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IKOQWE (pronounced ee-kok-weh) is a new project by Batida (aka Pedro Coquen o, the Angola-born, Lisbon-raised artist who ranks among the leading exponents of the new wave of African electronic music), and Luaty Beir o, aka Ikonoklasta, the Angolan rapper turned iconic activist.
IKOQWE’s inspiration comes from old school Hip Hop as much as from traditional Angolan music. The album (entitled ‘The Beginning, the Medium, the End and the Infinite’) includes drum machines, vocals in Angolan slang, Umbundu, Portuguese & English, discussions about neocolonialism, iniquities and falsified history, radio sounds, utopian solutions, and much more.
The album will be preceded by a 3-track digital single, ‘Pele’ (‘Skin’), containing the album version, and remixes by afro house legend Bodhi Sattva and by UK ‘disco noir’ band MADMADMAD. Also check out the music video for ‘Pele’, including some footage from IKOQWE’s first live performance.

Having shone his light over the damp canals of Gothenburg for at least a decade, Paradise City Jams is the first album proper from Johannes Brander and his Skogar project, as well as his first release on Stockholm’s Studio Barnhus label. This highly anticipated record is the crown jewel of all those strangely glimmering shards scattered via the barely existent Native Parts imprint over the last 10 years, as well as numerous live performances around town. Though rooted in the mid-00's neo cassette underground, this debut album bares little resemblance to the hypnagogic era, the mostly guitar-driven tracks evoking a longing for something that has never actually existed, in contrast to yer standard nostalgic exercises. A Malmsteeninan approach to the riff is soaked in a peculiar strain of melancholia, accompanied by mesmerizing synths and bad-ass percussion. As a
visual artist, Brander works with returning images of feverish jungle scenes, often incorporating Vodou mysticism and tribal settings. These images are always present in the mysterious musical world of Skogar, painting pictures of a parallel universe far away from those Gothenburg canals. Well worth the wait! Recorded in Gothenburg, Brännö and Hawaii between 2017 and 2020, mastered for vinyl by Viktor Ottosson.

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.

New Pagans create music that's not only vivid and engaging but also home to massive riffs and rare dynamics. The bands audible influences range from PJ Harvey to Sonic Youth while lyrically the band deliver protest songs, songs about women, songs about mothers and songs about conversations overheard on Belfast's public transport systems. Their live shows are also something to behold and have just been the recipients of the best live act at The Northern Island Music Prize 2020. Music is the focus and an important vehicle for the healthy message the band promotes. New Pagans is a proud advocate for women’s rights, visibility and inclusion in the global music industry – an industry dogged with a history of stark gender inequality. The arts community and media have responded to the bands refreshing social and historical lyrical stance which includes protest songs, songs of suffrage and an ode to Lily Yeats, the often overlooked sister of Jack and William B and a key mover in the world of Irish arts and crafts back in the day along with her younger sister, Elizabeth. New Pagans have headlined events as part of Women’s Work and Lyndsey McDougall has proudly embraced the demands of live performance and recording whilst pregnant twice!. The band are committed to promoting honest inclusion, demonstrating the female force and showing that you can be born as or identify as female, raise a family and have your place as a career musician. Young women, young mothers see Lyndsey as a symbol of strength and hope in her fearless and forthright attitude to motherhood whilst fronting a band. A lot of young mothers feel the need to hide that aspect of their personal life for fear of how people may perceive it as a limit in achieving creative breakthroughs. New Pagans are that breakthrough, a visible work in motion

Consolidated, the political dance/industrial music band from the early 90ties joined again for a studio session in San Francisco last summer, resulting in a new album. 'We're Already There'. The first release on Consolidated's own label 'The End Of Records'. What else to expect, the new recordings are an innovating mix of industrial, to hip-hop, to rock and funk with mixtures of live instruments and electronics. Topped with left political activism and politically radical lyrics address issues such as America, Covid and ecocide with song The Flood, demand *'Free Music, Stop America'* with Musica Sin Frontieras & welcome guest vocalist GRETA THUNBERG on the track The 'ol Mass Extinction Blues. The album starts in 'traditional Consolidatedgroove' with the song 'Capitalism A.F.', a mix of beats, industrial sounds and hiphop. Followed by funkypop songs, danceable industrial jams, techno beats, reggae and blues influences plus a remarkable noise track. Main musicians are Adam Sherburne (guitar/vocals) and Mark Pistel (synths/beats) backed by Lynn Farmer (Meat Beat Manifesto) on drums, who replaces the original drummer Phil Steir. The complete album is recorded, mixed and mastered by Mark Pistel at 'Room 5' in San Francisco. The cover shows art paintings from Ayelet Hay (front) and William Kendall (back). On 'We're Already There' Consolidated plays more music than ever. "I have zero interest in being in a band, especially my own_" "I had to develop a different way to be involved with music for aesthetic and mental health reasons_" "FREE MUSIC! is not to the detriment of artists, it's literally the end of artists-as anyone perceives them in the last 500 years" -Adam Sherburne - Consolidated are known for their live performances, in which a microphone is passed among audience members to discuss, rebut, argue or elaborate on song topics. Consolidated: Adam Sherburne & Mark Pistel.

Hedvig Mollestad Thomassen - guitar/Ellen Brekken - bass/Ivar Loe Bjornstad - drums. Only nine months after her momentous debut solo album Ekhidna, the guitarist is back fronting her trio. With their previous album, Smells Funny, this explosive and expansive trio experienced a breakthrough of sorts, having gone from strength to strength through five albums since their 2011 debut Shoot!, gathering respect from both rock and jazz camps, sharing big stages with the likes of John McLaughlin and Black Sabbath, and being equally comfortable on jazz and rock stages. Hedvig enforced this breakthrough with Ekhidna, appearing on both jazz and rock best of 2020 lists, like coming in third in Prog's "Album of the Year" poll. She was included in Downbeat's "25 for the future" and received heaps of international attention and great reviews.With the hypnotic title track, the spacious ballad Four Candles and generally a more varied mood, Ding Dong. You're Dead. is the trio's most dynamic album to date. That said there's still enough solid and creative riffing here to satisfy the headbangers, as well as the jazzheads, as they further explore the free and open landscapes most notably started with their Black Stabat Mater album and continued with Smells Funny. As Nate Chinen wrote about "Black Stabat Mater" in JazzTimes: Her trio, which has Ellen Brekken on bass and Ivar Loe Bjornstad on drums, caught my ear then with its audacious style references: the loose swagger of early Black Sabbath; the density and prowl of peak Led Zeppelin; the expeditionary urge of Jimi Hendrix; the incantatory fervor of John McLaughlin. As recent performances have shown, online and in the flesh, this trio radiates confidence and have become a surefire hit on the Norwegian live scene. Hedvig first picked up her mother's acoustic guitar at ten, before discovering a whole new world through her father's jazz and rock record collection as a teenager. She was given her first electric guitar and amplifier as a confirmation present. Hedvig met Ellen and Ivar at the Music Academy in Oslo and asked them to join her after she received the Young Jazz Talent of the Year award at Molde International Jazzfestival in 2009. They have stayed together since, and all previous albums have been released on Rune Grammofon to wide international acclaim.

Hedvig Mollestad Thomassen - guitar/Ellen Brekken - bass/Ivar Loe Bjornstad - drums. Only nine months after her momentous debut solo album Ekhidna, the guitarist is back fronting her trio. With their previous album, Smells Funny, this explosive and expansive trio experienced a breakthrough of sorts, having gone from strength to strength through five albums since their 2011 debut Shoot!, gathering respect from both rock and jazz camps, sharing big stages with the likes of John McLaughlin and Black Sabbath, and being equally comfortable on jazz and rock stages. Hedvig enforced this breakthrough with Ekhidna, appearing on both jazz and rock best of 2020 lists, like coming in third in Prog's "Album of the Year" poll. She was included in Downbeat's "25 for the future" and received heaps of international attention and great reviews.With the hypnotic title track, the spacious ballad Four Candles and generally a more varied mood, Ding Dong. You're Dead. is the trio's most dynamic album to date. That said there's still enough solid and creative riffing here to satisfy the headbangers, as well as the jazzheads, as they further explore the free and open landscapes most notably started with their Black Stabat Mater album and continued with Smells Funny. As Nate Chinen wrote about "Black Stabat Mater" in JazzTimes: Her trio, which has Ellen Brekken on bass and Ivar Loe Bjornstad on drums, caught my ear then with its audacious style references: the loose swagger of early Black Sabbath; the density and prowl of peak Led Zeppelin; the expeditionary urge of Jimi Hendrix; the incantatory fervor of John McLaughlin. As recent performances have shown, online and in the flesh, this trio radiates confidence and have become a surefire hit on the Norwegian live scene. Hedvig first picked up her mother's acoustic guitar at ten, before discovering a whole new world through her father's jazz and rock record collection as a teenager. She was given her first electric guitar and amplifier as a confirmation present. Hedvig met Ellen and Ivar at the Music Academy in Oslo and asked them to join her after she received the Young Jazz Talent of the Year award at Molde International Jazzfestival in 2009. They have stayed together since, and all previous albums have been released on Rune Grammofon to wide international acclaim.

Still only 29 years old when composing and recording this album, Kjetil Mulelid is one of the brightest talents in Norwegian jazz, and these days that really says something. In Kjetil's childhood home they had a subscription for a "Classical Masterpieces" CD collection. One that especially caught his attention, and would be played repeatedly, included the most melodic piano music of Beethoven, Chopin and Debussy. At the same time his elder brother introduced him to "old" rock like Led Zeppelin and Queen, winning him over and getting him interested in the guitar rather than the piano. When he later applied to music education in high school with electric guitar as his main instrument, the teachers asked if he played other instruments. He duly played a song on the piano, and heard nothing more of it. Months later, thinking he was enrolled as a guitarist, he was (to his horror) introduced to the class as a pianist. While he loved listening to classical piano music, playing it he felt tied up in the "rules" and the sheet music. It was simply more fun to play rock music on electric guitar_ surely a familiar story! Later a classically trained piano teacher played him some gospel and boogie woogie and introduced him to some simple pentatonic hooks on a C major blues. He hadn't really touched the piano in a very long time, but the same night he started experimenting and improvising around what she had shown him, and from that moment he was all into the piano and would dig further into improvisation and jazz. And the rest is history, as they say. Kjetil was sceptical when we first suggested a solo piano record back in early 2018, but the idéa slowly grew on him and when the pandemic exploded and other plans had to be scrapped, he suddenly had the time as well as the means to do it. So the bulk of the album was written in a hectic lockdown period and recorded on a steaming hot June day in the legendary Athletic Sound studio on their unique and characteristic Bösendorfer grand piano from 1919. Of the piano Kjetil says the sound is one of a kind, very clear and not typically "perfect" like most new ones. We can only wholeheartedly agree, it sounds great and is also very well recorded and mixed, giving the impression that you sit next to him, and not in a concert hall. In turn joyful, playful and elegant, the album fully shows Kjetil's harmonic and melodic mastery and the influence from those early introductions to the classical masters. Whether staying with the tune or taking off on improvised flights, there is an ease and assurance in his playing that betrays his young age.Kjetil has a bachelor degree in jazz performance from NTNU in Trondheim, has played in most European countries, Japan and USA, released two acclaimed albums with his trio on Rune Grammofon, and is also a member of Wako.

Back in 2019, Ravioli Me Away debuted their hyper-surreal operatic work 'The View From Behind The Futuristic Rose Tellis' across the UK, including two sold-out shows in London. Difficult to contain, and wound-up with a truant's sense of narrative, it presented a wondrous cacophony of erupting media and performances patched together with wit and existential alarm. A suite of songs circling themes of aspiration and the everyday run through the opera, and these were released in parallel by Wysing Polyphonic, one of the commissioning institutions. A selection of these songs were then reinterpreted and reshaped into forms that befit a club setting, debuting at Supernormal festival in the same year. Entitled 'Naughty Cool,' Alter now presents these collective club reworkings by HMS RMA for the first time on vinyl and digital formats. Uplifting and delightfully crooked throughout, the tracks are shuffled together and stitched as a 'DJ mix.' In six segments of vocal-led missives and soft drops, the sunniest hooks of early Chicago house are recalled, all cross-pollinated with the collective rhythms and tones of the UK's rave subconscious. A freeform, DIY rowdiness lurks around every corner, equally evoking punk's flings with disco. The familiar sound and presence of Ravioli Me Away's Alice Theobald, Rosie Ridgway, and Sian Dorrer aren't lost in the edits and adaptations, and they come backed-up with Tom Hirst (Design A Wave), opera singer and artist Siobhan Mooney, and Dean Rodney Jnr (The Fish Police), all of whom took part in the original opera itself. "Naughty Cool" was engineered by John Hannon at No Recording Studios and mixed and mastered by Amir Shoat in London. This record is dedicated to the memory of Donna Lynas.

