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On October 15th, Mac Miller's cult favourite mixtape Faces will be available on all streaming services for the first time since its initial release. The project, which originally debuted on Mother's Day 2014, is a vital release in Mac's catalogue that followed-up his critically-acclaimed sophomore album Watching Movies With The Sound Off. Upon its arrival, the mixtape served as the high water mark for Mac's technical prowess and cemented a creative actualization that would continue through his career; reinventing himself with each new project. Reviewing the project following its release, critic Craig Jenkins succinctly described it as "the best work of his career.
"In addition to being made available on streaming services, Faces will be available on vinyl for the first time on October 15th. .

The announcement of the mixtape’s release on streaming services next month arrives alongside a new music video for Faces highlight "Colours and Shapes." Its director Sam Mason speaks on the work: “The track felt very visual to me—like it had its own world. This atmospheric night time place that was sometimes dangerous, sometimes comforting, then I saw a picture of Ralph and a story emerged. To build it out I asked Malcolm’s family to send me bits and pieces from his childhood, scenes from the town where he grew up, objects, toys from his room—little pieces of his life that I extrapolated outwards and used to inspire the story. In the abstract, it’s meant to be a video about childhood—growing up as an artist and the highs and lows of that experience. It’s sort of a look at the emotional and difficult and perilous but noble path of an artist. ”Stay tuned for more Mac Miller and Faces news soon.

Multi-instrumentalist, vocalist, producer, and songwriter Jordan Rakei is back with his fourth studio album

What We Call Life is Jordan Rakei’s most vulnerable and intimate album to date. Its lyrics concern the lessons that the New Zealand-born, Australia-raised, and London-based artist learned about himself during therapy, a journey that began two years ago when he started reading about the ‘positive psychology’ movement. Rakei, already a practitioner of meditation and mindfulness, was curious about the potential of using therapy for further self-discovery. During the process, he began to learn more about his behaviour patterns and anxieties, and addressed his long-standing irrational phobia of birds – a fear often associated with the unpredictable and the unknown, and something explored in the album’s creative direction and visuals.

“As we worked through it, it made me realise I would love to talk about the different lessons I learned from therapy in my music: about my early childhood, my relationship with my parents and siblings, becoming independent in London, being in a new marriage, understanding how my marriage compares to the relationship my parents had” Rakei says.

Black vinyl LP, printed inner sleeve, fully artworked outer sleeve with obi. Includes double-sided lyric poster and MP3 download code. Artwork by Justin Tyler Close.

Multi-instrumentalist, vocalist, producer, and songwriter Jordan Rakei is back with his fourth studio album

What We Call Life is Jordan Rakei’s most vulnerable and intimate album to date. Its lyrics concern the lessons that the New Zealand-born, Australia-raised, and London-based artist learned about himself during therapy, a journey that began two years ago when he started reading about the ‘positive psychology’ movement. Rakei, already a practitioner of meditation and mindfulness, was curious about the potential of using therapy for further self-discovery. During the process, he began to learn more about his behaviour patterns and anxieties, and addressed his long-standing irrational phobia of birds – a fear often associated with the unpredictable and the unknown, and something explored in the album’s creative direction and visuals.

“As we worked through it, it made me realise I would love to talk about the different lessons I learned from therapy in my music: about my early childhood, my relationship with my parents and siblings, becoming independent in London, being in a new marriage, understanding how my marriage compares to the relationship my parents had” Rakei says.

Translucent pistachio green vinyl LP, printed inner sleeve, fully artworked outer sleeve with obi. Includes double-sided lyric poster and MP3 download code. Artwork by Justin Tyler Close.

Welcome to NOPE23. Created by Jaguar Skills. Born from his love of underground Hip-Hop, Funk and Soul, ‘The Savage Planet’ by Jaguar Skills is his label’s first broadcast.

Utilising a band of experienced musicians to create the project, ‘The Savage Planet’ is 8 tracks, 23 minutes and 23 seconds of experimental Hip-Hop Funk, interwoven with official adverts and soundbites direct from the NOPE23 vault.

Featuring the vocal skills of rapper Crimeapple (Soul Assassins), New York MC Johnny Storm, guitar legend Simon Katz (Jamiroquai/ Gorillaz), renowned bass player Zoltan (Erka Badu), flautist Rowen Harwood, alongside the beat alchemist himself; Jaguar Skills.

‘The Savage Planet’ confirms once again, that Jaguar Skills is not of planet Earth.

Stay tuned for more fly sh*t.

NOPE23. For freaks and pencil necked geeks.

Crepuscule presents a brand new collaborative project by Julie Campbell (aka LoneLady), Stephen Mallinder (Wrangler, Cabaret Voltaire) and Benge (Wrangler, John Foxx). Titled Clinker, the first 800 copies of the 6 track mini album have been pressed in turquoise vinyl.

‘The project began a couple of years ago,’ explains Julie. ‘Benge had these great sketches that were beats and synth patterns, so those were the starting point. I really went to town adding lots of guitar layers and experimenting with different sounds. On some tracks the guitar is deft and rhythmic, as if mimicking sequencer patterns. On others it’s a deconstructed noise-based approach - scratching strings, making fitful, heavy chunks, howls and scrapings of noise and texture.’

Due to competing solo commitments for all 3 members the tracks disappeared into hard drive exile for a couple of years. Julie continues: ‘Last year we revisited the mixes and Stephen added his trademark mysterious and menacing vocals. Now we find ourselves with a finished piece of work. I thought of the name Clinker as I love its meaning: 'stony residue from burnt coal'. This seemed liked an apt description of both industrial and creative processes, and a nice nod to the industrial North of England.’

Stand-out tracks include Camouflage and Condition Collapsing. ‘I’d forgotten how liberating it is to play bass guitar on something,’ enthuses Mal. ‘It compliments Julie’s beautifully angular guitar, and Benge and me ripping up live percussion onto the sound of machines… As a collection of tracks these benefited from a lengthy gestation, as they follow no particular trend and were allowed to twist and turn to develop a life of their own. After successive cycles we suddenly drew it all together so the tracks have a sense of completion and identity.’

‘The real fun for me was during the mixing process when Mal and I looked at each other as the rawness of the tracks hit us on the big studio monitors,’ adds Benge. ‘We knew we had something untameable, and wanted to preserve that feeling of edgy rawness in the mixes.’

The cover image is by Julie Campbell, with overall design by Twilight. The vinyl edition comes with a digital copy (MP3).

orange marbled vinyl

Steven Rutter, one half of B12, returns to De:tuned with a staggering ode to the 90s UK bleep techno era. Opener "O.L.F. ResPekt" sets the bar with a respectful flashback to the trademark sound. "Rewind 273" follows the path with a pitched down composition that strengthens the rather mellow and floaty vibe. On the flip "Incredible" combines the best of both worlds, a real gem for all bleep and bass fiends in signature B12 style.

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis and pressed on 180 gr vinyl. A separate digital release will also be available at the usual digital shops. Stay tuned!

Steven Rutter, one half of B12, returns to De:tuned with a staggering ode to the 90s UK bleep techno era. Opener "O.L.F. ResPekt" sets the bar with a respectful flashback to the trademark sound. "Rewind 273" follows the path with a pitched down composition that strengthens the rather mellow and floaty vibe. On the flip "Incredible" combines the best of both worlds, a real gem for all bleep and bass fiends in signature B12 style.

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis and pressed on 180 gr vinyl. A separate digital release will also be available at the usual digital shops. Stay tuned!

Saxophonist Wendell Harrison has lived by a standard philosophy for his 50-plus-year career: One must have complete self-autonomy. Both his music and business dealings reflect this. Besides being a legend on the Detroit jazz scene and mentoring up-and-coming musicians through his non-profit organization Rebirth Inc., he co-founded the Tribe Records label in the 1970s, which produced a magazine and many classic albums.

Harrison is continuing Tribe’s legacy—this time around with a group of rising jazz musicians from the Motor City such as drummer Louis M. Jones III, trumpeter Trunino Lowe, and guitarist Jacob Schwantz—on his new recording Get Up Off Your Knees.

There’s a lot to digest here because the original compositions encompass R&B, soul, spoken word, and “world” music, all seen through the lens of jazz. Harrison tends to weave elements of African music into many of his compositions. On “Siera” and “Samoulén Khalé Yi,” both written by vocalist and bassist Pathe Jassi, he pays tribute to Guinea-Bissau and Senegalese culture. “Educators” also has African nuances in its hardcore drumming and Harrison’s sublime blowing on bass clarinet and clarinet.

Any discriminating jazz listener will be consumed by Get Up Off Your Knees, but it seems Harrison’s primary purpose for making this album is to encourage the current generation to put education first and build social awareness. On the title track, vocalist Miche Braden pushes the self-determination angle, which is again highlighted on “Revolution,” a reimagined take on Gil Scott-Heron’s “The Revolution Will Not Be Televised” delivered with an adherence to contemporary events by the poet Rev. Mbiyu Chui. By Veronica Johnson from Jazz Times.

"Ever try to escape your bedroom, but feel like you're still asleep? Ever try to wake up, but find yourself back in the dream? Ever try to take off your mask, but another one pops up beneath it? Ever try to consult your inner self, but inside your skin is merely a rotting corpse? Ever feel like every path you take is just another mobius strip leading you back to where you first began? Congratulations, welcome to the Psychocastle." – Taraka

Since the breakup of the legendary underground cult duo Prince Rama, former frontwoman Taraka has thrown herself headlong into the dark existential world of her “inner teenager," merging bastard elements of outsider-psych, post-edenic grunge, kaleidoscopic punk and post-adolescent angst to create her debut solo album.

‘The Pulse of Iron’ an apt reflection of modern progression into the unknown industrial world. It comes from Narrm based artist, Consulate who has found a home on Pure Space Records for our 10th label release. On this EP, Consulate delivers four tracks of dance music for the dystopian with a slick DnB sheen.

On the A-side ‘Postrach’ the centres the record squarely within the realm of its influences, its intricate percussive patterns offset by industrial ambience. Here a half-time snare cuts through the abyss of ambience, while a floating topline carys you through dreary territories. Completing the A-side is ‘Spec 4’, a subtly staunch percussive track that is fueled by acute vocal sampling, weighty breaks and a hypnotic dub infused bassline.

The flip side heads back into half-time territory with ‘The Fear’. Delayed vocal samples paired with dub-style stabs pulse in a heady but immersive rhythm. Rounding out the record is ‘Warlock’, a percussive track that proves the restraint Consulate has in his craft. Moody, sliced vocals skitter through delayed percussion creating a sense of tension. When it feels as though the storm is just about to hit, you are enveloped by fast-paced jungle breaks drawing you deeper into the eye of the storm.

‘Here beyond man’s judgements all covenants were brittle.’
~
Tracks written, produced and mixed by Consulate on Wurundjeri Land. Pure Space and Consulate both acknowledge the traditional custodians of this land and pay our respects to their elders past, present and emerging. Sovereignty was never ceded.

~
Pure Space Recordings is the label venture from the beloved radio show hosted by Andy Garvey, and produced by Mija Healey which has broadcast weekly on Eora Nation (Sydney) radio station FBi Radio for over four years. The label focuses on Australian music both for home listening and that made for the club.

Nantais by adoption, the Australian Will Guthrie is a discreet star of the international scene of free, experimental and improvised music; over the past fteen years, he has developed an open and personal approach to drums and percussion, skillfully blurring the lines between his brilliant jazz upbringing, his passion for traditional musics, and his inexhaustible interest in experimental and noise creation, with a pronounced taste for a physical and raw approach to sound. With thousands of performances and some fty albums to his credit, the Australian regularly dispenses his vibratory art solo or alongside the best of improvisation; From Oren Ambarchi to Roscoe Mitchell via Jérôme Noetinger, Anthony Pateras, David Maranha, Ava Mendoza, Jean-Luc Guionnet, Keith Rowe or even Mark Fell. In recent months Guthrie has performed with Tunisian singer Ghassen Chiba, toured as part of “All Around”, a performance with Danish dancer choreographer Mette Ingvarsten and founded the Ensemble Nist-Nah, a gamelan orchestra, in the company of eight other percussionists, out of which Black Truf e published an album, with a second on the way. He also found the time to put in shape a second volume of “People Pleaser”, a discographic act between an autographical assessment, the parenthesis and the musical UFO. A singular exercise in Guthrie's discography, “People Pleaser”, a series initiated in 2017, sees the Australian partially put down his drumsticks and wear a producer cap for a result offering a resolutely singular perspective of / on his work with a very personal dimension. On the rst volume, with a cover signed Stephen O'Malley sets the tone by diverting the chamaré Warhol infulenced visual of the album “Unit Structures” by Cecil Taylor. The portrait of the free jazz pianist has been replaced by passport photos of Guthrie. The result is a diversion into a fairly “Pop” aesthetic whose musical content works in a fairly similar way. Four years later, the cover art's undertones are slightly darker and Guthrie hasn't aged a bit on his new passport photo. The twelve tracks of this second “People Pleaser” combine and arrange eld recordings, heady loops, twists, musical quotes stuck on bedside records, recorded moments captured during travels, ghosty voices from low- lands, a police interview tape and imagined exotic sounds ... Guthrie could walk us for hours on his hard drive like looking at a photo album but he chose to build pieces based on this very personal sound material, much like a mixtape, with special care given to how sounds articulate, overlap and collide. He thus invites his heroes and his friends to join him in skilfully chiseled and nely edited imaginary jams. The rst to take pleasure in this “People Pleaser” is undoubtedly its author as some of his nds are enjoyably playful; we are there embarked in an addictive sound patchwork at high speed where a Balinese Squarepusher is propelled via a defective cathode ray tube in a temple where the happy marriage of the saxophone and the gong is celebrated before this too short respite is interrupted by a sustained hip hop rhythm. The multiplicity and variety of sources give the whole a very pop format and the way in which Guthrie combines sounds, textures, rhythms and vocal elements quickly takes on a narrative dimension and poses this exercise between hip hop and a very personal plunderphonic, evoking as much J Dilla or RZA as the irreverent inventiveness of People Like Us or Wobbly. Will Guthrie has never been in as good company as on a solo album, he also lists on the cover the list of friends, heroes, members of his family and countries who inspired him and to whom he pays homage / collage on this new disc; An aesthetic exercise apart in his discography, both in nitely personal and self-centered and resolutely turned towards what animates him, the aptly named “People Pleaser” reveals the music DNA of the Australian and can be listened to on repeat.

