americas 70s jazz underground.

Each album contains extensive booklet detailing Batiste’s life and his time spent honing and recording this remarkable band of young students. Goes To Africa With Love was mixed from the original multi-track tapes and is now presented as a 2xLP with never-before-released instrumentals.

That one of the great Spiritual Jazz albums of the era could be found in duplicate New Orleans thrift store in the 1980s goes a long way in illustrating the lack of acclaim this special and overlooked album maintained, even in a city where the Batiste name is musical royalty. The Southern University albums Alvin Batiste offered the world were novelies, not worthy of serious consideration, a moment captured, but not necessarily worthy of being collected or preserved by anyone not immediately involved in its creation. That changes now.

With the release of the two Southern University albums, Now-Again continues a conversation begun with the late Kashmere Stage Band director Conrad O. Johnson and the issue of his high school students’ music as Texas Thunder Soul, and the continued belief that beautiful music created by youth - even under the most adverse circumstances - can always inspire us.

...And I Mean It is an amalgam of girl group, new wave, blues, pop, and folk-rock by Genya Ravan. To hear her exquisite voice on "Night Owl" soaring above her own backing vocals is intense, imagine Etta James backed by the Sex Pistols doing a rock version of "Earth Angel." Of all Ravan's work, ...And I Mean It is possibly the most concise and picture-perfect statement of what the woman is musically about. A girl group pioneer who worked with Richard Perry prior to his finding the Pointer Sisters groove, there is no doubt Ravan influenced that major producer, and his work did the same for her. "Pedal to the Medal" is high-end treble rock before it came into vogue. This is the other side of Siren, the album Genya produced for Ronnie Spector, with more emphasis on a good-time rocking party. "I'm Wired, Wired, Wired" is a rock & roll anthem for people who burn the candle at both ends, while "I Won't Sleep on the Wet Spot" embodies the unbridled sexuality of this album. The music crunches while Ravan uses her voice, her production skills, and her legacy to create something far removed from her days in Ten Wheel Drive. The horns are replaced by searing guitars and Charlie Giordano's magical piano work. The sound of the keyboard and its erratic splashes really are key to "I Won't Sleep on the Wet Spot," while the guitar and bass battle it out. "Steve...," on the other hand, is Goldie & the Gingerbreads ten years after. This Ravan/Conrad Taylor composition was the 45 from the album, and it has "hit" written all over it. 20th Century just didn't have the right mechanisms in place to get some of the great music they put out on radio, such a pity as Harriet Schock, Randy Edelman, and the fake soundtrack for All This and World War II (a Beatles tribute album) contained songs that should have been big hits. What did hit off this album, on FM radio as an album track, is the brilliant duet by Ian Hunter and Ravan, the subtle and folky "Junkman." Released on Hunter's excellent Once Bitten Twice Shy CD on Legacy in 2000, the song and the performance are timeless. Ravan once said: "I was asleep with the tv on, and was saying to myself...that's my voice...that's my song...that's me! I woke up to find "Junkman" on TV in a film." The song got placed in a cable movie without the producer's knowledge! "Junkman" was a sound not heard on FM radio prior to its release, much like MTV's "unplugged" versions of songs, but it is more unplugged than most of this material -- take the rocked-out version of Motown that is the cover of Marvin Gaye's "Stubborn Kinda Girl," or the Springsteen-style blast that is "It's Me," a tune Springsteen should cover.

...And I Mean It is an amalgam of girl group, new wave, blues, pop, and folk-rock by Genya Ravan. To hear her exquisite voice on "Night Owl" soaring above her own backing vocals is intense, imagine Etta James backed by the Sex Pistols doing a rock version of "Earth Angel." Of all Ravan's work, ...And I Mean It is possibly the most concise and picture-perfect statement of what the woman is musically about. A girl group pioneer who worked with Richard Perry prior to his finding the Pointer Sisters groove, there is no doubt Ravan influenced that major producer, and his work did the same for her. "Pedal to the Medal" is high-end treble rock before it came into vogue. This is the other side of Siren, the album Genya produced for Ronnie Spector, with more emphasis on a good-time rocking party. "I'm Wired, Wired, Wired" is a rock & roll anthem for people who burn the candle at both ends, while "I Won't Sleep on the Wet Spot" embodies the unbridled sexuality of this album. The music crunches while Ravan uses her voice, her production skills, and her legacy to create something far removed from her days in Ten Wheel Drive. The horns are replaced by searing guitars and Charlie Giordano's magical piano work. The sound of the keyboard and its erratic splashes really are key to "I Won't Sleep on the Wet Spot," while the guitar and bass battle it out. "Steve...," on the other hand, is Goldie & the Gingerbreads ten years after. This Ravan/Conrad Taylor composition was the 45 from the album, and it has "hit" written all over it. 20th Century just didn't have the right mechanisms in place to get some of the great music they put out on radio, such a pity as Harriet Schock, Randy Edelman, and the fake soundtrack for All This and World War II (a Beatles tribute album) contained songs that should have been big hits. What did hit off this album, on FM radio as an album track, is the brilliant duet by Ian Hunter and Ravan, the subtle and folky "Junkman." Released on Hunter's excellent Once Bitten Twice Shy CD on Legacy in 2000, the song and the performance are timeless. Ravan once said: "I was asleep with the tv on, and was saying to myself...that's my voice...that's my song...that's me! I woke up to find "Junkman" on TV in a film." The song got placed in a cable movie without the producer's knowledge! "Junkman" was a sound not heard on FM radio prior to its release, much like MTV's "unplugged" versions of songs, but it is more unplugged than most of this material -- take the rocked-out version of Motown that is the cover of Marvin Gaye's "Stubborn Kinda Girl," or the Springsteen-style blast that is "It's Me," a tune Springsteen should cover.