Swedish heavy metal commando ENFORCER proudly presents its second live album, “Live by Fire II”, which will be released through Nuclear Blast Records on March 19th, 2021. “Live By Fire II” offers an intense and passionate performance captured in front of a truly dedicated and wild audience in Mexico City, 2019. “Live by Fire II” lets you experience ENFORCER at the top of their game and marks an outstanding live record documenting the group’s steady path to global recognition in recent years. It also serves as a stunning reminder of how many heavy metal anthems ENFORCER have crafted on their total of five studio albums so far! From the speedy metal attack of ‘Destroyer’, ‘Searching For You’, ‘Midnight Vice’ to perfect sing-alongs like ‘From Beyond’, ‘One Thousand Years In Darkness’ and ‘Take Me Out Of This Nightmare’, the enthusiastic crowd and powerful sound of “Live By Fire II” result in a captivating and extremely entertaining listen.

Physical formats of the release will be including extensive booklets containing a tour program, liner notes and tons of photos compiled and designed by vocalist/guitarist Olof Wikstrand recapturing ENFORCER’s touring cycle for the albums “From Beyond” and “Zenith” during the years 2015-2020.
“Live By Fire II” will be released as Gatefold 2LP with 16-LP sized booklet, CD with 28-page booklet, and digital album.

A brand new 20 track album released via Sony Music Masterworks. A unique celebration of immigrants around the world, showcasing works inspired and contributed to by artists who either identify themselves as immigrants, are from immigrant heritage or wish to express support for those international immigrants who have found themselves judged or disadvantaged by pure accident of birth - Nitin's sequel to his 1999 seminal album 'Beyond Skin'. Jools Holland TV performance plus other promo/marketing activity.

Mouse on Mars, the Berlin-based duo of Jan St. Werner and Andi Toma, approach electronic music with an inexhaustible curiosity and unparalleled ingenuity. ‘AAI’ (Anarchic Artificial Intelligence) takes their fascination with technology and undogmatic exploration a quantum leap further.
Emerging from a primordial ooze of rolling bass and skittering electronics, hypnotic polyrhythms and pulsing synthesizers propel the listener across the
record’s expanse. Hidden in the duo’s hyper-detailed productions is a kind of meta-narrative.
Working with AI tech collective Birds on Mars and former Soundcloud
programmers Ranny Keddo and Derrek Kindle, the duo collaborated on the creation of bespoke software capable of modelling speech; text and voice from writer and scholar of African Studies Louis Chude-Sokei and DJ/producer Yağmur Uçkunkaya were fed into the software as a model, allowing Toma and Werner to control parameters like speed or mood, thereby creating a kind of speech
instrument they could control and play as they would a synthesizer.
The album’s narrative is quite literally mirrored in the music - the sound of an artificial intelligence growing, learning and speaking. This exploration of artificial intelligence as both a narrative framework and compositional tool, allowing the duo to summon their most explicitly science-fiction work to date. Original artwork by Casey Reas, inventor of the computer graphics language Processing.
Recently, Mouse on Mars received the 2020 Holger Czukay Prize for Pop Music.
Mouse on Mars have been regularly streaming performances throughout 2020, partnering with organizations like Goethe-Institut, Haus der Kulturen der Welt, Conditions of a Necessity and others and will continue these in 2021.
‘AAI’ is available on grey or black double LP packaged in a single sleeve with full colour insert / lyrics. CD comes with 8-panel poster booklet.
“Andi Toma and Jan St. Werner continue to create soundscapes that blur the line between programming and live musicianship, and sometimes between Earth and outer space.” - AV Club
“Enthralling and impossible to categorize.” - Pitchfork
“Sustained and ephemeral electronic sounds conjure unearthly open spaces… It’s not a song; it’s sound as a temporal phenomenon, a few minutes of sculpted attention.” - The New York Times

Phoebe Bridgers veröffentlichte ihr Debüt 2017 als relativ unbekannte Singer-Songwriterin aus Los Angeles. Etwas mehr als zwei Jahre später ist sie eine international anerkannte Musikerin mit drei renommierten Werken unter der Haube: ihr Solo-Debüt "Stranger In The Alps", die boygenius-EP mit Julien Baker und Lucy Dacus im Jahr 2018 und Better Oblivion Community Center - eine überraschende Zusammenarbeit mit Conor Oberst 2019. Bridgers ist ein bemerkenswertes Talent und zugleich eine Künstlerin, die sich selbst und ihre kometenhaft wachsende musikalische Karriere mit ausreichend Humor begegnet. Das neue Album "Punisher" wurde zwischen den Sommermonaten 2018 und Herbst 2019 geschrieben und aufgenommen - die Songs offenbaren dabei einmal mehr Bridgers als unwiderstehlich kluge und gefühlvoll produktive Songwriterin unserer Zeit. Erneut arbeitete Bridgers - die auch als Produzentin die boygenius EP und das Better Oblivion Community Center-Album ko-produzierte - für die neuen Songs, wie auch für `Stranger In The Alps', mit Tony Berg und Ethan Gruska zusammen. Dabei fanden sich auch ihre eng verbundenen Musikerfreunde im Studio wieder ein - inklusive Bridgers Band bestehend aus Marshall Vore (Drums), Harrison Whitford (Gitarre), Emily Restas (Bass) and Nick White (Klavier) sowie Performances von Conor Oberst ("Halloween", "I Know The End"), Lucy Dacus ("Graceland Too", "I Know The End"), Julien Baker ("Graceland Too", "I Know The End"), Blake Mills ("Halloween", "Savior Complex" and "I Know The End"), Jenny Lee Lindberg ("Kyoto", "ICU"), Christian Lee Hutson ("Garden Song", "Halloween", "Savior Complex", "I Know The End"), Nick Zinner ("I Know The End"), den legendären Drummer Jim Keltner ("Halloween" and "Savior Complex") und Bright Eyes' Nathaniel Walcott an der Trompete ("Kyoto" and "I Know The End"). `Punisher' wurde wie zuvor auch `Stranger In The Alps' von Mike Mogis gemischt.

Peter Hook and The Light are an English rock band, formed in May 2010 by bass guitarist/vocalist Peter Hook, formerly of the influential post-punk bands Joy Division and New Order.
The band is noted for performing the Joy Division and New Order albums live.Their setlists primarily feature the two Joy Division albums, Unknown Pleasures and Closer or the first two New Order albums, Movement and Power, Corruption & Lies, depending on the respective tour.
The very concept is bound to stir up conflicted feelings -- bafflement, interest, cynicism, anger -- in any Joy Division fan. Here’s that band’s Peter Hook, singing lead and playing bass, supported by a guitarist, drummer, keyboard player, and additional bassist. In front of a Melbourne crowd, the band roars through the entirety of Joy Division's Unknown Pleasures, book-ending the album with six additional reinterpretations. The musicians play their hearts out, and Hook is absolutely locked into the material. One can’t deny the man’s conviction. The moments of aggression are far more suited for his gruff, seething vocals than the likes of “Candidate” and “I Remember Nothing,” where he has some trouble dialing it down. As an in-the-flesh experience, this was probably quite thrilling. As a home listening experience, it seems unnecessary -- at best, a curiosity -- especially when the source material is a couple clicks away.

A crucial live at Carnegie Hall by the renowned trumpet player, subtitled The Legendary Performances of May 19, 1961. This live performance features Davis with his regular quintet and also accompanied by Gil Evans and his 21-piece orchestra. The orchestra is heard on several selections drawn from Miles Ahead as well as a complete reading of the adagio movement from Concierto de Aranjuez as recorded on Sketches of Spain. The concert begins with the orchestra playing the Gil Evans introduction to "So What", which is performed by the quintet, and then segues directly into the only recording of an Evans arrangement of "Spring is Here".

Mwandishi: one of the most influential combos in the history of electric Jazz. This is Herbie Hancock's creature caught live at the Juan-les-Pins Jazz Festival in France on July 21st, 1971. H. Hancock - piano and Fender Rhodes, Bennie Maupin - saxes, bass cl. and flute, Eddie Henderson - trumpet, Julian Priester - trombone, Buster Williams - bass and Billy Hart - drums. A highly progressive form of modern Jazz based on the mix of different elements. Some sort of Afro-Electric-Funk sound journey where waves of multiple pulsating sounds develop in a continuous alternation between tension and release. A marvelous band for which live performances often show more than studio recordings.

Jossy Mitsu (Rinse FM / 6 Figure Gang) makes her production debut on Astral Black. A resident DJ for the labels monthly club residency and host for their monthly radio shows, the club night-cum-label is the perfect home for Jossy's debut solo release. The Birmingham-raised, London based DJ has become known for her ability to shell down any club, whether that’s rinsing out a twisted concoction of sweaty House, Techno and left field club heaters, firing heavy-weight Rave and Jungle sets, or serenading you with her 2-step vinyl collection. Now holding down a Rinse FM residency and part of the much loved ‘6 Figure Gang’, the past 18 months has seen Jossy DJ across Europe and the UK, alongside artists such as Joy Orbison, Dance System, Maya Jane Coles & Dusky and perform at events such as The Warehouse Project, Glastonbury & Outlook Festival among many others.

Throughout the 4-tracks here on 'Planet J', Jossy invites the listener to take a step inside her sonic world. The meandering pads and scattering drum patterns of EP opener 'Odyssey' are seasoned with warped chords 8-bit arpeggiators and ticking cow bells reminiscent of producers such as Skee Mask or INVT. '1997' brings together pounding 4x4 kicks, bouncing basslines and pitched vocal samples, giving the track the makings of a house anthem and leaving the listener yearning for a return to sweaty basement clubs. The high octane energy of 'Turismo' takes the records BPM up a notch for a marathon of skittering snares drums, raucous percussion and menacing sub bass. Whilst the heavily reverbed chords and melodic basslines of subdued EP closer 'Ø' demonstrate Jossy's ability to create thoughtful electronic music whilst still retaining a
hard, dance-floor focussed edge.

The EP comes in a full colour sleeve with Planet J’s capital city visualised in a high-res CGI rendering courtesy of London-based designer Kerrie.IRL

One of the most highly regarded modern Brazilian jazz trios, Caixa Cubo announce ‘Angela’, their latest album and first to be licensed for European release by Heavenly Recordings.

 ‘Angela’, their Seventh since forming in 2007, was named as one of 6 Music’s Recommends Albums Of 2020 (Presenter Picks), chosen by DJ Huey Morgan. The single ‘Palavras’ is currently on the 6 Music playlist. Heavenly Recordings picked up on the record when DJ Giles Peterson played ‘Palavras’ on his show.

 Recorded in December 2018, the album features the singer Zé Leônidas on ‘Palavras’ and includes arrangements of songs like ‘Baião Malandro’ by Egberto Gismonti and ‘Dark Prince’ by Geri Allen, in addition to the group’s original compositions.

 Made up of Henrique Gomide (keys), João Fideles (drums) and Noa Stroeter (bass), the trio have split their time between Brazil and Europe in recent years, having been awarded scholarships to study at the Royal Conservatory of The Hague, Netherlands.

 They have performed at many respected European venues and festivals including Jazz à Vienne Festival (France), Anton Philip Hall (The Hague), A-Trane (Berlin), Riverboat Festival (Denmark) and others in Paris, Brussels, London, Birmingham, Lisbon and Rotterdam. They also performed in Maputo, Mozambique, as well as renowned venues in Brazil, mainly in Sao Paulo (Auditório Ibirapuera and SESC Consolação, Museu da Casa Brasileira).

Originally released in 1980, ‘Amanita’ is an early approach of Canadian artist Sherine Cisco, formerly known as Stu Cisco, to the limitless world of synthesizers in music, through ambient, progressive rock and drone noise.

A unique combination of ambient, progressive rock and even drone noises and space-age that converged in ‘Amanita’, her first full album and a piece of music history. This LP marks a milestone in the investigation, experimentation and evolution of musical instruments, where the Mini Moog demonstrated its versatility and creative potential, opening Sherine a path of limitless possibilities.

By the time ‘Amanita’ was first released in 1980 (only 300 copies were pressed at the time), Sherine had been playing synths for seven years. But far from acknowledging how traditional instruments were played, she tried to do things her own way, creating moving landscapes and a unique language of sound. This DIY approach to music was, as well how the album was made, in her own studio, with synthesizers that were originally meant for live performances such as the Elka Rhapsody or the Elektro Harmonix, channeled through a Dokorder 4 Tape Recorder.

However, what Sherine Cisco was living in her personal life, a gender transition, was as important to the record as the instruments she used to create it. “Beginning in the early 1980's, I began experimenting with taking the female hormone, estrogen. I felt like I was gradually being re-born. It affected my music, the mood of the music, and me, physically and mentally”.

A spacey vibe surrounds each of the 12 cuts that compose ‘Amanita’, waving from ambient to experimental music, introducing drone noises that add mystery to the whole piece and creating epic moments, with the Mini Moog accompanied by Randy Gray’s drums. To close things off, a synth pop infused track works as a masterpiece ending to this story.