Subaerialis the latest and most sophisticated transmission from the long musical partnership of cellistLucy Railtonand keyboardistKit Downes, a collaborative history that stretches back thirteen years. From the beginning, the pair bridged musical worlds, with the former emerging from classical and contemporary music and the latter steeped in jazz tradition. This phenomenal new album captures the musicians erasing lines between approaches and traditions. While improvisation has always been a part of their alliance,Subaerialmarks thefirst time that the duo have used recorded improvisations as the core material for a release. The cello and organ, beautifully recorded byAlex Bonneyat Skáholt Cathedral, blend in richly striated harmonies, with phrases and cadences that stretch back centuries while sounding unerringly contemporary.

The pairfirst crossed paths whilst studying in London and spent the following decade collaborating in various groups whilst cutting their own distinct paths. By the time they rendezvoused in Iceland in the fall of 2017 to createSubaerial,Railton had moved to Berlin, where her embrace of electronics was leading her in new directions, exploring microtonality, psychoacoustics, and synthesis, an evolution captured on shape-shifting albums released by experimental imprints likeEditions Mego, PAN,andTakuroku. Her debut solo albumParadise 94released onModern Lovefeatures Downes on organ. Around the same time, Downes had been signed toECMand was directing much of his focus on the organ—his original instrument—on the two recordings he's made for the hallowed imprint, including the 2019 albumDreamlife of Debris, which features the cellist.

Truly, the luscious, soulful new album from Manchester singer-songwriter Caoilfhionn Rose (pronounced Keelin) moves through a tapestry of curious musical inflections; nods towards folk, jazz, ambient, electronica and even a subtle influence of psychedelia, it never stands still to take a breath, despite its ethereal and delicate core. Out April 9th on Gondwana Records (Mammal Hands, Portico Quartet, Matthew Halsall, Hania Rani), in Truly, the young singer-songwriter has accomplished a body of work that is both sonically and lyrically wise beyond her years.

Co-produced by Kier Stewart of The Durutti Column following Rose's collaborative endeavours with them on their album Chronicle LX:XL, the musician's song writing draws from a diverse palette of influences, including Building Instrument, Rachel Sermanni, Alabaster dePlume and Broadcast. Rose also professes to a love for beautiful, stripped back, piano based music, such as Dustin O'Halloran and label mate Hania Rani.

Truly came to exist due to a deep-routed need to create – even though its conception was interrupted as Caoilfhionn Rose recovered in hospital from an illness, she found strength within writing music. "In Spring 2019 I took part in a gig swap with my good friend and fellow musician Kristian Harting who is from Denmark. We played several gigs in the UK but unfortunately the Denmark part of the tour was cut short as I was taken ill. I was hospitalised for several weeks and have taken the last year out to recover" says Rose. "I gradually returned to finishing my second album" she continues. "Coming back to creating after being unwell was challenging but also therapeutic. This record marks a difficult time of my life and writing it helped get me through that. I am really grateful to have music as an outlet." It may be this tremendously challenging period that has abetted its characterising qualities.

Rose's beautifully restrained vocal is all at once soothing yet mesmerising. She demands and holds attention through her evident talent yet hypnotises the listener into a trance with her experimental tendencies. "After being unwell, getting back to recording helped me recover my voice after not singing for so long. Finishing bits of songs, writing lyrics and recording vocals helped me get back on my feet and get better."

Lead single from the album – 'Flourish' – is an intoxicating song that meditates on being present in the moment, allowing peace to come to you. "The song 'Flourish' is about looking forwards with hope and possibility, 'let it flow away, let it turn around and flourish'. It's about finding peace and feeling wonder again" says Rose about the track. "'Flourish' hints at the ideas of what could be, how things can unfold if you let go 'and just be here'."

A message of hope is instilled throughout the record, echoed again in 'Fireflies', a song inspired by a campsite in France, which became filled with fireflies at night. "To me 'Fireflies' has a nostalgic and comforting feel. It's about feeling hopeful about the future 'though there may be dark clouds the sun will always come'. There are references to older lyrics I have written. The line 'free from all the chaos' is a nod to a song I collaborated on with The Durutti Column. The song is about acknowledging the past and moving on as 'time is always healing'."

A recurring theme of reflection and being grounded in the present, acknowledging the past and looking forwards with courage is one that envelopes 'Truly', and is something that is echoed in its beautiful swelling flourishes and its tranquillity – resonating with atmosphere, the album all at once sounds so large and yet so subdued. "The line on Every Waking Minute; 'we forget what lies behind the eyes' is about remembering that everyone has their own things going on and challenges to face but we should 'feel every waking minute', become aware of what's unfolding around us outside of our own stories. It's a self-reflective song really, reminding myself that 'life can take you bysurprise', there are going to be ups and downs along the way"

Elsewhere on the album, Rose explores the connection between nature and life on single To Me. "I love going on long walks and the healing power of nature is a recurring theme in a lot of my lyrics. I have a very optimistic outlook and I find solace in the small things like being outdoors."

Caoilfhionn's debut Awaken, co-produced with label mate Matthew Halsall, saw the singer, songwriter and producer tie together remnants of Manchester's musical past with its evolving present. Prior to this, the artist collaborated with one of her biggest musical influences, Vini Reilly of The Durutti Column. The musician worked with the Manchester band on four songs on their album Chronicle LX:XL. "I've learnt a lot from collaborating with musicians like Vini Reilly, Matthew Halsall and my bandmates" says Rose. "This is reflected in my current style and approach to making music. I no longer just write as a therapeutic or reflective process; I can write more abstractly and outwardly."

Kier Stewart of The Durutti Column co-produced her latest offering, Truly, following his band's collaborations with Rose. "I befriended Kier after we worked together. Collaborating with The Durutti Column was my first experience of recording music with other people in a studio." Together, the pair have created something expansive yet fragile – and altogether unique. "He's brought so much to this project" she says. "I feel Keir has brought out the best in the songs, adding really intricate and subtle details and effects. It was inspiring getting to work with Keir and I've learnt a lot from his approach of just experimenting and seeing what works."

Docile Recordings continues with part three of a five cat series. Docile #30, the Alpha Cat ep, was produced, arranged, and crafted on vinyl by Andy Garcia at Archer Record Press in Detroit Michigan U.S.A.. This Docile is a reaction to the stimulus of sight and sound; experiences, people and places inspire a sonic approach steeped in the realization of a moment. Docile aims to capture and release this moment in a minimal style that is its own. The Docile style appropriates noise of any sort to weave into its mello brand of 4/4 digi-o-log techno. Docile will continue until it can not; to shape sound into a spartan beauty.
hese arrangements speak soulfully, whether disruptive or smooth they define a struggle.

A1- brian wilson rides again----- this tribute to a master reflects a studio awareness theory in the breakdown of a minimal “good vibration” . a bass line scales down leading waves of synth and effect to crash upon an ambling kick shifting steady through a western soundscape.

A2-too jada ta’ trotta---the trash can of audio is thrown down the stairs with this haughty mover rocking a rolling crash through digi-glitch symposium.

B1-bumper car cocktail party--- a patchwork rhythms stutter and form together in a ruff and tumble jaunt soothed by a sexy sax that brings the assembly into line.

B2----pong-----crisp hi-hats rotate next to a steady clap complimenting a ponging in various forms under a cloud of dramatic synth calming the animal spirit.

Since signing with Rhymesayers in 2015, Sa-Roc has continued to both invigorate and grow her fanbase with a string of singles, accompanied with powerful and visually enthralling music videos, including "Forever", which is nearing 4 million views on YouTube. In that time, she has continued to cultivate and sharpen her skill sets, and now she is set to release her first album for the label. Speaking on the meaning of the album's title and inspiration, Sa-Roc shares, "The Sharecropper's Daughter speaks to my father's actual beginnings on a Virginia tobacco farm where his family sharecropped. The title is meant to signify that both my father's and my upbringing, though so different, are linked by a shared history that informs the way I move through the world. Although his formative years were spent in the Jim Crow era of the south, where he suffered through poverty and racial oppression, and mine were shaped in the heart of DC, amidst the war on drugs and the effects of its fallout, the album finds points of connection in two very different yet tragically familiar stories of Blackness in America. It's a sonic reflection of the things we inherit. About the emotional weight that we unknowingly bestow upon the next generation; the genetic transfer of both trauma and triumph that we, both donors and beneficiaries, are tasked with reshaping into a future of our own." The Sharecropper's Daughter album is entirely produced by a veteran renaissance man from the Atlanta Hip Hop scene, Sol Messiah, with the exception of "Deliverance" produced by Evidence. And, while Sa-Roc's crafty wordplay, razor-sharp delivery and exceptional writing are the prominent highlight, this undeniable quality is only further enhanced by stellar guest performances from a small, but formidable, all-star cast of guests, including Saul Williams, Styles P, Ledisi, Chronixx, and Black Thought. This Fall, Sa-Roc seeks to demand her rightful place at the table amongst rhyme royalty with The Sharecropper's Daughter, at a time when the world is clamoring for powerful voices of substance, along with a patient and attentive fanbase who have already been tuned in, waiting for this moment. The time is finally here

DEATH, the heavy metal institution founded, realized, and helmed by legendary guitarist Chuck Schuldiner, released the Individual Thought Patterns album (the follow-up to their watershed Human release) in 1993. Expectations were high following Human, but Schuldiner proved once again that he could rise to any occasion. Individual Thought Patterns further honed the forward-thinking and progressive direction birthed with Human, and included “The Philosopher”; arguably the best song to ever come from the world of extreme metal and to this date the most widely-recognized.

DEATH, the heavy metal institution founded, realized, and helmed by legendary guitarist Chuck Schuldiner, released the Individual Thought Patterns album (the follow-up to their watershed Human release) in 1993. Expectations were high following Human, but Schuldiner proved once again that he could rise to any occasion. Individual Thought Patterns further honed the forward-thinking and progressive direction birthed with Human, and included “The Philosopher”; arguably the best song to ever come from the world of extreme metal and to this date the most widely-recognized

MILKY CLEAR VINYL.

''The lightness of the C86 Sarah Records guitars come with the significant counterweight of more ominous Factory Records basslines.The lyrics and vocals are stark, sandpapery and sardonic, akin to Jonathan Richman, Kiwi Jr and, Bodega.'' Ducks Ltd. - EP Review - God Is In The TV
Toronto’s Ducks Ltd. (formerly Ducks Unlimited), the bright jangle-pop duo of Tom McGreevy (lead vocal, guitar, bass, keyboards) and Evan Lewis (guitar, bass, drum programming), accomplish the impossible. The pair craft songs that play to very specific inspirations without drowning underneath them—immediately evidenced on their critically acclaimed EP, Get Bleak, and sharpened on Modern Fiction, their debut LP. “The Servants, The Clean, The Chills, The Bats, Television Personalities, Felt,” Evan rattles off. “Look Blue Go Purple is one I reference a lot with our production.” Echoes of ‘80s indiepop abound, but they never overwhelm. This is not a nostalgic record, after all, nor is it a derivative one. Instead, across 10 cheery-sounding songs, Ducks Ltd. explore contemporary society in decline, examining large scale human disaster through personal turmoil (hence the title, taken from a university course called Gnosticism and Nihilism in Modern Fiction, influenced by Graham Greene novels. Bookish indie fans, look no further.)

Writing the album was intimate. Tom drafted the nucleus of a song on an unplugged electric guitar and brought it over to Evan’s apartment, where the pair sat in his bedroom, placing percussive beats from a drum machine under nascent melodies, passing a bass back and forth, adding organs and bridges where necessary. “It’s computer music trying extremely hard not to sound like computer music,” Tom jokes. Fearful that limited and expensive studio time would kneecap the project creatively, eroding their charming naivete, the pair re-recorded the album in a storage space owned by Evan’s boss. Ornamentation through collaboration followed: there’s Aaron Goldstein on Pedal Steel in the Go-Betweens’ “Cattle and Cane”-channeling interlude “Patience Wearing Thin,” Eliza Niemi on cello (“18 Cigarettes,” a song loosely inspired by a 1997 Oasis performance of “Don’t Go Away”), and backing harmonies from Carpark labelmates The Beths (on an ode to friendship at a distance, “How Lonely Are You?,” “Always There,” and on the sped-up Syd Barrett stylings of “Under The Rolling Moon.”) While in his native Australia due to covid-19, Evan worked closely with producer James Cecil (The Goon Sax, Architecture in Helsinki) on Modern Fiction’s finishing touches—at one point, in the mountains of the Macedon Ranges in Victoria, recorded a string quartet (featured on “Fit to Burst,” “Always There,” “Sullen Leering Hope,” “Twere Ever Thus,” “Grand Final Day.”)

