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Today Chicago-based percussionist, composer and producer Makaya McCraven announces the details of his new album In These Times, which is set for release on September 23rd via International Anthem / Nonesuch / XL Recordings. The first offering from the new album is a song tiled "Seventh String," which encapsulates the various musical dimensions present on McCraven's new album, a career-defining body of work that is a remarkable new peak for the already-soaring McCraven. In These Times is a collection of polytemporal compositions inspired as much by broader cultural struggles as McCraven's personal experience as a product of a multinational, working class musician community. It's the recording that he's been trying to create for 7+ years, as it's been consistently in process in the background while he's put forth a prolific run of releases including: In The Moment (2015), Highly Rare (2017), Where We Come From (2018), Universal Beings (2018), We're New Again (2020), Universal Beings E&F Sides (2020), and Deciphering the Message (2021). With contributions from over a dozen musicians and creative partners from his tight-knit circle of collaborators - including Jeff Parker, Junius Paul, Brandee Younger, Joel Ross, and Marquis Hill - the music was recorded in five different studios and four live performance spaces while McCraven engaged in extensive post-production work at home. Featuring orchestral, large ensemble arrangements interwoven with the signature "organic beat music" sound that's become his signature, the album is an evolution and a milestone for McCraven, the producer. But moreover, it's the strongest and clearest statement we've yet to hear from McCraven, the composer. Profiled in the New York Times, Vice, Pitchfork, Rolling Stone, the Guardian, and NPR, among other publications, Makaya and the music he makes today is what Passion of Weiss explains, "is part of a necessary conversation about the next evolution of the Black improvised music known colloquially as 'jazz.' He's found the threads connecting the past with the present, and is either wrapping them with new colors and textures, or he's plucking them gleefully like the strings of a grand instrument." McCraven, who has been aptly called a "cultural synthesizer" and "beat scientist," has a unique gift for collapsing space, destroying borders and blending past, present, and future into poly-textural arrangements of post-genre, jazz-rooted 21st century folk music. In These Times encompasses his artistic ethos, his experiences, identity and lineage, while pushing his music to new heights.

The LP ‘All Welcome on Planet Ree-Vo’ due for release on 29th July could only really have been made in one city steeped as it is in Bristol’s decades of less conventional hip hop and bass music. Tweaked and fine tuned during the summer of 2020 the record punches with a mix of red eyed paranoia to a playful future funk.
The album was all recorded, produced and mixed by Andy at Christchurch Studios, Bristol (home of Mezzanine era Massive Attack) with all vocals written and performed by T. Relly.
During 2021 the first two singles from the LP were released. The first was the juggernaut that is ‘Groove With It’. T. Relly growling out polemic against the relentless cacophony spun by Andy Spaceland, The brutality of the bass and horns is temporarily smoothed with Relly’s soulful, swaggering placation of ‘Turn your speakers on/ Till ya speakers blown baby/ If you’re feeling strong baby/ We can keep it going baby’.
This was followed in April by the 12” release of Combat featuring a thumping remix by Surgeon (Tresor Records) and an extended electro remix by Ree-Vo themselves.
2022 began with the limited red 7” release of remixes by NØISE and Batbirds with stunning original artwork by Shepard Fairey who came to the project via mutual friend Joe Cassidy (Butterfly Child). The release was announced on OBEY’s website
‘Spacebox’ which will be the last single to be released in time with the album is their hookiest, a party throwing chorus spinning tipsy visitors around the intergalactic control booth of mission control.
“Lift off, blast off, shirt off, dance off! Naked in the dancehall SPACE BOX!” is the beamed mantra, Relly transmitting to all occupants of the galaxy.
“We wanted to make a hedonistic and colourful dancehall track, a bold response to the suppressive circumstances of the last two years”.
About Ree-Vo:
T. Relly​ is pure Bristol hip-hop royalty – known in the community variously for his links to all of the city’s major club nights, his passion and support for the most disadvantaged (through his work with the youth and prison leavers), through to compering stages at St Paul’s Carnival and his seminal 2018 LP with DJ Rogue ‘Let Them Know’. He collaborates with many crews including Innalife and Killer Crab Men.
Andy Spaceland​ (AKA Andy Jenks) got involved in Bristol bass music as soon as he moved to the city with Static Sound System​ and a collaborative 12” with Rudy Tambala (​AR Kane​) as Sugarboat Vs Sufi, before his band ​Alpha​ were signed to ​Massive Attack​’s label Melankolic, whilst he also became one of their tour DJ’s. His CV of collaborations range from ​Smith and Mighty​ to Madonna. He has released music on Dj Die’s label, Gutterfunk as White Bully and he is also currently releasing music with US producer ​Butch Vig​ in the band ​5 Billion in Diamonds​, whilst working on new tracks with ​Mark Stewart (The Pop Group) including remixes by Adrian Sherwood. His signature sound can also be heard on this remix for ​Elizabeth Fraser​ -

The LP ‘All Welcome on Planet Ree-Vo’ due for release on 29th July could only really have been made in one city steeped as it is in Bristol’s decades of less conventional hip hop and bass music. Tweaked and fine tuned during the summer of 2020 the record punches with a mix of red eyed paranoia to a playful future funk.
The album was all recorded, produced and mixed by Andy at Christchurch Studios, Bristol (home of Mezzanine era Massive Attack) with all vocals written and performed by T. Relly.
During 2021 the first two singles from the LP were released. The first was the juggernaut that is ‘Groove With It’. T. Relly growling out polemic against the relentless cacophony spun by Andy Spaceland, The brutality of the bass and horns is temporarily smoothed with Relly’s soulful, swaggering placation of ‘Turn your speakers on/ Till ya speakers blown baby/ If you’re feeling strong baby/ We can keep it going baby’.
This was followed in April by the 12” release of Combat featuring a thumping remix by Surgeon (Tresor Records) and an extended electro remix by Ree-Vo themselves.
2022 began with the limited red 7” release of remixes by NØISE and Batbirds with stunning original artwork by Shepard Fairey who came to the project via mutual friend Joe Cassidy (Butterfly Child). The release was announced on OBEY’s website
‘Spacebox’ which will be the last single to be released in time with the album is their hookiest, a party throwing chorus spinning tipsy visitors around the intergalactic control booth of mission control.
“Lift off, blast off, shirt off, dance off! Naked in the dancehall SPACE BOX!” is the beamed mantra, Relly transmitting to all occupants of the galaxy.
“We wanted to make a hedonistic and colourful dancehall track, a bold response to the suppressive circumstances of the last two years”.
About Ree-Vo:
T. Relly​ is pure Bristol hip-hop royalty – known in the community variously for his links to all of the city’s major club nights, his passion and support for the most disadvantaged (through his work with the youth and prison leavers), through to compering stages at St Paul’s Carnival and his seminal 2018 LP with DJ Rogue ‘Let Them Know’. He collaborates with many crews including Innalife and Killer Crab Men.
Andy Spaceland​ (AKA Andy Jenks) got involved in Bristol bass music as soon as he moved to the city with Static Sound System​ and a collaborative 12” with Rudy Tambala (​AR Kane​) as Sugarboat Vs Sufi, before his band ​Alpha​ were signed to ​Massive Attack​’s label Melankolic, whilst he also became one of their tour DJ’s. His CV of collaborations range from ​Smith and Mighty​ to Madonna. He has released music on Dj Die’s label, Gutterfunk as White Bully and he is also currently releasing music with US producer ​Butch Vig​ in the band ​5 Billion in Diamonds​, whilst working on new tracks with ​Mark Stewart (The Pop Group) including remixes by Adrian Sherwood. His signature sound can also be heard on this remix for ​Elizabeth Fraser​ -

OZRIC TENTACLES' ED WYNNE ANNOUNCES NEW ALBUM WITH GRE
VANDERLOO FROM 'GRACEROOMS'.Since 1983, the Ozric Tentacles have
woven psychedelic audio-tapestries that capture the almost dangerous
musical diversity of the free festival scene, blending acid rock with dub,
reggae, ethnic world music & electronic, jazzy experimentation
Ed Wynne, founding member & leader of the outfit, now presents a new project. A
long- term admirer & friend of Gre Vanderloo, better known from his project
'Gracerooms', the two have now teamed up to record 'Tumbling Through The
Floativerse'.
"I've always enjoyed the synth orientated musical worlds he creates with his
project 'Gracerooms'" says Ed of his new collaborator. "Shortly before lockdown
2020, whilst making the early stages of the recent Ozrics album 'Space for the
Earth', we decided to try & make some tunes together. Gre came over from
Holland where he lives, to the Blue Bubble Studio here in Fife & we started
recording pretty much straight away. We ended up with about six definite starting
points, which then developed & unfolded into a harmonic realm we referred to as
'The Floativerse'… A place where you might escape gravity for a moment".
Featuring guest appearances from 'Gracerooms' bassist, Paul Klaessen & longterm Ozrics synth player Silas Neptune, the entire album was recorded at Ozrics
headquarters; Blue Bubble Studios, engineered & produced by Ed Wynne &
mastered by Adam Goodlet. Mind- bending artwork comes courtesy of Valerie
Fangman.

Parallel Traces of the Jewel Voice by dj sniff is a project that takes inspiration from historical narratives and personal memories constructed around The Jewel Voice Broadcast (Gyokuon Hoso) that took place on 15th August 1945. Contrary to common belief, Emperor Hirohito did not speak live on air to announce the surrender of Japan on this day. Instead, two lathe-cut discs with his recorded voice were skilfully mixed and played by NHK engineer Shizuto Haruna. Haruna’s proto-DJ/turntablist performance was heard not only in Japan but also throughout the colonized territories in Asia, marking the end of World War II and Japanese rule.

Interested in these aspects which often have been overlooked within the Japanese narratives of this historical event, dj sniff conducted research in both Taiwan and Japan. Over the course of 3 years he collected various materials that include; interviews and field recordings, audio samples extracted from phonograph discs and recordings sessions with improvising musicians, and a re-reading of the Imperial Rescript on Surrender in Chinese. These were used to compose two compositions that are paired differently depending on their distribution format.