Obviously is the new album from beloved band Lake Street Dive. It includes the new single ‘Nobody’s Stopping You Now’, a letter of encouragement from lead vocalist Rachael Price to her teenaged self, co-written with bassist Bridget Kearney. Lake Street Dive has figured out how to write tunes that reflect this particularly turbulent chapter in our shared history. The album track ‘Making Do’, which was released at the end of last year, speaks to the world that future generations are inheriting while exploring the lasting impacts of climate change and our responsibility to address it (featuring a cameo from Senator Ed Markey who co-sponsored the Green New Deal).

As Price puts it, “You’re trying to express your anxieties, your feelings, your sadness, your happiness, all of these things – your authentic state of being in a song. But you’re also trying to create something people will listen to over and over again. That’s the unique fun thing about music, putting these messages into three and a half minute snippets, dropping whatever truth we can and hoping it’s the type of thing that people want to ruminate on.”

Obviously was produced by Grammy Award-winning producer, songwriter, and multi-instrumentalist Mike Elizondo who is best known as a songwriting collaborator for Dr. Dre, Eminem, and 50 Cent and has also served as a record producer for Fiona Apple, Mary J. Blige, Carrie Underwood, and 21 Pilots, among many others. Utilizing Elizondo’s hip-hop record-making expertise coupled with the permanent addition of keyboardist Akie Bermiss, Lake Street Dive’s wide-ranging taste in pop, rock, R&B, and jazz have blended together to make an impressively cohesive sound, combining retro influences with a contemporary attitude. “We’ve been a band for so long that we didn’t want to just become a feedback loop of our own ideas,” recounts Kearney. “It felt like a really good time to bring another person like Mike Elizondo, and he really opened us up. He encouraged us to make bolder arrangement choices, take those chances and try those things. The record really is a success in what we set out to do: continue to challenge ourselves, continue to grow, and do things we’ve never done before.”

The members of Lake Street Dive founded the group in 2004 while attending the New England Conservatory of Music in Boston. The band features Rachael Price (lead vocals), Mike “McDuck” Olson (trumpet, guitar), Bridget Kearney (bass) and Mike Calabrese (drums) as well as their newest member Akie Bermiss (keyboards), who has been a touring member of the group since 2017. Since the band’s inception, they have released six studio albums. Their 2018 self-produced record, Free Yourself Up, debuted at #4 on the US’s Top Album Chart and charted #8 on the Billboard 200. In addition, the album’s hit single ‘Good Kisser’ peaked at #5 at Americana radio and appeared in the Top 20 at AAA radio, both career peaks for the band. The group has toured worldwide performing at major music festivals including Bonnaroo, New Orleans Jazz Festival and Newport Folk Festival while preforming alongside artists such as T Bone Burnett, The Avett Brothers, Robert Finley, Jack Johnson and Trombone Shorty.

Award-Winning Welsh Multi-Instrumentalist The Anchoress Returns With Her New
Studio Album ‘The Art Of Losing’
Featuring Guest Appearances From James Dean Bradfield (Manic Street Preachers)
And Sterling Campbell (David Bowie, Duran Duran)
“A devastatingly powerful voice.” MOJO “Hounds Of Love, updated for the 21st century.” PROG “Davies is making music like nobody else at the moment.” NME
‘The Art of Losing’ is the second album from Welsh multi-instrumentalist The Anchoress (aka Catherine Anne Davies), following up on her critically acclaimed debut album,
‘Confessions of A Romance Novelist’, which was named amongst the Guardian critics’
Albums of the Year, won HMV’s Welsh Album of the Year, Best Newcomer at the PROG
awards, and a nomination for the Welsh Music Prize.
Written and produced by Davies, the new album features guest performances from
James Dean Bradfield (Manic Street Preachers) and drums from Sterling Campbell (David Bowie, Duran Duran) along with the mixing talents of Dave Eringa (Manics, Wilko
Johnson) and grammy-award winner Mario McNulty (David Bowie, Prince, Laurie Anderson).
‘The Art Of Losing’ ambitiously navigates the topic of loss in all its forms and was written
and recorded during an unfeasibly busy few years as Davies found solace and purpose in
a range of projects whilst navigating her griefs. Most recently this came via the release
of her collaborative album ‘In Memory of My Feelings’ with Bernard Butler (on Pete
Paphides’ label Needle Mythology), duetting with the Manic Street Preachers on ‘Resistance Is Futile’, and being personally invited by The Cure’s Robert Smith to perform at his
Meltdown Festival. She also brought a new generation of ears to legendary Scottish rock
band Simple Minds, where she spent much of the last five years appearing on the ‘Big
Music’ (2015) and ‘Walk Between Worlds’ (2018) albums.
The Anchoress will launch the album with a special show at London’s Queen Elizabeth
Hall in July 2021.
*2 LP 140gm Black Gatefold Vinyl Edition with lyric printed inner bags.

Alto saxophonist, composer and producer Logan Richardson’s career has been marked by his deep engagement with the Black American improvised music tradition as much as by his fearlessly open-minded embrace of the contemporary sounds of the global diaspora and his keen gaze towards the future.
‘AfroFuturism’ (his fifth solo album) synthesises all those elements together into a stunningly audacious statement that is epic in its scope while providing a deep, intimately personal view into its creator’s inner life.
The core of the album is a series of towering alt-rock/trap/wonky beat soundscapes created Logan’s extensive range of keyboards, synthesizers and programming along with the latest iteration of his Blues People band - Igor Osypov
on guitar and Peter Schlamb on vibes and keys, with Dominique Sanders on bass and sharing production duties, and the thunderously virtuosic drumming of Ryan J. Lee and Corey Fonville rounding out the rhythm team.
Logan intersperses these with an array of diverse sonic interludes, scraps of found audio, unexpected, limpid pools of introspective strings performed by Ezgi Karakus and quiet glades of hushed balladry from long-time collaborator, vocalist Laura Taglialatela. Over all, his unmistakable keening voice on alto sax provides the constant narrative thread. “I was trying to get back deeper to the core of my artistic voice: using fresh production processes to mix in my interconnected influences and all the sounds I hear, while trying to find a sense of roots.”
As one of today’s most singular voices in contemporary music, with AfroFuturism Richardson delivers not only a hugely impressive statement, but one with a direct and urgent message for the future that is rooted in his own and the larger contemporary Black American state of affairs, while reminding us of his musical unpredictability. One can only imagine what he’ll do next.

Malik Alston and Javonntte Garrett have been at the beating heart of the Detroit scene for decades now, with releases on Kai Alcé's NDATL, Patrice Scott's Sistrum, and Jerome Derradji's Still Music just to name a few. It's no surprise that Bristolian-cum-honorary-Detroiter Andy Compton and the two aforementioned would link up on Detroit's northwest side for a master-class in 21st century soulful house music. This EP, the product of July's 2017 collaboration, features 4 mixes— a percussive heavy 'Linwood Mix' from Malik Alston featuring his sensual vocals and a talkbox solo from Javonntte. 'Malik & Javonntte's Side By Side Dub' feature the two stripping it back to the bouncing bassline and syncopated percussion. For the flip we travel to Bristol, where Andy Compton's mix takes on a bit more of a neo-soul vibe that accentuates his guitar playing and Malik's vocal and Rhodes performance. The EP closes with 'Andy Compton's Dub', which puts Javonntte's harmonica prowess at the forefront.

Strut continue their in-depth archive reissues from the Black Fire label witha definitive edition of JuJu's 'Live At 131 Prince Street',recorded in 1973 atOrnette Coleman's gallery in New York and featuring a previously unheardrecording of the Pharoah Sanders composition "Thembi". After forming in San Francisco while working on the Marvin X theatre piece'The Resurrection of the Dead', JuJu began to hone their uncompromisingfusion of Afro-Latin rhythms with free and spiritual jazz before signing toStrata-East for the 'A Message From Mozambique' album in 1972. "Wemoved to New York and became part of the avant-garde community on theLower East Side and Greenwich Village," remembers bandleader PlunkyBranch. Following a high profile live show at the Lincoln Center, OrnetteColeman invited JuJu to his gallery and loft at 131 Prince Street to performthere and to stay on while he left on tour. "That was life-changing for us,"continues Plunky."It was fabulous. The recordings you hear on this albumare in close proximity to each other, maybe across one day or a weekendat the gallery."Alongside tracks written by the JuJu band members, like the5/4 tempo 'At Least We Have A Horizon Now', they play choice coversfrom their peers. Plunky explains, "'Thembi' is a Pharoah Sanders piecewhich he wrote for his wife in 1971 and it's one of my favourite pieces byhim. 'Azucar Pa Ti' was written by Eddie Palmieri; we loved him too andenjoyed Latin music in general. Here we play 'Mozambique', based on anAfro-Cuban rhythm and we regularly played that for 10 minutes beforemorphing into 'Azucar'. 'Out Of This World', written by Johnny Mercer andHarold Arlen, was inspired by John Coltrane who recorded a version of iton his 'Coltrane' album in '62." JuJu's 'Live At 131 Prince Street' is out on Strut on 12th February 2021 on2LP and 1CD. Remastered by The Carvery from the original reel to reeltapes and including full sleeve notes based around a new interview withbandleader James "Plunky" Branch.

Anohni has shared an emotive cover of Gloria Gaynor's 1978 classic 'I WIll Survive'. The track was a staple of her early live shows and opens with a graceful string arrangement by Maxim Moston, paired with piano performed by Anohni. Prior to the track being widely available on streaming platforms, Anohni shared a video incorporating live footage alongside messages dedicated to groups and causes that Anohni has long been an activist and advocate for. During the clip, Anohni dedicates the song to "the sacred gay people"; "all endangered Black trans lives"; "those in the US who die from medical neglect"; "the coral reefs of the world, now rotting"; "all those awaiting execution in US death chambers"; "Black lives tortured and stolen by American cops" and more. The messages reflect Anohni's longer values and work as an artist, trans activist, environmentalist and advocate for social justice. Alongside the release is a statement from Anohni, on the track being the subject of a licensing offer she turned down due to the platform in question hosting misleading pro-Trump ads. Further on the track, Anohni explains: "It was the first song I ever sang in nightclubs in NYC when I was 20 years old. I sang it hundreds of times. In those days I sang it thinking of Marsha P. Johnson and the underground queer community struggling to survive in the face of AIDS. Now it seems to me like an anthem for the future of life on earth." 'I Will Survive' follows a brace of releases from Anohni this year: most recently 'R.N.C 2020', a track inspired by the Republican National Convention which took place in August and the dread Anohni felt while watching it. Prior to that, Anohni released a 7" consisting of two covers, one of Bob Dylan's 'It's All Over Now, Baby Blue' with a b-side of Nina Simone's 'Be My Husband'.

Next up on MOM is another exploration of the link between art and music. This time it is dance performance. The musical artist is Okkre (Uge Pañeda) producer of the Spanish duo LCC, who have released two albums on the celebrated Austrian imprint, Editions Mego. Okkre is a composer of soundtracks, DJ and she is currently immersed in researching her "landscapes series" project, connecting countries and cultures that are seemingly unconnected to each other through field recordings... MOM 012 is the soundtrack to a very special performance named ÉPICA. Directed by Barcelona based choreographer Aimar Pérez Galí, it was premiered at Sonar 2017. EPICA brings clubbing culture inside the theatre, to deliver a highly energetic performance, joining bodies, sound and voices of historic and political dissidence. It is about communication between bodies (without language) and the liberty of being on the dancefloor. Freedom of movement, expression and happiness through music! Okkre has provided a startling soundtrack. This soundtrack complements the performance of the dancers beautifully but also deserves to be listened on its own. It is both powerful and dramatic, fitting the title. The music of the soundtrack has been adapted for its imminent release on vinyl. The piece begins with the rhythmic movement of beats, which provides a structured backdrop. They are complemented by a swirling bassline. Overlayed percussion of differing styles comes in and out. Harsh almost metallic synths enter after a few minutes, which also have the sensation of breathing. Later on, powerful synths battle sturdy cymbal assisted percussion. In the latter stages, everything gets even more intense techno feel and the A Side ends with dense dark synths. The music is alive! While the other side gently mixes a melodic bassline that moves like the wind with intertwined chorus and voices, which appeal to the spirit of the artistic work, evoking space for feeling and touching. At the same time, insistent beats offer a club feeling. Scary yet empowering strings create a hypnotic atmosphere alongside falling keys and vocal impressions. The final few minutes provides a strong climax to the record. This features hammering beats, a circling bass and powerful keys. A mighty performance! ÉPICA is indeed epic.

During this difficult situation where we are forced to see beautiful theaters empty and quiet, the eclectic Ital Oscillazioni (Elvio Seta), best known for his bulky live instrumental performances, in the long wait for the release of his 2 first albums offers us a couple of unpublished tracks “obscure-italo” on vinyl, in which he clearly expresses his New Romantic nature.

These two releases blend the raw and pure sound of his vintage synths, with the surprising theatricality of the Opera represented here by Gioacchino Rossini’s “L’Equivoco Stravagante”.