It’s danceable, depressive fun, with some relief: in “Always There” and “Sullen Leering Hope,” Modern Fiction’s faithful heart. “There’s a tendency in my writing, because of my world view, to be very bleak.” Tom explains. “A quality I don’t always see in myself and really appreciate in others is the courage to go on.” And yet, the record manages resiliency—enough for pop fans to fall in love with.

MILKY CLEAR VINYL.

''The lightness of the C86 Sarah Records guitars come with the significant counterweight of more ominous Factory Records basslines.The lyrics and vocals are stark, sandpapery and sardonic, akin to Jonathan Richman, Kiwi Jr and, Bodega.'' Ducks Ltd. - EP Review - God Is In The TV
Toronto’s Ducks Ltd. (formerly Ducks Unlimited), the bright jangle-pop duo of Tom McGreevy (lead vocal, guitar, bass, keyboards) and Evan Lewis (guitar, bass, drum programming), accomplish the impossible. The pair craft songs that play to very specific inspirations without drowning underneath them—immediately evidenced on their critically acclaimed EP, Get Bleak, and sharpened on Modern Fiction, their debut LP. “The Servants, The Clean, The Chills, The Bats, Television Personalities, Felt,” Evan rattles off. “Look Blue Go Purple is one I reference a lot with our production.” Echoes of ‘80s indiepop abound, but they never overwhelm. This is not a nostalgic record, after all, nor is it a derivative one. Instead, across 10 cheery-sounding songs, Ducks Ltd. explore contemporary society in decline, examining large scale human disaster through personal turmoil (hence the title, taken from a university course called Gnosticism and Nihilism in Modern Fiction, influenced by Graham Greene novels. Bookish indie fans, look no further.)

Writing the album was intimate. Tom drafted the nucleus of a song on an unplugged electric guitar and brought it over to Evan’s apartment, where the pair sat in his bedroom, placing percussive beats from a drum machine under nascent melodies, passing a bass back and forth, adding organs and bridges where necessary. “It’s computer music trying extremely hard not to sound like computer music,” Tom jokes. Fearful that limited and expensive studio time would kneecap the project creatively, eroding their charming naivete, the pair re-recorded the album in a storage space owned by Evan’s boss. Ornamentation through collaboration followed: there’s Aaron Goldstein on Pedal Steel in the Go-Betweens’ “Cattle and Cane”-channeling interlude “Patience Wearing Thin,” Eliza Niemi on cello (“18 Cigarettes,” a song loosely inspired by a 1997 Oasis performance of “Don’t Go Away”), and backing harmonies from Carpark labelmates The Beths (on an ode to friendship at a distance, “How Lonely Are You?,” “Always There,” and on the sped-up Syd Barrett stylings of “Under The Rolling Moon.”) While in his native Australia due to covid-19, Evan worked closely with producer James Cecil (The Goon Sax, Architecture in Helsinki) on Modern Fiction’s finishing touches—at one point, in the mountains of the Macedon Ranges in Victoria, recorded a string quartet (featured on “Fit to Burst,” “Always There,” “Sullen Leering Hope,” “Twere Ever Thus,” “Grand Final Day.”)

It’s danceable, depressive fun, with some relief: in “Always There” and “Sullen Leering Hope,” Modern Fiction’s faithful heart. “There’s a tendency in my writing, because of my world view, to be very bleak.” Tom explains. “A quality I don’t always see in myself and really appreciate in others is the courage to go on.” And yet, the record manages resiliency—enough for pop fans to fall in love with.

After his contribution to the "Lifesaver Compilation 4 - 21 (Dedicated To Andrew Weatherall)" last year with the pumping "Let's Hide Away", Damiano von Erckert presents his first proper full four tracker on LARJ. Expect dreamy moments with a lot of punch and great vocal snippets as Damiano dominates the bass drum in his masterful way.

A1 "MOONS" sucks you in with light and groovy bongo patterns which build the foundation for an uplifting track that's a bit dark around the sunnier side of things, yet still keeps the positive message: You and I can make it!

A2 "A MONSTER TO LOVE" sounds a bit like a modern take on the "Captain Future Theme", yet much deeper and darker. Atmospheric but built on one hell of a monster groove.

B1 "THESE ARE THE MOMENTS (FOR ZIMNI)" has epic qualities and is full of the uplifting moments we all need - not only Zimni … It does have a certain British sound to it and will definitely rule on a lot of dancefloors with its majestic bass line and whipping hi-hat.

B2 "WISHES" is reminiscent of yet more British sounds from the early 90ies (think Warp and early Nightmares On Wax). The beautiful vocal sample helps build up the tension here before a driving 303 bass line kicks in and takes no prisoners. You better wish for moments like these indeed … and relish them.

Kansas City trio BUMMER mirror the absurdity of
modern life with a balance of dark humour, dejected
nihilism and righteous fury. Their music spills out in
torrents of skull-crushing riffs, gargantuan bass and
caustic howls delivered at breakneck speed with
gleeful abandon.
Following their split 7” with long-time friends The Body,
which teased a more focused, lean sound for the
group, ‘Dead Horse’ hones BUMMER’s auditory
desolation and scathing gaze to laser-point precision.
In eleven short vignettes the quartet lay waste to
everything in their path, penning a vitriolic overview of
life in the American Midwest, a surprising blend of onestar Trip Advisor review and insightful cultural critique.
“BUMMER puts the ‘power’ in power trio as they play
a raw and primal form of aggressive music that splits
the difference between ‘Bleach’-era Nirvana and the
early, primitive thrash of Slayer. It’s aggressive and inyour-face, but doesn’t skimp on melody, making their
songs memorable. So, there is power and a bit of
precision to what they do. A whole lot of volume, too.” -
New Noise Magazine
CD in gatefold packaging with lyrics.
LP packaged with download code.
Available to independent retailers on grey / blue vinyl.
Artwork by painter Joan Lalucat Vehil.

“40 years ago my international career started for real when I got
a call from the musical mastermind Thad Jones, asking me to
join his new big band project Ball of Fire in Milan, Italy.
“Guess if I said yes!
“Since then I have walked winding musical paths and I still do.
“As the pandemic started to spread, I got stranded at home in
Skillinge Sweden from 13 March 2020.
“Many many months later, I can present something I’ve never
done before, a solo performance. Only me, myself and my
trombone in a beautiful-sounding church not far away from
where I live with my wife Beatrice, Ingelstorp Kyrka.
“I do not really know exactly when the idea got stuck in my head
but I guess around Christmas 2020. Having spent a strange but
personally wonderful year being at home, I suggested a solo
recording to my wife, and she thought it was a great idea.
“I called the priest in the church, named Maria, and she
immediately said ‘Yes, go for it. I will see to it that the church is
heated and ready for you.’
“The first time was almost a shock. Such a beautiful sound,
making the tone of my trombone just fly through time and
space. Beatrice and I looked at each other in silence, knowing
that this can become something special.
“I picked a wide range of songs and hymns for these occasions
and it felt very special to be able to record it in a wonderful room
with only one person in the audience, the one I love the most.
“All the songs have a special meaning to me, whether they are
songs I sang in church as a child or just picked them up on the
way. One is even written by one of my ancestors, Israel
Kolmodin.
“They present a side of me that is always there, but not always
to be seen. I hope you like it.
“Love, Nils.” - Nils Landgren

"Future indie classics that reek of modern New York City Charm” – DIY Magazine
"Captures honest-to-god truths in a new light’ – The Line of Best Fit
“A nostalgia-tinged hit, filled with jangly guitars and contagious melodies” – Wonderland
‘WANDERKID’ is the sophomore album from New York’s next lo-fi legend, JW Francis, and will be released whilst its creator is in the middle of trekking 2000 miles along the Appalachian Trail in the US. The follow up to JW’s critically acclaimed debut album ‘We Share A Similar Joy’, ‘WANDERKID’ will be released on 3rd September by Sunday Best Recordings. “WANDERKID is an album about escape. It’s supposed to be a gut punch of a record about an anti-hero named WANDERKID who wants to get OUT: out of his living situation, out of his head, out of his life. This album is like looking out the car window with an urgent desire to be on the other side. It was finished during the most recent global pandemic, so hopefully folks find it relatable.”
JW is fast making a name for himself as one of the most exciting new artists around. Born in Oklahoma, JW landed in New York City at 19 to study Economics at Columbia University, but not before making stops, stays and stints in Vermont, aged 12 and Paris, aged 13. Whilst at Columbia, the troubadour started music blog Rare Candy and founded student-run recording studio CU Records. Musically, JW takes his lead from the greats of the Downtown scene - Patti Smith, The Velvet Underground, Television, Talking Heads, The Strokes, Yeah Yeah Yeahs - and is fast emerging at the forefront of the next generation.

DEATH's landmark ‘Spiritual Healing’ record is nothing short of genre-defining. Originally released in 1990, Spiritual Healing marked a new turn in the DEATH discography, one which ushered in cleaner production, a new level of boundary pushing musicianship and songwriting skills that were previously unimaginable from a metal band. Spiritual Healing sets the standard for riffs, insane time changes and of course mainman Chuck Schuldiner's masterful guitar solos. Includes Digital Download

“Spiritual Healing hacked and exploited gaps in the boundaries of death metal. It was brutal and toxic, yet replete with unorthodox, cleaner shadings. On this reissue, it sounds as visceral and vital as the day it was originally released, affirming the fact that its narrative and musical sophistication laid the groundwork for countless metal bands to explore frenetic musical pathways with unabashed artistic honesty.” - PopMatters

After the successful ‘Dawn of the Dead’ live soundtrack performance in 2017 and subsequent live LP release by Claudio Simonetti’s Goblin, Svart Records are proud to present another foray into the world of classic Italian horror soundtracks.
This time, Claudio Simonetti’s Goblin were invited to Finland to perform a Dario Argento two movie set, opening with a live accompaniment to Profondo Rosso and finishing the night with a striking rendition Suspiria. Recorded on May 19th 2019 and mixed and mastered by Claudio Simonetti himself in his studio in Rome, Svart are proud to release limited vinyl editions of the Live Soundtrack Experience.
These exclusive jewels come wrapped in gatefold jackets with sumptuous new artwork by the master Eric Adrian Lee, including new lobby card designs of shots from the performance as taken by the photographer Marco Manzi. Both LPs are available on limited black and even more limited red vinyl. Get closer to the creepy mystique and jarring horror of this quintessential Simonetti’s Goblin soundtrack, live and in the flesh!

After retracing the path of Lou Reed, with her tribute show
and album ‘Run Run Run’, Emily Loizeau returns in full
force, influenced by growing concerns for the challenges
of climate change and migration, and everything we’ve
been through these past years.

Writing in the thick of lockdown and recording during
quarantine in England with John Parish (producer and
musician for PJ Harvey), Loizeau had dreamt of
collaborating and creating an album in the land of her
roots long before it came to pass.

Both guitarist Csaba Palotaï, by Loizeau’s side these last
ten years, and pianist / bassist Boris Boublil, a new
addition to the team, had worked with Parish before on a
variety of musical projects. Sacha Toorop, on the drums,
also had experience recording with Parish for Dominique
A’s ‘Auguri’ album.

“Our work on the demos with Boris, Csaba and Sacha; the
songwriting for this album; the sound I was trying to
render: everything seemed to point to a return to the
United Kingdom and to Parish’s creative force, which is
raw, sensitive and powerful all at once," Loizeau says.
"The time was right!"

The album is a diary - personal fieldnotes from a
lockdown, with an eye turned towards the outer world. A
call, a deep and powerful desire to seek out the core of our
fears and anger and find there what binds each soul to the
other.

‘Icare’ is the story of the infinite within us, our desires and
our shortcomings, how we reach for beauty, for harmony,
our creative frustrations and the Promethean madness
that may precipitate our fall.

THE PALE FOUNTAINS - LONGSHOT FOR YOUR LOVE (Marina Records) New enhanced, remastered vinyl edition of the long-deleted, much sought-after Pale Fountains compilation "Longshot For Your Love" - originally released in 1998 - covering the band's early years from 1982 to 1984. "Longshot For Your Love" is a collection of rarities, radio sessions and previously unreleased tracks by Liverpool's second best band ever - fronted by Michael Head ("Our greatest living songwriter" - NME). Seven cuts are released here for the first time ever - incl. the superb John Peel and Old Grey Whistle Test BBC Sessions ('82/'83). The album comes with enhanced artwork - in a beautiful gatefold cover plus inner sleeve feat. lots of unseen band photos and extensive linernotes by former Pale Fountains manager Patrick Moore. On Marina Records.

Neon Christ, the Atlanta hardcore luminaries founded by Alice in Chains singer William DuVall have announced the official release of 1984 for 17th September. This collaboration between Southern Lord Recordings/DVL Recordings was originally released on Record Store Day U.S.only, now to be made available more widely.