The vinyl release is a multi-sided disc with two parallel grooves cut on one side, which in effect plays a different composition depending on where the stylus is cued. The other side has no audio but features two silkscreened lines that refer to how Haruna played the original lathe-cut discs. For the digital release, each composition is independently assigned to the left and right channel and is heard simultaneously.

Additionally, an extensive text written by dj sniff accompanies this release. Sniff uncovers technical details of the recording and broadcasting of the emperor’s voice that took place over 75 years ago. He also reflects on his encounters with the elderly community in Taiwan who spoke fluent Japanese and shared their personal stories after listening together to records from their childhood.

DJ Sniff – Biography

dj sniff (Takuro Mizuta Lippit) is a musician, curator, and educator. His work builds upon a distinct practice that combines DJing, instrument design, and free improvisation. His collaborations include Evan Parker, Otomo Yoshihide, Paul Hubweber, Tarek Atoui, Senyawa, and Ken Ueno.

He was the Artistic Director of STEIM in Amsterdam between 2007 to 2012 and a Visiting Assistant Professor at the School of Creative Media, City University Hong Kong between 2012 to 2017. He is now based in Tokyo where he is the Co-Director of AMF (Asian Meeting Festival) and teaches at Kyoto Seika University.

Khruangbin and Leon Bridges announce their latest collaborative EP, ‘Texas Moon’, out on Dead Oceans.

 An extension of the two’s chart-topping four-song ‘Texas Sun’ journey, ‘Texas Moon’ is an introspective stroll through the dark. “Without joy, there can be no real perspective on sorrow,” say Khruangbin. “Without sunlight, all this rain keeps things from growing. How can you have the sun without the moon?”

 Crediting their mutual home state for inspiration, ‘Texas Moon’ pensively examines Texas’ musical perception, while paying homage to the marriage of country and R&B that’s become synonymous with the lone star state. Propelled by rolling guitar licks, conga and bongo, lead single ‘B-Side’ meditates on meeting in a dream and frolics across the nearing contemplative night-time state with its longing joy.

 Elsewhere on ‘Texas Moon’, the artists channel a newly intimate musical scope that’s illustrated most dramatically when the spacy sensuality of the minimalistic ‘Chocolate Hills’ leads into the stark spirituality addressed on ‘Father Father’, a reminder of both acts’ gospel roots. Over a simple rolling guitar figure, Bridges pleads with the heavens - “Look at the mess that I made / Just a man with unclean hands” - only to be reminded of God’s eternal love.

 For Khruangbin, one song in particular was indicative of the trust that Bridges put in them. “The song ‘Doris’ is about his grandmother making the transition from this world to the next realm,” says Khruangbin’s Donald Ray ‘DJ’ Johnson Jr. “It’s a very somber, very deep record. And when someone places that kind of work into your
hands, the last thing you want to do is junk it up, overproduce it, or do too much. We treated it with the respect it deserved, and treated Doris with the respect she deserves.”

 “It’s like a short story...,” says the band’s Laura Lee of the music. “And it leaves room to continue having these stories together. It’s not Khruangbin, it’s not Leon, it’s this world we created together.”

 Upon its release, ‘Texas Sun’ soared to the No. 1 slot on Billboard’s Emerging Artists Chart along with landing the No.1 on spot on Americana/Folk Albums, among many others. Significantly, both parties’ musical directions were deeply affected by their time working together on ‘Texas Sun’.

 Khruangbin’s most recent studio album, ‘Mordechai’, moved their own vocals to the forefront, a change they readily admit was a direct result of working with Bridges.
Their sound was also tapped for remix / reinterpretation of a Paul McCartney song for the ‘McCartney III Imagined’ project. Meanwhile, in addition to his genre-defying Grammy-nominated album ‘Gold-Digger’s Sound’, Bridges has put out several other challenging, shared collaborative tracks, including work with John Mayer, Lucky Daye and, most recently, Jazmine Sullivan. Each of the artists appeared recently on Austin City Limits and will tour throughout the new year.

Khruangbin and Leon Bridges announce their latest collaborative EP, ‘Texas Moon’, out on Dead Oceans.

 An extension of the two’s chart-topping four-song ‘Texas Sun’ journey, ‘Texas Moon’ is an introspective stroll through the dark. “Without joy, there can be no real perspective on sorrow,” say Khruangbin. “Without sunlight, all this rain keeps things from growing. How can you have the sun without the moon?”

 Crediting their mutual home state for inspiration, ‘Texas Moon’ pensively examines Texas’ musical perception, while paying homage to the marriage of country and R&B that’s become synonymous with the lone star state. Propelled by rolling guitar licks, conga and bongo, lead single ‘B-Side’ meditates on meeting in a dream and frolics across the nearing contemplative night-time state with its longing joy.

 Elsewhere on ‘Texas Moon’, the artists channel a newly intimate musical scope that’s illustrated most dramatically when the spacy sensuality of the minimalistic ‘Chocolate Hills’ leads into the stark spirituality addressed on ‘Father Father’, a reminder of both acts’ gospel roots. Over a simple rolling guitar figure, Bridges pleads with the heavens - “Look at the mess that I made / Just a man with unclean hands” - only to be reminded of God’s eternal love.

 For Khruangbin, one song in particular was indicative of the trust that Bridges put in them. “The song ‘Doris’ is about his grandmother making the transition from this world to the next realm,” says Khruangbin’s Donald Ray ‘DJ’ Johnson Jr. “It’s a very somber, very deep record. And when someone places that kind of work into your
hands, the last thing you want to do is junk it up, overproduce it, or do too much. We treated it with the respect it deserved, and treated Doris with the respect she deserves.”

 “It’s like a short story...,” says the band’s Laura Lee of the music. “And it leaves room to continue having these stories together. It’s not Khruangbin, it’s not Leon, it’s this world we created together.”

 Upon its release, ‘Texas Sun’ soared to the No. 1 slot on Billboard’s Emerging Artists Chart along with landing the No.1 on spot on Americana/Folk Albums, among many others. Significantly, both parties’ musical directions were deeply affected by their time working together on ‘Texas Sun’.

 Khruangbin’s most recent studio album, ‘Mordechai’, moved their own vocals to the forefront, a change they readily admit was a direct result of working with Bridges.
Their sound was also tapped for remix / reinterpretation of a Paul McCartney song for the ‘McCartney III Imagined’ project. Meanwhile, in addition to his genre-defying Grammy-nominated album ‘Gold-Digger’s Sound’, Bridges has put out several other challenging, shared collaborative tracks, including work with John Mayer, Lucky Daye and, most recently, Jazmine Sullivan. Each of the artists appeared recently on Austin City Limits and will tour throughout the new year.

Composer, producer, multi-instrumentalist and co-founder of Black
Rebel Motorcycle Club, Robert Levon Been, announces his forthcoming
album, ‘Original Songs From The Card Counter’.

Levon Been composed several original songs as well as a majority of the
score for writer and director Paul Schrader’s new film, ‘The Card
Counter’, starring Oscar Isaac, Tiffany Haddish, Tye Sheridan, Willem
Dafoe and executive produced by Martin Scorsese.

“Ironically this entire project began by working the last scene of the film
first,” says Levon Been. “Paul had reached out asking if I would write an
original song for a very intimate final scene he had been struggling with.
As tempting as the concept was, I must admit that kind of composing is
also my biggest fear - to write directly to picture with such precision that
it takes over the narrative in a substantial way, which I knew Paul never
shies away from. It also turned me into a nervous wreck because I know
just how easy it is to quickly ruin a movie with merely a single lyric at the
wrong time. Thankfully for ‘Mercy Of Man’, I had S.G. Goodman there in
NY singing with me to help experiment with how to create a fairly
unconventional duet of sorts that is intended to evoke the emotions of
the two characters in that final scene.”

‘The Card Counter’ marks the fifth collaboration between Schrader and
Scorsese, who previously worked together on ‘Taxi Driver’, ‘Raging Bull’,
‘The Last Temptation of Christ’ and ‘Bringing Out the Dead’.

Robert Levon Been is a producer, composer, singer songwriter and
founding member of the band, Black Rebel Motorcycle Club, with whom
he has released eight albums and toured the world with since 2001. With
a dedicated following across Europe, the US, Australia and Asia, their
record ‘Howl’ has ranked many top album lists.

In 2013, Black Rebel Motorcycle Club were featured in Dave Grohl’s
Grammy-winning documentary, ‘Sound City’. 2021 marks the 20th
anniversary of the release of Black Rebel Motorcycle Club’s self-titled
first album.

Robert is currently producing and writing for multiple projects, dividing
his time between Los Angeles and Vienna.

Gatefold LP, with initial copies featuring spot gloss on sleeve. (Once this
format has sold out, a standard gatefold sleeve edition - EPZTC001LPR
- will be made available.)

Today New York based singer, songwriter and producer Amber Mark announces details of her long-awaited debut album ‘Three Dimensions Deep’, out January 28th via EMI/PMR Records. The announcement of the album is accompanied by a sultry R&B instant-grat track ‘What It Is’ as well as a huge UK, EU and US spring tour announcement including London’s O2 Shepherd’s Bush Empire in March

Amber’s debut album arrives almost 4 years after the release of her second EP ‘Conexão’, an extended process that has proved central to its thematic development. The 17 track album can be divided into three main acts that follow the arc of Amber’s personal and musical development; WITHOUT, WITHHELD and WITHIN. Beginning by acknowledging her insecurities and anxieties before reflecting on her time in denial and spent processing them in all the wrong ways, Amber eventually widens her focus by seeking answers to the world’s negativity and trauma on a cosmic scale. Finding peace and a form of inherent spirituality in the world of astrophysics while writing the album led to a fresh perspective on life and a renewed sense of self. Amber’s debut album is simultaneously a profound concept album and a love letter to herself, richly intertwining messages of self-worth and reflections on the universe beneath a veneer of shimmering pop. In true Amber Mark style, ‘Three Dimensions Deep’ is a kaleidoscopic melting pot of influences and genres, drawing from funk and R&B, soul and hip-hop with international accents influenced by a nomadic childhood spent travelling the world with her late mother.

