Cerca:pete

Talented Kilkenny-based Peter Lawlor, aka Polytunnel, rocks up on Seventh Sign Recordings and turns in a masterly release.

The cosmic journey continues! Finally the fourth volume of the Cosmic Disco Machine series is out. As always pressed in limited number of copies , this volume is served in marbled white vinyl.The musical selection includes classic songs like "Time Actor" by Richard Wanhfried, as long as more underground and exclusive tracks such as "La Edad Del Broce" by Mecanica Popular, "Polaroid / Roman / Photo" By Ruth just to mention two from the rich traclkist.

The selection of these tunes is, as always, treated in any detail, artistic and musical, all tracks being gently mastered keeping the original and characteristic mood of each song. Just get it and you will discover the rest by listening to this new unmissable volume.Have a good listening and stay tuned for the next chapter of our cosmic journey.

The title already says it all: This compilation is an album of instrumentalsonly, something that bandleader Tosho Todorovic has had on his to-do list for quite a long time
The album brings together 15 'songs without words' from the last 30 years of the band, which was founded in the German town of Osnabrück in the mid-1970s. And that also means that these songs, which were recorded either live or in the studio, reflect the history of the Blues Company and is various line- ups, with Tosho Todorovic and second guitarist and singer Mike Titré being the only two constant band members over all these years.

With three exceptions all of the songs were penned by Tosho Todorovic, but of course there is also a version of the Freddie King classic ‘Hideaway’, a long-time staple of the band’s live repertoire.

Rolf Zuckowski wurde 1947 in Hamburg geboren - am 12. Mai 2022 feiert er seinen 75. Geburtstag. Seine musikalische Laufbahn begann er 1966 mit der Schülerband „the beAthovens“, später wurde er
Co-Produzent und Textdichter des Schweizer Trios „Peter, Sue & Marc“, schrieb Lieder u. a. für Nana Mouskouri, Paola und die Finkwarder Speeldeel. Sein erstes und bis heute noch erfolgreiches Album für Kinder, „Rolfs Vogelhochzeit“, produzierte er 1977. Der große Durchbruch in der Öffentlichkeit vollzog sich aber mit den Liedern „Du da im Radio“ (1981) und dem Auftritt als „Rolf und seine Freunde“ in „Wetten dass...?“ mit dem Titel „…und ganz doll mich“ (1982), das auch Nr. 1 der ZDF-Hitparade war. Diese erfolgreiche Phase repräsentieren die beiden Alben ”Rolfs Radio Lollipop” und ”Lieder, die wir Brücken sind (Neues von Radio Lollipop)”, die zusammen über 1 Mio. Alben verkauften und jetzt zusammen auf
einem Doppelalbum und damit endlich wieder auf Vinyl erhältlich sind. Das Gatefold und die Innenhüllen greifen die Original-Artworks der Ursprungsalben samt aller Liedtexte auf. Trotz der Zeitlosigkeit weiterer hier enthaltener Klassiker wie ”Wie schön, dass du geboren bist” und ”Stups, der kleine Osterhase” bietet diese Doppel-LP eine herrlich nostalgische Reise 40 Jahre zurück, als wichtige Grundsteine für die deutschsprachige Kindermusik und Familienunterhaltung an sich gelegt wurden.

Part of IF Music founder Jean-Claude’s ever expanding ‘YOU NEED THIS!’ series of compilation albums, the London record shop impresario and DJ takes us on another scintillating musical journey, this time exploring the catalogue of German jazz imprint, Enja Records. Like Jean-Claude’s ‘Journey Into Deep Jazz’ series on BBE Music and his 2017 exploration of Black Saint & Soul Note Records before it, ‘IF MUSIC PRESENTS YOU NEED THIS!: AN INTRODUCTION TO ENJA RECORDS’ provides another impeccably curated and programmed selection of music, assembled by simply one of the most knowledgeable and passionate vinyl specialists in the business. Featuring performances by John Stubblefield, Bobby Hutcherson, Harold Land, Don Cherry, Cecil McBee and Pharoah Sanders collaborator Marvin Hannibal Peterson to name but a few, this collection provides a great jumping-off point for Enja’s rich and diverse back catalogue. Founded in 1971 by Munich natives and jazz obsessives Matthias Winckelmann and Horst Weber, in its heyday Enja released albums by Eric Dolphy, Charles Mingus, Tommy Flanagan and John Scofield, as well as Kenny Barron, Chet Baker, Abbey Lincoln, Bea Benjamin, Freddie Hubbard, to name but a few. Having firmly established itself as “a bastion of all things deep in jazz” as Jean-Claude neatly sums up, Enja also went on to issue early World Music projects from Abdullah Ibrahim, Rabih Abou-Khalil, Mahmoud Turkmani and many others, and it remains active to this day. “There is no doubt that to the uninitiated, a compilation introducing such an esteemed archive is well overdue” says Jean-Claude. “As with previous albums curated by us, this is just a soupçon of this label’s vast back catalogue, which we hope will lead the listener to discover new music and to search out more from this criminally underrated, class act.”

