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This compilation brings together 22 sound poems, including both pioneering and current pieces, and constitutes itself as the first great overview of sound poetry from Peru. It continues a cycle that began in 2009 with the appearance of a CD called Inventar la voz: Nuevas tradiciones orales To Invent the Voice: New Oral Traditions and was followed up in 2011 with another one called Irse de lengua [To Let It Slip], both of which contributed to articulate diverse manifestations of poetry that used technological means, also in the context of intense activity in the local scenes of experimental music and sound art that opened spaces for interdisciplinary dialogues. What we know as sound poetry is the product of a technological revolution associated with the appearance of various means of recording, transmission and amplification of the voice. A long process that took shape in the 20th century, until it became a discipline, articulated as an international movement which, based on phonetic research, expanded into a universe of oral/vocal artistic practices as part of a new technological context. The recordings gathered here comprise a time frame that goes from 1972 to 2021. We find poems that work with montage techniques, either because they explore simultaneity or juxtaposition, such as those by Mario Montalbetti, Frido Martín, Florentino Díaz, Carlos Estela, Luisa Fernanda Lindo, Macri Cáceres, Rodrigo Vera Cubas, Tilsa Otta, Giancarlo Huapaya/Omar Córdova, Virginia Benavides, Lisa Carrasco and Luis Alvarado. Others emphasize vocal/oral performance: we find the phonetic poems of Carlos Germán Belli and Eduardo Chirinos, as well as the concrete conceptual poems of Michael Prado, Sandra Suazo, Peru Saizprez, and the oral/guttural poem of Omar Aramayo. Finally, we find another group of pieces where the poem starts with the creation of a computational parameter or algorithm, as is the case with the pieces by Jorge Eduardo Eielson and Enrique Verástegui, eventually reaching the use of Artificial Intelligence as in the poems by Francisco Mariotti and Paola Torres Núñez del Prado. The Verbal Matter: An Anthology of Peruvian Sound Poetry is part of a series produced by Buh Records for Centro del Sonido, a website set up as a digital archive of Peruvian experimental music and sound art. The compilation has been made by Luis Alvarado and is published in a limited edition of 300 copies in vinyl format. It includes extensive notes and visual documentation. Mastered by Alberto Cendra. Art by René Sánchez.

"Matasuna Records" musical journey takes the listener this time to "Panama" - a country in Central America, which offers a rich and breath-taking variety of musical treasures. In a first reissue, two songs from the legendary "Loyola Records" label were selected, both released in 1969: one by "Camilo Azuquita" and one by the group "Panama Brass". Two super-rare tunes that fetch crazy prices, if you're lucky enough to find a copy at all. Available for the first time as an official remastered reissue on 7inch vinyl - the song by Panama Brass even makes its 7inch premiere. Don't sleep on it!

The A-side features the killer boogaloo tune "Borombon" by "Camilo Azuquita". Its take of the song composed by "Javier Vasquez" is undoubtedly the best version of this song. The striking piano, driving bass and rich horns are fueled by percussive accompaniment and especially by Azuquita's powerful voice. A terrific song that has also recently gained new notoriety in movies and series - such as "Better Call Saul".

The B-side features the instrumental Latin Jazz/Guaracha tune "Con La Mano En La Biblia" by "Panama Brass" - an orchestra led by the excellent organist "Cristobal Munoz Jr." and consisting of Panama's best musicians. A no less energetic and furious song composed by "G. Garcias". The musicians of the orchestra combine a great musicality and diversity in the song, delivering a special delicacy.

"Camilo Luis Argumédez" is a singer and composer born in "Colon (Panama)" on February 18th 1945. He became world famous under his stage name Camilo Azuquita. He began his career at a young age, when he participated in various competitions organized by local radio stations. He left Panama for the first time for an engagement in "Lima (Peru)" - the prelude tocountlesstrips.

After returning to Panama, another engagement in 1966 took him to "Puerto Rico", where he also recorded music. Due to a tour he was involved in, he ended up in "New York City" where he made new & fruitful acquaintances with other artists that resulted in some more recordings.

In 1968 he returned again to Puerto Rico, where he joined a band to record an album. In the following years, tours and concerts followed, as well as an engagement in a club where he musically accompanied many stars of Latin American music.

Between 1972 and 1976 he spent four years in "Los Angeles", where he performed in night clubs, recorded two albums and toured California with his own band "Melao". In LA, through a brother of the "Fania" boss, he got a contract with "Vaya Records", a subsidiary of the Fania label, which brought him back to New York City in 1976. There he joined the band "Tipica'73" and their two following albums brought him much success.

A tour led him to "Paris", where he met the journalist "Pierre Goldman". A proposed project became reality two years later: Azuquita opened the first Parisian Salsa Club. As this became a complete success and the audience filled the club on each of the evenings, a first engagement of one month was extended to several years. In France, he performed at the world-famous "Olympia Theater "or played at the "Old Bourget airport", opening for a live concert by reggae legend "Bob Marley" in front of 75,000 people. From France, he traveled throughout Europe, where the performances in front of European audiences brought him enormous prestige.

From 1985 to 1987, "Azuquita y su Melao" toured extensively in "California", where he signed a 1-year contract at "Club Candilejas" in "Hollywood" in 1988. In the following decades, he recorded many more albums - in NYC, Cali (Colombia), France or Havana (Cuba), among others. In addition, he was still very active on tours, festivals and concerts around the globe. An extremely remarkable artist, whose activity has brought him to the top.

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"Panama Brass" was an orchestra directed and orchestrated by the excellent organist "Cristobal Munoz Jr." The orchestra consisted of one of the best musicians of Panama at that time. Munoz was an exclusive artist of "Loyola Records" at the time and was considered a promising or up-and-coming conductor. That this album could be realized at all had only been possible thanks to Hubert J. Pretto. Pretto, then Assistant Vice President & General Manager of "Coca Cola Panama" arranged the funds necessary for the realization of this album and supported the campaign to promote music culture in Panama. This album would remain the only one released by this group.

Suck A Dick has been a favourite in PL’s live sets for years. It’s one of the most requested tracks by DJ’s & it’s been through many different versions. After a long struggle to clear the sample it’s finally out! The repetitive hook goes throughout the track while Mutado Pintado delivers another iconic vocal half way through. A more spacey version & instrumental can be found on the other side. As usual Paranoid London make the most of very few elements & twist them into a guaranteed dance floor throbber.

The Belgian minimal synth band's three releases – a cassette and two vinyl EPs – were all titled »Against The Dark Trees Beyond«. This compilation collects the songs from these records.

"They were interesting times, the early eighties. Against a backdrop of cold war and economic crises, the DIY attitude of the earlier punk movement had spawned near countless new genres where artists and bands broke the three-chord guitar mould and experimented with new content matter, singular song structures and – in many cases – new instruments. Synthesizers became affordable and were no longer the sole privilege of rock millionaires. All around the globe, musical creativity boomed as never before, and Belgium was no exception: Digital Dance, Snowy Red, The Names, Pseudocode, Marine, 1000 Ohm, De Kommeniste, M.Bryo & D.M.T., De Brassers, Struggler, Siglo XX are but a few legendary names of bands and artists who started making a name for themselves.

In Leuven, things were happening as well. Until then, the music scene in this rather provincial town had been dominated by straightforward rock and blues acts. Not for much longer, though: in places like Arno'z and (later) The Gladhouse, where young budding artists met with kindred spirits, bands were often formed on the spot and, more importantly, started to make ripples.