A retrofuturistic Concept-italoDisco that, while we are sweaty and busy dancing it in a dirty nightclub, will transport us for a few moments to an elegant Italian theater of 1982, surrounded by heavy red velvet curtains.

No other pairing in the history of Darkwave ever matched the unfettered creativity, resolve, and DIY attitude from the collaboration between the two creative minds that compromise Lebanon Hanover.

The meeting of the Swiss musician Larissa Georgiou, aka Larissa Iceglass and British artist William Maybelline a decade ago in the latter’s hometown of Sunderland in the UK, was a monumental occasion, reverberating throughout the European music scene and even across the Atlantic.

Lebanon Hanover would emerge from the peak of the world-wide minimal wave revival, with their 2011 split 7-inch record with La Fete Triste issued as the catalog debut of Europe’s most ubiquitous Techno-Industrial EBM labels, Aufnahme + Wiedergabe

With Berlin as their new physical home, William and Larissa would soon, however, join the Fabrika Records family. From here, they would go on to release two full-length albums through the Athens based label, starting in early 2012 with their winter debut LP The World Is Getting Colder, and it’s All Hallows Eve follow up Why Not Just Be Solo.

It was Lebanon Hanover’s 2013 third studio outing Tomb for Two that would go on to cement the duo’s legacy, with the album’s single “Gallow Dance” becoming a post-punk anthem for the times, with artwork became the band’s defacto logo. Not only that, the song “Sadness is Rebellion”, also featured on the album, became the band’s official Mantra.

Two years would pass before the release of 2015’s critically acclaimed fourth record, “Besides the Abyss”. In the intervening years, William and Larissa, initially a couple, would find other partners, and relocate to Athens.

Meanwhile, Lebanon Hanover as a live act would expand rapidly in popularity, exceeding capacity during their performances at Wave Gotik Treffen in Leipzig, and performing sold-out shows across Europe and the UK.

With the playful Babes of the 80s maxi-single released in the interim, three years would pass before the next record from Lebanon Hanover, with 2018’s Let Them Be Alien, the band’s fifth studio album.

At the dawn of the global pandemic, where dystopian nightmares that were only ever seen before within the pages of books and flashes of silver screen celluloid, has become a daily reality, a new kind of darkness envelops the world. It was at this Lebanon Hanover returned, sharing a glimmer of hope with the single “The Last Thing,” the duo’s first song from their forthcoming sixth studio album Sci-Fi Sky.

Spanning an epic journey across ten tracks that wander through industrial landscapes, and ascend beyond the atmospheric aether, Sci Fi Sky is Lebanon Hanover’s most cohesive artistic statement to date. With their icy hearts on their sleeves, this is the culmination of a decade’s worth of musical creativity radiating from the minds of both Iceglass and Maybelline, and altogether an otherworldly beacon of hope in a time of sheer darkness.

Guitarist and composer PAT METHENY has won 20 Grammy Awards in 12 different categories including Best Rock Instrumental, Best Contemporary Jazz Recording, Best Jazz Instrumental Solo, Best Instrumental Composition. The Pat Metheny Group won an unprecedented seven consecutive Grammies for seven consecutive albums.

Pat Metheny is one of the few artists in the world who can lay claim to such a description. On his latest album, Road To The Sun, Pat Metheny surprises us once again with his seemingly endless ability to harvest new vistas while retaining the instantly recognizable Metheny sound.

With two major new works, performed by five of the world´s leading guitarists, Metheny charts a new way of obliterating boundaries between genres while simultaneously unveiling new facets of an already expansive personal language.

Grammy-winner Jason Vieaux, described by NPR as “perhaps the most precise and soulful classical guitarist of his generation” was tapped by Metheny to perform his four-movement solo guitar suite Four Paths Of Light.

The centerpiece of this landmark recording is Road To The Sun, a six-movement piece for fellow Grammy-award winning Los Angeles Guitar Quartet LAGQ – Metheny describes them as “one of the best bands in the world”.

Legendary pedal steel player Susan Alcorn presents her music as curated and arranged by cellist and composer Janel Leppin. This recording is from a live performance from her residency at Issue Project Room in July 2012. Leppin’s arrangements and curation emotes the brilliance, transparency and resonance of the pedal steel guitar. Through this ensemble, the mastery of Susan Alcorn's compositions shine.

Susan Alcorn has taken the pedal steel guitar far beyond its traditional role in country music. Having first paid her dues in Texas country & western bands, she began to expand the vocabulary of her instrument through her study of 20th century classical music, visionary jazz, and world musics. Struck by the music of Messiaen she began transcribing classical music from recordings and scores on her instrument. Soon, she began to combine the techniques of country-western pedal steel with her own extended techniques to form a personal style influenced by free jazz, avant-garde classical music, Indian ragas, Indigenous traditions, and various folk musics of the world. By the early 1990s her music began to show an influence of the holistic and feminist “deep listening” philosophies of Pauline Oliveros. As her records gained a cult following she moved to Baltimore, MD. She performs internationally and is a key figure in the free improv scene in the US.

Janel Leppin is a core member of the Washington, D.C. experimental, jazz, punk and improvisational scenes and is a celebrated visual artist as a weaver. DownBeat Magazine describes her as “An absolute virtuoso”, NPR Music says “instrumental intimacy swept up in arrangements that cluster around her voice, as delicate and as imposing as a sheet of falling ice.”. Janel leads and writes for her free jazz sextet, Ensemble Volcanic Ash “a rarity..ahhh-vant garde at it’s finest." -Capital Bop. Leppin and Alcorn also recorded the composition “Thick Tarragon” by Eyvind Kang from the album Visible Breath on Ideologic Organ. Leppin appears as a string arranger on many recordings on labels from Dischord Records to Sacred Bones.

A gifted animator, writer, performer and producer, he has already seen support from The Sunday Times’ Breaking Act, Dork Magazine, BBC Radio 1’s Huw Stephens and Jack Saunders, BBC Introducing and Radio X.

Inspired by contemporaries like James Blake, Tom Misch and Rex Orange County, George’s music is as innovative as it is feel good, and as unique as his backstory. As one of eight homeschooled siblings raised by parents whose professions included being a collage artist and a honey farmer respectively, he grew up in a fruitful environment that encouraged his artistic side.

In his own words, his music is organic, wholegrain and good for your gut. It’s all these elements that come together to form the quirky world of George Moir, providing a pathway for him to become one of Britain’s most intriguing and hardworking artists

Green Man Rising 2020 winner, Nuha Ruby Ra, announces her debut EP ‘How To Move’ out on Brace Yourself Records on 5th March 2021. A visceral and striking debut from the East London avant-punk, Nuha delivers frenzied poetic energy across the seven tracks bearing comparisons to Lydia Lunch and Sonic Youth.

Nuha Ruby Ra has spent the last few months cultivating a dedicated following and racking up an impressive catalogue of collaborators from around the world. Nuha has performed alongside the likes of Bo Ningen, Uncanny Valley, Charlie Boyer and more, and appeared on recordings by Flamingods and Warmduscher. In the short time she’s been playing these tracks she’s amassed support slots with Fat White Family, Surfbort, Amyl and the Sniffers, Bambara, Japanese Television.

The EP 'How To Move' began as bedroom projects, before Nuha developed the tracks in the actual vintage synth cave of the Psychedelic Furs, joined by members of Liars and Insecure Men. It was produced by Tony Visconti protégé Erin Tonkin (David Bowie’s ‘Blackstar’) and mastered by Pete Maher (Patti Smith, Lana Del Ray etc.)

BirdPen - All Function One, an album about isolation, the fear of going outside in an uncertain world, virtual sex, deep fakes, digital sadness and living a hollow cyber life. Musically flowing with soundscape guitars, soaring melancholic strings, rolling heavy bass, kraut drumbeats, subtle electronics and emotionally performed meaningful lyrics. An album fitting with the times and the current un-certain, sometimes lost world.

Second album released on Insanity Records from London based/Bedford born pop/soul singer. This is the follow up to 2018's gold certified 'Lighting Matches'. A 14 track album whose production credits include Dan Grech, Eg White and Lostboy among others. Single LP on black vinyl and standard CD. Plenty of radio support across all the singles released so far: 'Little Bit Of Love', 'Amen', 'Something Better', 'Oh Please' and 'This Is The Place'. Digital campaign. Video plays across MTV/Vevo/Tik Tok. Online/social media activity. Ads, features, interviews ad reviews across all press. TV promo includes Graham Norton Show interview and performance plus more to follow. TV ad campaign. Pending UK tour dates. Poster campaign and database mailout.

Levit's sixth disc released on the Sony Classical label which conveys the urgent desire for encounter and human togetherness – at a time when isolation is the order of the day. The result is a very personal recital. While speaking touchingly of the hardships and unexpected feelings of liberty resulting from social distancing, musically the recital stands out for the objective spirit of its carefully crafted form. Igor has performed a total of 53 recitals over the Internet from his home since mid March 2020 with an audience of hundreds of thousands. Specialist promo/marketing activity.

Lee ‘Scratch’ Perry & The Upsetters’ classic Return of Django. Lee Perry had already been making name in the Jamaican music scene for about a decade before Return of Django hit the UK charts in 1969. Soon after, Trojan released a hugely popular collection of Perry’s biggest instrumentals. This album is a must for everyone that enjoys that good old vintage reggae sounds.

Lee ‘Scratch’ Perry was a pioneer of dub music and worked together with artists such as Bob Marley and the Wailers, The Clash and The Beastie Boys. This legend turned 84! this year and he’s still performing and recording music.

File Under: Jazz / Contemporary Jazz - For fans of Ryuichi Sakamoto, Boards of Canada, Linda May Han Oh, Supersilent, Nels Cline, Makaya McCraven, and Haruka Nakamura! Born in Pinsk, Belarus in 1984 and immigrating to Canada in 1992 with the collapse of the USSR; Alexei Orechin has been actively shaping musical environments with his current projects No Seas, a solo project for guitar and tape, and leading his own ensemble incorporating jazz, chamber, and experimental elements into his compositional work. A diverse talent that is reflected in the company he has shared the stage with: Nas, Akae Beka, Rana Mansour, Shad, Yaadcore, and Sina Bathaie. He has played in USA, Mexico, Europe, and Russia. Performances include the TD and Montreal Jazz Festivals, Caribana, Irie Music Festival, Tirgan Festival, and Pride Toronto. His music for film has been featured at TIFF, CFC, NFB and the Warsaw Jewish Film Festival. He has been featured on CBC, Noisey, Global News, The Star, Dub Rockers, Huffpost, Afropunk, and Relix magazine. 2020 saw the premier of '1992 Ambient', a 45-minute long composition that is a 'therapeutic experiment in slowly melting sound and colour; representing the acculturation and restructuring oneself through emigrating from Russia to Canada in 1992'. 2021 will also see the release of his debut full length album Mirages; an album that showcases his diverse and ever evolving style of composition, ranging from moments of melodic solitude to fractal experimentalism.

The maiden solo album from Jam Baxter on the Blah Records imprint. Entirely produced by Sumgii. Following on from the 2019 collaboration album between Jam Baxter and Lee Scott; 'Happy Hour at the Super Fun Time Party Dome Megamix 3000', Baxter returns to Blah, this time with a fully-fledged solo offering to truly cement him as a member of the Blah Records family. Legendary producer Sumgii does not disappoint with his trademark experimental, electronic urban soundscapes which complement Baxter's vivid poetic imagery perfectly. Written and performed by Jam Baxter & friends. Produced and composed by Sumgii.

Originally recorded and released in 1980, "Six of One" beautifully captures the detail in Evan Parker's high frequency split tones for which he is now perhaps better known. Five years on from "Saxophone Solos" and with circular breathing and polyphonics well worn into his live performances, Parker's experimentations here produce sustained passages of brilliant flight. Set into the echoes and resonances of St Judes On The Hill church, the results are stunning. "The recital commences with a split tone line of twining sine waves that expand and contract in telepathic collusion. Pitch dynamics narrow and redefine themselves more emphatically on the second piece where sliding legato rivulets born of Parker's compartmentalized tonguing create the sonic semblance of up to three separate voices emanating from the single reed speech center. It's a feat he's accomplished innumerable times since, but every fresh hearing never fails to open an aperture into a style of improvisatory expression that is at once wholly alien and intensely mesmerizing. There's also something strangely subterranean about the flood of sounds, like the rush percolating water through an underground aquifer system enroute to unknown tributaries. The third piece trades tightly braided tones for leaner and more linear phrases, but a vaporous trail of phantom notes still clings to the central line. And so it goes, with the illusion of repetition guiding the momentum, though Parker never explicitly repeats himself." - Derek Taylor, All About Jazz Transferred from the original master tapes at Abbey Road Studios and released in an edition of 500.