The package includes a full-colour gatefold sleeve and a 12-page oral history booklet featuring dozens of never-before-seen photographs. Heavyweight vinyl at 45 RPM for maximum fidelity.

Neon Christ formed in the fall of 1983 with William DuVall on guitar, Jimmy Demer on drums, Danny Lankford on bass, and Randy DuTeau on vocals. They made their debut in the early morning hours of New Year’s Day 1984. That March, they recorded their eponymous debut 10-song EP. Released in June ’84, the EP's songs exemplify the band's signature musical diversity, from DRI-style thrashers like "Parental Suppression" to the atmospheric improv of "After." A short east coast tour followed. On Labor Day 1984, the band recorded four tracks in the home studio of Nick Jameson, of Foghat fame. A few months later, "Ashes to Ashes" was included on the International Peace/War compilation released by MDC's R Radical Records, bringing the band worldwide exposure.

Neon Christ shared the stage with the luminaries of 80s hardcore including the Dead Kennedys, Circle Jerks, and Corrosion of Conformity. In 1985, the band added Shawn Devine on second guitar, as their sound and songs became slower, heavier, and more melodic. DuVall wrote an album's worth of songs in 1985, but only "Savior (Drawn In)" was ever recorded in what would be the band’s final studio session on December 26, 1985 (the master tapes were lost). Returning to the four-piece original lineup, the band played a handful of Atlanta shows and then took a break in March of 1986. A few months later, William moved to Santa Cruz, CA, to join BL’AST!, and Jimmy, Danny, and Randy formed Gardens of…William later founded jazz/punk/world improvisers No Walls. In 1999, he would form Comes With The Fall and move the band to Los Angeles, where he struck up a friendship and musical collaboration with Jerry Cantrell. William joined Alice in Chains as vocalist and guitarist in 2006. On February 2, 2008, Neon Christ reunited to headline the Ratlanta Punkfest 2.

To this day, the band members maintain a close friendship, as well as a desire to honour the legacy of the group. So when longtime fan Greg Anderson of Southern Lord contacted them about reissuing a deluxe edition of Neon Christ's 1984 sessions, "1984" quickly came to life. To remaster the original tapes using an all-analog process, William DuVall made multiple trips to Nashville to one of the few remaining studios maintaining the vintage technology to play and process the audio. Side one of "1984" features the original Neon Christ 7" EP, and side two contains the four songs of the Labor Day session

Mixed Colored Vinyl

The London label continues to innovate with their biggest release to date.

10 tracks – 10 incredible artists adding to their string of solid releases by new and established art-ists.

Setting fire to the rage of acceptance.
–
Sublime Creatures, defiant of society’s cages, its definitions of power, beauty and status. A higher stance above bitter re-sentment. A pro-active community of thin- kers. A patch-work of empowered souls, ideas and experiences.

Directly related to one of the sentences in our manifesto, Sublime Creatures is a call to our most powerful selves.
–
The name of the label itself is about us working on bettering ourselves and being united in all our differences. “Reptile” is about our relationship with the reptilian brain and our efforts to understand what truly means to be human (tools to perfect your instinct), becoming aware of our-selves and the others around us. “House of” is a direct allusion to the “house and ball culture” movements in NYC in the early 80s.

The sense of a real family of strangers coming together around a shared sense of purpose.

Dark Star Safari is a musical entity comprised of Jan Bang, Erik Honoré, Eivind Aarset, Samuel Rohrer and John Derek Bishop. Their second fulllength offering Walk Through Lightly is the first to feature all five musicians together in the studio from the outset, making for a more organic refinement upon their already established methodology: gradually sculpting distinct songs out of collective improvisations, or using the raw material from initial recordings as the basis for more carefully articulated compositions. The final mix is one that invites few stylistic comparisons to other musical peers, and in fact few comparisons to existing genres. Though this second offering from the project is frosted over with a Scandinavian sense of spatiality and
melancholy, it’s best listened to without considering any origin points, geographic or otherwise: from the opening moments of “Walk Through Lightly,” listeners will feel as if teleported directly into the middle of an enigmatic film-in-progress.
The album opener immediately and successfully sets the table for what is to follow. The electronic and acoustic instrumentation is pensive, but not passive, with restrained scrapes and stridulations in the background combining with backwards-looped passages and perlescent or granulated sound effects to better emphasize the carefully arranged latticework of guitar, percussion, strings, and bass. In some places, such as on “Father’s Day” and “Measured Response,” the silences or breaths between passages are pronounced enough to be an instrument in their own right (and an elegant confirmation of the fact that silence is also a conveyor of information). This nuanced production, which wisely opts for intimacy instead of relying on overdone "instant atmosphere generators" like lengthy reverb, provides just enough tension to contrast with the sense of elevation provided by Bang’s vocal contributions: smoky, evanescent, and impressionistic recitations offering not snapshots of specific events, but rather complete emotional environments for the listener to hover through and explore.
Within these environments, the lyrical imagery focuses upon coming to grips with sudden transformations on both micro and macro levels (the opening “this was a perfect place / till we lost our way” from “Patria” or the foreboding “Poems that explore / Their silence / Crush their violence / Now their time ends” from “Measured Response.”) It focuses as well upon coming to thresholds or crossings, be they physical crossroads or internal states of mind, or both (see especially the striking turns of phrase from “Murmuration.”) With such things in mind, it’s only natural that there would be consideration of dreaming as well, and indeed four different titles on the LP make different reference to a dream or dream state, seemingly valuing dreams as part of the continuum of consciousness rather than something totally cut off from waking experience.
Given the sense of foreboding, anticipation, and even unease that these kinds of subjects often bring with them, the spare and un-hurried music is all the more intriguing, especially when the eponymous finale arrives and the percolating sound bed seems to hint at a coming resolution, but then leaves the listener with more questions than answers. By competently fusing a mature, economical approach to sincerely romantic lyrical themes, Walk Through Lightly is a rare accomplishment.

The walls where of bare red brick and hung with pop art paintings, the button-back banquettes in olive green velour.
It's like sitting on a sofa in a front room circa 1983.

The ceiling has gnarled, thin wooden beams. It's a wealthy person's version of a humble farmhouse and it's magnificent...

With 10 years in the 'biz' firmly under his belt, Jiah Wells is poised to release the first full-length LP of his Galtier project, Pulchra Es Elementis. Whilst Galtier is arguably one of the originators of the percussive style that would eventually fall under the Hard Drum label, the heightened theatrics of his recent output have seen him channel Blade Runner-styled sonics and move further away from absolute club functionality. Whilst Galtier's output often seems to soundtrack hypothetical, off-planet words, Pulchra Es Elementis turns the focus inwards: towards Wells' own emotional constellation, his evolving spirituality and his attempts to tap into planes of existence beyond the tangible. The album's Latin title translates to 'Elements are Beautiful' and encapsulates the artist's belief that there is grace in all of life's aspects; pushing past what we deem as good or bad, minuscule or massive.

Pulchra Es Elementis begins with Crystalised Larva, a brooding opener of breathy pad synths and expansive kick drums which reverberate through the mix as if the hits originate from the bottom of a valley. There's an indistinct sense of tension on this track, in part due to a central melody, which never resolves but only descends lower in pitch. This tension turns to explorative wonder on Wilfull Saviour, where a mirage of musical ideas come in and out of focus. Although the sonic worlds Galtier explores are internal to him, Wilfull Saviour still possesses that sense of a cosmic journey we've come to expect from Wells; an ardent fan of dystopian films and literature.

Continuing this emotional odyssey, Bruised, But Not Broken sees the artist push deeper into the psychological undergrowth; its murky tonality juxtaposes crisp, Reggaeton-inspired drum patterns with a heavily compressed one-note synth line that modulates wildly - cutting through the mix like a nagging thought that won't leave your mind. Next up is U Were, U Are & What U Will Be, one of the more club-ready tracks of the LP, which gets us moving with a snarling bassline and layers upon layers of percussive hits and inflections.

At Pulchra Es Elementis' mid-point is the LP's title track, a drumless interlude where blissful, shimmering synths create a patchwork of intensities. Galtier's approach to songwriting shines through here; ignoring musical pragmatics, he opts to feel his way through his compositions without knowing where they might end up. Following on from that weightless breather, Phantasiai turns up the freneticism with its head-spinning mix of drum programming and a glitched-out synth line that yo-yos up and down octaves. Things get even more furious on the Superficie-featuring Cavernam, a hollow Hard Drum banger inspired by Eskibeat sensibilities and designed to create a sense of self-implosion.

The album's penultimate track, (U Are) Beautiful, is a tale of two halves: beginning with a moment of serenity as synthesizers swell like an ocean tide before evolving into a marching crescendo of raw energy. Rounding off the album, Shine Forth hurtles through pacey drum work and all manner of strange zaps and klaxons before giving way to a final dose of nebulous ambience.

A musical journey unlike any other 'club music' albums, Pulchra Es Elementis is an LP that demands to be consumed in one sitting. Reflecting on his place within the universe and the musical landscape, the album could be viewed as a musical exorcism which sees Galtier working through and shedding huge chunks of his ego that stuck to him out of fear of the unknown. Pulchra Es Elementis begins on an insecure, overwhelming or, even, existential note before rounding off with a related sense of vastness seen with new, more positive eyes. It's a voyage we hope you will join him on.

A remix album of Tolerance by Osaka-based electronic musician Junya Tokuda released from remodel, a label established by Yuzuru Agi and Studio Warp.
In addition to performing live and releasing works, Junya Tokuda runs the web label Linesound and organizes the electronic music event "Line".
His previous releases include "map not seen EP" (Linesound, 2011), "A Day In The Alley" (shrine.jp, 2016), "Unleash EP" (LongLongLabel, 2018), and "No Man's Land" (shrine.jp, 2020). jp, 2020).
remodel also released solo album, "Anemic Cinema", in April 2021, prior to this work, and his track was included in a two-disc compilation, "a sign 2", released in May 2020.
This album "VANITY RE-MAKE/RE-MODEL Vol.1" is a remix album using material from the Tokyo-based project Tolerance by Junko Tange from Vanity Records.
The production was done in parallel with "Anemic Cinema" (late August 2020 to mid-December 2020), and the basic musicality, especially the brilliant treatment of sound by dub-like spatial effects, is common to both works.
However, in this album, the material of Tolerance is sometimes vague and fragmented like a torn tape swimming on the surface of the water, and at other times like a tape reel rolling down from the ocean-like sound image created by the skillful blending of pads and moving noises through the manipulation of dub effects.
The tactile sensation of poking and stroking the ears (like ASMR), which was also felt in "Anemic Cinema," is more vividly revealed by the carefully considered incorporation of a foreign object.
In addition, the instrumental aspect of Toleranece's musicianship, especially the effective use of the electric piano sound, is also impressive. Interestingly, in other tracks, the bassline exerts a strong pull and draws out the phrasing aspect of Junya Tokuda's musicianship as if in response to the electric piano.
Junya Tokuda's music, which even creates an organic feel with its deft handling of generated sounds and samples, reveals its caliber and hidden patterns through the inclusion of Tolerance voices, noises, and instruments that seem hard, rough, and axially distorted. It is an exhilarating and magical work.

Blind, Chicago soul singer Willie Williams was first discovered performing in clubs in and around the Windy City. He was signed to ABC records by their A&R Director for the Midwest Johnny Pate a former Jazz bassist, independent producer, arranger and songwriter in his own right. Pate was a friend and colleague of fellow musician, songwriter and founding member of one of ABC’s prolific vocal groups The Trends, Tom Dorsey. Pate and Dorsey would contribute heavily as writers and producer throughout Willie’s recording career, beginning with his first ABC 45 release in 1966 “Have You Ever Been Played For A Fool/With All My Soul”. The release’s b-side became a popular radio play at the time with Willie becoming known as Willie “Soul” Williams for a while. Two further ABC releases were to follow “It Doesn’t Pay/Just Because” (1967) and “I’m Through With You/Strung Out” (1968).

Willie’s next 45 release although recorded in Chicago under Johnny Pate’s supervision found it’s way to another major label, RCA, although credited as a GWP Production (Gerrard W. Purcell). The 45 in question being the excellent Tom Dorsey penned songs “Just To Be Loved By You/Name It” released during 1969.

Two Willie Williams 45 releases did appear on the Gamma label but I’m unsure if one or both of these are by the same Willie Williams in question.

Throughout his recording career Willie continued to work the clubs with his own band which was led by his bass guitarist and confidant Bradley (Brad) Bobo a man who featured as a session musician on many recording sessions including the creation of The Notation’s album of the same name for Curtis Mayfield’s Curtom subsidiary label Gemigo.

On the 22nd of December 1970 a recording session was held in RCA’s Studio B, on North Wacker Drive, Chicago with sound engineer Russ Vestuto. The session was financed by Tom Dorsey who amongst other song writing gratuities had been paid handsomely for the 3 songs “Love Machine”, “My Baby’s Love” and “How Are You Fixed For Love” which he had wrote and contributed to the blue-eyed hit group, The O’Kaysion’s “Girl Watcher” ABC album. The result of this session yielded four Willie Williams tracks. Brad Bobo played bass guitar on the session, the composer of the four songs Tom Dorsey supplied the arrangements and Tom’s wife Carolyn (also a former group members of The Trends) joined both he and Brad on backing vocals.