Tracklisting

The British shoegaze pop band Engineers was formed in London in
2003 by Mark Peters, Simon Phipps, Andrew Sweeney and Dan MacBean. MacBean is also known as the guitarist in The Shining. After being signed to Echo Records, the band released their self- titled debut album in 2005. The album features the acclaimed tracks “Home”, “Forgiveness” and “Waved On”. The latter was produced by Tim Holmes, who worked with The Chemical Brothers, Primal Scream and multiple albums for Death In Vegas.

Engineers is available as a limited edition of 1500 individually numbered copies on white coloured vinyl, housed in a gatefold sleeve.

THE LONG AWAITED AND CONSTANTLY DELAYED LP VERSIONS ARE FINALLY AVAILABLE-

want to take you on a journey. Not to their Russian homeland, but beyond that, to a place not on any map where the trio’s dreamy “celestial blackgaze” can properly get beneath your skin and into your mind. With their fourth album, Istok, their first for Candlelight Records, they’re pushing even further into the unknown. The band formed in 2013 in Saint Petersburg, following the breakup of similarly blissful-minded outfit, Princ Persii. Though not wanting to limit themselves to a genre, the “celestial blackgaze” fit so well that it stuck – descriptive enough to catch their vibe, loose enough to have no walls. Available across 5 physical formats: CD / double transparent grey vinyl / double metallic ice vinyl / double baby blue vinyl / double black vinyl.

THE LONG AWAITED AND CONSTANTLY DELAYED LP VERSIONS ARE FINALLY AVAILABLE-

want to take you on a journey. Not to their Russian homeland, but beyond that, to a place not on any map where the trio’s dreamy “celestial blackgaze” can properly get beneath your skin and into your mind. With their fourth album, Istok, their first for Candlelight Records, they’re pushing even further into the unknown. The band formed in 2013 in Saint Petersburg, following the breakup of similarly blissful-minded outfit, Princ Persii. Though not wanting to limit themselves to a genre, the “celestial blackgaze” fit so well that it stuck – descriptive enough to catch their vibe, loose enough to have no walls. Available across 5 physical formats: CD / double transparent grey vinyl / double metallic ice vinyl / double baby blue vinyl / double black vinyl.

THE LONG AWAITED AND CONSTANTLY DELAYED LP VERSIONS ARE FINALLY AVAILABLE-

want to take you on a journey. Not to their Russian homeland, but beyond that, to a place not on any map where the trio’s dreamy “celestial blackgaze” can properly get beneath your skin and into your mind. With their fourth album, Istok, their first for Candlelight Records, they’re pushing even further into the unknown. The band formed in 2013 in Saint Petersburg, following the breakup of similarly blissful-minded outfit, Princ Persii. Though not wanting to limit themselves to a genre, the “celestial blackgaze” fit so well that it stuck – descriptive enough to catch their vibe, loose enough to have no walls. Available across 5 physical formats: CD / double transparent grey vinyl / double metallic ice vinyl / double baby blue vinyl / double black vinyl.

Like a book club - only with albums.A simple, but beautiful concept

MJ McArthy (Zoey Van Goey) asked a small group of his pals to gather at The Laurieston – that mystical voodoo Glasgow boozer…that adored bar that defies all reason and logic – and they would talk about a record, track by track, and see what happens.They didn't know each other. There were theatre people:, Playwrite Douglas Maxwell, Isobel McArthur (actress and writer, the genius behind smash hit Pride and Prejudice Sort Of) and Cathy Forde (acclaimed YA novelist and playwright) and Rhona NicDhughaill who works for Gaelic arts company Theatre Gu Leor, as well as being an old band buddy of MJ's from their student days. Peter Geoghegan, award- winning firebrand political journalist and writer of the wonderful Democracy For Sale was there. And lastly - and slightly freaking them out on that very first night - were two actual Delgados: Emma Pollock and Paul
Savage.