Ludo Camberlin and Karel 'Bam' Saelemaekers already had a certain track record in Leuven's burgeoning music microcosm. But what they shared would become the cornerstone of A Blaze Colour (Against The Dark Trees Beyond): a fascination for new forms and instruments, a penchant for sonic adventure and a profound love for gripping songs. The full band name, by the way, was inspired by a phrase from the Irish-American novelist J.P. Donleavy, a writer who belongs in the definitely-worth-checking-out section.

After appearing on the first No Big Business LP (1981) with the instrumental 'Fisk', A Blaze Colour's first proper release, as was so often the case in those days, was a self-produced cassette. The music – which would later be dubbed 'minimal' – was characterized by the use of basic rhythm machines (Boss Dr. 55, mainly) and analog synthesizers (for the synth geeks: Korg Delta and MS20, Roland SH-2 and Jupiter IV, and the infamous Casio VL-1). Camberlin’s vocals, meanwhile, displayed an aloofness totally in sync with the zeitgeist. Equally important, though: all five tracks on this cassette were bona fide songs with a clear sense of structure, aided by a sonic mastery that demonstrated a high level of experience: 'Means To An End' started out as a proto-industrial track before bursting out into a moroderesque finale. The remix of 'Fisk' was as sprightly as the next river salmon, while 'Or Lie Again' proved the perfect soundtrack to a nightly walk through wet deserted streets. On the other hand, 'Through With Life', rife with disturbing sound effects countered by a slow portamento, could have been a prize track on a post punk 'Lamb Lies Down On Broadway'. And in true dramatic fashion, 'Follow The Signs' was the perfect ending of this five-song cycle: a driving sequencer and gripping chord progression coupled with a simple but powerful vocal line. Considering the limited technical means the duo was working with, this was no less than a triumph.

A few months later, the band released a seven-inch single on its own ABLACO label. 'Dark Trees Beyond', a quirky pop song, was coupled with 'Addict Of Time', a dark and brooding spoken word piece. Not the kind of single to storm hit parades, but it didn't go unnoticed. The Minny Pops' Wally van Middendorp, who had founded the Plurex label in 1978, invited A Blaze Colour to his studio in the Netherlands, to record an EP. It would prove to be a massive step forward: recording in a semi-professional studio offered great possibilities, the recently acquired TR-808 drum machine allowed for a broader rhythm palette, and the three new tracks (next to the re-recording of 'Through With Life') showed a band on the top of their game: 'The New Ones' was a wry and haunting song built around a live drum loop and an ominous bass pattern, while 'Nowhere Else' was a near-pop track with very un-minimal vocal harmonies. And it's a mystery why 'Altitude' – another instrumental – was never used in a stylized, high-profile detective soundtrack.

Another song from these sessions, the revved-up 'Cold As Ever' turned up on the high-profile Plurex "Hours" compilation, where it shone brightly, next to songs of a.o. X-Mal Deutschland, Nasmak, Minny Pops and Section XXV.

Meanwhile, Camberlin had already carved out a bit of a reputation for himself as a producer, while Saelemaekers was a respected graphic designer. It remains uncertain if this played a big part in the end of A Blaze Colour, but the fact remains: as studio recordings go, 'The Ultimate Fight' on the "No Big Business 2" compilation, was to be their swan song. What a way to go, though: maybe their best song ever, this was a synthetic bastard funk groove, complete with shout-out chorus and punch-drunk middle-eight. It shut a door, for sure, but it did so with a resounding bang.

So there it is and there it was. Short, sweet, visionary, pioneering and highly influential. And as anybody listening to this first ever compilation will be able to assess probably one of the most colourful electronic acts of its time.

On a more a personal note, A Blaze Colour proved to be instrumental in my own coming of age as a lyric writer, when Ludo and Bam graciously adopted some of my earlier writings, warts and all. To hear them translated into songs was no less than magic, and it certainly gave me the confidence to start our own band a bit later. And the magic continued when Ludo became our producer and Bam designed our record sleeves. But that’s another story, obviously. Because this is the place and the time to dive back into the wondrous world of A Blaze Colour!"

Bart Azijn (Aimless Device)

LOCUS unveil the second instalment in their VA series ‘LOCUS Trax’ with fresh material from Mathijs Smit, LaRosa, BODJ, and Nolga.

Continuing to quickly grow as one of the most-loved emerging labels in the game, LOCUS looks set to go from strength-to-strength throughout the remainder of 2022 as the FUSE family builds yet another label offering quality and consistent material from across the house sphere. Having launched their new various artist series LOCUS Trax earlier this year, TBC welcomes the arrival of the sophomore offering with four fresh productions as Groningen’s Mathijs Smit, Brooklyn’s LaRosa, Athens’ BODJ and Manchester’s Nolga all make label debuts.

Mathijs Smit’s ‘Green Hill’ is a slinking cut guided primed for peak time fun as slinking acid tinged low-ends meet playful samples and sweeping pads, while ‘Amelia’s Groove’ sees LaRosa work shuffling drums amongst warped vocals and rich melodies. Next, BODJ veers towards spacey sythns and colourful electronic motifs across ‘Back To Party City’, before Nolga lays down woozy chords on top of a no-nonsense bassline to close the show.

RAMZi's 'hyphea', the new album by Montreal based artist Phoebé Guillemot. It is her latest sonic quest containing 10 new tracks, of which some are versions of the score she made for a documentary about mushrooms called 'Fun Fungi' (directed by Frederic Lavoie).

Recorded between November 2021 and May 2022, writing 'hyphea' started off somewhat as an attempt to escape boredom and frustrations imposed by the severe restrictions during the pandemic. For Phoebé it was a way to reconnect with RAMZi who's spirit brought her back to mystical feelings and gave hope for future magical adventures after having felt disconnected for a while.

RAMZi is a wild spirit from the forest and refers to a parallel autonomous world that keeps evolving. In her own words: “The music remains as a doorway to that world. It has never been about me, I always see that entity bigger than myself. The process of writing 'hyphea' was rather intuitive. I don’t think about styles of music before producing tracks. Those are more like an adventure in itself, each one set in a different ecosystem.”

Artwork by Marinka Grondel.

Jackson Ryland comes in focused and ecstatic with his first vinyl release under his technoid alias JR2K. Jackson is based in Washington DC as one-half of both Superabundance and Rush Plus. He’s recently released on Peach Discs and Pleasant Life, showcasing his knack for presenting energy as a delicacy. JR2K “Walking Backward” is another illustrious highlight in the savvy DC producer’s already-accomplished underground career. Played on Hör Radio by Kush Jones and supported by Peach, Ciel, Clarisa Kimskii, Ryan Elliott, CMD, Davis Galvin, livwutang, Furtive, Golden Medusa, Lychee, Miley Serious, and Jialing!

The A side opens up whooshy and hard with “ExoGeni Approach”. This illustrates perfectly what I love about Jackson’s style(s)...it sounds like the sickest mid-90s techno track, full of energy and movement while taking in the atmosphere with repose. After the rollercoaster intro, the acidic up-ticks, lush synth layering, and perfectly crunchy closed-hats sink your ass straight through the dance-floor to tumbling free-for-all in the green-screen collage of your daydreams. Wake up…A2 “Call Back” splashes you with a glass of refreshing water…you still got hours at the party, and you’re coming up on some healthE shit…time to get back to that business of dancing your soles and soul away to this driving monorail of euphoric acidic techno. Choo choo choose your own dance destiny, baby!

140g LP, High UV Gloss Gatefold Jacket and 60cm double-sided fold-out poster.. it's a big release! TIP!