marbled vinyl
On Part 2 you will find remixes from Ø Phase, Adiel and label residents Viels & Svarog on the 12" added by two Digital Bonus tracks bij Polygonia and Szmer.

When I first heard Natalie Rose LeBrecht's time-suspending, air-ionizing music, more than twenty years ago, I thought "this kid is on to something." She's been proving that thought right ever since. Her recordings, from the teenage 4-track tapes she made as Greenpot Bluepot to the recent albums under her own name, have been fascinating dispatches from her progressively deeper dives into her gorgeous, weird, wildly idiomatic aesthetic. Holy Prana Open Game is a jewel of intensely personal cosmic music, created through a remarkable process of openness, craftiness, addition and subtraction. It belongs to a tradition of albums that document a rich, meditative sound as it rises up to join the world outside its creators' minds: Alice Coltrane's Universal Consciousness, Harmonia's Musik von Harmonia, Philip Glass's North Star, Talk Talk's Laughing Stock.

"Meditative" is specifically the idea here: Holy Prana Open Game had its origins in the fourteen days LeBrecht spent silently meditating in her home's small music room in the summer of 2019. "I came out of that bursting with the will to create new music," she says, and she created it sound-first. LeBrecht taught herself to program an analog synthesizer's timbres from scratch, and built a new set of glacial, heady compositions out of them, eventually singing to accompany the keyboard parts she was playing.

Then she closed her eyes at her computer, "let my mind be clear and open, imagined light pouring down through me, and began auto-writing to my memory of the music playing through my mind. Most of the lyrics emerged this way, and then I used my conscious mind to refine them a bit at the end." One other song came along with LeBrecht's new pieces, a cover that seems wildly unlikely from the outside and makes total sense in its context: it's a version of Atoms for Peace's "Amok" (which had been created by improvisation and editing, too), mutated into her own idiolect.

In early March of 2020, LeBrecht recorded Holy Prana Open Game's analog synth parts with Martin Bisi at his studio in Brooklyn--and then the world shut down. As you may have gathered, LeBrecht is very much a spiritual, head-in-the-stars type. She is also extremely hardcore, and if making the art she wants to make means doing things the hard way, she cracks her knuckles and gets down to it. Within weeks, she had taught herself how to record, mix and edit with a digital audio workstation. She recorded her vocal parts (sometimes multi-tracked into a radiant choir) at home, assembled a rough mix of the album, and sent it off to her collaborators.

LeBrecht spent some years studying with and assisting La Monte Young and Marian Zazeela at their legendary sound-and-light installation, the Dream House. As with their work, her singular, precisely focused vision is shored up by its openness to artistic voices beyond her own. For Holy Prana Open Game, she worked with the Australian guitarist Mick Turner and drummer Jim White (both of Dirty Three, the Tren Brothers and innumerable other projects), as well as woodwind player David Lackner, a longtime presence on her recordings.

Turner and White have been playing together in one context or another since 1985; in the summer of 2020, they were only blocks from each other in Melbourne, Australia, whose strict lockdown meant they couldn't meet up to record together. So both of them, as well as Lackner, recorded their improvisational additions to LeBrecht's rough mixes individually, often without hearing each other's contributions. "I had asked them to play as much as they could on each track," she says, "and told them that I would edit it all down in post, so I had a lot of source material of theirs to work with."

LeBrecht arranged and edited the recordings from all four of their homes to flow together like breath across the duration of her suite. Prana, one of the album's central conceits, is in fact the Sanskrit word for breath, with the connotation of the breath of life. Like LeBrecht's music, prana flows at its own pace, and demands stillness to take in fully--but it's also subtly playful and surprising, a force that can be as light as air or as immersive as the atmosphere itself.