And then…MJ had songs. MJ always has songs. And he started to wonder if this particular group of humans could, as well as talk about an album, make an album? For the musicians I don't suppose that was a particularly weird notion, but for the rest of the band it was quite a leap. However, MJ was adamant…let Album



Club become ALBUM CLUB. The Band!

LNDFK (aka Linda Feki) presents her ground-breaking debut album, "Kuni" on Brooklyn-based Bastard Jazz Recordings. Undeniably on the rise after her 2019 breakout performance at Primavera Sound, LNDFK has already caught the attention of Pitchfork, Rolling Stone, Clash Magazine, Noisey, and Brooklyn Vegan (among many others) while being championed by the likes of Gilles Peterson, Tom Ravenscroft, and Jamz Supernova & landing spots on tastemaker playlists like Spotify's "Pollen" and "Fresh Finds."

"Kuni" is a spellbinding exploration of dichotomies: Love & Death (Eros & Thanatos), Flower & Fire, Delicacy & Violence, Poetry & Realism, Purification & Destruction. These opposites are reified in the 10-track LPs multifarious and multifaceted sounds, elegantly meandering through a variety of styles and genres, spearheaded by Linda and features the production wizardry of Darrio Bassolino who co-wrote the album.

"Kuni" opens with "Hana-bi," an ambient instrumental piece that sets the tone for the album. Inspired by the Takeshi Kitano 1997 film of the same name – particularly Joe Hisaishi's stunning soundtrack, as well as Kitano's paintings which appear in the film. "Hana-bi" expresses the dialoguing opposites of flowers and fire, the first of many dichotomous representations throughout the album. "Takeshi" acts as an extension and to "Hana-bi," albeit one of opposing sound, with its driving, highly syncopated drums (which reappear throughout "Kuni") – à la Karriem Riggins, Questlove, or Yussef Dayes – frenetic bass line, and jazz chords. Linda's sultry voice is interspersed, initially jumping around in scat fashion, being triggered as if a sample, before her lyrics come in; her vocals are used like an additional instrument, adding to the song's rich texture. "Kuni" truly hits its stride with the next song, "Smoke – a moon or a button" (its title lifted from the 1959 book by Ruth Krauss and Remy Charlip), which is structured like a jazz standard yet flows into neo-soul territory sonically with those prodigious drums a highlight once again.

LNDFK touches on experimental hip hop in two songs on the record (both of which were released as singles in 2021): "Don't Know I'm Dead or Not (feat. Chester Watson)" – track #4 – and "How Do We Know We're Alive (feat. Pink Siifu)" – track #9. Although they embrace a more hip hop-leaning sound, these songs by no means shy away from the exploratory theme, and feature two of the alt-rap scenes rising stars with Chester Watson and Pink Siifu who offer provocatively impressing verses, combining dense word play with unconventional flows. While these tracks may first appear to be outliers on the album, they are undeniably in tune with "Kuni's" message and sonic palette, acting as testaments to LNDFK's willingness to explore and experiment.

Meanwhile, "Ku" – the third and last single before the album release – furthers the pre-established future soul sound while meandering through nu jazz and left-field electronic. Inspired by the graphic novel and film, "Sin City," and its female assassin protagonist Miho, "Ku" is a musical interpretation of Miho's story, incorporating both her beauty – the first half of the song – and murderous tendencies – the second half – to create a stunning juxtaposition, culminating in an ambient finale that suggests the character's vulnerability and inner peace. The song gracefully bridges the gap between Hiatus Kaiyote-esque songwriting, Dilla's rhythmic syncopation, and Thundercat's instrumental prowess (LNDFK has shared a stage Brainfeeder labelmate Kamasi Washington).