Clock, featuring two extraordinary songs written and performed by Arden herself. A vinyl-only edition of 250 copies, with fold-out poster and insert containing sleevenotes by Jack Bond, Sam Dunn, Charlotte Procter and Sebastian Saville. Arden and Bond’s collaborative career gave Britain some of the most extraordinary films it ever produced. Their filmography is woefully short - but it’s full to the brim of incredible, daring ideas and completely unfettered imagination. It’s packed, too, with pain and a disconcerting honesty about the human condition; challenging commonly-held ideas about madness and positing ideas which are far less easy to categorise or control. Anti-Clock, their final work together - Arden took her own life three years after its release - is a complex, contemplative piece, and Arden’s apparently comforting delivery of her self-penned songs and the see-saw flow of Mihai Dragutescu’s delicate instrumentation act only as a means to lure us in; to begin the de-programming. In Arden's book You Don’t Know What You Want, Do You?, the basis for the network of ideas at play in Anti-Clock – the motif of the rat is used as a metaphor for the rational mind. The lyrics to ‘Sleepwalking’ (living in a daze, wandering in a maze) also conjure up images of lab rats, of unthinking beings adhering to rules and systems, never questioning what is beyond what they think they know to be true. At the close of Anti-Clock, the central character, Sapha, simply says, ‘It has been my whole life's will to decode this puzzle, as though inside the answer to this equation was the insurance of that peace of mind that had eluded me. But there is no puzzle. And the mind is never peaceful. And dawn’s already here as the stars appear.’

Due to the Covid-19 pandemic, De Nor had no choice but to free all its prisoners - even the jazz ones - and shut its gates. But the red beacon shall shine again! Until such a time, we asked some of the artists who were booked to play there this summer to submit a piece for this new publication in lieu of their cancelled performance. This compilation lp contains tracks by Lori Goldston, Hiele, Agnes Hvizdalek, Nubots, Justine Grillet, Thurston Moore, Sami Bergold, Possessed Factory, Stacks, David Edren, Aaron Dilloway & Lucrecia Dalt, Ka Baird, Ben Bertrand, Miaux, Lorie Bevins, and C.O.P. and is housed in a deluxe dye cut linnen sleeve and comes with an insert and a mini Nor cut out made by Gerard Herman. De Nor is a sculpture-pavillion in the grounds of the Middelheim Museum conceived and designed by Dennis Tyfus and FVWW Architecten. In peace time it hosts concerts, lectures, and various presentations throughoutthe summer.

From Nanakuli comes a simple yet stunning ode to the islands with “Hawaii Is Beautiful”, composed and performed by Mike Kahikina. Previously unreleased, “Hawaii Is Beautiful” has been restored and remastered from original master tapes.

Kahikina played an active role in Hawaii’s music scene in the 1970s and 80s, writing and performing protest songs in support of sovereignty for the Kingdom of Hawaii and land rights for Kanaka Maoli, or native Hawaiians. Featured in the 1988 music documentary Hawaiian Rainbow is Kahikina’s song “Who Came First” which provides a clear, poignant message: “Who came first to Hawai‘i? All of us kanaka’s. And how come us kanaka’s, we no own the aina?” Kahikina later served as state representative on the Hawaiian Homes Commission from 2011-2019, championing Native Hawaiian’s rights to homestead lands and pressuring the state government to provide better access to and higher quality of housing for kanaka.

Despite the frustration and fiery feelings he expressed in his protest songs (check out his song “I Am A Native” with Nelson Waialae, written in protest of kanaka who were evicted from Waimea Valley), Kahikina still had plenty of room for songs of love and aloha for his home, including a rare 45 devoted to the art of surfing (“Ocean Rider”, recorded under the name Ka’ala). “Hawaii Is Beautiful” is a shimmering statement of Kahikina’s aloha for his home; a palm-trees-are-swaying tribute to the natural beauty of the Hawaiian Islands.

From Nanakuli comes a simple yet stunning ode to the islands with “Hawaii Is Beautiful”, composed and performed by Mike Kahikina. Previously unreleased, “Hawaii Is Beautiful” has been restored and remastered from original master tapes.

Kahikina played an active role in Hawaii’s music scene in the 1970s and 80s, writing and performing protest songs in support of sovereignty for the Kingdom of Hawaii and land rights for Kanaka Maoli, or native Hawaiians. Featured in the 1988 music documentary Hawaiian Rainbow is Kahikina’s song “Who Came First” which provides a clear, poignant message: “Who came first to Hawai‘i? All of us kanaka’s. And how come us kanaka’s, we no own the aina?” Kahikina later served as state representative on the Hawaiian Homes Commission from 2011-2019, championing Native Hawaiian’s rights to homestead lands and pressuring the state government to provide better access to and higher quality of housing for kanaka.

Despite the frustration and fiery feelings he expressed in his protest songs (check out his song “I Am A Native” with Nelson Waialae, written in protest of kanaka who were evicted from Waimea Valley), Kahikina still had plenty of room for songs of love and aloha for his home, including a rare 45 devoted to the art of surfing (“Ocean Rider”, recorded under the name Ka’ala). “Hawaii Is Beautiful” is a shimmering statement of Kahikina’s aloha for his home; a palm-trees-are-swaying tribute to the natural beauty of the Hawaiian Islands.

Ridiculously rare & sought after private pressed 45 from Atlanta, Georgia, that hardly ever turns up for sale in its original issue. It features the seemingly widely unknown pounding modern soul dancer "I Wanna Take A Chance With You", an absolutely killer tune with stellar production and vocals from the talented Early. A side's "Who Are You " is an intimate and deep piece of soul music with superb songwriting techniques.


Featured on the playlists of very few crate digging DJ's out there, this 45 gets an overdue and legitimate repress in its original form. Essential! Born and raised on a small farm in the heart of Georgia, lead singer and guitarist Early Clover started his own band Early Clover and The Bosa Novas' at the age of 14. In1967,
he changed the band's name to the Middle Georgia Soul Drifters'. They became very popular locally and began being the backup band for such acts as Rufus Thomas, Joe Simon, William Bell, Jay Hines, Nancy Butts, and opening for such acts as Tyrone Davis, Marvin Sease, Clarence Carter, Betty Wright and Full Force. After the breakup of the group, Early Clover put together some musicians and went to Haywood Recording Studios in Atlanta, Georgia, and recorded Who Are You' and I Wanna Take A Chance With You' in 1977 to be a part of an album, but went on the road and didn't complete the album but performed the
song live a year and a half before releasing it as a 45 rpm single.

Red Splatter Viny

Redscale is back! Fantastic news that was hard to keep secret the last few months. After a solid 3 years of working exclusively on building the Greyscale label, owner grad_u felt its the right time to also focus
on his own music. And we all can't be more happy to hear what he's been up to!
Redscale #10 has all the hallmarks of the classic output but the energy is dialed up to 11. 'Siren' is a pure dancefloor packer! It has that ideal combination of underground techno club power and catchy
supporting chords. Think Aril Brikha's 'Groove La Chord' and you get the idea of a true heater.
'Dancefloor is Dangerous' is on the B-side and it was specifically made for a gig where grad_u showcased his live chops warming up the crown for Jeff Mills. That big club dub techno sound made to perform live in China, Iran, France and others.
This vinyl will come with full printed cover and special center label artwork. Pressed with black and orange splatter effect on transparent red vinyl with one side that even plays inside out! Expect to move
the masses with these 2 showstoppers!
We can't say it enough. Redscale is back!

Clarinetist, composer, singer & spiritual jazz soothsayer Angel Bat Dawid presents this powerful live document alongside her band, Tha Brothahood. LIVE was mostly recorded on November 1st, 2019, at Haus der Berliner Festspiele in Berlin, Germany, during the 2019 edition of JazzFest Berlin. For Angel and Tha Brothahood - which includes Deacon Otis Cooke (vocals, synth), Viktor Le Givens (vocals, auxiliary instruments), Xristian Espinoza (tenor sax, percussion), Norman W. Long (electronics, synths), Dr. Adam Zanolini (double bass, bass guitar, soprano sax, flute, percussion), Isaiah Collier (drums), and Asher Gamedze (drums) - it was the first stop of their first European tour. Angel and her band experienced a number of difficult, racially charged interactions during their two days in Berlin. But despite, or perhaps in light of the difficulties they faced, they performed a set at Berliner Festspiele that Angel considers to be one of their best ever. "The show was very deep, and really helped me to process all the rage, and uncomfortable things I was feeling... It made me think of all the artists of the past who endured way more than I ever will with this music industry. It was a very freeing and beautiful show... we played our ass off!!"

Justin Thurgur has been at the heart of the UK's World Music scene for over twenty years, primarily through his collaborations with the Afrobeat maestro Dele Sosimi (former keyboardist for both Fela and Femi Kuti) and with the pianist Kishon Khan. Most recently in Khan's projects Lokkhi Terra and the Afrobeat/Cuban crossover, Cubafrobeat.

Thurgur has worked with Cuban giants Giraldo Piloto, Changuito and Julito Padron, with the Nigerian drum legend Tony Allen and with Damon Albarn's Africa Express project; which included Cheick Tidiane-Seck and Fatoumata Diawara. He's also worked with the likes of Bukky Leo, Francis Fuster, Pandit Dinesh, Baby Akhtar, Inemo, Tony Kofi, Kodjovi Kush, The Soothsayers, The Levellers and The Selecter.

He is perhaps most known as the trombonist from the multi-award winning 'folk' group Bellowhead. Their split in 2016 led to him forming his own band and releasing his debut album as a bandleader, 'No Confusion'.

The album features original compositions written by Thurgur in collaboration with double bassist Max De Wardener, piano/rhodes/Hammond organ player Kishon Khan and guitarist Phil Dawson, with band members including the likes of Graeme Flowers on trumpet, James Allsopp on bass clarinet and Oreste Noda on congas.

Thurgur promoted 'No Confusion' throughout 2016 and 2017, culminating in an enthusiastically received performance at Love Supreme Jazz Festival in 2017. Jazz FM, in particular Chris Philips, gave extensive airplay to the album as well as streaming a live performance from the Jazz FM studios and doing an interview. They subsequently playlisted two of Thurgur's single releases. Lopa Kothari played a track on BBC Radio 3's show 'The World On 3'. The band did a live interview and performance on DJ Ritu's 'A World In London' show on Resonance FM. Beyond this Thurgur has been developing relationships with various other digital radio stations, including Gordon Wedderburn, John Waugh and a number of Global music stations based in Europe.

Previously unreleased recordings by various lineups drawn from Derek Bailey, Tristan Honsinger, Christine Jeffrey, Toshinori Kondo, Charlie Morrow, David Toop, Maarten Altena, Georgie Born, Lindsay Cooper, Steve Lacy, Radu Malfatti and Jamie Muir.

Journalists often make the brief history of Free Improvisation conform to the idea that the history of music is a nice straight line from past to present: Beethoven… Brahms… Boulez. Thus Derek Bailey, Evan Parker and John Stevens — together with Brötzmann and co across the Channel — were the trailblazing ‘first generation’, forging a wholly new language alongside contemporary avant-garde and free jazz. Figures like Toshinori Kondo and David Toop, willing as they were to incorporate snippets of all kinds of music, were the pesky ‘second generation’, happily cocking a snook at the ‘ideological purity’ of Bailey’s non-idiomatic improvisation.
‘Company 1981’ shows up the foolishness — the wrongness — of such storylines. Check the eclectic collection of guests Bailey invited to Company Weeks over the years. He had clear ideas about the music, but he was no ideological purist.

One of the founders of Fluxus, Charlie Morrow injects blasts of Cageian fun into half the recordings here, whether blurting military fanfares from his trumpet, or intoning far-flung scraps of speech. Cellist Tristan Honsinger and vocalist Christine Jeffrey join in the joyful glossolalia, while Bailey, Toop and Kondo contribute delicious, delicate, hooligan arabesques, by turns.
The remainder are performed by a different ensemble: Bailey, bassist Maarten Altena, former Henry Cow members Georgie Born and Lindsay Cooper on cello and bassoon, the insanely inventive Jamie Muir on percussion, and trombonist Radu Malfatti, showing his mastery of extended technique. Were that not enough, there’s the inimitable purity of Steve Lacy’s soprano ringing high and clear above the melee. Glorious!

There’s always been this idea that Free Improvisation is somehow Difficult Listening, but when the doors of perception are thrown open and prejudice cast aside, you realise that it’s not difficult at all. “Is it that easy?” chirps Morrow, at one point. Indeed it is.
Enjoy yourself.

No other pairing in the history of Darkwave ever matched the unfettered creativity, resolve, and DIY attitude from the collaboration between the two creative minds that compromise Lebanon Hanover.

The meeting of the Swiss musician Larissa Georgiou, aka Larissa Iceglass and British artist William Maybelline a decade ago in the latter’s hometown of Sunderland in the UK, was a monumental occasion, reverberating throughout the European music scene and even across the Atlantic.

Lebanon Hanover would emerge from the peak of the world-wide minimal wave revival, with their 2011 split 7-inch record with La Fete Triste issued as the catalog debut of Europe’s most ubiquitous Techno-Industrial EBM labels, Aufnahme + Wiedergabe

With Berlin as their new physical home, William and Larissa would soon, however, join the Fabrika Records family. From here, they would go on to release two full-length albums through the Athens based label, starting in early 2012 with their winter debut LP The World Is Getting Colder, and it’s All Hallows Eve follow up Why Not Just Be Solo.