Raised across multiple cities, Amaarae’s music reflects a life split between New Jersey, Atlanta and Accra. As indebted to raw Southern rap as it is dancehall, her work also holds echoes of glossy mall rock and bubblegum pop. Embraced and endorsed by the Nigerian Alté scene as it was exploding into action several years ago, THE ANGEL YOU DON’T KNOW is an exuberant opening statement from Amaarae, anchoring her sound in her heritage and myriad influences, channelled through female empowerment. Whilst working on the record, Amaarae’s
reference points ranged from Paul Wall to Meat Puppets, reflected in the kaleidoscopic vision of the album, effortlessly jumping from the country trap of FANCY to an Afro-house comedown in 3AM. The vinyl release of TAYDK is packaged in a UV gloss gatefold sleeve with double- sided poster insert. It features an exclusive remix of FANCY, featuring London rap royalty Bree Runway.

Press:
"The future of Afro-pop” New Yorker “An instant classic” The Guardian
“One of the most compelling new acts on any continent” Pitchfork

red/clear splatter vinyl

Shake Chain will also be performing at Marina Abramovic’s private view at Modern Art Oxford on September 23rd.

Shake Chain have been busy demolishing audiences and expectations for the best part of three years. Vocalist Kate Mahony sets that standard by starting each live performance by crawling from the back of the room through a disbelieving crowd’s legs in a shiny yellow raincoat. The resulting questions that frantically arise of ‘what’s going on?’, ‘am I hallucinating?’ and ‘is this part of the show?’ are hallmarks of how Shake Chain approach making their unruly, lyric-bespattered rock music.

The four-piece from London are completed by Robert Syres (guitar, synth), Chris Hopkins (bass, synth) and Joe Fergey (drums), all artists hailing from Goldsmiths College, Nottingham Trent and Wimbledon, University of the Arts. A mutual love of thought-provoking performance art and a yearning for disruption have helped Shake Chain lock into their wayward sound. Twitchy guitar lines jolt and jerk, synths burble noisily and tack-sharp drums pin things down for Kate’s reeling vocal to vault and slur. Kate’s singing has drawn comparisons with Yoko Ono, Su Tissue and even a seance with it’s unique embrace of flights of atonal fancy, head-first repetition and ecstatic frenzy. Opinion-dividing arguably, but singular in making Shake Chain dauntingly brilliant.

Shake Chain’s debut album ‘Snake Chain’ was recorded in the New Forest’s Chuckalumba Studios early in 2022. The tranquil setting only slightly skewed by the intense extratropical cyclone occuring outside. When asked to sum up the album the group collectively settled on it sounding like “crying in a Catholic sex dungeon with Eastenders on”, perhaps only half tongue in cheek given the soapy dramatics of opening track ‘Stace’. ‘RU’ is a stompy triumph of ad lib monotony, heavy and wonky, its vocal slowly unwinding into residual sense. Shake Chain’s songs are populated with cowboys, cherry-pickers, content-addicts, private investments, a careless driver called Mike, architects and by much lamentation at the state of our confusing existencies. This last point underlined in luminous marker pen with slow-building vortex ‘Highly Conpeptual’ and whispered closer ‘Duck’.

‘Copy Me’ races along with radiant headbangs of dynamic abandon, one part tumble, two parts pummel, “hold your breath til something changes” commands Kate whilst everything of course is in hammering flux. ‘Second Home’ is similarly coruscating yet bouyant, whilst ‘Arthur’ feels like it could tear inside in two amid sobbing wails and the twining of its disparate parts. Throughout all the unhinged freakouts, found sounds and blasting rhythms though is Kate’s questioning, resilient presence, anchoring everything. On bruising creeper ‘Birthday’ she asks most tellingly “Do we speak language or does language speak us? Is there a mouth in the middle of the desert? Do you ask how cups are designed? Would you say yes when you really mean I don’t know”? Shake Chain are cathartic and absurd, humorous and deadly serious yet always inspired. Its this tightrope walk which makes their album such a thrilling, vital listen.

Back in stock !

First Word Records is very proud to present a brand new full-length album from Kaidi Tatham. 'It's A World Before You'.

Following on from two EPs released on First Word last year ('Changing Times' and 'Hard Times'), Kaidi has delivered us thirteen tracks that deftly illustrate his various talents as a multi-instrumentalist.

Kaidi is probably best known for his work with Bugz In The Attic, though his musical contributions over the years have also included Amy Winehouse, Slum Village, Mulatu Astatke, Soul II Soul, Moonchild, Leroy Burgess, Amp Fiddler, Chris Dave, Macy Gray, King Britt, DJ Spinna, Mr Scruff and IG Culture to name but a few! In recent times, he's worked with DJ Jazzy Jeff on a variety of projects, including his most recent album 'M3', touring Europe for Jeff and Will Smith's reunion shows, and on the PLAYlist album 'Chasing Goosebumps', with Glenn Lewis, Stro Elliot (The Roots), Masego, Maimouna Youssef, Rich Medina, Daniel Crawford and more.

All this in addition to heating up dances around Europe with his inimitable DJ sets, and working heavily with First Word label-mate, Eric Lau (who also mixed this album) on a variety of projects, and adding releases to his already impressive catalogue on 2000 Black, Eglo and Theo Parrish's Sound Signature, with regular compadre, Dego (who features on the album's title track).

This album personifies Kaidi's diverse palette of sounds - bar Eric & Dego's features, every piece of music is played by himself. Largely flowing on a broken beat rhythm section, Kaidi effortlessly incorporates washes of afro, latin and funk throughout. From the harmonics of 'Your Dream Don't Mean A Thing', to the breakneck funk of 'Outta Audah', each and every riddim exudes energy. But this isn't simply a bruk record. The album is laced together with downtempo beats and future jazz interludes throughout, and some sweet synth boogie is never very far away, especially on the weighty vibes of 'It's About Who You Know'. To top it all off, there's two delightful nuggets of hip hop soul - Mancunian label-mates, Children of Zeus, feature on the neo-soul vibes of 'Out Here On My Own', and there's a feature from Amir Townes, better known as Uhmeer - an upcoming MC from Philadelphia, and son of one Jazzy Jeff Townes - who rides a sub-heavy, piano-led slice of boom bap, voicing an assortment of characters to tell the tale of 'Cupid'.

'It's A World Before You' is set to cause serious damage to sound-systems over the Summer, and show and prove once again the skills of one of the UK's best unsung musical talents, Kaidi Tatham.

Repress!

Uno Melodic was the brainchild of the legendary Roy Ayers. At the height of his career in the early 80s, Roy established Uno Melodic to explore working as a writer, musician, producer and record label owner with complete control over his creative ideas. Roy brought artists and musicians to the label invaluable to him at Polydor and in whom he saw potential to make more great records. Between 1980 and 1983 Uno Melodic released records that went onto become definitive of their time, classics that became much sought after. The label and its signature releases are part of the Roy Ayers legacy, the best of which Expansion have assembled here on remastered double LP.
Sylvia Striplin, Eighties Ladies and Ethel Beatty represent the soul, disco, two step and boogie sides of Uno Melodic, Bobbi Humphrey, Justo Almario and Roy himself the masters of jazz fusion at the label. The album concludes with the spoken words of Rick Holmes on one of the label's biggest ever release on the label.

Portland's premiere purveyors of kraut-inflected party rock return with an
album's worth of tunes crammed into an extended playing set
The eponymous lead track bursts out of the gate with ebullience. Lee Ritter's
rhythms and Cord Amato's riffs fit comfortably in the space where Kraftwerk left
off and DEVO began. "Artificial Head" may be about a Fleshlight, or it could be a
paperback sci-fi-derived weed fantasy. You could listen to Møtrik while sober, but
why would you do that? Next up is the measured and groovy "Castle Electric"
which features a dialog between bassist/vocalist Erik Golts and a sexy computer.
His German is easily as good as her English and one wonders how the night
ended after she switched the lights "auf." Side one completes with "Unifox" built
up from a Dave Fulton synth composition into a full- fledged Møtrik track, this
being the first time the band has bucked its contrarian vision of a band that jams
in its own professional recording studio yet refuses to produce itself. "Outer
Reaches" is the patiently awaited sidelong epic. The contemplative and
exploratory scene begins with chirrups from an analog swamp, then slowly rises
through the hazy pastel atmosphere on a crystalline bubble before blasting off
into full- fledged Floydian outer space psych. As always, Møtrik colors between
the lines, applying its overall aesthetic to rock music, which is to say it's the
FORTRAN approach to basement partying. Artificial Head is just what your body
needs to feel complete. Pressed on Light Green Color vinyl.