“Three Dimensions Deep is a musical journey of what questions you begin to ask yourself when you start looking to the universe for answers.” says Amber; “I can only go as deep as the third dimension as that’s how we see the world, but what about when you start looking to the universe within for answers.”

“‘What It Is’ low key is the title track of the album without it actually being the title track” explains Amber; “It comes from going through negative experiences which end up being the gateway to a question I think I’ll be asking for the rest of my life. What is the meaning of life,the universe and everything?”

The three official singles already released from the album ‘Worth It’, ‘Competition’ and ‘Foreign Things’ marked Amber’s first official singles since 2020’s ‘Generous’, though 2020 was still a hugely productive year for Amber. With her hometown of NYC hit hard in the first wave of the pandemic and placed under strict lockdown, Amber turned to her simple home studio to create an acclaimed series of home-produced covers and originals titled ‘Covered-19’, each accompanied by a homemade video and artworks. The series was followed by a collaboration with longtime friend Empress Of on the protest song ‘You’ve Got To Feel’, earning Annie Mac’s Hottest Record, ‘Tune Of The Week’ and a spot on the Radio 1 playlist. Earlier this year Amber was featured on legendary DJ Paul Woolford’s new piano-house track ‘HEAT’, again snagging Annie Mac’s Hottest Record and a long run across the Radio 1 and 2 playlists. Having already amassed over 300 million streams since the release of her breakout debut EP 3:33AM in 2017, Amber has built a global fanbase eager to hear her debut full length -

St. Paul and the Broken Bones announce their new album ‘The Alien
Coast’, released on ATO Records. Produced by Matt Ross-Spang and
featuring eleven new, original songs, ‘The Alien Coast’ is the first St.
Paul and the Broken Bones album tracked in the band’s hometown of
Birmingham, AL. The arrangement allowed the octet to spend more time
and tap a broader creative community than ever before, resulting in their
most ambitious work to date.
 Led by singer and lyricist Paul Janeway - a former bank teller and
preacher-in-training who learned to sing in his church choir - the octet
explore thrilling new territory on ‘The Alien Coast’, a fever dream
convergence of soul and psychedelia, stoner metal and funk, animated
by the very “fire and brimstone” which Janeway invokes in the album’s
opening line. Unlimited studio-time allowed individual members of the
band to experiment with synths and samples on ‘The Alien Coast’, and
even collaborate with Birmingham beatmaker and hip-hop artist Randall
Turner.
 Janeway cites a similarly disparate range of influences that wove their
way into the writing for ‘The Alien Coast’, from Greek mythology and
dystopian sci-fi, to works of art like Bartolomé Bermejo’s Saint Michael
Triumphs over the Devil and 17th Century Italian sculpture, to colonialperiod history books. “The title actually came from reading about the
history of the Gulf of Mexico, which is home for us,” he recalls. “When
the settlers - or invaders, really - first came to the Gulf Coast they
couldn’t figure out what it was, and started referring to it as the Alien
Coast. That term really stuck with me, partly because it feels almost
apocalyptic.”
 St. Paul and the Broken Bones have reached incredible heights since
breaking out with their first album in 2014. Their previous three albums
each debuted in the Billboard 200, their legendary NPR Tiny Desk has
over 7 million views, they’ve opened for the Rolling Stones, shared the
stage with Elton John, and appeared on several television shows
including Jimmy Kimmel Live, Austin City Limits and more. They were
also the first-ever musical performance on Stephen Colbert’s Late Show.
St. Paul and the Broken Bones announce their new album ‘The Alien
Coast’, released on ATO Records. Produced by Matt Ross-Spang and
featuring eleven new, original songs, ‘The Alien Coast’ is the first St.
Paul and the Broken Bones album tracked in the band’s hometown of
Birmingham, AL. The arrangement allowed the octet to spend more time
and tap a broader creative community than ever before, resulting in their
most ambitious work to date.
 Led by singer and lyricist Paul Janeway - a former bank teller and
preacher-in-training who learned to sing in his church choir - the octet
explore thrilling new territory on ‘The Alien Coast’, a fever dream
convergence of soul and psychedelia, stoner metal and funk, animated
by the very “fire and brimstone” which Janeway invokes in the album’s
opening line. Unlimited studio-time allowed individual members of the
band to experiment with synths and samples on ‘The Alien Coast’, and
even collaborate with Birmingham beatmaker and hip-hop artist Randall
Turner.
 Janeway cites a similarly disparate range of influences that wove their
way into the writing for ‘The Alien Coast’, from Greek mythology and
dystopian sci-fi, to works of art like Bartolomé Bermejo’s Saint Michael
Triumphs over the Devil and 17th Century Italian sculpture, to colonialperiod history books. “The title actually came from reading about the
history of the Gulf of Mexico, which is home for us,” he recalls. “When
the settlers - or invaders, really - first came to the Gulf Coast they
couldn’t figure out what it was, and started referring to it as the Alien
Coast. That term really stuck with me, partly because it feels almost
apocalyptic.”
 St. Paul and the Broken Bones have reached incredible heights since
breaking out with their first album in 2014. Their previous three albums
each debuted in the Billboard 200, their legendary NPR Tiny Desk has
over 7 million views, they’ve opened for the Rolling Stones, shared the
stage with Elton John, and appeared on several television shows
including Jimmy Kimmel Live, Austin City Limits and more. They were
also the first-ever musical performance on Stephen Colbert’s Late Show.

The Wombats kick off the most exciting phase of their constantly evolving success story today with the announcement of their fifth studio album Fix Yourself, Not The World, due for release on 7th January 2022 via AWAL. Alongside this, the indie heroes have revealed plans for a five date headline UK arena tour in April 2022, playing massive nights in Leeds, Glasgow, Cardiff and Liverpool, as well as their biggest ever headline show at The O2, London on 15th April. Tickets will go on sale from 9am BST on 20th August.

The announcement comes accompanied by a brand new single ‘If You Ever Leave, I’m Coming With You’, which is BBC Radio 1’s Future Sounds Hottest Record In The World.

Recording remotely over the past year from their respective homes, the band have been working hard to produce some of the most captivating, inventive and forward-thinking music of their career to date. With frontman Matthew “Murph” Murphy in Los Angeles, bassist Tord Øverland Knudsen in Oslo and drummer Dan Haggis in London, they discussed each day’s plan via Zoom, then recorded separately, sending individual files to producers Jacknife Lee (U2, The Killers), Gabe Simon (Dua Lipa, Lana Del Rey), Paul Meaney (Twenty One Pilots, Nothing But Thieves), Mark Crew (Bastille, Rag‘n’Bone Man) and Mike Crossey (The 1975, The War on Drugs, Yungblud) to mix into the finished tracks. “It was pure madness, to be honest,” explains Murph.

“We’re so excited for people to hear this new album! We’ve explored new genres and pushed ourselves further than ever musically. It will always stand out for us in our memories from our other albums as we recorded it across three cities during lockdown, and we weren’t all in the same room at the same time!” says Dan Haggis.

The Wombats kick off the most exciting phase of their constantly evolving success story today with the announcement of their fifth studio album Fix Yourself, Not The World, due for release on 7th January 2022 via AWAL. Alongside this, the indie heroes have revealed plans for a five date headline UK arena tour in April 2022, playing massive nights in Leeds, Glasgow, Cardiff and Liverpool, as well as their biggest ever headline show at The O2, London on 15th April. Tickets will go on sale from 9am BST on 20th August.

The announcement comes accompanied by a brand new single ‘If You Ever Leave, I’m Coming With You’, which is BBC Radio 1’s Future Sounds Hottest Record In The World.

Recording remotely over the past year from their respective homes, the band have been working hard to produce some of the most captivating, inventive and forward-thinking music of their career to date. With frontman Matthew “Murph” Murphy in Los Angeles, bassist Tord Øverland Knudsen in Oslo and drummer Dan Haggis in London, they discussed each day’s plan via Zoom, then recorded separately, sending individual files to producers Jacknife Lee (U2, The Killers), Gabe Simon (Dua Lipa, Lana Del Rey), Paul Meaney (Twenty One Pilots, Nothing But Thieves), Mark Crew (Bastille, Rag‘n’Bone Man) and Mike Crossey (The 1975, The War on Drugs, Yungblud) to mix into the finished tracks. “It was pure madness, to be honest,” explains Murph.

“We’re so excited for people to hear this new album! We’ve explored new genres and pushed ourselves further than ever musically. It will always stand out for us in our memories from our other albums as we recorded it across three cities during lockdown, and we weren’t all in the same room at the same time!” says Dan Haggis.

We are extremely excited to announce that Licorice Pizza: The Original Motion Picture Soundtrack will be released on Friday 10rd December 2021 on both CD + Vinyl. Licorice Pizza is the story of Alana Kane (Alana Haim) & Gary Valentine (Cooper Hoffman) who grow up & fall in love in San Fernando Valley (1973). Written & directed by filmmaker Paul Thomas Anderson. Sean Penn, Bradley Cooper, Tom Waits & Benny Safdi also star. Limited movie release in the U.S. Nov 26 and goes wide in US on Dec 25. Radiohead's Jonny Greenwood composed the film's score & Paul Thomas Anderson curated the soundtrack also features songs by David Bowie, Paul McCartney and many more to be revealed. The title pays homage to the California record store, Licorice Pizza.