The four songs were then offered to Eddie Thomas who chose two of them to release on a 45 single. The two songs being “Must Mean Love” which was later renamed “The Baa Baa Song “and “Psyched Out” which Eddie then released on his own Lakeside label, thus leaving the two other songs to remain unissued in the can.

Willie has now sadly passed away but in his later life once the opportunity’s for performing artists began to dwindle he chose a different path in his life, gaining a Doctors degree, he went on to become a College Lecturer. Tom Dorsey too turned his back on the music industry apart from his publishing company to concentrate on his family life as well as founding a very successful business involving one of his other great life passions, photography. Luckily for us he never lost the master tape of Willie’s sessions and after several years of tentative enquiries he graciously relented to my request to put them out. So now before you we have the two excellent previously unissued Willie Williams songs that Eddie Thomas passed on, the delightfully soulful “Give It All I Got” backed with the funky, social conscience themed “Do You Understand”, lost early 1970’s Chicago Soul at its finest.

TOTAL turns 21 this year, and Kompakt’s venerable compilation series couldn’t have asked for a more auspicious coming-of-age collection. If TOTAL 20 was consolidation against the odds, the Kompakt crew producing for a dreamt-of dancefloor in an uncertain future, then TOTAL 21 feels abuzz and alive with possibilities. Significantly, it’s the first TOTAL in some time that’s streamlined down to a single disc; this makes TOTAL 21 even punchier than usual, a joyous, reflective, and always thrilling 75-minute audio scan of the world according to Kompakt.

As with every instalment of TOTAL, there’s a deft balancing here of Kompakt regulars and new blood. Of the latter, there’s a first appearance by KOLLMORGEN, remixed by PATRICE BÄUMEL into an astral torch song; Amsterdam’s NICKY ELISABETH, offering up ROMAN FLÜGEL’s pulsating, arpeggiated remix of “Celeste”; and CAPTAIN MUSTACHE swoops down into view, PLAY PAUL in tow, with the dream-like electro lift-off that is “Everything”. JONATHAN KASPAR also drops by with a new track, “Von Draussen”, a stealthy and lethal floor-hugger with prowling bass.

Elsewhere, there’s the lead track to MICHAEL MAYER’s astonishing recent EP, “Brainwave Technology”, which not-so-gently spears the tech-futurist babble of AI, transhumanism and posthumanism, soundtracked by one of Mayer’s typically lush, glimmering soundscapes. JOHN TEJADA reaches back to the heyday of glitch and dub techno with the gorgeous “Spectral Progressions”, while the brothers VOIGT & VOIGT, on “Nicht Mein Job”, seem reinvigorated by the interwoven patterns and funky minimalism of the Profan days. Not to be outdone, JÜRGEN PAAPE kicks TOTAL 21 with “La Guittara Romantica”, a chiming and lilting lullaby for woozy late-night reflection.

Throughout, it feels as though Kompakt are taking a moment to both breathe in the dust of the past and look forward to a bright future. Perhaps that’s why, on “Fasson”, SASCHA FUNKE seems so confident, with pinprick melodies bouncing around a hall of audio mirrors, or why THE BIONAUT returns with “Blue Sky Motor Lodge”, a song so moistly melancholy, so enduringly lovely, it’ll make you weep tears of joy. ROBAG WRUHME gets a little delirious on the ticking, twisting “No”, and then GUI BORATTO mops everything up with the bubbling, bumping glam-stomp “Wake Up”.

That’s not all – spring for the digital and/or vinyl edition and you’ll get a new cut, “Happy”, from MICHAEL MAYER, and MARC ROMBOY & C.A.R.’s “I Am A Dancer”. But however you choose to play it, now TOTAL’s turned 21, it’s your duty to throw it the celebration to end all celebrations. Let the party begin, and don’t forget to bring a party favor…

VERY LIMITED COPIES OF THIS PREVIOUSLY RSD U.S. ONLY RELEASE

Engine Kid, the post hardcore collective featuring Greg Anderson (Southern Lord label owner, also in Sunn O))), Goatsnake & Thorr's Hammer) announce a special Record Store Day 6 x LP box set release Everything Left Inside, featuring the Novocaine/Astronaut 12 inch, Bear Catching Fish 2xLP, Angel Wings 2xLP and Split w/ Iceburn / Everything Left Inside 12 inch.

Almost 30 years since the inception of Engine Kid and the trio find themselves comprehending the enormity of their creation, honouring and celebrating the mountains they formed and the canyons they created.
Engine Kid was born in Seattle, WA 1991. The band's original lineup consisted of guitarist/vocalist Greg Anderson (Southern Lord, Sunn O))), Thorr's Hammer, Goatsnake), drummer Chris Vandebrooke & bassist Art Behrman. The three had all been in hardcore/punk bands around town and all had a burning desire to create a sound that was unlike anything they had done in the past. After just a few months of existence they quickly recorded and self-released the Novocaine 7”. Circa 92’ a close friend and bassist Brian Kraft (Krafty) replaced Behrman, and at that moment the entire aesthetic and execution of sound became heavier, darker and extremely dynamic. The power trio was picked up by local label C/Z records and set out upon recording the new music they were quickly creating. In 1993 the band had two releases on C/Z; their first offering was the Astronaut five song EP recorded by John Goodmanson. The songs were primitive and exemplified the bands worship of Slint and their loud/quiet song dynamic In the summer of 93’ the band drove all the way to Chicago to record with their hero Steve Albini in the basement of his house. They emerged with the eight song album they called: Bear Catching Fish. Albini intuitively captured the band exactly as they were at that moment: raw, vulnerable and mammoth.

Shortly after the albums’ release Jade Devitt replaced Vandebrooke on drums. This transition was extremely crucial in the “second phase” of the group. Devitt was an absolute beast and his power helped launch the band miles beyond where they had ever been before. The sound of “The Kid” started to transform into a sound much more of their own. The three dudes were hellbent on pushing the bounds of sonic exploration to its absolute fullest. Suddenly there was an abundance of depth within the sounds they were creating. Eclectic influences of punk/hardcore (Black Flag, Die Kreuzen), Metal (Entombed, Carcass) and even jazz (Mahavishnu Orchestra, Miles Davis electric era) were in a full collision course with the already dynamically heavy foundation of the band. The levee had broken and the resulting flood of sound completely saturated everything in its path.

Engine Kid toured relentlessly. They were constantly on the road playing every nook and cranny they possibly could. Any moment not spent on the road was instead spent focused on making their new material as potent as possible. Early in 94' the band decided to pay homage to their mutual love of jazz/fusion and recorded three instrumental pieces that would become a split album with like minded powerhouse Iceburn. The Engine Kid/Iceburn album showcased each group's love of jazz loosely framed by the intense enthusiasm of underground music. The album was released by Revelation records in 1994.
During the summer of 94’ the band reconvened with producer John Goodmanson at Bad Animals & AVAST! studios to record the new material that was literally bleeding out of the reinvigorated trio. These recorded songs were much more progressive, heavier, harder and more focused than past works. They even tackled John Coltranes’ “OLE” adding saxophone and trumpet from their brothers in Silkworm. In March of 1995, Revelation Records released these recordings as the Angel Wings album. Unfortunately "the Kid" flew too close to the sun and broke up very shortly after the album's release.

Everything Left Inside 6xLP box set (RSD release) includes:
LORD 288.1 Engine Kid-“Novocaine/Astronaut” 12”
LORD 289 Engine Kid-Bear Catching Fish 2xLP
LORD 290 Engine Kid-Angel Wings 2xLP
LORD 288.2 Engine Kid-Split w/ Iceburn /Everything Left Inside 12”
16-page color photo/liner note booklet.

2024 Restock

Space Afrika follow last year's heartbreaking x perception-bending mixtape "hybtwibt?" with an anxious patchwork of drill bass, reflective musique concrete and after-hours surrealism >> singular deep headspace exploration to file alongside Mark Leckey, Perila, Burial or Klein.

Assembled to accompany a short film from Manchester-born visual artist, poet and filmmaker Tibyan Mahawah Sanoh, Joshua Inyang and Joshua Tarelle’s newest is a cinematic audit of identity and ancestry. In the film, Sanoh works hard to visually illustrate an honest and vulnerable picture of her soul. Inyang and Tarelle respond by doing the same with sound, collaging disparate elements together in a way that should be familiar to anyone who heard "hybtwibt?" or their jawdropping RA mix from earlier this year.

Warped field recordings, overdriven rhythmic pressure, syrupy pads and disorienting vocals are cut and pasted over each other, generating a living, breathing study of the duo's Northern working class Black British reality. Unlike the duo's acclaimed "Somewhere Decent To Live" full-length, elements mutate and transform: mushy noise bends into street sounds, haunted vocals into echoing drill melancholia and muffled howls into shattered digital remnants.

The main event is the full 10-minute soundtrack, that's layered with Sanoh's disorienting and deeply personal poetry and echoes Mark Leckey's recent "In This Lingering Twilight Sparkle". Then the EP is bumped up with three sketches from the same sessions, two of which never made it to the final mixdown. 'Version 3' is a particular highlight, pasting heartbreaking piano and blowtorched vocal loops over winding drill bass > sounds like Burial remixing Unknown T into pure syrup.

a 1. Untitled (To Describe You) OST feat. Tibyan Mahawah Sanoh 10:50

a 1 | Untitled (To Describe You) OST feat. Tibyan Mahawah Sanoh 10 50

"Widerstehe dem Drang, den Raum zu füllen." Diesem Impuls folgt die New Yorker Elektronik-Experimentalistin Nicky Mao aka HIRO KONE auf ihren vierten Album "Silvercoat The Throng", das Elemente von experimentellem Techno, Spoken Word, Neo-Klassik und Industrial Noise verwebt. Kompositorisch drückt sich dies in einer schwelenden, schattenhaften Energie aus, die verschleiert, aber variabel ist und in einer Komposition aus Streichern, Synthesizern, Rhythmus und Stimme nachgezeichnet wird. Der Titel spielt auf den poetischen Begriff der "Möglichkeit, die aus der Dunkelheit gerettet wurde" an, was das formverändernde, hingebungsvolle Gefühl dieser ehrgeizigen und eleganten Klangentwürfe treffend beschreibt, die trotz der Vergänglichkeit entstanden sind, angetrieben von dem Streben, "immer artikulierter, differenzierter" zu werden. "Silvercoat The Throng" zeigt HIRO KONE auf dem Höhepunkt ihrer Kräfte, aber lauscht selbst.

Native from south of France, Ogmah is a DJ/Producer of industrial and noisy techno, embellished with hardcore influences. Founder of the label Askorn Records, his music is raw, hard hitting and harsh, and his mixing style is fast, hard and precise.

A1) This first track deserves a powerful broken beat rhythm, combined with some aggressive noises & FX and a stormy atmosphere. Sounds like an unchained monster in a disaffected metallurgic factory.

A2) Pure violence into this hard hitting 4x4 industrial track. Collapse of the business techno. Heavy hammering kick with some organic noises, perfect soundtrack for a sacrifice.

B1) Keepsakes brings his famous crazy groovy drums patterns in this one! Boxing kick, scary atmosphere & disturbing synth, perfect for dancing until you die in a gloomy & wet Berlin cellar.

B2) Noisy as hell remix with a crazy sound design by Exome! Dark & violent, this track is a fucking tank that will crush your soul and chase you in your scariest nightmares...

B3) This last remix by Alessandro Nero will make you broke into a furious gallop! Metallic noises with a recognizable modular style, this track will make you remember some good old schoolish hardcorish vibes.

Global reggae stars SOJA are back with their first album in 4 years.
‘Beauty In The Silence’ features special guests Rebelution, UB40, Dirty
Heads, Slightly Stoopid, Collie Buddz and more.  SOJA deliberately took their time in creating ‘Beauty In The Silence’ as
they explored new sonic terrain, recording in such iconic spots as
Miami’s Circle House Studios and Dave Matthews Band’s Haunted
Hollow, and teaming up with producers like Niko Marzouca (Bob Marley,
Pharrell, Rick Ross, A$AP Rocky), Mariano Aponte and Johnny Cosmic.
The band eventually phased into working remotely as stay-at-home
orders set in across the country and, in that process, lead guitarist
Trevor Young (formerly SOJA’s guitar tech) took on a much greater role
in the band’s creative direction, co-producing alongside Hemphill and
carefully shaping the album’s hypnotic sound.  For more than two decades, SOJA have elated audiences across the
globe with their fresh yet timeless take on roots reggae, a sound born
from their shared passion for making music that transports and inspires.
The band was originally formed by a group of friends while still in middle
school and they have since built a massive, dedicated global fanbase. In
the years following, SOJA have headlined shows in over 30 countries
around the world, received multiple GRAMMY nominations and
generated 7 million social media fans and more than 1 billion streams;
attracting an international fanbase along the way, with caravans of
diehards following them from city to city.  “Charismatic bandleader Jacob Hemphill writes SOJA’s lyrics as an
attempt to find a path to unity in the world.” - NPR
 “SOJA has cultivated a dedicated global fanbase with their socially
conscious lyrics, catchy sound and a ceaseless touring schedule.” - MTV
 “Contemporary reggae with a forthright social conscience.” - Billboard
 “Over the course of their near-20-year career, SOJA has amassed a
loyal following for their social justice-minded brand of roots reggae.” - USA Today

Along with James Brown and Parliament-Funkadelic, Sly & the Family Stone virtually invented 1970’s funk. Their fusion of R&B rhythms, infectious melodies, and psychedelia created a new pop/soul/rock hybrid. The impact of Sly’s music has proven widespread and long-lasting. For instance, Motown producer Norman Whitfield patterned the label’s forays into harder- driving, socially relevant material (such as The Temptations’ “Runaway Child” and “Ball of Confusion”) based on their sound.