Recorded in St. James Norlands church in London in November 1968 and first released in the following year, this work stands as the first solo bass album in the history of Jazz and improvised music. Born in 1934 in San Francisco, Barre Phillips is one the most influential bassists of his generation. In his long career Phillips has played and recorded with almost everyone in the world of Jazz and beyond, a long list of forward thinking music icons including Don Ellis, Bobby Hutcherson, Dave Holland, Archie Shepp, Marion Brown, John Surman, Paul Bley, Evan Parker just to name a few! Originally recorded as part of a 3 hours session this solo tour-de force expresses the true essence of a genius. A multifaceted, kaleidoscopic journey through a myriad of melodic, rhythmic, fretted and bowed lines. In other words: a true master class and a seminal statement from one of the greatest figures in creative music!

"...Not just an improviser of the highest order; but a true sound sculptor capable of drawing from his instrument such a vast array of shapes and colours that his creation is almost a form of visual art for the ears." Jazzwise

Ahem is a new project from Housecraft Recordings head Jeffry Astin (aka Xiphiidae, Digital Natives) along with co-conspirators J.P. Wright and Brian Kinkade. Recommended for fans of smoked out dub-bient and deep Appalachian drones.


-Cover art by Joe Roberts (LSD Worldpeace)

-Housecraft Recordings has been active as a cult favorite ambient/tape label for ~20 years now.


Quotes and reactions:

-“Jeffry Astin was the Dominique Wilkins of the early 2000s tape scene” -Tabs Out Podcast (episode #92)

-“Honestly too fire” -Ian Kim Judd (Fifth World/NTS)

-“Great record!” -Hank Jackson (Anno Records)

-“Super nice” -Jacob Gorchov (Palto Flats)

-“Massive” -Eli Libman (Quiet Time Tapes)

Surprise Color Edition, with 500 copies on black, 300 on Lime Green vinyl and 199 on XXX on Violet vinyl. "With this album we perfected a style that we now want to grow until we're the biggest band in the world." The third Blind Channel album presented in a definitive edition with gatefold covera and liner notes by James Hickie. Svart Records enters into a vinyl partnership with Ranka Kustannus and will in the future release select albums from their ever growing catalog on vinyl. The co-operation starts with Blind Channel, who've by now become a household name and one of the most important music export items currently out of Finland. Svart Records will release definitive vinyl editions of all three albums Blind Channel released on Ranka - Revolutions, Violent Pop and Blood Brothers. All three shall be presented in a limited edition of 999 copies, split into classic black vinyl and two color editions, which are randomly available to customers. All three feature extensive liner notes and interviews by James Hickie.

Surprise Color Edition, with 500 copies on black, 300 on Magenta vinyl and 199 on Blue vinyl. The second step on the way to world domination - Blind Channel's sophomore album presented in a definitive edition with gatefold covers and liner notes. Svart Records enters into a vinyl partnership with Ranka Kustannus and will in the future release select albums from their ever growing catalog on vinyl. The co-operation starts with Blind Channel, who've by now become a household name and one of the most important music export items currently out of Finland. Svart Records will release definitive vinyl editions of all three albums Blind Channel released on Ranka - Revolutions, Violent Pop and Blood Brothers. All three shall be presented in a limited edition of 999 copies, split into classic black vinyl and two color editions, which are randomly available to customers. All three feature extensive liner notes and interviews by James Hickie.

Surprise Color Edition, with 500 copies on black, 300 on Red vinyl and 199 on Clear vinyl. The baby steps of the Violent Pop Revolution - the Blind Channel debut album presented in a definitive edition with gatefold covers and liner notes. Svart Records enters into a vinyl partnership with Ranka Kustannus and will in the future release select albums from their ever growing catalog on vinyl. The co-operation starts with Blind Channel, who've by now become a household name and one of the most important music export items currently out of Finland. Svart Records will release definitive vinyl editions of all three albums Blind Channel released on Ranka - Revolutions, Violent Pop and Blood Brothers. All three shall be presented in a limited edition of 999 copies, split into classic black vinyl and two color editions, which are randomly available to customers. All three feature extensive liner notes and interviews by James Hickie.

My Idea with these series of 10” records was to do 5 in around a year to 18 months. This got scuppered by the situation at world pressing plants with the extreme wait for records.

The tracks are all taken from my live set which I’ve been doing over the last few years which has taken in some huge gigs and festivals including Houghton, Dimensions, Ion and extensive club gigs too.

All of them have the dance floor funk and the artwork is from long term design partner Lung.

The vibe on these is rolled plasticine using a different coloured vinyl each time. So making the series quite collectable too.

Lord of Dem Tings is a tribute to the late great Lee Scratch Perry and theres a nod to him on the sticker for this one.

Hailing from Queens, NY, the original members of Onyx were discovered by the legendary Jam Master Jay of Run-D.M.C Onyx released their ninth studio album, Onyx Versus Everybody. Almost 30 years since their debut, Onyx still have raw energy, undeniable boldness and their pulse on the culture. The 10-track LP is a cohesive body of work that is full of street tales featuring appearances by Big Twin, Ricky Bats, Harrd Luck and Termanology. If you're a diehard fan of Onyx, this is one of the group's best projects in their legendary career. According to Sticky Fingaz, the album was completed in just two weeks thanks, in part, to the group's new songwriting process. "We didn't really write anything," he recalls. "We wrote a little bit but you know, we got a new technique where we just vibe and get on it. We recorded everything in the Batcave. That's Fredro's studio." Fredro says their classic "Last Dayz" from their sophomore album, was the inspiration behind the production on their new album. "'Last Dayz' is a Hip Hop classic beat you know? It was in 8 Mile and that made it even more legendary so I wanted to get the vibe on the album," he says. "I know what I know when it comes to making beats and my style never changed. That's why it sounds like 1996 because I didn't change the way I make my beats. When it comes to producing, Fredro claims to have the hardest tracks in the game and he brought that same energy to the new album. "I don't get nothing from a beat machine," he added. "I don't even use a hi-hat. I got my own drums. I play my own drums. My shit is dirty. I need it to be dirty. My shit is filthy. I got the nastiest, grimest, beats in Hip Hop." With their signature hardcore lyricism and gritty production, Onyx Vs Everybody makes a strong case for being named among the best albums of 2022 so far, but that isn't the recognition they seek. "Onyx Vs Everybody is the hottest, grimmest, dirtiest album of the year," Sticky Fingaz boasts. "I don't want the best album of the year. They can have that. This is the grimmest album of the year." Coming off a Versuz beating Cypress Hill at the forum in LA and now on a international tour, for fans of Cypress Hill, Public Enemy, Run DMC