Mixed in throughout "Kuni" are a series of instrumental pieces that function as something akin to an interlude. The aforementioned intro, "Hana-bi," and the album closer "se mi stacco da te, mi strappo tutto:" act as bookends, while "Om" indicates the half-way mark, and "Ktm" sees Jason Lindner add his sound the album. These tracks are the ambient foundation of "Kuni," representing the thematic duality of the work. Clocking in at only 24 minutes, "Kuni" packs an astonishingly diverse array of sounds, styles, and themes, all while showcasing virtuosic musicianship and instrumental prowess.

Appearing on "Hana-bi" and "Ktm," renowned international artists Asa-Chang and Jason Lindner add an additional perspective to "Kuni": Asa-Chang on "Hana-bi," and Jason Lindner on "Ktm." Asa-Chang - famously of the Japanese avant-garde group Asa-Chang & Junray - provides vocals and percussion to an alternate version of the instrumental opener, while the acclaimed keyboardist Jason Lindner offers his synth expertise on "Ktm." These features highlight the spirit of collaboration found in LNDFK's music, always willing to try out new ways of working.

LNDFK is a singer and songwriter, born of two cultures – an Italian mother and Arab father. She grew up in Naples, away from her father, the Sahara, her homeland and traditions, which has helped nourish the desire to rediscover – through art – an engagement to her roots. Her music melts with jazz, neo-soul and hip-hop influences, filtered through her experiences and sensibility.

Her first EP, "Lust Blue," was composed with the artistic production of Dario Bass and released by Feelin' Music; after that she released several singles that saw international radio support (BBC, NTS, Wordwide FM) and gained a massive audience on digital platforms. Together with her band, she toured around Europe, performing alongside such notable artists as Kamasi Washington and Mndsgn, among others. Most recently she toured Italy, and performed at Primavera Sound Festival 2019 in Barcelona.

"Kuni," is due out on NYC label Bastard Jazz Recordings in February, 2022, while the vinyl LP will follow shortly after.

Repress !

(November Collective Title) Meditative but heaving with energy, Son Lux's third full-length weaves disparate elements into songs both strange and welcoming. On the heals of being named NPR's 'Best New Artist of the Year', Son Lux has created an album that sits as comfortably next to the compositions of Stravinsky, John Adams, David Lang and Ben Frost, as it does to those of Jamie Lidell, Björk, Flying Lotus, and Radiohead. Equal parts producer and composer, Son Lux (aka Ryan Lott) bridges an unusual gap between old-world music theory and next-level experimentation. Meditative but heaving with energy, 'Lanterns' finds a peculiar congruency between futuristic soul and ancient sentiment. Driving orchestral electronica (Lost It To Trying, No Crimes) is placed alongside creepy minimalism (Pyre), often starkly juxtaposing densely layered arrangements with Lott's fragile voice. In recent past Son Lux has gained notoriety both for his s/s/s project (with Sufjan Stevens and Serengeti), and from being named NPR's 'Best New Artist of the Year'. His third full-length album, and his first for Joyful Noise (Kishi Bashi, Sebadoh, etc.), positions Son Lux at the helm of an impressive ensemble of instrumentalists and singers, including Chris Thile (The Punch Brothers), Peter Silberman (The Antlers), DM Stith, Lily & Madeleine, Darren King (Mutemath), Ieva Berberian (Gem Club) and yMusic (Dirty Projectors, Bon Iver).

Originally released in 2017 on the band's own label Artificial Plastic and now being reissued by Fuzz Club Records, 'Damage And Joy' is the seventh studio album from Scottish alt-rock legends The Jesus and Mary Chain. The long-awaited follow-up to 1998's 'Munki', 'Damage And Joy' was the band's first studio album in nearly two decades and contained brand new material alongside reimagined versions of songs that had been released in various forms by the Reid brothers in between the Mary Chain's 1999 break-up and 2007 reunion. Co-produced by Youth (Killing Joke) and featuring the lead singles 'Amputation' and 'All Things Pass', 'Damage & Joy' also featured guest appearances from Scottish singer-songwriter Isobel Campbell ('The Two of Us', 'Song For A Secret') and American alt-pop star Sky Ferreira ('Black And Blues'). 'Damage And Joy' is now being given a deluxe, expanded vinyl reissue. The double LP is reissued on both black and coloured 180g vinyl with remastered audio by Pete Maher (U2, The Rolling Stones, Jack White, Liam Gallagher), a heavy tip-on-printed gatefold sleeve, printed inner-sleeves and a 16-page booklet, plus bonus tracks and an alternative track-order. Included in this reissue and available on vinyl for the very first time is 'Ono Yoko' (originally only available on the Japanese CD version of the album), as well as alternative versions of 'The Two Of Us' featuring Sky Ferreira and 'Black And Blues' featuring Isobel Campbell.