The pioneering Stone had a major influence in the 1980’s on artists such as Prince and Rick James. Legions of artists from the 1990’s forward - including Public Enemy, Fatboy Slim, Arrested Devellopment, Beck and many others - mined Stone’s back catalog for samples.

For those not familiar with Sly this 2LP set is a great introduction and an invitation to dig deeper into Sly & The Family Stone’s catalogue. This 20 track compilation covers all the hits & fan favourites from the 1968-1974 period.

The Best Of Sly and The Family Stone is now available as a limited edition of 2000 numbered copies on transparent pink vinyl.

New York electronic experimentalist Nicky Mao's 4th full-length, Silvercoat the throng, emerged against the backdrop of lockdown, compelled by an intuitive directive: “resist the urge to fill the space.” Compositionally this translated as a simmering, shadowy energy, veiled but variable, traced in a composite of strings, synthetics, rhythm, and voice. The title alludes to a poetic notion of “possibility, rescued from darkness,” which aptly evokes the shape-shifting, devotional feel of these ambitious and elegant sound designs, crafted in defiance of impermanence, driven by the pursuit of becoming “more and more articulated, differentiated.”

Collaborations with travis from ONO, Speaker Music, and Muqata'a further expand the album's lyrical, liminal palette, meshing elements of experimental techno, spoken word, neo-classical, and industrial noise into a fluid, encrypted dialect all its own. Mao speaks of creative strategies of solidification and reification, encounter and transformation, pure being and punctuation – a multitude

of sparks, fuses, and forking paths leading across fresh thresholds and twilit terrain. Taken as a whole, Silvercoat captures Hiro Kone at the peak of their powers, alchemizing disruption and decomposition into regenerative interior worlds: “Within the darkness and absence is an opportunity for discovery.”

Who could forget the BAMs, the BLAMs, and the BAOMMs?!

Ubisoft, Microids and Laced Records have conspired to bring the fabulously percussion-heavy music of XIII to vinyl.

Based on the graphic novel by Jean Van Hamme and William Vance, the 2003 cult first-person shooter adopted a cel-shaded look and visual onomatopoeia to set it apart. Mixing action, stealth, and exploration, XIII is chock full of conspiracy, assassination, and plot twists.

French composer Lionel Gaget created a superb spy-jazz soundtrack that fuses John Barry’s ‘60s James Bond musical blueprint with David Holmes’ Ocean’s Eleven instrumental funk. The 11 specially remastered tracks on the LP — featured in both the 2003 and 2020 versions of the game — are stuffed full of first-class percussion, deep bass and subtle jazz stings.

The audiophile-quality, heavyweight 180g black and white LP will be housed in a deluxe card sleeve.

The Altered Hours have just announced details of their second full length album ‘Convertible’. The Irish group have just signed with Pizza Pizza Records and the 8 track album is set for release in May 2021. Following on from some successful headline tours across Europe supporting their debut album & some blistering EP’s along the way, the group found themselves looking for the next step in their ever- evolving journey. Having previously recorded in Anton Newcombe’s Berlin studio for their debut singles & ending up in the infamous Funkhaus studios to lay down what would become their debut album ‘In Heat Not Sorry ’, the band decided once again to



change the approach & take their new songs back to the privacy of their own studio space on the outskirts of Cork City. The new LP ‘Convertible’ is the result of countless late night/early morning sessions that took place over the past 2 years. Choosing to self produce and engineer this record was a conscious choice as the band felt an urge to take what they had learned on the road & in various studios previously, and condense all of this energy back into the boiling pot of their own rehearsal space.

The group have been a part of some exciting movements since the beginning and their path has been an organic one. They quickly became known in their hometown for taking over an ex-government building in the heart of Cork city, turning into a studio and creating a hub for the scene that surrounded them. The years that follow shine a light on the relentless energy of this group and unwavering love for playing shows anywhere & everywhere. Having been invited to perform at Liverpool Psych Fest numerous times, supporting the Brian Jonestown Massacre, selling out venues, churches & clubs, playing rip-roaring DIY shows in friends’ basements, getting joined by members of Spacemen 3 on stage and more recently, being invited by fellow Irish rockers Fontaines D.C to join them on their 2019 European tour playing sold out shows in venues like The Bataclan, Paris & Paradiso, Amsterdam. It’s been a wild ride for The Altered Hours so far & their music keeps evolving & growing as the experiences build. This is a group with the spirit of music deeply ingrained in them and a passion for making rock music something that you can believe in.

Their second full length album ‘Convertible’ is a window into the band’s idiosyncratic tendencies, a closer look into how their writing & sound continuously moves forwards while somehow remaining rooted in their own unique world all at once. The Altered Hours seem born to be an underground affair, something that they wear with pride and this album is a wonderful culmination of their DIY upbringing, their unfiltered rock ‘n’ roll spirit along with a confident stride into personal songwriting.

Keeping the faith and facing the future, Times Are Changing puts a full stop on pandemic talk for unstoppable indie-pop four-piece Lottery Winners, as the four-piece release the fizzing anthem into a newly optimistic world. The first single from their newly


announced, upcoming, second studio album, Something To Leave The House For, the band has penned the soundtrack to hugging old friends, the rebirth of live music and those summer festivals just around the around the corner.

For front man and songwriter, Thom Rylance, working through the darkness of Covid meant surviving Covid, tying the threads of an unravelling mental state into a new body of work now emerging as bright, arms-aloft bursts of positivity. His famed ‘note to self’, the emotive An Open Letter To Creatives and the band’s sensational, viral collaboration with Nickelback with the Rock Star Sea Shanty were just two moments of levity in a time dominated by the dark clouds forming overhead. Now he and the band are moving on and moving up.

“If something so bleak and harrowing can hit us all, totally out of the blue, and change our lives, then by definition that must mean that something beautiful can too.” says bassist and vocalist, Katie Lloyd (bass and vocals) as Lottery Winners start the next leg of their adventure with Times Are Changing, reflective, ready to party and no less ambitious than before.

Their mammoth, 14-track new album, Something To Leave The House For, follows their 2020, self-titled UK Album Chart Top 30 debut with a Fri 24 September 2021 release via Modern Sky UK, promises to document the tumultuous times and the path back from despair. In true Lottery Winners style, every truth and life lesson is dressed in glass-half-full, wildly optimistic, radio-friendly pop, hip-swinging beats and bittersweet tenderness.

Forming off the back of contemporary jazz outfit Zeitgeist, Voronoi take the power and rhythmic complexity of heavier prog-metal and fuse it with the sophistication of classical music and jazz. A passion for science fiction thematically drives the band’s heaving and

chopping style, whereas artists such as Autechre, Car Bomb, Tigran Hamasyan and J.S. Bach help shape the rigid, experimental structure of The Last Three Seconds.

“Compositionally and stylistically we have moved into much heavier territory than our contemporary jazz foundations,” says Keyboardist Aleks Podraza. “It really shows. If you were to put this record against the first tunes we played together as Zeitgeist, it would be like introducing a much capable Thelonious Monk to a less hectic Dillinger Escape Plan.” 

As the first single off The Last Three Seconds, Gamma Signals serves as a toe in the water for the depth of things to come. The full-bodied riffwork captures the stop-start format of prog-metal heavyweights without being explicitly metal. Yet beyond this, glitchy, experimental electronics cut through the composition like a knife. The final product is something that captures the magic of the cosmos – a place where worlds orbit worlds, genres orbit genres. Each element remains different and unique, but still intrinsically tied to the other.

“Gamma Signals is about pulsars and how when Jocelyn Bell-Burnell first discovered them, the media thought they were aliens trying to contact us,” says Podraza. “Broadly, this song is about my love for and fascination with cosmology as a whole. That's a theme that runs through the veins of most of the album.” 

Those following Vorono’s career will need little convincing on the quality of The Last Three Seconds. Collectively, band members have performed and recorded with groups like The Cinematic Orchestra, KOYO, NJYO, Jenova Collective, The Often Herd, Mik Artistik’s Ego Trip, Wandering Monster and more. This in turn has garnered sizable attention at festivals such as Leeds and Reading Festival, Download Festival, Ronnie Scott’s Jazz Club - not to mention Voronoi’s thrashing set at 2019’s ArcTanGent.

The cool and collected chaos of The Last Three Seconds serves as a snapshot of this live energy, as passion and fury hum at the end of every complex composition. From start to finish, the record is nothing less than executed perfectly, undoubtedly appealing to even the most seasoned of prog-lovers

Ancient Africa represents Nat Birchall’s official follow-up to last year’s universally acclaimed Mysticism of Sound.

Nat once again plays all the instruments here, tenor and soprano saxophone, bass clarinet, bass, drums and percussion. But this time around the Korg synth is replaced by piano as

Nat wanted to utilise a more “classic” Jazz sound to express his musical visions. He has also arranged the songs for multiple horns, with melodies and harmonies played by up to five different instruments to achieve a fuller and often glorious sound.

An exception to this is Mirror Mind, a ‘duet’ featuring tenor saxophone and piano, hence the title.

With most of his compositions Nat tends to come up with titles depending on the thoughts or images the music manifests within him as he listens back to the recording.

The title track conjures up images of an African sunrise, the horns perhaps invoking the sun as it begins to illuminate the land which was the origin of the human story on Earth.

“Africa is the root of everything, and is the source of civilization, art, music, you name it.”

Paladins is so titled for the African heroes of the past and the present, in all walks of life, social, political, the arts etc.

“Anyone who fights against oppression, whether it be through activism or art, not only in Africa but throughout the whole diaspora, is a Paladin in my book.”



Song for John Blanke is named for the African trumpeter who played in the court of Henry VIII. The horn line sounding

a little like a fanfare, but in a lower register than the Tudor trumpets might have played for the court of the king!

Malidoma is named in honour of the African writer Malidoma Patrice Some. His excellent book ‘Of Water and The Spirit’ is a deeply

moving and illuminating narrative of his life’s journey. From his abduction by Jesuit priests at an early age from his village in Burkina Faso to

his being reunited with his people and subsequent assignment to spread his people’s ancient knowledge to the Western world.

The final song, Ancestral Dance, is a musical reminder to both celebrate life as and when the occasion demands, but also to not forget where we came from, as individuals and as a species.

EYA's sister label Lonewolf celebrates 2 years of activity with a 3x 12"!The VA explores a wide range of electronic music styles...from ambient to techno,breaks,electro,acid and more! 'The Wolfpack'will be a must in every record bag and vinyl collection!Music by Innershades,Es-Q,Matthew Dexter,Dom,Zolaa,Intareality,Tadan,Paradise City Breakers,NND,Cool and Frank,Patient Better Drivers.

Starting their 2020 with a bang, OdD swiftly follow up their D Construction EP with another trio of reductionist sure shots for adventurous travelers in the minimal realm. "Pythagorean" lives up to its name with an intricately arranged pattern of percussive threads creating a kind of geometry that crystalises around a sturdy minimal groove. "Do Re Me" features plenty of tripped out FX sweeps and swishy pads that give this roller a dubbed out flavour perfect for the after hours. "Solfegio" switches things up with a crooked broken beat template and some pointed chord drops that really lift the track into an intriguing new realm - this is classy minimal with personality so don't sleep on it!

RAWAX proudly welcomes Amir Alexander to the Family! We are very happy to present you an outstanding release as one of many! It's Amir's biggest Hit called "Blessed Are The Meek" which became a retouch by Patrice Scott, Javonntte and Amir himself! Highly recommended!

On May 9, 1995, the release of an album by a new Memphis rap group changed the future of Memphis rap and the future of rap itself. The release of "Mystic Stylez" by Three 6 Mafia marked the first commercial release of a supergroup that had formed through the merger of DJ Paul and Juicy J, two of Memphis' most popular mixtape DJs in the early 90's. The group would go on to record 9 albums and be the first rap group ever to receive an Academy Award for their song "It's Hard Out Here For A Pimp." Three 6 Mafia also helped launch the careers of Lil Wyte, La Chat, Project Pat, Gangsta Boo & more.

20th Anniversary Double LP Red Vinyl Edition

After an impressive label debut in March this year, Swedish pair Patrick Siech & Sandra Mosh re-link for a multi-faceted follow-up. Inspired by the '90s production ethos of broad-minded genre agnosticism, the EP spans a trio of dreamy, yet functional cuts, displaying the producers’ fluid production arrangements. A fourth track bucks the sonic trend, ‘PPMV1’ a tribute to a pigeon the duo rescued but ultimately succumbed to the virus of the same name. In contrast the track is a punchy bass-led weapon, simultaneously deliciously disorientating and immersive.

Siech has been a symbol of quality in the Swedish underground techno scene going back more than a decade, collaborating with the revered Sebastian Mullaert and releasing on Minus, Parabel and Break New Soil, among others. Sandra Mosh, similarly, is deeply respected by those in-the-know, gaining wide recognition with a show on Swedish national radio P3, playing festivals and clubs including Sónar, Berghain and Kazantip and running her own label MOSH Muzik.