Following their debut Glastonbury Festival performance, Broadside Hacks in collaboration with British Underground today announce the UK premiere of The Broadside Hack; a new documentary telling the story of the young vanguard of UK artists sharing radical interpretations, proto-feminist narratives and queer histories through the lens of British traditional folk song. An accompanying live album of the songs performed in the film will also be released in December on LP and digitally. Having enjoyed its US premiere at SXSW in March, The Broadside Hack is a short music documentary produced by British Underground, created with the aid of a grant from Arts Council England and PRS Foundation. Directed by Crispin Parry and filmed by The Northern Cowboys, It explores the influence of traditional folk songs on a new generation of musicians, filmed just as the UK was emerging from the dark days of the pandemic. The documentary was made in collaboration with music collective Broadside Hacks and features influential artists and groups from the new folk scene, including Rough Trade signees caroline, former Goat Girl bassist Naima Bock, whose acclaimed album Giant Palm was released on Sub Pop earlier this year, Shovel Dance Collective, Thyrsis, Broadside Hacks and Boss Morris. Discovering a fresh vitality in the tunes and new histories in the stories they tell, the film includes conversations, dances and intimate performances filmed at Peter Gabriel’s Real World Studios in Box, Wiltshire between 17th and 19th August 2021. The live concert and screening of The Broadside Hack arguably marks the close of the first chapter in the story of the UK’s new folk scene; a story in which Broadside Hacks has been central. Initially formed as a folk night, the pandemic forced it to change its shape, morphing into a collective of young, like-minded musicians who met to play folk music in South London. “An adventurous exploration of traditional music by the young and folk curious” - The Times // “All your favourite players in one Sunday League team” - Loud And Quiet // "The band play old folk songs, those so old their authors have been lost in time, and inject in them such life, depth and emotion that it's extremely affecting" - The Quietus // Side 1 A1 Boss Morris - Up The Hill A2 Interview Shovel Dance Collective - ‘A Collective Authoring of History’ A3 Shovel Dance Collective - The Bold Fisherman / My Husband Has No Courage In Him A4 [Interview] Thyrsis - ‘Collaboration Across Space and Time’ A5 Thyrsis - Single Sailor A6 [Interview] Naima Bock (Broadside Hacks) - ‘Retracing Beginnings’ A7 Broadside Hacks - Gently Johnny. Side 2 B1 Shovel Dance Collective - Merrily Kissed the Quaker B2 [Interview] Shovel Dance Collective - ‘Queering Folk Songs of the Past’ B3 Thyrsis - Godstow Bridge B4 [Interview] Naima Bock (Broadside Hacks) - ‘The Broadside Hacks Folk Club’ B5 Broadside Hacks - Rain and Snow B6 Boss Morris - Young Collins

Reissued double vinyl album of first part of THIS IMMORTAL COIL's Coil homage in gatefold sleeve with new artwork! "Brilliantly versatile tribute album to British-based avant garde and experimental group, Coil." More than a tribute to cult dark ambient band COIL, This Immortal Coil is a project of re-interpretations by Ici d'Ailleurs' artists and more: Yael Naim, Bonnie Prince Billy, Matt Elliott, Yann Tiersen, DAUU, Christine Ott, Chapelier Fou, Sylvain Chauveau, Deadverse. Mixed by OKTOPUS of DÄLEK. Peter Christopherson himself immediately put it up for sale on the Coil website at the time, cherrishing the work as "The Most extra-ordinary, beautiful and moving re-interpretations of Coil I have ever heard." "On November 13th 2004, John Balance passed away, He was, along with Peter Christopherson, the founding member of the group Coil. His brutal death marked the end of over twenty years of activism and musical genius. I have then decided to work on a project that would pay tribute to them. I didn't want another compilation that would pile up pieces, without any link. My wish was to transpose this unique musical mood to another one, more classical and more accessible to everyone. The whole idea was to pay tribute to the music for what was beyond it, just the way COIL underlined it: « Coil is more than music »I got my inspiration from the project This Mortal Coil, started in the eighties by the English label 4AD. Its label manager had then grouped some of its own artists together in order to play some standards of rock and pop music. Most of those who participated in this work hardly knew COIL. My purpose wasn't to go towards those artists who had a conscious connection with the music of the group, let alone musicians who claimed to be the heirs to this seminal work.

IDLES return with their new album, ‘CRAWLER’, an album of reflection and healing
amid a worldwide pandemic that stretched the planet’s collective mental and physical
health to the breaking point.
 Frontman Joe Talbot says: “We want people who’ve gone through trauma,
heartbreak, and loss to feel like they’re not alone, and also how it is possible to
reclaim joy from those experiences.” IDLES albums have always been anchored by
these overarching themes, but the ability of the band to juxtapose beauty and rage
with humour and drama has never felt more satisfying than on ‘CRAWLER’.
 These stories are vividly brought to life through IDLES’ most soul-stirring music to
date, recorded with co-producers Kenny Beats (Vince Staples, Freddie Gibbs) and
IDLES guitarist Mark Bowen.
 Previous album ‘Ultra Mono’ was Number 1 album in the UK, with over 35k sales
week one.
 Huge 2022 January UK tour including five Brixton Academy dates, three at Glasgow
Barrowlands, two at Manchester Warehouse and more. Over 20k UK tickets sold in
the first hour of release.
 Three high budget music videos, written and directed by LOOSE (Lucy Hickling,
Stink Films).
 CD in digipak packaging.
 Deluxe LP mastered at half-speed (45rpm), pressed on deluxe heavyweight 180g
black double vinyl and housed in a gatefold jacket with printed inner sleeves.
 Eco-Mix coloured vinyl LP housed in a single-sleeve jacket and printed inner sleeve.
Eco-Mix vinyl production uses leftover wax that’s already in the factory, meaning
each record is different and the colour is completely random and unique.
 Standard black vinyl LP housed in a single-sleeve jacket and printed inner sleeve.

10 year anniversary edition on orange & red marble vinyl. While his formative years were spent listening to everything from Yes to Photek, Scott Hansen didn't get his hands on an actual guitar or drum machine until he left his native Sacramento for San Francisco in 1995. "Encountering this whole new world at 20 years old was a profound experience," says Hansen, better known by his musical pseudonym Tycho and as the graphic artist ISO50. "At the time, I was just learning the processes of design and music; both felt very similar, and have flowed back and forth for me ever since."As seamless as his two creative outlets have been, nearly a decade passed before the release of Hansen's first proper Tycho LP, Sunrise Projector (later expanded and reissued under the title Past Is Prologue). And while three striking singles have emerged since then, the sum of all those sepia-toned parts is nowhere near the double-exposed soundscapes of Dive. The product of a prolonged break from IS050's design work and blog, it pays tribute to Tycho's prismatic past (the dense, guitar-guided turning points of "Daydream" and "Adrift") but spends most of its time pointing to the project's not-so-distant future.That can mean any number of things, really, from the halcyon hooks and hopeful horizons of "A Walk" to the expansive, wildly expressive tone poetry of the title track, an eight-minute epic that unfolds like a compressed concept album. Or at the very least, a restless vision of prog-rock - one that's been coated in neon colors and filtered through a thick piece of blotter paper. And then there's "Elegy," a spare curtain closer that pairs a vulnerable crescendo with a fitting bridge to future works.And with that, Dive establishes its position as the most diverse musical statement of Hansen's multi-medium career; the point where his skills as a performer finally catch up with his vaporized vision of a world that doesn't belong to any particular time or place."Nostalgia is a common thread in my work," says Hansen, "but this album wasn't driven by that idea. I see these songs as artifacts from a future which might have more in common with our past than our present."