[d] 4 Ac–Cent–Tchuate The Positive (Single Version) [feat. Vic Schoen & His Orchestra] – Bing Crosby & The Andrew Sisters
[e] 5 Blue Sands [feat. Buddy Collette] – Chico Hamilton Quintet

[g] 7 My Ding-A-Ling (Live At Fillmore Auditorium, San Francisco, CA/1967) [feat. Steve Miller Band] – Chuck Berry

We are extremely excited to announce that Licorice Pizza: The Original Motion Picture Soundtrack will be released on Friday 10rd December 2021 on both CD + Vinyl. Licorice Pizza is the story of Alana Kane (Alana Haim) & Gary Valentine (Cooper Hoffman) who grow up & fall in love in San Fernando Valley (1973). Written & directed by filmmaker Paul Thomas Anderson. Sean Penn, Bradley Cooper, Tom Waits & Benny Safdi also star. Limited movie release in the U.S. Nov 26 and goes wide in US on Dec 25. Radiohead's Jonny Greenwood composed the film's score & Paul Thomas Anderson curated the soundtrack also features songs by David Bowie, Paul McCartney and many more to be revealed. The title pays homage to the California record store, Licorice Pizza.





d 4 Ac–Cent–Tchuate The Positive (Single Version) [feat. Vic Schoen & His Orchestra] – Bing Crosby & The Andrew Sisters
[e] 5 Blue Sands [feat. Buddy Collette] – Chico Hamilton Quintet

[g] 7 My Ding-A-Ling (Live At Fillmore Auditorium, San Francisco, CA/1967) [feat. Steve Miller Band] – Chuck Berry

NOW Music is delighted to introduce our new sub-brand ‘NOW Presents…’. This new series starts with ‘NOW Presents… The 1970s’, the first-ever NOW vinyl boxset featuring 5 LPs uniquely designed to reflect the era.

The boxset is a musical time capsule of the decade that saw so many different genres find chart success. Across its 74 tracks over 10 sides of vinyl, the massive hits sit alongside enduring classics from each year. The set not only includes 5 beautifully designed front covers on the individual albums (that slot into a rigid slip case), but also features track by track annotations with chart positions and facts about the artists and songs.

Each year, 1970-1979 is presented as 1 side of each LP… Kicking off with the iconic ‘Bridge Over Troubled Water’ by Simon & Garfunkel from the biggest selling album of the year, and of the decade. 1970 also includes Motown classics from Stevie Wonder, Smokey Robinson & The Miracles, and the debut hit ‘I Want You Back’ from the Jackson 5.

1971 includes the seminal ‘What’s Going On’ from Marvin Gaye, alongside Elton John’s breakthrough – the timeless ‘Your Song’, Rod Stewart’s breakthrough ‘Maggie May’, and The Who’s defining rock anthem ‘Baba O’Riley’.

The charts in 1972 began to reflect the popularity of ‘Glam Rock’ – and ‘Virginia Plain’ by Roxy Music, and ‘Metal Guru’ by T. Rex are included, as is the David Bowie-produced ‘Perfect Day’ from Lou Reed.

‘Killing Me Softly With His Song’ – one of the most beautiful songs, and vocals ever from Roberta Flack opens 1973’s side – and is joined by, amongst others, Billy Joel’s signature song ‘Piano Man’ and Bob Dylan’s ‘Knockin’ On Heaven’s Door’.

1974 celebrates Queen having their first Top 5 single with ‘Killer Queen’, and title tracks from two of the decades’ biggest selling albums: Paul McCartney & Wings with ‘Band On The Run’, and ‘Tubular Bells’ from Mike Oldfield.

John Lennon released ‘Imagine’ in 1971 – but it became a UK hit in 1975, and so, starts this side… and finds space for some of the year’s perfect pop from Steve Harley & Cockney Rebel, David Essex, 10cc, and the biggest hit ‘Bye Bye Baby’ from Bay City Rollers, at the peak of their popularity.

ABBA enjoyed 7 UK Number 1’s in the 1970s, and their biggest was the enduringly popular ‘Dancing Queen’ which leads into 1976. Electric Light Orchestra had a huge hit with ‘Livin’ Thing’, as did Thin Lizzy with ‘The Boys Are Back In Town’ – plus Joan Armatrading emerged with ‘Love And Affection’.

1977 saw Fleetwood Mac release their mega-selling album ‘Rumours’, and from it ‘Don’t Stop’ is here, as is Donna Summer’s ‘I Feel Love’ – one of the most influential dance tracks of all time – and one of 1977’s favourite TV stars, David Soul, enjoyed a #1 single with ‘Don’t Give Up On Us’.

With ‘Wuthering Heights’, Kate Bush not only had 4 weeks at number 1 in 1978, but became the first female artist to achieve this with a self-written song. The Jam, The Boomtown Rats and Siouxsie And The Banshees all found consistent success as Punk & New Wave established new chart stars.

1979 concludes the set and opens with the iconic ‘London Calling’ from The Clash, and includes two of the biggest bands of the era, The Police and Blondie. A couple of years later the first video played on MTV would be ‘Video Killed The Radio Star’ from The Buggles – and it’s fitting that this is the final track on the collection, a #1 in late 1979 – it signposted the synth-pop wave that would define the early 80s…. (but that’s a different box set).

Since her debut onto the techno scene with the 2018 release of her EP 'Post-Traumatic Rave Syndrome' on Paula Temple's "Noise Manifesto" and a string of international festival and club appearances, Femanyst has gained a reputation for militant individuality. Akua Grant sets herself apart from the crowd with her aggressive & unrelenting industrial techno sets tinged with elements of Hardcore and Gabber. She has become known for her rebellious and innovative style in her adopted home of Berlin. Her self-assured approach to gripping and brawling techno tension sees her perform a fast paced and fervent flow on the dance floor. Femanyst continues to bring her unapologetically bold signature sound with her own techno imprint "Dark Carousel" as an extension to her much revered DJ sets of twisted and aggressive, high octane electronic music.


A2 Fluid - Post Industrial Transformation
Fluid is a queer DJ and producer based in Berlin. Supporting FLINTA* DJs, producers and party events are one of his priorities. His first release begun in January 2021 and he is still modelling his sound. His interest in electronic music goes from industrial techno to ebm to trance to hypnotic techno.

Post Industrial Transformation is a track which combines aggressive sounds and a lot of industrial elements. The transformation refers to Fluid's evolving own path. This evolution is similar to the tension that builds up all through the track. This track evokes change, modification, passage from one form to another.


B1 Hybral - Unheard Voices
Hybral is a Berlin-based non-binary DJ and producer drawn to eerie energetic industrial techno. They mix and produce haunting techno, EBM, and noisy-driven experimental sounds. Hybral's productions are made of dark atmospheric patterns linked with pushing percussions and basslines as well as heavily distorted kicks and harsh industrial noises. Mixing DJ sets the track selection is ranging from contemplative ambient to stern and fast techno - connecting vast influences from Hybral's personal experiences of spending days and nights on Berlin's dancefloors. They are founder of the queer label, podcast, and event series 'Subverted' which focuses on a distinct program aiming to lead dance music back to its roots of resistance and diversity.


B2 Marsch - Mrs. Jones
Marsch is a Berlin-based dj and producer from France, who initially began 8 years ago as a music curator and selector. She started to produce when she moved to Berlin, and has mostly been focusing on this for the past few years. She would define her music as a balance between melody, energy and texture, with a blend of minimalistic elements, rhythmic and percussions, and voices and futuristic synths.


DURCH BLN/TLV is a queer collective with a clear vision of solidarity and community building. DURCH operates in Tel Aviv and Berlin trying to bring queer people together, building a culture of inclusion, diversity and tolerance. In the tradition of original raves DURCH organizes solidarity events ranging from parties, to art and community events, with the strong belief that raves are a much needed place for people to come together, celebrate their diversity and learn to respect each other. Musically DURCH is eclectic inspired by hardcore, straight forward techno, ghetto and scouse house and 90s acid.

We proudly announce the release of our first vinyl record "dogged boldness". This is a long held dream by the entire crew. With Femanyst, Hybral, Marsch and Fluid we are happy to showcase four artists that are close and dear to DURCH BLN/TLV. The record is a compilation of four hard-hitting, inciting techno tracks. Rough, bold and aggravating, just the way we like it. We are proud that we are able to continuously work with queer artists and to be a platform to further queer artists visibility.


Disclaimer: The world needs more queer artist, more queer music, more queer techno, more queer perspectives, more queer love and more queer intimacy.
No place for any racist, sexist, trans- or homophobic shit.

Artwork by Rory Midhani
Mastering by Chlar

Blue Vinyl

After learning her craft at an after-hours club in her hometown of Santiago de Chile, a pivotal move to Milan at the end of 2015 proved to be the ticket that would propel Paula Tape into the European club circuit. Six years later Paula has made a name for herself as a purveyor of eclectic selections, stomping Italo beats, percussive balearic excursions and synth-heavy rarities, both through her international DJ sets and shows on Worldwide FM and Milan’s Radio Raheem.

With two EPs under her belt via Alzaya & SOBO, collaborations with Project Pablo, Tornado Wallace & Elias Mazian to boot, and standout singles on Permanent Vacation, Ransom Note Records and Rhythm Section International’s highly regarded 2020 ‘SHOUTS’ compilation, we welcome the announcement of a knockout four-tracker from the Chilean producer on the same Peckham-based label. In the last 12 months she’s taken the Mixmag Lab & Boiler Room by storm, and with a slew of international tour dates and forthcoming releases lined up, 2021 looks set to be Paula’s year.

“When I started working on the Astroturismo EP I didn't know the music I was writing was going to shape into an EP. Finalizing the first track "Body Nature" helped me a lot to orientate the correct use of all the music I have been producing during the lockdown months and Rhythm Section team was constantly supporting me to make me feel free to explore musically without needing to stick to club music. "Body Nature embodies strong energies, in a very personal way: I noted down those silly lyrics and kept singing the melody in my head for days, in the end, that drove me to create a groove that would work and transfer the mood I was feeling. This track is about feeling relief with dancing, whether in a private moment like I did in those days or in a public space, few easy moves to trigger positive energy and improve your emotional state.” ~ Paula

After learning her craft at an after-hours club in her hometown of Santiago de Chile, a pivotal move to Milan at the end of 2015 proved to be the ticket that would propel Paula Tape into the European club circuit. Six years later Paula has made a name for herself as a purveyor of eclectic selections, stomping Italo beats, percussive balearic excursions and synth-heavy rarities, both through her international DJ sets and shows on Worldwide FM and Milan’s Radio Raheem.