Blue dream is the latest project from The Rurals Andy Compton, written & produced in a studio on the Californian Coast (Near LA) which is fully analogue, with retro drum machines, synths, filters and effects. The album is a collaboration with fellow groovers/studio owners Brad Kent and Irantzu Pujadas.
Expect a dose of psychedelic Cali' soul, with smooth grooves and warm feelings.

Arkham are an early historic Belgian 70's prog-fusion outfit that played eclectic jazz and rock mixtures in the 'Canterbury' vein, inspired by Soft Machine and Egg. Featuring keyboard player Jean-Luc Manderlier who would later join Magma, drummer Daniel Denis who would also move on to Magma as well as Univers Zero, and drummer Patrick Cogneaux.

Arkham aren't nearly as dark as Magma or Univers Zero, their jazzy overtones placing them a little closer to Soft Machine. The three musicians, who show some maturity, are obviously pouring their hearts out through out the album, which exudes an intensity that can't be ignored.

Never released before on vinyl, the recordings reproduced on this album come from magnetic tapes of some of Arkham's concerts and rehearsals, recorded at various times.

Nick Dunton has been involved with music since the early 90's and helped push the sound of UK Techno to it's very limits as one half of the 65D mavericks with Richard Polson (RIP). He has recorded and remixed for his own labels and many others and released music from the leading lights of the UK scene and beyond.

Exalt Records are pleased to release the first album from Nick Dunton under his Ever Vivid guise. These 12 tracks were recorded between 2003 and 2013 and reflect the most personal side of Nick's musical production, echoing around themes of movement, loss, bereavement and love.

Presented in a beautiful gatefold sleeve with original artwork and design from David Watson at Grid Pattern.

More obscurities from Jerusalem's underbelly, raash records.
Debut release of Ido Mandil's solo project/counterpart - Rasham.
Five tracks naturally blending noisey, indstruial oriented patterns with folkish outsider work songs.Opening with a chilling apathetic drone, quickly pivoting to a brutal grinding of machines, strings ,gritty vocals and tired limbs.
Or, simply a memoir of a man being digested by a city.

Good for lovers of Spk, the Bugger, Test Dept and Esplendor Geometrico

South African born, London based producer Kai van Dongen follows up two killer releases on 1Ø PILLS MATE and Ei8ht Records with a massive four tracker on CYBERDOME spanning lo-fi electro, gabber-influenced techno and Detroit acid.

‘Command’ gets started with the typical Cyber-aesthetic; a bruising, otherworldly electro cut that sounds like it was sampled from an intergalactic star-ship battle on a galaxy not so distant. Spooky, raw and uncompromising - classic horror synth lines creating a haunting atmosphere before its pulsating rhythm brings the listener back down to earth. ‘Losing Power’ again makes use of Kai’s knack for crafting emotionally captivating synth patterns, but this time under a lo-fi identity with hefty influence from the synthwave golden era; neon shapes and patterns blooming in the night as we continue our journey into darkness.

What sounds like an angry swarm of bees approaches on ‘Body Moving’ - a track title fit for purpose. Face-melting, brain-spinning techno creates a dark, psychedelic environment where sweat drips from the ceiling and faces react with a blend of euphoria and disgust, before we head to the Motor City on ‘Breathe’ - a cut of acid techno-electro that borrows from the icons of the past for a typically punchy and raw experience.

Far Out Recordings presents the peerless and criminally undervalued Quartin catalogue, beginning with the reissue of Jose Mauro’s forgotten masterpiece Obnoxius. Over the course of the 60s, Roberto Quartin released more than 20 albums in Brazil on his label Forma, by artists including the likes of Eumir Deodato and Quateto Em Cy. Selling the rights of Forma to Polygram in 1969, Quartin struck out for pastures new at the dawn of the 1970s with the launch of his self-titled label. Significant works and high-water marks for Brazilian music overall followed in that decade’s first year, with Victor Assis Brasil Plays Antonio Carlos Jobim and the aforementioned Obnoxius. These singular gems in Brazilian music, difficult to categorise yet compellingly haunting, have for too long gone unheard.

Today, very little is known about Jose Mauro and as a result those searching for some kind of insight on the man behind the music must attempt to glean what they can from the music itself. One rumour claims he died in a car accident shortly before the album’s release, a fact that could have lent his brief musical career a touch of mythology were it not for how scant the details concerning any other aspects of his life are. The political turmoil from which the album emerged is significant also; recorded during an era of oppressive state censorship, the album, like all the Quartin catalogue, is the result of steadfast defiance in the face of a crushing military dictatorship. While many musicians of the era fled the country, preferring their prospects in the affluent, liberated USA, rebellious, young musicians like Mauro chose to stay and reflect their anger at the authorities through thinly veiled protest songs such as the stirring ‘Apocalipse’. Herein lies the basis for a more dramatic theory; that Mauro was in fact abducted by the military! Whatever the truth, the mystery remains unsolved, and all that remains is his bewitching music, all of which is composed by Mauro and Ana Maria Bahiana. Production on the record was cancelled after Mauro’s death and it was never sold commercially until its rerelease decades later. What appeal does Mauro’s music hold to today’s listeners, forty-something years removed from its conception? Simply put, there is very little else that sounds much like it all. Take the title track of ‘Obnoxius’. A wholly singular piece of music, blending string-drenched melancholia with orchestral pomp, sunny psychedelic strumming with propulsive percussion, topped off with Mauro’s yearning vocals. The result is indicative of Mauro’s unique blend of sounds from Latin Jazz and samba to psychedelic folk and baroque orchestration.

Today, Obnoxius retains its strange, otherworldly appeal – A firm favourite amongst a small circle of deep diggers including Madlib, Gilles Peterson, Floating Points. Jose Mauro’s mournful and melancholic vocals create a dark, brooding atmosphere that stands in contrast to the usual joyfulness and high-spirited rhythm of the more prominent Brazilian music of the era. Despite this air of foreboding, Mauro’s confident baritones, chord patterns and sumptuous arrangements have the ability to induce in the listener an almost trance-like state of ecstasy. Mauro’s long hidden masterpiece, a complex and uniquely stunning work is being offered the chance to be heard by the wider audience it has always deserved. A second Jose Mauro release, A Viagem Des Horas, compiling more incredible tracks unreleased in Mauro’s lifetime, will follow, alongside other unreleased jewels from the Quartin catalogue, from the likes of Piri and Victor Assis Brasil…

Groove Access is back with a split EP by Dan Ryan & Ed Nine. Dan Ryan starts off Side A with "New Home", a super vibrant cut taking you on a deep atmospheric ride with a fulfilling bass line, groovy chords and strings programed with timeless x0x Drums. "Fuzzy Tape Dreams" is quite unique with crunchy and knocking drums crafted with smooth and hypnotizing pads, occasional piano hits and leads with minimal vocals sprinkled in. Ed Nine takes over Side B with "Another Day", which starts off with a glowing intro followed by a punchy rhythm. The groovy feel of the track is carried throughout with simple chord hits and dreamy fillers. Lastly, "Distant Reality" is a serious groove consisting of head nodding patterns with aggressive stabs, pads, and leads that will move the dance floor.

The independent label Six Nine Records Ltd. UK, based in Newcastle upon Tyne, proudly presents B & The Family and their first release on the label!
B & The Family, as a musical unit, reminds you of a modern day Jacksons or Sylvers group. Everybody plays several instruments and sings. This band is led by MD, patriarch, and male lead vocalist Brian K. Morgan, Katie Goulet (Wife/Bass/Vocals), Tayler Morgan (Daughter/Drums/Vocals), Genevieve (Daughter/Keys/Vocals) and Willa (Daughter/Keys/Vocals).
“Count On Me” and “Magic” (produced and written by Brian K. Morgan and Katie Goulet), was originally created in the early 80’s for Johnny Kemp (“Just Got Paid”). Although these two songs never made the album, Brian was able to write and produce a few of his other songs on Johnny’s albums.
Definitely not to be missed as it is a limited UK press with small hole
and full colour printed picture cover!

From the depths of an ancient dark underworld, Nigh/T\mare has conjured a powerful offering of burning emotions that light the fires of one's demons and invite the beginning of an epic journey through the unknown. Via Threnes Records from Switzerland, this offering is on point with their consistent releasing of top quality industrial/experimental techno. Entitled "Katharsis", this artistically crafted set of tracks in the form a debut album twists and turns its way over tribal rhythms with dynamic feels and beating drums that break down anything standing in the way. A powerful offering from the depths of the soul.

"Impure" is a powerful opener, like an army banging its drums and marching towards the fight, this track sets the stage from the drama to come. Like a speeding train through dystopia the injection of adrenaline comes in the form of "Self Immolation" which makes the heart beat with the force of a 100 pounding drums. Tribal percussion keeps banging its way through "Anti Balaka" before slowing into a deep melancholic track by the name of "Unarmed". Slowly building out of the calm "Unavoidable Unveiling" creates tension with droning notes and broken industrial percussion laying the soundscapes. "Doomed to Struggle" Feat. Prophan is a dramatic pushing and pulling of the hard hitting sounds and ritualistic chanting before diving into the galvanic rhythms of "The Summoning" Feat. LAIR. "The Path of Moans" brings the mood to a sombre place where the whispers from the demons below can be heard alongside the chiming of distant bells. Pact Infernal's remix of "Impure" demands attention as it offers chaos into the fold along with viciously delicious synths. Torn Relics remix of "The Summoning" builds into an onslaught of relentless percussion and deep howls from the underworld which leave you with chills running down your spine. A fitting ending to an impressive array of dynamic tracks, this is an experience never to be forgotten.

Mondo and Madison Gate are proud to present the premiere vinyl release of Leo Birenberg and Zach Robinson's incredible score to the Netflix streaming phenomenon COBRA KAI. This 3-disc vinyl set features music from the first 3 seasons of the hit series, curated by the composers into themed collections.

This exclusive retail version comes pressed on red, white, and blue marble discs. Also featuring all new artwork from the incredible Matt Ryan Tobin and liner notes from composers Leo Birenberg, Zach Robinson, star Ralph Macchio, and showrunners Josh Heald, Jon Hurwitz, and Hayden Schlossberg.

Music from the first 3 seasons of the series curated into three collections of music:
Disc 1: COBRA KAI - a curated mix of music scoring the most badass dojo in the Vallely
Disc 2: MIYAGI-DO - curated selections from the music scoring Laruso Family, and its ties to the Miyagi legacy.
Disc 3: FINAL FIGHTS - the music from all three of the explosive season finale episodes.

All of the music has been hand selected, and in many cases expanded from their original form for the most definitive Cobra Kai listening experience available.

Power punks, Hot Milk, have announced their second EP, ‘I JUST WANNA KNOW WHAT HAPPENS WHEN I’M DEAD” via Music For Nations.

It follows the success of the band’s first EP, 2019’s ‘Are You Feeling Alive?’, a fizzy collection of gutsy emo-pop which established them as one of the most exciting new bands in the UK. Their 2019 was a whirlwind year that saw them tour with Foo Fighters, Deaf Havana and You Me At Six, as well as playing some of the UK’s biggest festival stages.

The band were formed in 2018 by vocalist and guitarist duo, Han Mee and Jim Shaw, two friends who met working behind the scenes in the Manchester music scene. Yet they yearned to be in a band themselves. “We got to the point where we were why not? What else have you got to lose?” says Jim. “We thought, we can go for this or we can get to 60 and know we didn’t do right by ourselves.”

Debut EP, ‘Are You Feeling Alive?’, which was penned during a drunken songwriting session, was an effervescent refusal to settle for second best in life. “We’ve both realised that life you don’t get another face,” Han continues. “You get one face and then you’re done, and you will never exist ever again.”

That sense of not letting life slip through your fingers is at the core of Hot Milk’s punk-indebted ethos. And having taken a leap of faith to grasp their platform, the band, completed by bassist Tom Paton and drummer Harry Deller, aren’t about to let it go to waste. “Art is about your interpretation of your own experience,” adds Jim. “The first EP was written five years ago. We’ve grown up and realised who we are and what the world is like right now.”

‘I JUST WANNA KNOW WHAT HAPPENS WHEN I’M DEAD’, which was produced by Jim Shaw, is another vivacious call to arms, rammed with sharp hooks and huge, catchy choruses, to encourage everyone, everywhere, to follow their dreams. But elsewhere, the lyrics are more personal, with the band bottling the anxieties and frustrations of their everyday lives. ‘Woozy’ openly tackles depression, ‘Good Life’ takes on societal corruption and the distribution of wealth, while elsewhere the band address the pursuit of happiness in a modern world.

“These songs are honest,” says Han. “I have nothing to hide. Everyone’s on antidepressants these days. It’s the world we live in, it makes people sad. Capitalism. Is it broken? 100 per cent. I’m angry that the fact that we’re sold a world that actually doesn’t make your inner peace happy. Humans need love and community and a lot of the time, there is no love and the community has dissolved.”

“The anger resides in us at the unfairness of the world,” adds Jim. “Online communities are all about flexing and battling your peers to look or sound a certain way that is better than everyone else. It’s constant and it’s dangerous. You’re teaching kids that to be content, you have to be best. It’s a question again. Are you really living?”