On March 5, 2020, Ukrainian modern metal juggernauts JINJER played one of their last shows before the world went on a global lockdown due to the Covid-19 pandemic, making it a historical event in the band’s successful career, just as they intended to take the world by storm by supporting their critically acclaimed new album, Macro, on their extensive world tour, starting in Australia. “It was a time when we all thought things will be alright. Plans were set! Heads full of hopes! Just a few days before everything came crumbling down and to a screeching halt... It was one of the last metal shows on the planet. It was one of the first and sadly one the last shows of the Macro World Tour - so we were extremely lucky to have this on record and film alike”, comments the band. Having recently been streamed in its entirety as part of the Slipknot founded Knotfest weekly concert streaming series, the ferocious live performance screamed for an audio release as well, documenting what club culture had been just a few months ago, aching to come back as soon as possible. Including hits such as “Teacher, Teacher!”, “On the Top” and “Pisces”, Live In Melbourne will be available digitally as well as on CD, various Vinyl colors and as a deluxe edition. 1. SINGLE - EN “A powerful socio-political statement kicks off a thrilling live experience - “Teacher, Teacher!” is as violent as educating!” 2. SINGLE - EN “With it’s ten ton groove and message, “Sit Stay Roll Over” from JINJER’s pummeling debut album is a song like an earthquake - especially in this brutal live version!” 3. SINGLE - EN “JINJER’s most personal song performed in the most intense way - heavier and more captivating than ever!”

Repress !

It was in Paris that John Lewis co-led this 1956 date with Sacha Distel, a French guitarist who never became well known in the U.S. but commanded a lot of respect in French jazz circles. The same can be said about the other French players employed on "Afternoon In Paris" -- neither tenor saxophonist Barney Wilen nor bassist Pierre Michelot were huge names in the U.S., although both were well known in European jazz circles. With Lewis on piano, Distel on guitar, Wilen on tenor, Michelot or Percy Heath on bass, and Kenny Clarke or Connie Kay on drums, the part-American, part-French group of improvisers provides an above-average bop album that ranges from "Willow Weep For Me", "All The Things You Are", and "I Cover The Waterfront" to Milt Jackson's "Bags' Groove" and Lewis' title song. The big-toned Wilen was only 19 when "Afternoon In Paris" was recorded, but as his lyrical yet hard-swinging solos demonstrate, he matured quickly as a sax man. A mythic LP and one of the best recorded in France!!!

Japanese street music icon, Yasushi Ide released new album featuring Don Letts, Josh Milan, Jeff Mills, DJ Krush and more.


"This is a sound track for rude, underground adults! Amazing mixture of reggae, dub, funk, jazz, rock, afro, house. Masterpiece that goes beyond genres of music created by great producer, Yasushi Ide who has relentless motivation and global network of talents." - Shuya Okino (Kyoto Jazz Massive / Kyoto Jazz Sextet)

"Great album! It is amazing to finish such a big project involved many collaborators at this high quality only in a year and 4 months. The magic of Cosmic Suite is there are variety of styles, and it makes you feel deep and spiritual at one point, but at the same time you can feel relaxed. Also, I have to say that the sound quality is great. It sounds very clear and it can only be done with top level recording and mixing professionals." - Ken Ishii

Yasushi Ide is the Japanese street icon. In the 90's he was called "the Guru of Shibuya-kei" which was the movement of Shibuya style of eclectic pop by the artists such as Cornelius, Pizzcato Five, or Original Love who is once again recognized in City Pop revival of recent years. (Yasushi Ide was a manager of Original Love, and also Kenji Ozawa)

Through his works, he has been creating the global network of musicians such as Josh Milan of the Blaze, house music icon, Don Letts, the pioneer of connecting punk rock with reggae, and Jeff Mills, Detroit techno legend, and released a great amount of hi-quality music on his label, Grand Gallery.

The Cosmic Suite project started in 2020, during the pandemic. It started as a project to reconstruct the parts of music Jeff Mills created for Chieko Kinbara, a violinist which Mills produced. However, it turned out to be 36min of spaced themed original track = Cosmic Suite.
(There are few phrases of Jeff Mills music left in the final version) This masterpiece created a buzz in the music scene in Japan and overseas, and became Yasushi Ide's new beginning.

In June, 2022, Ide released "Cosmic Suite 2". Originally, Cosmic Suite was an instrumental. "Cosmic Suite" is the reconstruction of "Cosmic Suite 2" with the element of vocals. In this project, Don Letts, Josh Milan, DJ Krush are featured as guest musicians. Moreover, drums of Tony Allen, the legendary Afrobeat drummer, and Style Scott, a drummer known for his works in early days of ON-U label, and Gota Yashiki, a Japanese drummer known for his works with Soul II Soul are featured in this album. Also, Japanese brightest talents such as Kan Takagi of Major Force, Kaoru Inoue aka Chari Chari, Tomoyuki Tanaka aka Fantastic Plastic Machine and Calm are featured as artists and engineers. This is the true dream team of the Japanese underground music scene.

The artwork is done by Josue Thomas, the founder of popular fashion brand, Gallery Dept. He is also featured as poetry reading artist in track 1 of "Cosmic Suite 2." Ide and him collaborates in various projects under the concept of "Universal Music Connection."

Yasushi Ide's also well received as a dub artist. (beside his wide range of musical styles)
His dub cover of Bill Withers' "Ain't No Sunshine (Space Dub Mix)" is selected for "Late Night Tales mixed by Don Letts" in 2021.

Highlight of "Cosmic 2" is the unique dub sound in tracks such as "Lava" feat. UA, the Japanese singer often described as "Japanese Bjork", and "Sumimasen Suite" feat. Rebel Dread (= Don Letts).

Tokyo is the melting pot of street music from all around the World such as Dub, Jazz, House, Hip Hop, Afrobeat, Punk rock, Techno,,, You can see the influence of all spectrums of rebel music in this album. This unique avant-garde music can only be created by Yasushi Ide, who has been heavily involved in this truly unique music scene for a long time.

Compilation of our favorite Arvo Pärt pieces. All sparse and beautiful arrangements. Some solo piano pieces, some duets with piano, violin cello and viola and one string quartet. The pieces on this record are all unique to the style of Arvo Pärt - deceptively simple compositions that force you to live in the moment you are listening to them. A Pärt quote from the back of the record - "You can kill people with sound. And if you can kill, then maybe there is also the sound that is opposite of killing. And the distance between these two points is very big. And you are free -- you can choose. In art everything is possible, but everything is not necessary."

This record comes in a beautiful "tip on" old school cover with metallic gold foil and features an incredible painting from the 16th century manuscript Kometenbuch.

The 2013 action-adventure game The Last Of Us was originally published in 2013 by Sony Computer Entertainment and was developed by Naughty Dog. The game is played in a third-person perspective and its player controls Joel, a smuggler who is escorting the teenager Ellie across a post-apocalyptic America. The game received critical acclaim, with praise for its narrative, gameplay, visuals, sound design, characterization, depiction of female characters. The Last Of Us became one of the best-selling video grames, selling over 1.3 million units in its first week. The game won multiple Game of the Year awards and has been cited as one of the greatest video games ever made.

The Last Of Us also received acclaim for its score, which was made by composer Gustavo Santaolalla. Santaolalla is also known for his work on Brokeback Mountain and Babel, for which he both won the Academy Award for Best Original Score. The Argentinian composer also created the music for the series Jane The Virgin and Netflix’ Making A Murderer. His soundtrack to The Last Of Us was his first in the video game industry. In 2020, he also returned to compose the music to the sequel, The Last Of Us Part II.

The Last Of Us is available on black vinyl. This 2LP is housed in a deluxe gatefold sleeve, includes printed innersleeves and an

The 2013 action-adventure game The Last Of Us was originally published in 2013 by Sony Computer Entertainment and was developed by Naughty Dog. The game is played in a third-person perspective and its player controls Joel, a smuggler who is escorting the teenager Ellie across a post-apocalyptic America. The game received critical acclaim, with praise for its narrative, gameplay, visuals, sound design, characterization, depiction of female characters. The Last Of Us became one of the best-selling video grames, selling over 1.3 million units in its first week. The game won multiple Game of the Year awards and has been cited as one of the greatest video games ever made.