It was Lebanon Hanover’s 2013 third studio outing Tomb for Two that would go on to cement the duo’s legacy, with the album’s single “Gallow Dance” becoming a post-punk anthem for the times, with artwork became the band’s defacto logo. Not only that, the song “Sadness is Rebellion”, also featured on the album, became the band’s official Mantra.

Two years would pass before the release of 2015’s critically acclaimed fourth record, “Besides the Abyss”. In the intervening years, William and Larissa, initially a couple, would find other partners, and relocate to Athens.

Meanwhile, Lebanon Hanover as a live act would expand rapidly in popularity, exceeding capacity during their performances at Wave Gotik Treffen in Leipzig, and performing sold-out shows across Europe and the UK.

With the playful Babes of the 80s maxi-single released in the interim, three years would pass before the next record from Lebanon Hanover, with 2018’s Let Them Be Alien, the band’s fifth studio album.

At the dawn of the global pandemic, where dystopian nightmares that were only ever seen before within the pages of books and flashes of silver screen celluloid, has become a daily reality, a new kind of darkness envelops the world. It was at this Lebanon Hanover returned, sharing a glimmer of hope with the single “The Last Thing,” the duo’s first song from their forthcoming sixth studio album Sci-Fi Sky.

Spanning an epic journey across ten tracks that wander through industrial landscapes, and ascend beyond the atmospheric aether, Sci Fi Sky is Lebanon Hanover’s most cohesive artistic statement to date. With their icy hearts on their sleeves, this is the culmination of a decade’s worth of musical creativity radiating from the minds of both Iceglass and Maybelline, and altogether an otherworldly beacon of hope in a time of sheer darkness.

When the film ‘White Men Can’t Jump’ was released in 1992, an EP of music from the film was dropped almost simultaneously. That EP, cheekily titled ‘White Men Can’t Rap’, featured a couple of exclusive gems, notably Gang Starr’s ‘Now You’re Mine’ and a cut from Main Source called ‘Fakin’ the Funk’.

The only single borne of that six-track EP was the Main Source track, released in remixed form on Wild Pitch records the same year. No surprise, it was head and shoulders above the rest.

Opening with those unmistakable harmonies from Main Ingredient’s ‘Magic Shoes’, the intro segues into a crisp beat borrowed from Grady Tate’s frequently sampled ‘Be Black Baby’ from 1969. Throw in a sprinkle of Kool & The Gang and you’ve got a track that would fit seamlessly onto Main Source’s masterpiece of an album, ‘Breaking Atoms’.

Instead, it’s the group’s last hurrah, the final collaboration between K-Cut, Sir Scratch and Large Professor before the latter departed the trio. It’s fitting that he saves one of his best vocal performances for last, railing at sell-outs with the assistance of his long-term collaborator Neek the Exotic.

Never released before on an official 7”, it’s a track that has lost none of its appeal, and the remix is the definitive version of this classic.

• Samples Main Ingredient’s ‘Magic Shoes’ and Grady Tate’s frequently sampled ‘Be Black Baby’

• First ever 7” release of the Remix

• Also available on Limited Edition Neon Green vinyl

All the leaves might be brown and the sky gray, but fortunately Willie West is still a man. This relentless underdog of the New Orleans soul history known for his work with The Meters and Allen Toussaint has been laying low in the northern parts of the US for a while now. Lately he has emerged with new raw sound, which fuses very distinctly personal lyricism with heavy minor key grooves provided by the guys at Timmion Records.

While arriving to Finland for the first time in 2014 to perform on account of his latest album "Lost Soul", Willie couldn't help laying down a few lyrics at Timmion studios in Helsinki's Kaapelitehdas. The session produced a fresh new track "I'm Still A Man", which continues on the same slow, dark and melodic path, which he paved with The High Society Brothers in 2009 with "The Devil Gives Me Everything".

From the first desolate guitar licks on Willie starts to lure the listener into his damp and heavy-aired space, like only the few masters brewed in the southern climate can. There's not many of Willie's breed still around and who knows how long his dark wail will bless us with gems like this. Let this true artistry sink its nails in you.

Transparent Red Vinyls

"Iza jinjô ni… Shôbu!” Be prepared for the battle!

Wayô Records and SNK Corporation are pleased to announce their first collaboration project! For the coming of the new Samurai Shodown game from the legendary fighting game series, we are proud to present the international release of its soundtrack in both CD and Vinyl formats!

With its beautiful Japanese instruments, the music of Samurai Shodown (2019) combines the power of modern times with the spirit from the roots of the series, performed by the best traditional Japanese players, including the legendary HIDE×HIDE duo! This soundtrack features the theme song Revive the Soul and each of the character themes, for a total of two hours of epic music!

The original soundtrack on Vinyl includes 19 tracks on two 180g LP red-marbled discs in separate sleeve into a gatefold package.

Today, The Wytches announce their third album Three Mile Ditch. The album features the recently released single “Cowboy” which marked their return after four years away and to celebrate the announcement they share new single “A Love You’ll Never Know”. The track is accompanied by a music video by Mark Breed and he explains,

“The music video format was a long process. Making the set was incredibly fun with Kristian crafting most of the miniatures.I then had to film the green screen band performance within the set before recording the edited version onto my VHS camera. Finally I shot the finished edit inside the view finder.”

The album recorded with Luke Oldfield at Tile House Studios will be released on their own label Cable Code Records on Friday 2nd October.

“This is the first thing that I've ever been proud of for longer than a week,” says The Wytches frontman Kristian Bell of the band’s latest album Three Mile Ditch. This sense of vigour and enthusiasm coming from Bell about the band’s third album is matched by its contents. The album is an explosive collection of 10 tracks that weaves seamlessly between gut-wobbling monster riffs, swampy rock, slick surf, and finely tuned songcraft. It’s also the result of a band coming back from the brink of collapse.

The band’s early trajectory was a steep and speedy one as they quickly established themselves as one of the country’s most exciting and pulverising new bands. Major festival slots stacked up at places such as Glastonbury, SXSW, Reading and Leeds, and British Summertime with the Strokes. As did the tours across the US with METZ, traversing Europe with Fat White Family and Death Grips. They garnered support from BBC 6 Music, DIY, MOJO, NME and more. However, when the ascent to the stratosphere is moving at such a speed, there’s a risk of burning out and imploding, and the band came close to this.

They were on the rocks for a while, unsure of themselves and if the band should - or even could - go on. “I had it in my head that this kind of thing only really happens once and to try it again might be a big waste of time,” Bell reflects. However, despite the difficulties, the powerful pull of the band was too great to ignore.

“We had an album’s worth of songs that was some of our best material. The mission became to complete a Wytches album rather than get The Wytches back on the touring circuit. This album helped us make the decision to try it again.”

Released a year before The National broke through with their third album Alligator, 2004’s Cherry Tree EP is a thrilling record which - thanks to ist collection of delicate ballads and anthemic crowd-pleasers - sums up what they do best in under 30 minutes. Now a fi rm fan-favourite, among Cherry Tree’s seven tracks are now National classics ‘About Today’ and ‘All The Wine’, plus a thrilling live version of ‘Murder Me Rachael’ that reminds of the band’s fearsome early live performances. Cherry Tree can be seen as the record that marks the moment when The National had truly found themselves, a bridge from what went before to a band ready to conquer the World. And with this new master, it’s never sounded better too.

Recorded on November 13th 1990 in Santa Cruz, CA, where the band were rehearsing for their upcoming Weld tour, Neil Young and Crazy Horse played a club show at The Catalyst which is now released here for the first time.
The show comprised three different sets along with a 12 minute encore of Cortez The Killer and all 3 sets including that encore are brought together here in over 2 hours of music.

Said to be one of the great live shows that Neil Young and Crazy Horse performed, the album includes live versions of songs from their Ragged Glory album, released just prior, along with classics from across their catalogue.

Recorded on November 13th 1990 in Santa Cruz, CA, where the band were rehearsing for their upcoming Weld tour, Neil Young and Crazy Horse played a club show at The Catalyst which is now released here for the first time.
The show comprised three different sets along with a 12 minute encore of Cortez The Killer and all 3 sets including that encore are brought together here in over 2 hours of music.
Said to be one of the great live shows that Neil Young and Crazy Horse performed, the album includes live versions of songs from their Ragged Glory album, released just prior, along with classics from across their catalogue.

Enter, ANGST a series of musical ‘essays on the ephemeral being’ by Portuguese pianist and composer Tiago Sousa.

After 2015’s Um Piano nas Barricadas (Discrepant, CREP23) Sousa expands his compositional chops by writing and performing along with a trio made of clarinet, percussion and vibraphone adding a magical realism aura to the music.

It was fate that the releasing of these compositions would arrive in one of the most troubled passages of recent memory, just as a new decade begins. If it was already established that anguish is one of the hallmarks haunting our modern era, these last few years expose this existential feeling with even greater urgency.

The album that Tiago now presents, part angst part nostalgic escapism addresses this very modern concern as well as other themes dear to the so-called existentialist thinkers such as Heidegger, Camus or Kierkegaard, who among others, seek to directly challenge the Being with various concepts such as Repetition, Temporality, Interiority, Despair…

Throughout the 8 themes here presented, a delicate attempt is made to sketch a phenomenological cartography through its content and form, loosely describing the feeling of being launched into the wide world and the discovery of one self. In other words, the artist’s aim here is to convey the growing pains that the whole question about the meaning of life throws at us.

In an approach that is difficult to catalogue, the album tries to avoid genres and crystallizations in which music presents itself as a vehicle to express the ineffable and the incommunicable, expressing instead a magical world of wonder and enchantment.

Mouse on Mars, the Berlin-based duo of Jan St. Werner and Andi Toma, approach electronic music with an inexhaustible curiosity and unparalleled ingenuity. ‘AAI’ (Anarchic Artificial Intelligence) takes their fascination with technology and undogmatic exploration a quantum leap further.
Emerging from a primordial ooze of rolling bass and skittering electronics, hypnotic polyrhythms and pulsing synthesizers propel the listener across the
record’s expanse. Hidden in the duo’s hyper-detailed productions is a kind of meta-narrative.
Working with AI tech collective Birds on Mars and former Soundcloud
programmers Ranny Keddo and Derrek Kindle, the duo collaborated on the creation of bespoke software capable of modelling speech; text and voice from writer and scholar of African Studies Louis Chude-Sokei and DJ/producer Yağmur Uçkunkaya were fed into the software as a model, allowing Toma and Werner to control parameters like speed or mood, thereby creating a kind of speech
instrument they could control and play as they would a synthesizer.
The album’s narrative is quite literally mirrored in the music - the sound of an artificial intelligence growing, learning and speaking. This exploration of artificial intelligence as both a narrative framework and compositional tool, allowing the duo to summon their most explicitly science-fiction work to date. Original artwork by Casey Reas, inventor of the computer graphics language Processing.
Recently, Mouse on Mars received the 2020 Holger Czukay Prize for Pop Music.
Mouse on Mars have been regularly streaming performances throughout 2020, partnering with organizations like Goethe-Institut, Haus der Kulturen der Welt, Conditions of a Necessity and others and will continue these in 2021.
‘AAI’ is available on grey or black double LP packaged in a single sleeve with full colour insert / lyrics. CD comes with 8-panel poster booklet.
“Andi Toma and Jan St. Werner continue to create soundscapes that blur the line between programming and live musicianship, and sometimes between Earth and outer space.” - AV Club
“Enthralling and impossible to categorize.” - Pitchfork
“Sustained and ephemeral electronic sounds conjure unearthly open spaces… It’s not a song; it’s sound as a temporal phenomenon, a few minutes of sculpted attention.” - The New York Times

Founded by childhood friends Evan Stephens Hall and Zack
Levine, Pinegrove have already crafted three fantastic albums
- ‘Everything So Far’ (2015), ‘Cardinal’ (2016) and ‘Skylight’
(2018) - and achieved massive critical acclaim and a
widespread and devoted listenership. The band’s latest
album (and first for Rough Trade), ‘Marigold’, arrived in
January of 2020 and its themes of reflection and resilience
have resonated through an especially tumultuous year. Now
with tours cancelled and time on their hands, the band have
decided to put together something special for their fans.
‘Amperland, NY’ is yet another full album, this time
accompanying a feature film of the same name. The
collection features 21 brand new studio recordings spanning
Pinegrove’s career and catalogue, captured upstate in the
house where the band lived and recorded for 4 years - a
place they lovingly referred to as ‘Amperland’. But all good
things (and leases) come to an end and, before they bid
adieu to the space permanently, they gathered together for
one last performance with friends and family.
Featuring original member and keyboardist / vocalist Nandi
Rose (Half Waif) on many tracks - this collection will thrill old
and new listeners alike - with the band breathing new life
into fan favourites and deep cuts. From acoustic versions to
unique arrangements featuring piano, pedal steel and organ,
‘Amperland, NY’ touches on notes of folk and progressive
rock previously unheard on their studio albums. This will be
an essential addition to the Pinegrove catalogue and
encompasses all of the earnest and ecstatic live energy the
band is known for.
Double vinyl format housed in a heavyweight matte gatefold
package and comes with a fully annotated script and behind
the scenes photos from the film.