“We’re angry, both politically and existentially in terms of the system we now live in. But also, we’re angry at the fact that we’re sad quite a lot,” continues Han. “But we’re trying to not just sit there and take it. We’re trying to fix it, by building a family through this band.”

Walk into any Hot Milk show and you will feel that sense of community. Through their honest lyrics and inclusive approach, the band say their aim is to create an “aggressively space safe” where fans are empowered to be themselves, “authentically and unapologetically”, as well as opening up a dialogue for people to talk. That will become clear later this year when the band get their chance to air the new material. This summer, they will return to Reading and Leeds Festivals, this time to play the main stage, as well as embarking on a headline UK tour in September. And believe, when the times comes to finally get back into those sweaty pits, these new songs will provide the perfect, life-affirming soundtrack.

“Life is fragile,” says Jim. “You can’t take things with you, but you can make the best memories. That’s the most important thing in life. Your currency is your memory.” “What you can take with you is something that absolutely makes the blood pump round your veins and gives you goosebumps,” agrees Han. “That’s what this band is to us. It’s our passion. That’s what this EP is about.”

Spirits Having Fun records are ones made from and for shows and spaces—arrangements rooted in a deeply collaborative process, that come to life through intuitive and locked-in live improvisation. Following their 2019 debut Auto-Portrait, Two finds the New York and Chicago based four-piece continuing to challenge ideas of what a rock band can be, pulling apart their musical experiences and reimagining them as kinetic compositions, equally studied but palpably organic.

Two is constructed around gut feelings and strong grooves, elastic rhythms and playful pacing. Its twelve songs expand, contract, and make sharp turns between melodies under singer-guitarist Katie McShane’s meditative lyrics. “Broken Cloud,” which was also released last year on a compilation in support of Chicago Community Jail Support, offers a glimpse into her reflections on the natural world: "A city grew out of the ground / to a mountain it's only a blur."

True to its name, the internal logic of the band is also just a lot of fun, built on trust and deep-rooted musical relationships. Before there was Spirits Having Fun, McShane, bassist Jesse Heasly, guitarist-vocalist Andrew Clinkman, and drummer Phil Sudderberg had performed together in various arrangements over the years. McShane, Heasly and Clinkman met in a specific corner of the Boston underground in 2013, a time when a scene had coalesced around students from local music conservatories frequently collaborating with punk bands and noise artists, exchanging ideas and warping musical worldviews. Heasly and Clinkman played together in Cowboy Band, making mutant, free jazz-inspired takes on old country tunes. When Clinkman moved to Chicago, Heasly and McShane played in experimental groups like EKP and Listening Woman; in Chicago, Clinkman met Sudderberg playing in projects like jazz scene fixture Ken Vandermark’s high-powered band Marker.

Spirits first came together as an attempt at a long-distance collaboration among friends in 2016, driven by the simple feeling of missing each other; they’d meet up for marathon weekends here and there to practice, playing small loops through dive bars and art spaces around the Midwest—just enough for McShane and Heasly to afford plane tickets back home. Being split between Chicago and New York forced the project into a deliberate pace. “We tried to take it slow and let it be what it was,” said McShane. That sense of patience unexpectedly prepared them for March of 2020, when their planned tours and the release of Two were indefinitely delayed.

Two was mostly recorded in the summer of 2019 with the help of omnipresent Chicago engineer Dave Vettraino and DPCD’s Alec Watson, whose contributions on organ, synths, and piano are laced throughout the record. The album reflects a synthesis of solitary and communal songwriting processes—each song drawing on fragments written by individuals, which McShane threaded together and shaped through her distinct compositional lens, making the songs whole before returning to them to the band to mature collectively. When composing, McShane writes first on the keyboard before adapting parts for guitars played by herself and Clinkman. Their dueling approaches to guitar are complementary: McShane, being a newer guitarist, brings a freshness to the project (“I'm just discovering the whole time,” she says) while Clinkman has been playing since childhood.

“There's a lot more collaboration on this record,” says Clinkman, “in terms of all of us letting stuff bloom a little bit more.” The record’s first single, “Hold The Phone” is a good example of this process—it started with a playful intro riff from Clinkman, a melody and bridge added by McShane, a wobbly outro groove added by Heasly, which Sudderberg brought to life. Another single, the dynamic “See a Sky,” written primarily by Heasly, underscores the rhythm section chemistry at play across the record, the song ebbing and flowing around Heasly and Sudderberg’s eclectic percussive palettes.

“Entropy Transfer Partners” is the only song on the record with lyrics by Clinkman, and the album’s most politically direct—a call for solidarity in the face of systemic failures, an acknowledgment of the shared material devastation caused by our country’s ongoing healthcare and housing crises: “These are not things we're experiencing individually. We struggle through them collectively. And we could actually declare, all of us, that it doesn't have to be this way, and fight and organize to ameliorate some of those conditions.” (“We won't work to create the shit you monetize, to run our lives,” they sing.)

From front to back, Two is an absorbing listen simply for its impressive range. But as the members explain themselves, the complexity of the record is about more than its intricate riffs, or how often they count out an odd time signature, but how they reject the notion of boxing the songs in, letting the melodies take on lives of their own. “Making music that feels alive is important to us,” says Clinkman. “Music feels most powerful to me when it deepens our sensation of feeling alive and connected to other humans. It’s so easy to feel worn down and isolated; that your life’s value is fixed to your productivity at your job, or the things that you have or don’t have. Making music that feels joyful and fun seems like one effective antidote to that feeling.”

Blue Vinyl with Bonus 7”
Charlotte Cornfield’s “The Shape of Your Name” was the inaugural release
from Next Door Records, originally launched in April 2019.
Next Door Records is proud to present a deluxe reissue of this monumental
album in time for the second anniversary of its release. The deluxe reissue
consists of the original LP, now pressed on Atlantic Blue vinyl, with bonus twotrack 7” In My Corner b/w Upstate.
From the original release sheet: ‘You free yourself when you take away the
script,’ says Toronto songwriter Charlotte Cornfield. ‘That’s where this record
came from, dismantling patterns and embracing the process.’
The album has a more honed studio sound than her scrappier 2016 release Future Snowbird, and for good reason: it was recorded in 5 different sessions over
the course of 3 years. The songs are her strongest and most striking to date -
contemplative and contemporary, funny and heart-wrenching - and they’ve got
that stuck-in-your-head-for-days quality that Charlotte is known for.
‘My initial intention wasn’t to make a record at all,’ Cornfield muses. ‘The
whole thing kind of happened by accident. I went to The Banff Centre to do
a residency and came out with these recordings that I knew I wanted to use
for something but wasn’t sure what.’ She brought the unfinished songs to her
former roommate Nigel Ward in Montreal.
‘He fell into the producer role seamlessly,’ says Cornfield. ‘We took it slow and
just tried things for a while until the vision settled in. There was no rush. It was
freeing, and it gave the songs a lot of breathing room to develop.’”

Every Day is a Day is Cold Hart’s first LP for Epitaph. As a co-founder of
the seminal rap collective GothBoiClique, (along with Lil Peep, Lil Tracy,
YAWNS) Cold Hart has consistently been on the cutting edge of alternative
hip-hop and rock since 2013 as a vocalist, songwriter, and producer.
By pairing components of rap with seemingly unrelated genres like emo and
gothic rock, Cold Hart has become an innovator of genre-defying music.
Cold Hart, has earned the respect of peers and critics alike (his previous LP
Good Morning Cruel World received a 6.9 from Pitchfork). Coming hot on the
heels of the stratospheric success of Cold Hart’s Lil Peep collaboration, “Me &
You,” with over 60 Million global streams to date, his path is well established in
the digital space, with current catalog streams at over 1million/wk.
With his new album Every Day Is A Day, Cold Hart has progressed beyond emo
rap as he developed a newer, fuller sound, that he describes as “hands on guitar stuff with a soulful twist.

Italian experimental music is notoriously resistant to definition and location. If ever there was an object to encapsulate the spirit of that movement, it is the composer and musician Roberto Musci’s debut album from 1984 - The Loa Of Music. Recorded after a decade travelling the world - drifting between African, Indian, and the Near & Far East - studying music, making field recordings, and collecting instruments, not only is it a perfect culmination of such an experience, but a lens into the rigorously democratic and international spirit of the generation of artists to which Musci belongs. Phenomenally ambitious,The Loa Of Music entirely refuses the well trod path - distilling a remarkable range of sonic reference and reality. A work of field recording, musique concrète, electronics, synthesis, and instrumentation, pulling from countless musics from across the globe, the result is nothing short of brilliant and stunningly beautiful. A near perfect work - an egoless gesture, which rather than attempting to find consensus, offers every voice equity and cohabitation - harnessing the history music, with all of its cultural diversity, as a vision for a more ideal future. Geographies and their sounds intertwine, while Musci’s interventions and instrumentation thread a path. Ambiences ripple, sounds and voices converse in a vision of unity that may only exist within sonic realms. Unquestionably seminal, and one of the most important works to emerge from Italy in the last 50 years. Never before issued on vinyl since it’s original release, and surely not to be around for long, this is one not to miss.

One of life's most difficult arts is learning to let go. You can try to cling to control in the face of a turbulent world, but the only constant we can count on is change—the tendrils of cleansing fire wiping away the old, new life springing forth from the dust and ash. So what's the point? Give yourself over to the depths. Surrender to the flow.

G.S. Schray's new solo album The Changing Account is an appropriate soundtrack for learning to cope with a world we can't count on. Each piece is full of elliptical melodies that swirl with the unstable logic of dreams. Flurries of piano, guitar lines, and other more alien instrumentation shimmer delicately, but before they coalesce into familiar shapes or rhythms they change, then change, then change again. Listening is a bit like falling asleep on a long road—with each passing song you're waking up somewhere new, trying to get your bearings in another strange world. How did I get here? Where are we going? It doesn't matter. Close your eyes, drift away again.

Audio premiere for Povratak na Parni Pogon on Monday 24th of May via Music is my sanctury

Video premiere via Clash or Twisted Soul

Airplay - dom servini (soho radio), WYEP Pittsburg (dubmission), WKDU Philadelphia (eavesdrop radio), Jocks & nerds (soho radio), Basic Soul Show, Bondfire Radio NYC + many smaller stations across EU, UK & US

LP review - Mojo, Songlines agreed so far

Key selling points:

Kozmodrum are pioneers of the Croatian nu-jazz scene
Kozmodrum's second albumGravitywon the highest award in Croatia, Porin

Individual members of Kozmodrum as well as Kozmodrum as a collective are acclaimed musicians in the Balkans and have won numerous prestigious awards for their work

Their music is like a DJ set played live - as all the music is played live with 'traditional' instruments by the Kozmodrum ensemble


numerous great reviews, but not many in English - we're looking to introduce the band to UK audiences with this release -- this is one review in english for their album Gravity:https://exclaim.ca/music/article/kozmodrum-gravity
Our PR for this 3rd album by Kozmodrum is done by Francesco Soragna (Jus Like Music) with specific focus on UK market.
BIO:

Kozmodrumhave been pioneering a new approach to electronic music in Croatia, often described by the band as Organic Dance Music. Techno, House and Dub styles intertwine through a continuous set, played by a live band on guitars, drums and keyboards.Simultaneously, the tradition of jazz ensemble performance is stitched into the architecture of music itself.

Kozmodrum have released 2 albums, 'Na Tragu Satelita' in 2016, and 'Gravity' the following year, receiving a Porin Award for the latter (the Croatian Grammy). Individual band members also received numerous awards for their accomplishments and are considered by many to be pioneers in the Croatian nu-jazz scene. Kozmodrum's main influences are Tycho and Elektro Guzzi, as well as Jaga Jazzist with whom they performed live. The band have played numerous festivals and concerts, with Kozmodrum's members performing with Hans Joachim Roedelius, noise/art/sound figure Sunao Inami, as well as jazz masters Reggie Washington, Peter Erskine, David Liebman, Alan Broadbent, David Murray and Saskia Laroo.

Onstage, Kozmodrum is a five-piece ensemble that adds a third dimension to their music, written and produced by the band's founder Janko Novoselić. Using the framework of a DJ set, the compositions are made to be played openly, where the beat is 'looped' until a cue is given to make a change or switch to another part. The pieces are often minimalistic to start with, but evolve over the performance into more complex patterns, harmonies and melodies. With constant shifts between the natural and the artificial, organized and improvised, quiet and loud - Kozmodrum create an unforgettable, mantric performance.

Grey Marbled Vinyl

Carlos Nilmmns is back on Ornaments with another diverse EP ranging from Detroit-inspired house grooves, Dub-Techno, deep electro patterns and stunning soundtracks.

The Frank OST LP made its debut on transparent green vinyl for Record Store Day 2015 and quickly sold out.

The album comprises Stephen Rennicks's song based soundtrack to Leonard Abrahamson's fantastical black comedy featuring Michael Fassbender as the masked leader of doomed avant-rock group, The Soronprfbs.

The music press were quick to laud FRANK as one of their top soundtracks of 2014, with Mojo placing it at No.3 in their

Top Ten for the year and Record Collector giving it 5*, while public fascination with its Beefheart-esque sound has ensured cult status. The songs, sung mainly by Fassbender, veer from manic comedy to heart-breaking pathos and the

vinyl release was specially recompiled to feature all the songs, most of the incidental music

and an exclusive for vinyl version of 'Frank's Most Likeable Song.... Ever'.