The Last Of Us also received acclaim for its score, which was made by composer Gustavo Santaolalla. Santaolalla is also known for his work on Brokeback Mountain and Babel, for which he both won the Academy Award for Best Original Score. The Argentinian composer also created the music for the series Jane The Virgin and Netflix’ Making A Murderer. His soundtrack to The Last Of Us was his first in the video game industry. In 2020, he also returned to compose the music to the sequel, The Last Of Us Part II.

The Last Of Us is available on black vinyl. This 2LP is housed in a deluxe gatefold sleeve, includes printed innersleeves and an

‘Brutalism’ was originally self-released in March
2017, surpassing expectations to become one of
the decade’s most important debut albums.
Beneath the surface of its aggressive, foreboding
music and lyrics lies a level of confessional
vulnerability and honesty that comfortably
cemented it as an instant classic.
In the five years since ‘Brutalism’’s release, IDLES
have gone on to achieve so much, including a
Number One album, selling out tours and festival
headline appearances around the world. Its followup, ‘Joy As an Act of Resistance’, further spring
boarded the band into the UK (and beyond)’s
consciousness and paved the way for the colossal
‘Ultra Mono’ - the band’s first UK No. 1 album.
Last year’s ‘CRAWLER’ contained the buzzsaw
urgency that their now global fanbase had come to
expect but expanded its sound with more melodic
and introspective songs. At every step of the way
the band have garnered a wealth of dedicated
supporters - from the early breaks given to them by
Steve Lamacq and BBC 6 Music, the independent
live music circuit and the incredible AF Gang
community.
To celebrate, the band release a reissue of the
debut studio album: ‘Five Years of Brutalism’. This
reissue features alternative artwork designed by
Joe Talbot, and is pressed on cherry red vinyl.

Limited edition reissue of this legendary, rare and dreamy electronic ambient new age album.

Originally created and released in a small edition in Japan back in 1987 by the mysterious musician/ magician Shiho. The album features floating shimmering synthesizer textures. It's unique and extra ordinarily serene with shifting tone colors and spatial textures bringing the listener to a special magic place. It's as beautiful as it captivating. There's also a haunting edge to parts of the album sounding like what could originally have influenced David Lynch and Angelo Badalamenti when they composed the soundtrack to the original Twin Peaks series. Shiho who loves to make improvisational music began studying classic piano at the age of five. She says she gets inspiration from the celestial realms but she never considers melody. She draws a musical picture. Creativity is the unfolding of the unknown realms within the self. Through our chosen ways of expression, each of us is daily creating a unique universe, a unique environment.

The universe created by each and every being in endless repetition are messages of the universe. The breath of this music, expressed from my present environment, flowing through a myriad of places as environmental music is my expression of The Body Is A Message Of The Universe. Part of the album also saw a limited US CD release in the late 1980s which is hard to come by today.

Although Shiho Yabuki continued her career in Japan, both as a musician and magician and became a pioneer of healing music in Asia, for most western listeners it was like Shiho was one of those mysterious artists who puts out an album and then is never heard from again.



Tracks: Tomoshibi / Samadhi / Winterland / Tenshingoso (Earth, Wind, Fire, Water and Spirit) / Forestland / Tawamure/Cosmic Dance / Energy Flow/Ki No Nagare (The Way Of The Energy Flow)

We Smile were part of the Hamburger Schule back in the early Nineties: expressive vocals, associative lyrics in German and English, brittle guitars and overall a quite broad interpretation of the general idea of Pop. Now, 30 years later, Hamburg label Couldn’t Care More releases these spectacular remixes of songs from We Smiles album “Für Die Anderen”: Glasgows JD Twitchs (Optimo) turns “Sack Voll Drogen” into one twisted colossus of a track, made from electro, breaks and rave , Tokyos Tentenko fires up the Casio for her two versions of "31 24 42" and Hamburgs Mense Reents (Egoexpress, Die Vögel, Die Goldenen Zitronen) builds the most extraordinary elegant Pop song from the sparse "Can't Resist (Popmusiker Sind Auch Künstler-Version)". Also included is the formidable (and remastered) original of "Kind Und Kegel".

Zweites Album der Newcomer THE FAIM, jetzt auch auf
Vinyl erhältlich. Seit ihrer Gründung blicken The Faim
mittlerweile auf mit Gold ausgezeichnete Singles sowie
ausverkaufte Headliner-Shows rund um den Globus
zurück; darunter Auftritte auf internationalen Festivals wie
Lollapalooza in Deutschland, Reading und Leeds,
Download UK und dem Slam Dunk Festival. Die
Formation von Down Under hat bisher die Bühnen mit
Größen wie PVRIS, Against The Current und Sleeping
With Sirens geteilt. 2022 werden die vier Australier Rock
am Ring und Rock im Park spielen, einer der Höhepunkte
ihrer bisherigen Live-Karriere! The Faim konnten bisher
über 130 Millionen globale Gesamtstreams generieren
und haben mit Größen wie Pete Wentz (Fall Out Boy),
Mark Hoppus (blink-182) und Josh Dun (Twenty One
Pilots) gearbeitet. Ihre Hit-Single "Summer Is A Curse"
wurde in den Werbekampagnen von Jeep und Coca-Cola
gefeaturet.

Somewhere between the late 1990s and the early 2010s, the rif largely disappeared from mainstream rock & pop. Its transformative power - the rif as a means to transport the listener into another dimension - became an art cherished only in the underground of rock and metal. One of the strong proponents of that transformative power is ASTROSAUR, an overlooked gem in the international heavy psyche rock and post- metal scene. The Norwegian power trio has been employing the rif as their principal mode of transport since their 2017 debut album Fade In // Space Out. Now, with the release of their third album Portals, ASTROSAUR are sounding more expansive and convincing than ever, delivering an intuitive exploration of the infnite powered by soaring guitars and surging grooves. With their third full-length album, ASTROSAUR have delivered an incredibly diverse and musically challenging and satisfying experience, showing that this band is greater than the sum of its truly great parts. Over the course of fve tracks and 48 minutes, the band use the best traits of the aforementioned genres to take you on a sonic journey into the deepest caverns of space and time. First single «Black Hole Earth» is masterclass soaring post-rock guitars, with its magnifcent main melody, which is ofset against a blistering desert rock rif, like a star ship phasing in and out of hyperspace, alternating between crushing your guts and showing you the most marvellous views of deep space. From a compositional viewpoint, «Eternal Return» is a mind-blowing afair. This giant psychedelic prog epic has been built from diferent themes and motifs that take turns in appearing, shifting form and developing as they go along. Segueing into new themes or returning to earlier ones, «Eternal Return» gloriously comes full circle, ending the mind-boggling journey of Portals. With the addition of vibraphones, Moog and acoustic guitars, the sound of ASTROSAUR is fuller and more diverse than ever before. From the soaring overture of «Opening» to the glorious fnale of «Eternal Return», Portals shows the next great post-metal band at their most accomplished. Fans of dynamic rifs and intricate compositions can once again rejoice as they're able to tune in and fade out once more with another wild ride courtesy of this exciting Norwegian powerhouse. Limited Eternal Return Vinyl Edition!

LTD ETERNAL RETURN ED.