‘Little Oblivions’ is the third studio album by Julien Baker. Recorded in Memphis, TN, the record weaves together unflinching autobiography with assimilated experience and hard-won observations from the past few years, taking Baker’s capacity for storytelling to new heights.
It also marks a sonic shift, with the songwriter’s intimate piano and guitar arrangements newly enriched by bass, drums, keyboards, banjo and mandolin, with nearly all of the instruments performed by Baker.

Raleigh Ritchie releases his highly anticipated second album, ANDY. A twelve track project, Andy sees Bristol born and London-hailing Raleigh holding a colossal magnifying glass to himself. Over the production, for the most part, from long-term collaborator Chris Loco but also, the incredibly talented GRADES on “Time In A Tree” and “27 Club”, Raleigh leaves no stone unturned. The album is a creation of heartbreakingly honest songs that seamlessly fuses sweeping soul and mellow R&B with forward-thinking electronica and gutsy orchestral moments. (Raleigh has become well known for working with the sensational Rosie Danvers and Wired Strings.) This is a truly powerful record, a long-awaited return that packs a poignant punch.

It has been four years since Raleigh aka Jacob Anderson, released his inaugural debut album You’re A Man Now Boy but fans have not been left wanting. When he wasn’t releasing music, performing at his sold out show at Shepherds Bush Empire, or alongside Stormzy in his iconic Glastonbury headline, featuring on Gang Signs & Prayer, Stormzy’s critically acclaimed debut, or acting as Grey Worm in the hit HBO series Game Of Thrones, he was and is “Andy”.

TERMINAL BLISS makes their Relapse Records debut with the unrelenting album Brute Err/atta! A veritable who’s who of Virginia punk, the band features vocalist Chris and guitarist Mike Taylor (Pg. 99 and Pygmy Lush), drummer Ryan Parrish (Darkest Hour, Iron Reagan, City of Caterpillar) and bassist Adam Juresko (City of Caterpillar). Inspired by the likes of Born Against, Gauze and Void—not to mention Black Flag, Crass, Negative Approach, Disrupt, Necros, Crossed Out and Disclose—TERMINAL BLISS conducted their first band practice on January 14 th, 2020. Just six weeks and five practices later, they were recording their full-length debut with Majority Rule frontman Matt Michel in the engineer’s chair. The name TERMINAL BLISS was born out of the merciless consumerism and environmental destruction that are America’s enduring legacy. From dystopian, sci-fi themes in tracks such as “March of the Grieving Droid”, to the apathy of the checked-out masses on “Small One Time Fee” and the personal recount of loss and the inefficacy of our healthcare system in "Clean Bill of Wealth", it’s the merging of personal experience and social critique that has informed the punk edge behind the members of TERMINAL BLISS for decades now. For TERMINAL BLISS, it’s become a crucial combination born of decades of playing live. (Unfortunately, the band’s first show was cancelled when the US began its COVID-19 lockdown.) “I realized early on that if you don’t write something that resonates with yourself on a fundamental level, it’s going to get trite when you’re performing night after night,” Chris Taylor says. “So, with the idea in mind that we’ll eventually play shows, I always try to write something that will resonate.”

The self-titled, full-length debut from Bones Owens is a selection of songs both gloriously gritty and undeniably euphoric. In a bold departure from the moody Americana of his acclaimed EPs Hurt No One and Make Me No King, the Missouri-bred musician’s first release with Thirty Tigers delivers a powerful sound deeply inspired by ’60s garage-rock, Hill Country blues, and the swampy roots-rock of bands like Creedence Clearwater Revival (“the first record I remember stealing from my dad when I was ten and just starting to play guitar,” according to Owens). A potent showcase for his formidable guitar work—a talent he’s displayed in performing with artists as eclectic as Yelawolf and Mikky Ekko— Bones Owens arrives as a full-tilt expression of Owens’ wildest impulses, all swinging rhythms, and swaggering riffs. Featuring heavily playlisted hits like “White Lines” and “Keep It Close,” Bones Owens came to life at The Smoakstack in Owens’ adopted hometown of Nashville. With production from studio owner Paul Moak—a five-time Grammy Award nominee who’s also worked with Joy Williams, Marc Broussard, and The Blind Boys of Alabama. “This album really came from opening for some good people over the last few years, from feeding off that energy from the crowd and wanting to write more songs that would feel exciting to play live,” says Owens, who’s recently toured with Reignwolf and Whiskey Myers. “It felt like the right approach to keep the production simple and record everything to tape - I think it creates a good type of nervousness that brings out the best in everyone. Nobody wants to be the one to mess up the take. Besides, all my favorite records were made that way. You can’t fake that sound.”

On his first full length effort, singer / songwriter Mav Karlo, otherwise known as Menno Versteeg, offers up a much more elaborately realized, yet no less intensely intimate body of work. With its gracefully sparse arrangements, the album centres on Versteeg’s lyrical storytelling, revealing a narrative voice deeply attuned to the beauty in the ordinary and routinely overlooked. Strangers Like Us closely documents an especially tough period in Versteeg’s life but the album ultimately showcases an undeniable courage in its commitment to truth-telling and unsparing self- examination. He is supported by spirited guest performances from Katy Goodman of Vivian Girls (on vocals), Charlie Spencer of Dizzy (keys, drums) and Versteeg’s Hollerado bandmate Nixon Boyd (guitar, bass). Album produced by Chris Coady (Yeah Yeah Yeahs, Amen Dunes, Beach House) and recorded at Sunset Sound and Sonic Ranch. Menno Versteeg is the owner of Royal Mountain Records and a former member of both Hollerado and Anyway Gang.

The Martha’s Vineyard Ferries - ‘Suns Out Guns Out’ Over the course of two prior releases — 2010’s ‘In The Pond’ (Sickroom) and 2013’s ‘Mass Grave’ (Kiam) — The Martha’s Vineyard Ferries quietly carved out a high-IQ corner of the U.S. rock underground reserved for taut, deathly catchy songs that showcased deft (if get-to-the-point) instrumentation. That the band have been kinda/sorta under the collective radar has more to do with their being otherwise occupied (more on that in a minute) than a lack of artistic ambition; they’ve slayed before and after a long break, they’re back to slay again. So you’re wondering, what could possibly take precedence in real life terms over playing in a band this awesome? Much as I hate to compare and contrast, part of the dilemma is that the principals of The Martha’s Vineyard Ferries — commonly referred to by their fans as “the Fuckin’ Ferries”, “The Martha’s Vineyard Ferries” by everyone else --- are in too many awesome bands already. Guitarist/vocalist Elisha Wiesner has previously set the world on fire with the Massachusetts sextet Kahoots and earlier this year released a 63 song (!) digital masterclass in songwriting under the John Pancake nom de plume. Drummer/vocalist Chris Brokaw has previously pounded on things for heavyweights including but not limited to Codeine, The New Year and Obnox, though there’s a fair chance you’ve also heard his guitar/vocal performances, both solo and with Come (as well as an impossibly long list of contributions to the likes of The Lemonheads, Dirtmusic, Thurston Moore, Consonant and more). Bassist/vocalist Bob Weston is internationally renowned for his sternum-crushing work on behalf of Shellac, Volcano Suns and sound manipulation tactics for Mission Of Burma (I’ve not heard any of the above, but I’m told they’re all “ok, if you’re into that sort of thing”) Add to this workload the tiny matter of the 3 players having spent most of the last 7 years living in 3 different time zones, it’s nothing short of a miracle the 3rd and finest Martha’s Vineyard Ferries album could pass for the sustained effort of 3 men who’ve been locked up together all this time, writing and recording a powerful statement to rival anything in their collective catalogs (I’m thinking of a scenario kind of like “The Lighthouse”, except there’s 3 men instead of two and there’s more guitars than birds, but maybe the occasional bird, as you tend to get a few of them near the water).

Varèse Sarabande is thrilled to announce the upcoming vinyl release of the soundtrack for the Netflix film The Trial of the Chicago 7, written and directed by Academy Award®-winning filmmaker Aaron Sorkin (Molly’s Game, The Social Network). The vinyl tracklist is comprised of ten original score selections by three-time Golden Globe®-nominated composer Daniel Pemberton and two original songs performed by breakthrough Polydor recording artist Celeste. Pemberton and Celeste co-wrote the film’s focus track “Hear My Voice.”

Set in Mumbai’s underground rap scene, Gully Boy is inspired by the lives of Mumbai rappers Naezy and Divine (a.k.a. Naved Shaikh and Vivian Fernandes respectively). Ever since Indians started protesting or expressing dissent about an existing political system, songs have always been a major weapon, and Gully Boy, lyrically and musically, is a triumph!
The soundtrack features Bollywood superstar Ranveer Singh, who plays the titular Gully Boy, rapping himself, along with a bouquet of writers ( Divine, Naezy, Spitfire, Rishi Rich, Raghu Dixit, Karsh Kale, Midival Punditz, Vivieck Rajagopalan, Dub Sharma, Sez On The Beat, Jasleen Royal, Ankur Tewari, Mikey McCleary, Kaam Bhaari, Ace, Ishq Bector, Prem & Hardeep, Major C), either performed on screen by various artists or playing out in the background.
Gully Boy’s music is the hallmark of change in Bollywood.

mex is a non-profit-organization for intermedia and experimental music projects, located in Dortmund, Germany. Since 1992 more than 650 musicians and media artists from around the world presented their subtle, noisy, improvised or conceptual works. mex’s traditional venue for those projects of concerts in combination with performance, video and intermedia, is the mexKeller at the Künstlerhaus with it’s special acoustic and atmosphere. Jens Brand began inviting artists and later Maija Julius went on until Achim Zepezauer took over in 2015. mex is a member of Medienwerk NRW. Kindly supported by: Department of cultural affairs of the City of Dortmund, Pro Jazz e.V. and Künstlerhaus Dortmund.

The artists featured on this sampler were guests within the curation of Achim Zepezauer and performed live for the mex audience between 2013 & 2019. Due to global pandemic conditions mex was unable to host any concerts in 2020 and therefore decided to release this special compilation in cooperation with the label Ana Ott.

Limited

LOVE IS A STREAM :: 10 year anniversary edition. Remastered by Stephan Mathieu. Design by Farbod Kokabi.

Jefre Cantu on Guitar & Electronics. With Lisa McGee, John Twells, and Maxwell August Croy on vocals. Orginally released October, 2010 on TYPE records, UK.

From the original press release: As a member of San Francisco legends Tarentel and Type’s premier astral travellers The Alps, Jefre Cantu-Ledesma is hardly a new addition to the label, so it’s hard to believe that ‘Love Is A Stream’ is his first Type solo album. Previously releasing on Arbor, Spekk and his own Root Strata imprint, this latest album marks his journey into the beautifully cacophonous world of dream pop. Shoegaze music has been much maligned in recent years, probably due to its rebirth and subsequent explosion of popularity (which gave rise to hundreds of young bands aping the over twenty-year-old sound). However it was only a fragment of the genre that these bands attempted to re-create, and on ‘Love Is A Stream’ Cantu, instead of focusing on tired weeping melancholy ballads, focuses solely on expansive, almost noise-ridden hopefulness. This is the kind of noise we fell in love with when My Bloody Valentine blew our ear drums performing ‘Loveless’, or the kind of harmonic excess we heard on hundredth listen to Catherine Wheel’s ‘Ferment’, but taken into deeper, more abstract realms. ‘Love Is A Stream’ is dedicated to love itself, and the dreamy, shimmering blown-out textures might at first sound like white noise before they ultimately give way to blissful harmony and hidden melody. Underneath the grit and growl are hidden guitar parts, synthesizer drones and even vocals (provided by Lisa McGee, John Twells and Maxwell August Croy) that succeed in swelling the dense, tape-saturated songs to heady new heights and belie any influences they might have. On each listen the mind strips away another layer of dust and bones to reveal haunting and deeply moving beauty. The world might be spiralling into despair, but Jefre Cantu-Ledesma has brought us a record that isn’t afraid to share the love. All that’s left to do is drown in it.

'The Times' is a moving and topical solo acoustic performance, a unique collection of songs, recorded by Neil Young at home during lockdown as part of the raw and personal, 'FIRESIDE SESSIONS' series.

The songs include his updated 'Lookin' For A Leader - 2020,' ‘Alabama’ from the seminal ‘Harvest’ album, the Young penned CSN&Y classic ‘Ohio’, the brilliant ‘Southern Man’ from the ‘After The Gold Rush’ album, and Bob Dylan's 'The Times They Are A-Changin' closing with 'Little Wing' from the latest Reprise release, 'Homegrown'.