Originally released in 2017 on the band's own label Artificial Plastic and now being reissued by Fuzz Club Records, 'Damage And Joy' is the seventh studio album from Scottish alt-rock legends The Jesus and Mary Chain. The long-awaited follow-up to 1998's 'Munki', 'Damage And Joy' was the band's first studio album in nearly two decades and contained brand new material alongside reimagined versions of songs that had been released in various forms by the Reid brothers in between the Mary Chain's 1999 break-up and 2007 reunion. Co-produced by Youth (Killing Joke) and featuring the lead singles 'Amputation' and 'All Things Pass', 'Damage & Joy' also featured guest appearances from Scottish singer-songwriter Isobel Campbell ('The Two of Us', 'Song For A Secret') and American alt-pop star Sky Ferreira ('Black And Blues'). 'Damage And Joy' is now being given a deluxe, expanded vinyl reissue. The double LP is reissued on both black and coloured 180g vinyl with remastered audio by Pete Maher (U2, The Rolling Stones, Jack White, Liam Gallagher), a heavy tip-on-printed gatefold sleeve, printed inner-sleeves and a 16-page booklet, plus bonus tracks and an alternative track-order. Included in this reissue and available on vinyl for the very first time is 'Ono Yoko' (originally only available on the Japanese CD version of the album), as well as alternative versions of 'The Two Of Us' featuring Sky Ferreira and 'Black And Blues' featuring Isobel Campbell.

Breitwandkino für die Ohren!

2012 kam noch mehr Pomp, noch mehr Pathos, noch eingängigere Melodien, noch mehr traditionelle Zitate, noch mehr Chöre und noch mehr Hits dazu als auf allen SABATON-Alben zuvor. Und all das verpackt in einem Konzeptalbum, das nach der zuvor ausgeschöpften Weltkriegsthematik, die Geschichte der Heimat aufwühlt. »Carolus Rex« handelt vom schwedischen Königreich des 17. Jahrhunderts und hat sich im speziellen König Karl VII vorgenommen. Optisch wie selbstredend akustisch hätte man es nicht besser anlegen können, denn trotz des für SABATON typischen modernen Backgrounds, der trotz allem auf althergebrachtem Heavy Metal fußt, kann man die Schlachten und Geschichten jener Zeit bildlich vor dem geistigen Auge miterleben. Ob beim preschenden Opener 'Lion From The North', bei dem erstmals die großartigen Chöre (in Latein noch viel eindrucksvoller) zum Tragen kommen oder dem folgenden, zum Mitgröhlen prädestinierten 'Gott mit uns', bei dem der Hauptverantwortliche für den so bombastischen, transparenten und maximal drückenden Sound, Peter Tägtgren (PAIN, HYPOCRISY), einen kurzen Gastauftritt hinter dem Mikro absolviert – man spürt sowohl das blaue Blut hinter den Kulissen als auch das rote auf den Austragungsorten des Krieges.

The album that launched the band into Rock legends was released in 1983; it was the first to feature Phil Collen who had replaced Pete Willis. It contains the hits Photograph and Rock! Rock! (Till You Drop) both huge singles all over the world. It reached no 2 in the US charts and has been certified Platinum over there and put the band into arenas all over the world.

Deluxe Reissue of "House With No Home" - Pressed on Clear Blue with
Gray Streaks Colour Vinyl with bonus 7" included
The cover of House with No Home, the second full- length album from Horse
Feathers, a dusty west coast folk duo comprised of Justin Ringle and Peter
Broderick, depicts a wintry farm dusted with snow It's an image that's easily
conjured throughout each of the 11 songs that make up Home, a subtle, nuanced,
and quietly noble collection of Americana-kissed alternative folk that echoes the
work of Bonnie "Prince" Billy, James Yorkston, Iron & Wine, and Bon Iver. Ringle,
who blends Richard Buckner's soft, serpentine delivery with Andrew Bird's "I can't
open my mouth all the way" mumble populates his songs with the kind of
woodsy, heart and soul-broken characters that one would expect to find lurking
between the pines on a frosty Oregon morning in February, but it's Broderick who
provides the chill. His string arrangements are grandiose in their simplicity and
busy without ever interfering with Ringle's poignant, icy prose. From the heady
opener "Curs in the Weeds" to the surging, banjo-led "Working Poor," the two carve
up each track like master craftsman, finding the perfect middle ground between
the sparse, reverb- laden landscapes of the Great Lake Swimmers and the
orchestral, aching beauty of Hem. This deluxe reissue includes a bonus 7" with a
2021 reworking of 'Curs In The Weeds' with a full band as well as 2 songs from a
radio session recorded during the European tour for the original album release.