Somewhere between the late 1990s and the early 2010s, the rif largely disappeared from mainstream rock & pop. Its transformative power - the rif as a means to transport the listener into another dimension - became an art cherished only in the underground of rock and metal. One of the strong proponents of that transformative power is ASTROSAUR, an overlooked gem in the international heavy psyche rock and post- metal scene. The Norwegian power trio has been employing the rif as their principal mode of transport since their 2017 debut album Fade In // Space Out. Now, with the release of their third album Portals, ASTROSAUR are sounding more expansive and convincing than ever, delivering an intuitive exploration of the infnite powered by soaring guitars and surging grooves. With their third full-length album, ASTROSAUR have delivered an incredibly diverse and musically challenging and satisfying experience, showing that this band is greater than the sum of its truly great parts. Over the course of fve tracks and 48 minutes, the band use the best traits of the aforementioned genres to take you on a sonic journey into the deepest caverns of space and time. First single «Black Hole Earth» is masterclass soaring post-rock guitars, with its magnifcent main melody, which is ofset against a blistering desert rock rif, like a star ship phasing in and out of hyperspace, alternating between crushing your guts and showing you the most marvellous views of deep space. From a compositional viewpoint, «Eternal Return» is a mind-blowing afair. This giant psychedelic prog epic has been built from diferent themes and motifs that take turns in appearing, shifting form and developing as they go along. Segueing into new themes or returning to earlier ones, «Eternal Return» gloriously comes full circle, ending the mind-boggling journey of Portals. With the addition of vibraphones, Moog and acoustic guitars, the sound of ASTROSAUR is fuller and more diverse than ever before. From the soaring overture of «Opening» to the glorious fnale of «Eternal Return», Portals shows the next great post-metal band at their most accomplished. Fans of dynamic rifs and intricate compositions can once again rejoice as they're able to tune in and fade out once more with another wild ride courtesy of this exciting Norwegian powerhouse. Limited Eternal Return Vinyl Edition!

Tape

»No Date Tapes 2« is the second official cassette release from Harry Bertoia's tape archive and, like the first cassette, these recordings were chosen from a small collection of tapes in Bertoia's archive missing recording dates.

This cassette is packaged in a metallic shell and produced on super-ferro tape for incredible analog sound.

Bio:

Harry Bertoia first gained some artistic visibility in the early 1940s, then came into prominence with his sculptural, ergonomic chairs, produced by Knoll Furniture beginning in 1952, which quickly became classics of modernist furniture. Inspired by the resonant sounds emanating from metals as he worked them and encouraged by his brother Oreste, whose passion was music, Harry restored a fieldstone "Pennsylvania Dutch" barn as the home for this experiment in sounding sculptures which he had begun in the late 1950s. Bertoia was an obsessive composer and relentless experimenter, often working late into the night and accumulating hundreds of tapes of his best performances; Oreste, too, would explore and record the sculptures' sounds during his annual visits to his brother's home in rural Pennsylvania.

Harry Bertoia's recently dismantled Sonambient barn collection was an attentive listener's paradise full of warm, expressive instruments that were gorgeous visually and audibly. Nothing could prepare you, even on return visits, for the overwhelming experience of entering the spacious wood and plaster interior where gongs, some of them giant, hung among the ranks of standing sculptures of various metals. Over nearly twenty years of adding, culling and rearranging, Bertoia carefully selected nearly 100 harmonious pieces ranging in height from under a foot to more than fifteen feet. He considered this barn a full experience, sights and sounds comprising not a collection of works, but one piece unto itself. It was here, deep in the woods, that his Sonambient recording work took place.

Learning by experimentation was common for Bertoia and he mastered the art of tape recording, turning the Sonambient barn into a sound studio with four overhead microphones hanging from the rafters in a square formation. He would experiment with overdubbing by performing along to previous recordings, sometimes backwards, constantly improving his methods while also honing his performance skills. Bertoia was a careful editor of his own work and only chosen recordings remained, each with a date and carefully considered observations written on a note included with each tape. Through these pieces of paper a the artist's logic can be uncovered, a careful approach to composition, ideas, feelings and forms. The story of Sonambient barn collection will slowly be told through the release of recordings from the archive as well as installations and performances built from Bertoia's own recordings, lectures and a book.

Tape
Hailu Mergia & Dahlak Band's Wede Harer Guzo is the third release on Awesome Tapes From Africa for Ethiopian keyboard and accordion maestro. In the years since Shemonmuanaye, Mergia has revamped his touring career, playing festivals and clubs worldwide, including a recent tour supporting Beirut. By 1978, Addis Ababa's nightlife was facing challenges. The ruling Derg regime imposed curfews, banning citizens from the streets after midnight until 6:00 am. But that didn't stop some people from dancing and partying through the night. Bands would play from evening until daybreak and people would stay at the clubs until curfew was lifted in the morning. One key denizen of Addis' musical golden age, Hailu Mergia, was preparing a follow-up to his seminal Tche Belew LP with the famed Walias Band. It was the band's only full-length record and it had been a success. But his Hilton house band colleagues were a bit tied up recording cassettes with different vocalists. Still Mergia, amidst recording and gigs with the Walias, was also eager to make another recording of his instrumental-focused arrangements. So he went to the nearby Ghion Hotel, another upmarket outpost with a popular nightclub. Dahlak Band was the house band at Ghion at the time. Together they made this tape Wede Harer Guzo right there in the club during the band's afternoon rehearsal meetings, with sessions lasting three days. Dahlak Band catered to a slightly more youthful, local audience, while Mergia's main gig with the Walias at Addis' swankiest hotel had a mixed audience that included wealthy Ethiopians, foreign diplomats and older folks from abroad. Therefore, their sets featured lighter fare during dinnertime and a less rollicking selection of jazz and r&b. Meanwhile, Dahlak was known more for the mainly soul and Amharic jams they served up for hours two nights a week to a younger crowd. Mergia released Wede Harer Guzo ("Journey to Harer," a city in eastern Ethiopia) with Sheba Music Shop, which was located in the Piazza district but has long since shut down. His cassette copy is the only known source we could find. Jessica Thompson at Coast Mastering managed to restore the recording to clean up layers of hiss, flutter and distorted frequencies, made worse by years of storage. Although there are some remaining sonic artifacts of the era's recording and cassette duplicating quality, this reissue captures the band's inimitable vibe. Recalling the audience's positive reaction to Wede Harer Guzo's novel arrangements, he says it sold well and found many fans. However, as no trace of the tape can be found online, there's no indication as to why the cassette appears largely forgotten until now

repressed !

Die vierte und finale Staffel im Zuge des 25-jährigen Jubiläums des legendären und stilbildenden Pariser Labels F Communications mit remastered Reissues ikonischer EP's komplettiert die 25. Den krönenden Abschluss bilden St. Germains (Ludovic Navarre) Deep House-Meisterwerk "Blanc EP" (1994, veröffentlicht in Kollaboration mit Didier Delesalle als Nuages), der Techno-Monolith "Silvery Sounds" (1998) des Frankfurter Produzenten Andreas Köhler (aka Sound Of K) mit den fantastischen Technasia-Remixen, die legendäre erste "Flame One" EP (1996) des Baleric-House-Projekts A Reminiscent Drive, Jori Hulkkonens techy Spätwerk " A Letter From Cardassia" (2004), sowie natürlich nochmal Laurent Garnier mit seiner jackin' "Coloured City" EP (1998).

Stand High Patrol unveils SH010, a new 45 RPM maxi, pressed for collectors and selectors fond of roots and one drop vibes. Slipped into a white sleeve adorned with a ghostly embossment, the 12 Inch features "The Ghost", "A Seed A Day" and their respective dub versions. Contained within the package are two minor-scale tunes voiced by Pupajim with lyrical themes of determination, revenge and hope, and two dubs mixed live at The Kerwax studio which expand the space-time and bring today's Loguivy-Plougras closer to the Kingston of the 1970s. With its assumed "Cool Ruler" influences, theremin notes of circumstance, clavinet parts ricocheting from skanks and formidable groovy hi-hats, the EP invites the listener to discover or rediscover the roots side of the versatile dubadub musketeerz's sound!