After initial release in September 2020 on CD, the EP is now available on vinyl for the first time.

With hits such as ‘Africa’ and ‘Rosanna’, more than 40 million albums sold and over 40 years of a career, TOTO is without doubt one of the superlatives of music history.

In the early 90s they had a short period as a four-piece featuring Steve Lukather (guitar & lead vocals), David Paich (keyboards & vocals), Jeff Porcaro (drums & percussion) and Mike Porcaro (bass). The line-up, with some additional touring members, performed this concert at Montreux in July 1991 and went on to make the “Kingdom Of Desire” album released in 1992, shortly after the tragic early death of drummer Jeff Porcaro.

The Montreux show combines the then unreleased tracks from the “Kingdom Of Desire” album with classic hits and covers of songs by Jimi Hendrix and Sly Stone. Now this set will become available as a heavyweight double vinyl gatefold edition.

People On Sunday is an original soundtrack to the 1930 silent film variously known as Menschen am Sonntag, Les Hommes le Dimanche and People On Sunday. The film is a key work of interwar German cinema, based on a screenplay by Billy Wilder.

Like Domenique Dumont’s earlier albums, Comme Ça and Miniatures De Auto Rhythm, People On Sunday evokes a more innocent, carefree time conjured by wistful electronics full of warmth and melody. Touching on the hazy exotica that made those two records so alluring, here Dumont draws on his love of classical music, library music and early electronic experimentation to create a timeless, optimistic sound. If his past productions possessed a certain Mediterranean quality, across these 13 new pieces Dumont’s shimmering synth-pop has an enchanting simplicity.

Part documentary, part fiction, the film People On Sunday follows a group of characters going about their business in Weimar-era Berlin over one weekend and shows normal life in Germany before dictatorship.

“The film shows people and their surroundings shortly before all of it was destroyed,” says Dumont. “Ironically, watching this movie with the eyes of today, it looks more surreal than documentary. And I can’t help but think and reflect about the times we are living in now. We might have similar desires people had a hundred years ago, but we now have a completely different approach to life.”

*People On Sunday is the third album by Domenique Dumont.
*Freshly signed to The Leaf Label, having previously released two albums on Parisian electronic/dance label Antinote.
*It follows on from the cult success of synth-pop exotica albums Comme Ça (2015) and Miniatures de Auto Rhythm (2018)The album was originally conceived as a soundtrack to the classic 1930 German silent film known variously as Menschen am Sonntag, Les Hommes le Dimanche and People on Sunday.
*It was originally performed at Les Arcs Film Festival, with plans for further film festival concerts when regulations allow.
*Watch the video for first single ‘People On Sunday’ featuring excerpts from the film.
*Artwork and design by artist Edward Carvalho-Monaghan.
*Support from Pitchfork, Resident Advisor, FACT Magazine, Gorilla vs Bear, KEXP, BBC 6 Music’s Tom Ravenscroft, Mary Anne Hobbs and NTS Radio’s Charlie Bones, among others.
*Dumont recently remixed Domino’s Jaakko Eino Kalevi, and has also reworked tracks by Cola Boyy and Mark Barrott.
*Festival appearances include Mutek Montreal, Dekmantel, Nuits Sonores, Milhões de Festa and the Venice Biennale.

Old, but still functioning computers are simply scrapped, made redundant and without remorse left to corrosion and an existence without a task and no perspective. That this doesn’t need to be so, and that even computers with limited storage capacity can still take on a function in society, is illustrated by Alexei Shulgin’s outdated 386, now serving as a musician. Performing Classic Rock's Biggest Smash Hits! The Clash! The Doors! The Sex Pistols! Hendrix! and more... gone digital, gone to 8-bit computerized chip-music with a singing computer, with all the charme available to a text-to- speech- programm.

Created by Russian artist Alexei Shulgin, 386 DX was “the world’s first cyberpunk band.” Known for its live performances on city streets and in nightclubs, the performer is a dingy, singing PC that runs Windows 3.1, equipped with a vintage sound card and loaded with MIDI files of drums, guitar, and synth and accompanying lyrics.

The ironic comment delivered by Shulgin and his singing computer is well within the context of the performances by the 386 DX rockband, with which he “toured” Europe in 1998 and performed on nearly 60 occasions. This one- man-one-computer-show was based on a similar idea as his current installation: Shulgin presented himself as a performer carrying a keyboard, and by simply hitting a key elicited the text-to-speech singing, accompanied by very simple music and a few Seventies-style visual effects.Alexei Shulgin simply is the King of Cyberpop.

Definitive compilation spans solo recordings, rarities and duets with Lee Hazlewood Newly remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin New interviews with the legendary singer, actress, and activist, Nancy Sinatra Extensive essay by Amanda Petrusich Q&A interview with Nancy & GRAMMYr-nominated reissue co-producer Hunter Lea Never-before-seen photos from Nancy Sinatra's personal archive Deluxe CD housed in 7"x7" hardcover book w/ 64-pg booklet Beautifully packaged Double LP featuring a 24-pg book 2xLP available on Standard Black Wax plus Summer Wine Sunburst Orange Release coincides with Nancy Sinatra's 80th birthday celebration Release to be supported by international press campaign in cooperation with Nancy Sinatra // Light In The Attic Records is proud to present Nancy Sinatra: Start Walkin' 1965-1976. The definitive new collection surveys Sinatra's most prolific period over 1965-1976, including her revered collaborations with Lee Hazlewood, over 23 tracks. Remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin, the collection is complemented by liner notes penned by Amanda Petrusich (author and music critic at The New Yorker), featuring insightful new interviews with Sinatra, as well as a Q&A with archivist and GRAMMYr-nominated reissue co-producer Hunter Lea. The CD edition comes housed in a 7"x7" hardcover book (featuring 64-pages) and the two-disc vinyl set is presented in a gatefold jacket (featuring a 24-page booklet), with special color editions available exclusively at and independent record stores. Nancy's performance of the Lee Hazlewood-penned song "These Boots Are Made for Walkin'" was a huge hit in 1966 and became her signature tune. The pair began a three year run of successful albums, duets and singles including "Sugar Town," "Some Velvet Morning," "Summer Wine," "Sand," "Jackson," and the title track to the 1967 James Bond film "You Only Live Twice." Start Walkin' explores Nancy's recordings with Lee, her inspired collaborations with songwriter Mac Davis ("Hello L.A., Bye Bye Birmingham"), producer Lenny Waronker ("Hook and Ladder") and the "should've been hit" song with arranger/producer Billy Strange ("How Are Things In California.") Over the years, she has been cited as an influence by countless artists, including Sonic Youth, Morrissey, Calexico, U2, and Lana Del Rey. Her haunting song "Bang, Bang" gained a new legion of fans when it appeared in the opening credits of Quentin Tarantino's 2003 film, Kill Bill Volume 1.

Old Dark House: Suspenseful cinematic ambience and subliminal rhythmic sorcery by Andrew Crawshaw and Corey J. Brewer. Andrew Crawshaw (aka Meridian Arc) and Corey J. Brewer have come together to make music as Old Dark House. This is great news, as these Seattle musicians have proved themselves to be masters of suspenseful cinematic ambience and subliminal rhythmic sorcery. Crawshaw has hosted the Depths night at Substation, at which he and other musicians create new soundtracks for cult-classic films. Brewer famously crafted an alternate score for Stanley Kubrick's The Shining, which he performed at Northwest Film Forum in 2017. As Old Dark House, the duo have recorded their debut album, Welcome Home, with another excellent film-music head, Erik Blood, mixing. Welcome Home's 11 tracks combine Crawshaw's penchant for expansive yet intimate synthscapes and Brewer's mastery of morose songcraft. The latter's voice pitches somewhere between Nick Cave and Edwyn Collins, adding a lugubrious luster to Old Dark House's midnight-blue atmospheres and tension-building rhythms. "Through the Trees" is perhaps the record's most chilling and dramatic moment. The song at once drifts and stomps ominously, as Brewer sings like an opiated Chris Isaak, haloed by a synth motif of vaguely Eastern-sounding grandeur. _ Dave Segal

For Another Michael, it all boils down to trust. In mid-2017, the critically acclaimed indie three-piece packed their bags and collectively relocated from Albany, NY to a shared house in West Philadelphia. This move signaled not only the start of a new chapter for the trio, but also a deepening of the bonds that would come to define their captivating debut LP, `New Music and Big Pop.' "It's hard for a group of people to get closer than living together," says bassist and producer Nick Sebastiano. "The stronger our connection grew, the more it shaped the music we found ourselves making." It should come as little surprise, then, that `New Music and Big Pop' is Another Michael's most collaborative work yet. Recorded in a small A-frame house-turned-makeshift studio outside Ferndale, NY, the record finds the trio pushing their sound in a dreamier, more folk-influenced direction, building songs around vulnerable, intimate performances using an ethereal palette of breezy guitars, subtle keyboards, and layered harmonies. As on the band's early EPs, singer and songwriter Michael Doherty's mesmerizing voice is front and center here, calling to mind Robin Pecknold or Ben Bridwell in its reedy, crystalline timbre, but it feels more at home than ever before amidst the album's lush, Technicolor landscape, which the band partnered with producer and fellow housemate Scoops Dardaris to create. The result is a masterfully understated record that belies its status as a full-length debut, a thoughtful, poetic, collection all about growth and change, hope and faith, endings and beginnings, delivered by a band that's only just begun to scratch the surface of their story.

"I’ve had the pleasure of being a Fall fan since I was a teen.
I was lucky enough to have some guidance from my local record shop stoner-lords.
They turned me on to many of my heroes, but once I heard my first slanted and barky Fall song, I was part of the army for life.
The word prolific gets tossed around a lot.
It almost seems like a slag-off in the press, as if they wish the artist would produce less so they wouldn’t have to do their self imposed job of judging releases for the rabble.
The Fall is subjected to this lazy word often.
Yet I can honestly say that I am SO thankful for any nugget of Fall that lands at my feet and in my brain.
Live Fall performances are always a pleasure because they seem to take what already made the Fall great and push it even a bit more into the rough and bloody uncharted wasteland that is drug scorched proto-punk and heady political poetry.

So, it is with great pleasure that we introduce this Fall bootleg soundboard recording to you.
Recorded during one of the many strong points in the bands vast and mighty history.
They really burn bright here and bring every ounce of what you expect from this formidable force.

We have reached out to every surviving member of the band, the sound person, the bootlegger who recorded it and the photographer and received their blessings & help piecing it all together.
Castle Face will be donating 50% of our profits to Centrepoint which helps the homeless in the Manchester area get back on their feet, so the local and deserving Fall fans get a little, and give a little back, too.

Nothing but the hits here folks and as raw as you dig it.
This one really is exceptional in terms of live sound for The Fall.
All the stars were aligned over St. Helens that eve.
And it wouldn’t be complete with a bit of Fall fan saltiness so, fuck you too, Jason.” - John Dwyer

It’s out on Castle Face Records exclusively on vinyl (12” and a 7” in a gatefold jacket, including a digital download) on February 19th

4-Track Guitar Music is the unassuming title of a cassette by Swedish composer Mats Erlandsson, which was originally released on Kali Maloneʼs and Maria W. Hornʼs XKatedral label in 2018. Composed using only, as the album title implies, a 4-track tape deck and an electric guitar, the music was later modified on the computer and re-amplified in the machine hall of Ställbergs Gruva, a disbanded Swedish iron mine.

The music is primarily composed using melodic motifs and canonical structures in which a set of pitches are transposed in octaves and delayed, creating an ever-evolving cyclical polyphony. Contrary to the albumʼs modest title, the music is a tour-de-force of exuberance and stoic catharsis, continuously bordering on a sense of ecstatic serenity, sincere contemplation and restraint.

Now Vaagner is proud to present the work on vinyl for the first time via a fully remastered reissue of 4-Track Guitar Music, with the Double LP including a bonus track titled "Cellar" by Mats Erlandsson which was not included on the original release.

As a composer, musician and sound artist, Mats Erlandsson is part of the vibrantly reemerging field of drone music in Stockholm, Sweden, and is associated with practices characterized by the extensive use of sustained sound.Erlandsson has undergone studies in composition in Stockholm, where he received a Masterʼs degree in Composition of Electronic Music. In addition to his own artistic practice, Erlandsson holds a position as studio assistant at the world-renowned Elektronmusikstudion (EMS) in Stockholm. He presents his work both as a solo artist and in collaborations, most notably together with Yair Elazar Glotman.Recent releases include Minnesmärke on Hallow Ground (2020), the collaboration Emmanatemade with Yair Elazar Glotman on 130701 (2020), Hypodermic Letters on Portals Editions (2018), Selective Miracles and Valentina Tereshkova on Posh Isolation (2016), and again together with Glotman, Negative Chambers on Miasmah (2017). Erlandsson has performed his work extensively, most recently at Présences Électronique hosted by the GRM in Paris, CTM 2019 and The Long Now in Berlin, Norbergfestival in Norberg, Sonica Festival in Ljubljana and in various music and arts venues around the world.