With two EPs under her belt via Alzaya & SOBO, collaborations with Project Pablo, Tornado Wallace & Elias Mazian to boot, and standout singles on Permanent Vacation, Ransom Note Records and Rhythm Section International’s highly regarded 2020 ‘SHOUTS’ compilation, we welcome the announcement of a knockout four-tracker from the Chilean producer on the same Peckham-based label. In the last 12 months she’s taken the Mixmag Lab & Boiler Room by storm, and with a slew of international tour dates and forthcoming releases lined up, 2021 looks set to be Paula’s year.

“When I started working on the Astroturismo EP I didn't know the music I was writing was going to shape into an EP. Finalizing the first track "Body Nature" helped me a lot to orientate the correct use of all the music I have been producing during the lockdown months and Rhythm Section team was constantly supporting me to make me feel free to explore musically without needing to stick to club music. "Body Nature embodies strong energies, in a very personal way: I noted down those silly lyrics and kept singing the melody in my head for days, in the end, that drove me to create a groove that would work and transfer the mood I was feeling. This track is about feeling relief with dancing, whether in a private moment like I did in those days or in a public space, few easy moves to trigger positive energy and improve your emotional state.” ~ Paula

A Paean to Wilson is still arguably Vini Reilly and the Durutti Column's most important and consistent piece of work since the demise of the original and seminal Factory Records in the early 1990's. On this release we have the ‘F4 Heaven Sent’ tracks released on vinyl for the first time. They first appeared in 2005 via Wilson's project F4, as being the fourth version of Factory Records. Originally it was download-only release, Heaven Sent (It Was Called Digital, It Was Heaven Sent). A six track CD of personal dedications by Vini ironically the last piece is titled Anthony. Originally this was commissioned for the MIF (Manchester International Festival) where it was premiered in July 2009. Vin had already composed pieces for Tony to listen to whilst he was ill in hospital and it was from here that the project developed. This release belatedly coincides with the new Paul Morley Biography ‘Manchester with Love: The Life and Opinions of Tony ...’Ever critical of Vini's voice, but ever a fierce champion of his talent, the late Tony Wilson would surely appreciate this instrumental tribute by The Durutti Column. ‘Near the beginning of the final night of the Durutti Column's 70-minute international festival tribute to Tony Wilson, A Paean to Wilson, guitarist Vini Reilly announced that he wouldn't be singing: "So you won't have to put up with my awful voice and schoolboy lyrics." If Wilson was with us, he would have chuckled. The Granada presenter-turned-Factory Records boss spent years urging his first signing to stop singing, and concentrate on the virtuosity that led Red Hot Chili Pepper John Frusciante to call Reilly "the greatest guitarist in the world". Two years after his death, Wilson got his way, one of many lovely touches in a very personal, emotional and often warmly funny musical tribute. Wilson signed Joy Division and Happy Mondays, yet never gave up on this cult band he adored, working with them even after his legendary label went bankrupt. A complex man, Wilson was an academic thinker who revelled in Steve Coogan's affectionate, Alan Partridge-style send-up of him. And this tribute was no different. At one point, Reilly known for melancholy launched into something resembling an Irish jig. "Tony loved to laugh," he explained. "He loved absurdities." After the humour came exquisitely mournful music. With Reilly and drummer Bruce Mitchell augmented by bass, keyboard, violin, electric piano, drum machine and trumpet, the band's beautiful pieces reflected Wilson's love of rock and classical. Reilly's plangent guitar work showed grief's emotional spectrum, from sadness to overdriven anger. As in life, Wilson had the last word, his recorded voice expounding thoughts on socialism with an eerie echo. Silence followed as Manchester pondered the loss of one of its truly larger-than-life characters. Then everybody cheered.' Dave Simpson The Guardian 20/7/09

LP + DVD

Factory Benelux presents a 180gm vinyl edition of The Invisible Girls, a collection of rare lost studio recordings by legendary new wave production duo Martin Hannett and Steve Hopkins (aka The Invisible Girls).

The album has been newly remastered by Peter Beckmann at TechnologyWorks and is pressed on 180gsm black vinyl. The outer sleeve is printed in black with a silver pantone. The inner bag includes detailed liner notes by Steve Hopkins, as well as archive TIG and Strawberry images.

Martin ‘Zero’ Hannett is the legendary Manchester producer famous for his work with Joy Division, Buzzcocks, New Order, Magazine and Happy Mondays. Steve Hopkins was his musical partner in The Invisible Girls, a floating studio collective which shaped epochal records by John Cooper Clarke, Pauline Murray, Nico and several others.

The first five tracks on the album are a selection of previously unreleased demos (‘moods’) recorded at the famous Strawberry Studios between 1980 and 1987. “These were the beginnings of Martin’s Invisible Girls world domination plan,” ace arranger Hopkins explains. “The idea was to assemble a roster of key instrumental players, produce tracks to be fronted by different singers/stars - and get some hits!”

Also included are 3 Hannett solo pieces recorded in 1978 and 1979, with the deluxe package rounded off by a DVD featuring a remarkable 13 minute trio improvisation by Hannett, Hopkins and Vini Reilly of The Durutti Column, recorded for television in January 1980.

Praise for FBN 65: ‘This store room grab conjures Manchester’s scarred wastelands, jazz-funky library music and ambient disquiet. Blade Runner via the Arndale Centre. A strange wayward collection, just like the thought processes of Hannett’s brain’ (Mojo)

‘Lovingly annotated, these effortlessly melodic backdrops offer a glimpse into what could have been as a post-punk one-stop-shop Chic’ (Q); ‘Captivating’ (Classic Pop); ‘The Nelson Riddle of narcotic rock’ (The Wire)

Stolen Body are super stoked to announce the addition of French Psych/World rockers Gondhawa to our ever evolving roster.

Gondhawa is a musical laboratory - a fusion between Fela Kuti’s groove and Hendrix’s electricness.
Formed in 2018 in Angers (France) by Idriss (vocals and guitar), Clément (drums) and Paul (bass), the band explores different styles with a boundless energy. Inspired by French sci-fi literature, they invented a language. Outcomes Gondhawii, a fusion of sounds from all over the world and others as yet unidentified. With this new language the whole mind immerses into a delicious trance where we cross odd rhythms, quarter-tone riffs, oriental groove and electric explosions as well as stringed instruments from other countries. (n'goni, sanxian, microtonal guitar)

Gondhawa release their first album, “Kâampäla”. Six powerful and eclectic tracks dipped in stoner, afrobeat and progressive rock. Six tracks linking convoluted rhythms and inventive riffs.

Through the micro-tonal groove of Raba Dishka, the Afrobeat Stoner power of Käampâla, or the softness of Djoliko, a beautiful ballad lulled by the melancholy of acoustic strings from around the world, Gondhawa delivers the soundtrack of an interstellar road movie. An electric tornado with an abundance of rhythms and textures.

Music in Exile is excited to announce a new 12” maxi-single release from the “King of Music”, GORDON KOANG. Titled Coronavirus / Disco, this double-A-side release share’s Gordon’s messages of peace, love and positivity, and is his first original offering since his acclaimed Unity album was released in late 2020.

The first single, Coronavirus, was penned by Koang in July 2020 as a response to his personal experiences of the global pandemic. As his hometown of Melbourne went into lockdown, Gordon resided in the outer suburbs of Melbourne with his cousin, Paul, and his four-stringed, guitar-like instrument, the thom. Throughout this single, Gordon offers his condolences to those affected by the pandemic, alongside messages of his faith in frontline workers and the hope that circumstances will improve soon. “People suffer a lot. I ask that God gives the doctors the big wisdom to defeat the coronavirus. When people hear my song, I hope that this music counsels them. The song has a lot of meaning, it is telling them to be hopeful.”

With the cancellation of a national tour and numerous festival appearances, Covid-19 had not only impacted Gordon’s career here in Australia but also his opportunity to visit family he hadn’t seen in five years. After receiving Australian permanent residency, Gordon and Paul were now able to visit family in Uganda, however this was made incredibly difficult due to border closures and the potential health risks. Taking a last minute opportunity, Gordon and Paul travelled to Africa and whilst excited to visit their families, they also experienced the impact of the pandemic on their home communities. “In Africa, it is not like us here, there is no medicine and in Africa there is also no Centrelink if you are in lockdown. It is difficult getting services. Even getting food is difficult.”

After two weeks in hotel quarantine, Gordon and Paul returned to Melbourne, eager to record music once more. With lockdown lifting, Gordon headed to the studio with a new band featuring Zak Olsen (ORB, Traffik Island) Jack Kong (Baked Beans, Traffik Island), David “Daff” Gravolin (ORB), and Jesse Williams (Leah Senior, Girlatones). This new release is the result of these studio sessions, jamming and recording at Button Pusher in Preston, Melbourne.

For the DJ’s out there, both tracks will feature on a limited edition, 12” maxi single vinyl complete with pull-out poster from Gordon, encouraging listeners to stay positive during this difficult time.

“My condolences to you, my audience in lockdown. We are all suffering from coronavirus. Let us stand firm and be strong. Let us look after each other, until the time comes when God brings us together. I give my condolences to people who have died of coronavirus, in aged care and disability. We are heartbroken for everyone. Let us take it easy, and pray in our houses, all around the world. If you believe in God, pray to the God you believe in, and they will help you. God will give us the chance to go back to normal and open all events. Even if it is a bad time now, there will be a change and it will be a good time for us. Thank you to everyone.” - Gordon Koang

Surfdog Records and Brian Setzer have announced that for the first time, Setzer’s classic 2003 album Nitro Burnin’ Funny Daddy will be issued on vinyl. It will be released on limited edition 180 gram, red transparent vinyl on 25th June 2021.
Only Brian Setzer could cut an album with more lyrical honesty and musical diversity than anything he's ever done and then title it Nitro Burnin' Funny Daddy. Not that the name is misleading; Nitro is in fact packed with explosive performances. There's more than enough volatile picking and singing to mark this as a highlight of a catalog already crowded with great albums he's delivered as leader of the history-making Stray Cats and on his own too.

But there's more: street-corner doo-wop, heartbreak balladry, a foot-stomp hoedown, several lyrics that will shock and stun longtime fans, and always, somewhere in the mix, the blues. Every track is distinctive, none sounds like any of the others, yet all of them are pure Setzer. And it's all compressed into a tight trio format -- Setzer and his big band colleagues, standup slap-bass powerhouse Johnny Hatton and rhythm dynamo Bernie Dresel on snare and cymbals -- whose sound evokes Les Paul, Junior Parker, and even Earl Scruggs as much as Louis Prima or Eddie Cochran.
Originally released in 2003, Nitro Burnin’ Funny Daddy was Brian Setzer’s eleventh solo album and when it was released he said it was the most personal record he had ever done. The album followed his big-band release Boogie Woogie Christmas from the previous year and saw him back to his rockabilly best, taking in doo-wop (“To Be Loved”), bluegrass (“When The Bells Don’t Chime”), rootsy-rock (“Don’t Trust A Woman (In A Black Cadillac)”) and going on a cinematic Wild-West romp (“Wild Wind”).

Black Truffle is pleased to announce the first-ever vinyl reissue of Remko Scha’s Guitar Mural 1 featuring The Machines, originally published as a rare cassette edition by Taal Beeld Geluid in 1982. A computational linguist by profession, Scha played an important role in the development of sound, installation, and digital art in the Netherlands from the late 1970s onward, co-founding the performance and exhibition space Het Appolohuis in Eindhoven in 1980. Alongside Paul Panhuysen and Jan Van Riet, Scha was a founding member of the radical improvisation group The Maciunas Ensemble, though he is best known for his work with mechanised electric guitars, documented on the legendary 1982 LP Machine Guitars.

Guitar Mural 1 documents an installation of Scha’s mechanical guitar ensemble The Machines held at a Groningen gallery space in 1982. Five electric guitars hang from the wall, their strings sounded by rotating rubber strings and a sabre saw controlled by a mechanical apparatus, as well as four ropes criss-crossing the five instruments on the wall. Once the mechanism was set up, Scha’s only intervention was to vary the speed at which it operated. Where Machine Guitars presents short excerpts clearly distinguished by rhythmic and timbral variation, here we are confronted with four enormous side-long slabs of percussive string attack and the resulting clouds of harmonics. Variation is minimal across the duration of each side, making for a sculptural listening experience, as if we are patiently examining each facet of a static object. But significant variety exists between the four sides, each of which shows off a different facet of what The Machines were capable of. The first two excerpts feature open strings sounded at rapid tempos, dissolving the percussive attack into a continuous stream of sound reminiscent of Charlemagne Palestine’s ‘strumming’ technique. On the third side, the strings are partly muted and the tempo slightly lowered, resulting in layers of relentlessly chugging rhythm somewhere between an ensemble of hand drums and an early Velvet Underground bootleg. On the fourth side, havoc breaks loose in percussive waves of asynchronous repetition that bring Scha’s sound world close to that of another pioneer experiment in musical mechanisation, the Solar Music of Joe Jones.

Presented as a limited edition 2LP set in a deluxe gatefold sleeve accompanied by stunning visual documentation of the original installation, remastered audio and new liner notes from Alan Licht and Van Lagestein, Guitar Mural 1 is an exhilarating document occupying a unique space between kinetic sculpture, hardcore minimalism and rock & roll.

Red Vinyl

Cinema Paradiso Recordings is proud to announce the release of the soundtrack to the motion picture 'The Parallax View', on vinyl for the first time ever, this coming April 30th 2021. Based on the book by Loren Singer, ‘The Parallax View’ is directed and produced by Alan J Pakula as the second instalment of his Political Paranoia trilogy - alongside Klute (1971) and All the President's Men (1976). With cinematography by Gordon Willis (The Godfather trilogy, Annie Hall) and starring Warren Beatty, this political thriller from 1974 is perhaps even more relevant today than it was back then.

The legendary score by composer Michael Small is regarded as a benchmark in the sound of paranoia thrillers that dominated cinema in the 1970s, with revered film critic Pauline Kael hailing the film as an essential for all fans of the genre. Now, 47 years later, the soundtrack will finally be available to own on vinyl.

The CPR edition of ‘The Parallax View’ soundtrack includes for the first time the infamous brainwashing scene, an influence on countless films and TV shows over the years. Notably, most recently with the Watchmen series and shows Mr Robot and Homecoming even using the music from the film. Whilst researching to gain approval for this usage we discovered from Jon Boorstin, (Assistant to Pakula on The Parallax View), that the unaccredited disembodied voice from the ‘Parallax Test’ scene belonged to director Pakula himself.

The single LP, deluxe gatefold limited edition in coloured vinyl comes with liner notes that include two essays by Scott Bettencourt and Alexander Kaplan (of Film Score Monthly), which provide a fascinating insight into the making of the film and an analysis of the score.

“The Parallax View embodies a particularly paranoid moment for America, when assassination wounds were still fresh and the President’s bungling burglars were running him out of the White House. Michael Small’s music beautifully captures our hope, our dread, and our nostalgia for truer values. In the Parallax Test sequence, he brilliantly seduces the assassin in all of us. Watching this today, wrapped in Michael's music, what was once wild fantasy feels at least as credible as the pronouncements of our Kool-Aid drinking Congressmen. “
- Jon Boorstin

Kalita are proud to announce the first ever official re-release of Mpharanyana & The Peddler's 1979 South African disco and funk recordings 'Disco' and 'Freak Out With Botsotso', backed by a devastating extended edit of 'Disco' courtesy of Amsterdam-based DJ and producer Jamie 3:26. Cut on a loud 12" single and accompanied by an extended edit of 'Disco' courtesy of Jamie 3:26, this truly is another no-brainer from the Kalita camp.

Born on 15th November 1949 in Kattlehong, South Africa, Jacob ‘Mpharanyana’ Radebe was one of South Africa’s greatest ever musicians, releasing a canon of legendary soul, jazz and disco albums before his untimely death in August 1979 at the age of just twenty-nine.

Here, Kalita select his highly sought-after disco and funk recordings ‘Disco’ and ‘Freak Out With Botsotso’, both selected from his 1979 invisible final album, ‘Hela Ngwanana’, re-releasing them for the first time in forty years. Including Paul Simon and Herbie Hancock session musician Bakithi Kumalo on bass and Themba Mokena of Dick Khoza ‘Chapita’ fame on lead guitar, the recordings feature some of the country’s top contemporary musicians joining forces to glorious effect.

With the original album currently fetching eye-watering prices on the rare occasion that they turn up for sale, the time is now ripe to share this masterpiece with the world once more.

Classic black vinyl, including DLC with estra track. "Here lies our ancient future, Deep England: our hope and compassion in the chokehold of power and glory.Hand in hand, here we cry our rage: summoning a lament into the ether, a divine androgynous force, a transcendental purge of the dizzying chaos of post-truth Britain." - Gazelle Twin & NYX. Gazelle Twin & NYX: electronic drone choir have announced details of their debut release, Deep England, an 8-track album out on vinyl, CD and digitally on 19 March 2021 via NYX Collective Records.Rooted in English pagan and sacred music, Deep England is an electronic-choral expansion of Gazelle Twin's 2018 album Pastoral (Anti-Ghost Moon Ray). Here, tracks from Pastoral, an album whose political themes have only intensified since its original release, are radically reworked and presented alongside original compositions by NYX, Paul Giovanni and William Blake.Gazelle Twin (aka Elizabeth Bernholz) and NYX, the electronic drone choir reshaping the role of the traditional female choir, originally created Deep England for live performance with Movement Director Imogen Knight, Sound Associate Peter Rice and Designer Chloe Lamford. The performance, described by The Times in their 4* review as a "spellbinding febrile techno-pagan pageant", premiered at the Queen Elizabeth Hall in November 2019. Deep England was transferred to the studio soon after, and the resulting album shows a powerful and often dreamlike Jarman-esque depiction of a country divided by its many selves. The performers are Adélaïde Pratoussy, Cecilia Forssberg, Elizabeth Bernholz, Natalie Sharp, Ruth Corey, Shireen Qureshi and Sian O'Gorman. The album was co-produced by Marta Salogni, Sian O'Gorman (NYX) and Elizabeth Bernholz (Gazelle Twin) with mix and additional programming by Marta Salogni, and mastering by Heba Kadry.

WRWTFWW Records is beaucoup happy to announce the official reissue of Pierre Barouh's hard-to-describe-but-easy-to-enjoy French flair meets Japanese avant-garde lost treasure of experimental-electronic-chanson-pop with a new-wave-minimal-bossa touch, Le Pollen. Originally recorded July 1982 at Nippon Columbia Studio in Tokyo and composed, arranged, and played by a who's who of Japan's most groundbreaking musicians of the 80s, the album comes as a LP with bonus 7inch, housed in a heavy sleeve displaying two immaculate photos of Barouh and holding a printed lyrics insert.

A free-spirited world traveler with an incredible ear for music, Paris-born singer and activist Pierre Barouh introduced the sounds of Brazil (and more) to Europe and pushed the envelope with his pio-neering label Saravah, home of adventurous innovators Brigitte Fontaine, Areski, Jacques Higelin, Naná Vasconcelos, and Roland Bocquet's Catharsis among many others. His bohemian border-free vision of modern chanson, blending musical tradition from various parts of the globe with forward-looking artistry, resonated particularly well in Japan, where the scene spearheaded by Yellow Magic Orchestra fell in love with everything Barouh.

And so one day in 1981, Pierre Barouh received an invitation from a Japanese label to come record an album in Tokyo. Not one to turn down an escapade around the world, the French visionary jumped on a plane and landed in a studio surrounded with a dream line-up of musicians: Yukihiro Takahashi (who had named his solo debut Saravah! after Barouh's imprint) and Ryuichi Sakamoto of YMO, Yasuaki Shimizu and his Mariah bandmates Masanori Sasaji and Hideo Yamaki, members of the Moonriders, Motohiko Hamase, Mitsuru Sawamura of Interior, Kazuhiko Katoh and the list goes on. Also participating in the making of the album were longtime collaborator Francis Laï and the mys-terious and beautiful David Sylvian.

The result is Le Pollen, a sincere and affectionate mix of nouveau chanson, techno-pop, post-punk, jazz, bossa, ambient, and minimalism. And probably something else entirely. Honestly impossible to classify in a particular genre, Pierre Barouh's fascinating cosmopolitan music melting pot is, above all, a reassuring ode to humanity, where friendship, exchange, and collaborative creativity breeze freely. Making music together. It's all love.

Pierre Barouh sadly passed away in December 2016, leaving behind a monumental legacy of music and art for us to cherish, and a life philosophy that's well worth considering:

La vie, qu'elle soit longue ou brève
Moi, tous mes rêves
Je les prends toujours au sérieux
Quand l'utopie brise les chaînes
C'est l'oxygène,
De ceux qui sont restés curieux

Life, be it long or brief
Me, all my dreams
I always take them seriously
When utopia breaks the chains
It's the oxygen,
Of those who've remained curious

From the song "L'Autre Rive" on Le Pollen.

2x12"

Parisian label Another Moon are pleased to announce the imminent release of the second collaborative album by Scott Monteith aka Deadbeat and Paul St Hilaire aka Tikiman entitled 4 Quarters of Love and Modern Lash. When asked about about the album's motivations and production process, Monteith had the following to say: “I first heard Paul's voice back in 1996 when I stumbled upon the first Burial Mix 10 inch in a local shop, and it would be no exaggeration to say it has echoed in my mind ever since. We began working together in 2008, and it's fair to say the experience of performing and learning from him has left an indelible mark on my artistic process and my outlook on life in general. He is possessed of a truly electrifying spirit. I’ve had a folder on my hard drive called “For Tiki” for 14 years now, for those more often than not late night studio moments when I stumble upon a rhythmic or musical phrase and hear that unmistakable voice bubbling up in my mind. When that folder fills up with enough of those little magic moments I know it's time to call him, though strangely enough, he more often than not ends up calling me around those times. Such is his deep universal awareness.” “I wrote the initial sketches for what would eventually become this new album over the course of last year to a large extent as a way of trying to process what I perceived as a creeping darkness and sickness in both my own life and the world in general that desperately needed exorcising. When I received his initial responses I nearly fell off my chair. It goes without saying that Paul is a lyricist and poet second to none, and anyone familiar with his enormous body of work can attest to that. And yet, there was something in these latest pieces that hammered the proverbial nail clean through the wood. They perfectly captured this sense of rising tension, of a world that was getting almost psychedelically weirder and darker by the day, and both held a mirror up to this and offered some much needed release. Little did we know, nor could we possibly have imagined, that by the time the record actually hit the shelves, things would get exponentially weirder and darker still.” “It is my great hope that at some point in the coming months we will be able to get back on the road and share these new pieces with people in a live setting, as performing with Tiki is truly one of my greatest joys, and I think it’s where the fire in our work together truly burns brightest. In the meantime, it is my great hope that these 4 long form meditations might provide a little solace for people in their isolation, be it quietly, eyes closed lying on the coach, or cranked up, full on raving in their living rooms.”

Mirae Arts is an independent vinyl label based in northern California with focus on experimental ambient and techno music. Inspired by travel and natural landscapes, Mirae Arts boasts a diverse catalogue of projects from artists such as Seraphim Rytm, Michiru Aoyama, and Katsunori Sawa.

Katsunori Sawa & Anthone (aka Martsman) are Bokeh, the dynamic duo behind some of the most notable releases on Berlin’s Weevil Neighbourhood. Bokeh blends together the distinctive styles of Katsunori Sawa & Anthone, who have releases on labels such as Opal Tapes, SNTS, Hidden Hawaii, and many more under their belts. This year, Bokeh has already released a 12” EP for UVB-76 and Mirae Arts is proud to announce the follow up debut LP release called Lenses Dances.

Lenses Dances comprises 8 tracks that reflect on the photograph effect called bokeh, where aperture settings of the respective camera lens create vivid patterns, almost like dancing dots. It is a dedication to the artists’ love for photography. The music is complemented by Paul Nicholson’s signature graphic designs.

Artwork design by Paul Nicholson, UK graphic designer who created the famous Aphex Twin logo and The Laughing Man logo for the cult-classic anime, Ghost in the Shell: Stand Alone Complex. Paul has since designed logos and artworks for numerous artists and organizations.

Mastering and lacquer completed by Kassian Troyer at the legendary Dubplates & Mastering.

SEATTLE -- Pearl Jam will release their much-anticipated eleventh studio album, Gigaton, on Monkeywrench Records/Republic Records on March 27, 2020 in the US. Internationally, the album will be released and distributed by Universal Music Group. Produced by Josh Evans and Pearl Jam, Gigaton marks the band’s first studio album since GRAMMY award-winning Lightning Bolt, which was released on October 15, 2013.

“Making this record was a long journey,” explains Mike McCready. “It was emotionally dark and confusing at times, but also an exciting and experimental road map to musical redemption. Collaborating with my bandmates on Gigaton ultimately gave me greater love, awareness and knowledge of the need for human connection in these times."

Gigaton’s cover features Canadian photographer, filmmaker, and marine biologist Paul Nicklen’s photo “Ice Waterfall.” Taken in Svalbard, Norway, this image features the Nordaustlandet ice cap gushing high volumes of meltwater.

In support of Gigaton, Pearl Jam will embark on their first leg of North American tour dates in March and April. The 16-date tour kicks-off on March 18 in Toronto and wraps with a two-date stint in Oakland April 18-19. Full tour dates follow.

Pearl Jam's North American tour is in addition to the band's previously announced European summer tour.

The Fall is the fourth studio album by British virtual band Gorillaz. The album was officially announced on 20 December 2010 as a holiday gift to fans. The Fall was first released on 25 December 2010 to stream for free on the Gorillaz website, only available as a download for paying members of the band's Sub-Division club, a premium access campaign the band ran throughout 2010. The album features fewer guest artists than previous Gorillaz albums; collaborators include Mick Jones and Paul Simonon of The Clash and Bobby Womack.

Having just announced his first solo Ibiza residency, Dance or Die, Nic Fanciulli continues his impressive run of form with a long-awaited debut on Crosstown Rebels. Entitled Miracle (Body Rock), the two-track release includes a stunning remix from esteemed UK talent Paul Woolford.

Beginning things in fine form is Nic Fanciulli’s original Miracle (Body Rock). Whispering percussion combines with the subtle plucking of guitar strings, as echoing vocals are layered underneath soft,
moving pads to create a well-rounded, moving number. Paul Woolford’s Endless Bassline remix comes next. Stuttering hi-hats provide rhythm as the titular rolling bassline chugs on, whilst toneful piano keys merge with reverberating, soulful vocals. Unique, yet staying true to the original, the addition of distorted
claps helps create the perfect dancefloor cut; but it is the re-singing of classic Jomanda’s ‘Make My Body Rock’ vocals that links both tracks in a moving, emotive fashion.

A name synonymous with electronic music culture, Nic Fanciulli is a DJ, producer, festival curator and
label owner whose career has spanned two decades. It was in 2005 that Nic founded Saved Records, an
imprint that is now synonymous with releases from some of the scenes greatest, including Adam Beyer
and Hot Since 82. But it was his latest release on Rekids, titled Understand, that further cemented his
reputation as a standout music producer, with a clear-cut ear for the perfect dancefloor melody. Paul
Woolford is a veteran of the UK’s electronic music scene. A prolific producer who has used many
aliases, the British talent has recorded five Essential Mixes for Radio 1 as well as holding down a nine-
year residency at Space Ibiza. His recent releases demonstrate his continued talent for producing,
including You Already Know, Hang Up Your Hang Ups and Story of My Life on Hot Creations.

Live At Robert Johnson is happy to announce the second release of Sao Paulo based artist Davis titled "Ordinary Sleep".

Davis a key figure of Sao Paulo's strong techno and house scene, and a member of the collective behind the underground warehouse event series ODD. On his forthcoming EP Davis brings together break-beat and acid with his trancy signature synthwave melodies.

Paul DeMarinis is a key figure in the history of electronic music since the 1970s. Collaborator with the likes of Robert Ashley, David Behrman, and David Tudor, DeMarinis is a pioneer in the development of gallery sound installation and digital music technologies. Black Truffle is thrilled to announce the release of a double-LP collection, selected in collaboration with the artist, focussing on DeMarinis's exploration of synthesized voice and the digital analysis and manipulation of speech sounds. Drawing together tracks dispersed on compilations along with a number of pieces previously unheard in any form, Songs Without Throats offers a revelatory look into DeMarinis's alternately accessible and uncompromising production between 1978 and 1995. Opening with a mesmerizing piece from 1978 pairing the voice and tamboura playing of Anne Klingensmith with strings of letters spat out by a Speak n' Spell to the accompaniment of the randomised melodic patterns of DeMarinis's homebuilt electronic instrument 'The Pygmy Gamelan', the record then dispenses with the live human voice in favour of its recorded and synthetic doubles. We follow DeMarinis's restless probing of the possibilities of new technologies, from the hacked Speak n' Spell (which gives us the austere 'Et Tu, Klaatu' 1979, another duet with Klingensmith, this time on bowed psaltery, in which the toy's synthetic voice is stretched into an alien song) through to the use of digital audio samples manipulated with home computer technology in the early 1990s (including a remarkable dream-like collage piece that weaves a rare recording of Stalin's voice and bird-like electronic twittering derived from its formant-glides into a rich tapestry of samples reflective of the dictator's musical life). In between we get a rich sampling of DeMarinis's signature work with speech melodies - usually unnoticed melodic inflections that lie within speech patterns - which he analyses and translates into synthesized musical accompaniment. These pieces draw on a wide variety of textual and vocal sources, which range from the hilarious to the menacing ('Cincinatti (1830-1850)' sets a detailed description of butchering techniques, for example) and an equally broad range of musical conceptions, combining elements as seemingly unlikely as Beethoven's Opus 31 pianos sonatas and the sounds of 80s synth pop. The results are an extraordinary combination of the alien and the familiar. As DeMarinis himself characterises his work with vocal synthesis, this is 'a kind of signal that simultaneously carried and obscured meaning and ideation, even as it created a sound world totally alien in esthetic'. Presented in a deluxe gatefold sleeve with archival images and liner notes by Paul DeMarinis. Design by Stephen O'Malley. Mastered and cut by Rashad Becker at D&M, Berlin

In 1991 Baritone Tiplove released the highly acclaimed 'Young Ladies Drive Me Crazy' 12' on Easy Street
Records introducing the world to the bizarre minds of this fictional duo. The 12' was well received and
followed up by the cassette only LP 'Livin Foul' which has gone on to be a highly sought after rarity and has
even been called the greatest cassette only rap album. In 2017 Diggers With Gratitude released the first of a
planned three part series of unreleased Baritone Tiplove material, recorded across the late 80's and early 90's.
Now, in December 2018, In Effect Recordings and Diggers With Gratitude are proud to announce the second
EP in this series.
Many people know Baritone as the alter ego of the multi-talented Phill Most Chill (aka Soulman) who has been
enjoying somewhat of a resurgence in popularity of late amongst hip-hop vinyl fanatics. Recent collaborations
with DJ Format ('The Foremost') and Paul Nice ('The Fabreeze Brothers') have been widely acclaimed, as
have his numerous guest appearances, and our previous release of vintage material from Phill, 2011's 'All
Cuts Recorded Raw', remains our best selling release to date and is now highly sought after. Suffice it to say
we expect these to sell out quickly, don't say we didn't warn you!

Tucky Buzzard
The Complete Tucky Buzzard 5 Lp Slipcase Box Set
- Having Come To The End Of The Psychedelic Path, The End Decided On A Change Of Musical Direction And A Change Of Name,
Arising From The Ashes As Tucky Buzzard In 1970 And Retaining The Line-up Of Guitarist Terry Taylor, Organist Nicky Graham,
Drummer Paul Francis, Bassist Dave Brown, And Vocalist Jimmy Henderson.
- The First Album, Recorded With Madrid Philharmonic Orchestra Directed By Waldo De Los Rios, Contained Some Last Vestiges
Of The Band's Previous Existence. But The Second Album, Produced By Old Associate Bill Wyman With Glyn Johns At Olympic
Studios Set Out The Band's Template Of Bluesy Rock, A Leading Genre At The Dawn Of The 70s. Mick Taylor Makes A Guest
Appearance.
- For The Fourth And Fifth Albums, The Band Was Signed To Deep Purple's Own Purple Records. Bill Wyman Continued In The
Producer's Chair, But The Departing Nicky Graham Was Replaced With A Second Guitarist.
- Strictly Limited To 750 Copies, And Housed In A Numbered Rigid Slipcase Featuring Photos From The Collection Of Terry Taylor
(bill Wyman's Right Hand Man In The Rhythm Kings For The Last 25+ Years), All The Original Sleeves (including Two Gatefolds)
Are Faithfully Reproduced. The Inner Sleeves Feature Extensive Annotation By Alan Robinson Based On Interviews With The Band.

Les Shadoks (50th Anniversary Edition) - Collector's VINYL Edition (LP + 7"): High glossy gatefold sleeve, French + English liner notes / poster inlay with Shadok drawing by Robert Cohen-Solal, hype sticker

- Les Shadoks soundtrack by Robert Cohen-Solal available for the first time ever in its entirety, cut and mastered from the original reels, made in cooperation with the artist.
- For fans of musique concrète, electro-acoustic, psychedelic, early electronics, experimental, soundtrack, library, oddities, cartoons, 60s and 70s music, Prospective 21ème Siècle series, Bernard Parmegiani, Jean-Jacques Perrey, Luc Ferrari, Pierre Schaeffer, Pierre Henry, Bruno Spoerri, Groupe de recherches musicales (GRM).

WRWTFWW Records is delighted to announce the release of the complete soundtrack of cult French animated TV series Les Shadoks (1968-1974) by Robert Cohen-Solal, available for the first time ever in its entirety. Right in time to celebrate the 50th anniversary of Jacques Rouxel and René Borg's legendary television cartoon, this collector's item comes in two versions: a limited edition 12" + 7" vinyl album housed in a high glossy gatefold and with an exclusive Shadok drawing by Robert Cohen-Solal, and a digipack CD. Both versions are cut and mastered from the original reels under the supervision of the artist, and contain liner notes in French and English.

Electro-acoustic pioneer and eminent member of the illustrious GRM (Groupe de recherches musicales, the French equivalent of the BBC Radiophonic Workshop), Robert Cohen-Solal has explored music and sound alongside luminaries such as Bernard Parmegiani, Pierre Henry, Luc Ferrari, and Iannis Xenakis, and is responsible for numerous projects in the field of applied music, soundtracks (documentaries, shorts etc.), and experimental recordings. His work on Les Shadoks is simply extraordinary - a fascinating and bizarre collage of wacky electro pop (à la Jean-Jacques Perrey), drones, musique concrète, classical, and dadaist sound experiments seamlessly mixing into a cohesive and cinematic listening experience. The ideal soundtrack for what will remain one of the weirdest animated TV series ever created!

A true literary, cultural and philosophical phenomenon in France, Les Shadoks caused a sensation while airing between 1968 and 1974. Its unique combination of Alfred Jarry-style surrealism, off-centered British humor, and US comic strip inspiration, all brought to life by illustrated bird-like creatures (reminiscent of Paul Klee's La machine à gazouiller), left a lasting mark, making the term Shadok an often-used satirical expression to describe policies and attitudes considered to be absurd.

It was the spring of 2007 when Paul 'Mudd' Murphy and Kevin Pollard announced the arrival of the former's Claremont 56 label with Villa Stavros', a magical frst collaborative 12'. It
seems somewhat ftting, then, that Claremont 56's fnal release of its' frst decade will be N7 Odyssey, the frst collaborative album from Mudd & Pollard. By the time Villa Stavros' came out, the pair had already been regular studio buddies for a couple of years. Initially, Murphy had recruited Pollard - a hugely talented keyboardist and composer - to play on tracks he was working on for Rong Music. One thing naturally led to another, and soon they were joining forces to make music as Murphy's home studio in
Holloway, North London. As the years rolled by, further acclaimed singles followed Villa Stavros' - the bubbly, Rhodes-laden Balearic disco shuffe of Vincent', and the lilting, intergalactic dub disco of Scaffold', most notably - before the duo's other musical commitments began to take precedence. Murphy had his hands full running the Claremont 56 and Leng labels, while Pollard carved out a successful career as a soundtrack composer for both flm and television. Now, the album they set out to make all those years ago is fnally fnished and ready to be
released. N7 Odyssey - titled in tribute to the Holloway studio they recorded in for many years before Murphy moved - draws together freshly re-mastered versions of their previously released singles with a clutch of previously unheard tracks. Built around the duo's own fne musicianship, with Pollard handling synths, keyboards and electric piano, and Murphy guitar, bass and percussion, the album's ten tracks offer a musical journey through their shared love of shuffing grooves, sun-kissed soundscapes and
gentle positivity. Highlights come thick and fast. There's the swirling strings, futtering futes, jammed-out electric pianos and heady female vocals of Far Away', the enchanting new age ambience of December', and the rush-inducing Balearic disco breeze of Mawson's Walk', a former single blessed with sublime horn solos and rising, cinematic strings. Check, too, the head-
nodding beats, fuid electric piano solos and jazzy guitars of Inatin', the gentle Eastern mysticism and vintage ambient house aesthetics of Anura', and the ultra-deep house pulse of N7 Odyssey'. The album fttingly fnishes with a sublime ambient interpretation of Scaffold', arguably the duo's most celebrated track. It may have taken a decade to emerge, fully formed, but Murphy and Pollard have delivered an album that's beguiling, magical, and hugely comforting. Clearly, it's an odyssey worth
taking.

Klyne first caught everybody's attention with their critically acclaimed debut Paralyzed EP for Aesop, as well as their maiden remix, a rework of Disclosure's Omen feat. Sam Smith. Water Flow is their follow up to the acclaimed Don't Stop, their Because Music debut released earlier this year; its stunning video was directed by acclaimed choreographer and film maker Holly Blakey (Florence and the Machine, Jungle, Coldplay, Young Fathers) and is nominated for a UK Music Video Award. The duo supported Years & Years and label mate Christine and the Queens on tour this year, and performed their first UK headline show for the sold out Dummy presents Because Music event at the Ace Hotel, London in the summer. More shows will be announced shortly. Vital Sales Points: "mellow electronic pop that's like a long-lost cousin of Jai Paul" - The FADER "infectious and effortless... groove-laden soulful masterstrokes" - VICE / Noisey "minimalist vibes, captivating vocals... impeccable melodies" - Pigeons & Planes "gorgeous electro-pop" - Spin "more fire from the young Dutch duo... the boys are off to a strong start" - i-D