20 Jahre nach Erscheinen ihrer Debütsingle 'Very Loud', wendet sich das sechste Album der in Stockholm ansässigen Band bestehend aus Sänger Adam Olenius, Gitarrist Carl von Arbin, Bassist Ted Malmros und Keyboarderin Bebban Stenborg Themen wie seelischer Unruhe und Älterwerden sowie der Zerbrechlichkeit der Liebe mit einem unerschrockenen Realismus zu, der nur erhellt werden kann von den himmlischen Melodien und einem Sound, der wärmer nicht sein könnte.

Produziert von Peter Bjorn und Johns Björn Yttling (Lykke Li, Franz Ferdinand, Primal Scream usw.), der auch die Produktion ihres gefeierten zweiten Albums 'Our Ill Wills' mit Indie-Hits wie 'Tonight I Have To Leave It' und 'Impossible' übersah, markiert House eine bewusste Abkehr von der gewaltigen und üppigen Atmosphäre von Ease My Mind aus dem Jahr 2017. So entschied sich die Band, die Songs diesmal live aufzunehmen und machte sich dabei einen Post-Punk-inspirierten Minimalismus zu eigen, der die rohen Emotionen eines jeden Songs noch verstärkte. Die überschwängliche Energie, für die sich die Band bei Headliner-Tourneen rund um die Welt, als Support von The Strokes und Depeche Mode und auf großen Festivals wie Coachella einen Namen gemacht hat, bleibt so auch auf Band greifbar.

Architect by day and musician by night, Jaime Tellado picks up as Skygaze, and returns to the fold of Flumo Recordings with his brand new 12”, the ‘Astral Trip’ EP; combining his knowledge of architecture with a love for sound to construct and merge acid house, broken beat and atmospheric melodicism.

The 'Astral Trip' EP follows releases on Guayaba records, Riverette and Thirty Three Circular. And remixes for Ed is Dead and Contours & Yadava, earning support/plaudits from the likes of Mr. Scruff, Simbad, k15, Andrew Jervis, Gilles Peterson, amongst others.

The common denominator throughout the release is the balance and combination of various elements, exploring a multifaceted contemporary dance sound whilst paying homage to the foundations of the sounds that we listen to today.

‘Minor Mood’ pays tribute to Chicago and Detroit with its high paced house rhythm, acid synths, and piano lines, whilst ‘City Cathedratics’ slows the tempo down to lay the groundwork for a dreamy synth-laden soundscape.

Whilst the majority of the project is a solo exploration in dance music and its multi-layered context and history, the contributions of vocalist Ruben Ondina lift the high-paced, synth house grooves of ‘Gimme Five’ to another level. Meanwhile, the broken beat influence of London is keenly felt on ‘Nigh Heat’ and ‘Wagwan’, their rhythms emphasised further by harmonic and melodic exploration via atmospheric synths, melodic improvisation and irresistible synth bass lines.

Skygaze reconstructs the rhythms and synths into his own fresh and unique package to paint a picture of spiritual wonder, richness and excitement.


DJ Support:

Severino / Horse Meat Disco
Ashley Beedle
Fouk
Just Her
John Digweed
Oliver Dollar


DJ Feedback:

Ashley Beedle - Fantastic EP and difficult to pick one track! 'Wagwan' will be ft. on my April 'Heavy Disco Spectacular' radio show on Worldwide FM.

Michel De Hey - Very nice release

Diynamic / Connaisseur - Very nice cosmic vibes!

Xinobi - serious knowledge of groove on this release.

Lex Ludlow - Super nice!!!

Joshua James - Groove on this...

Just Her - Gimme five is really nice

Fouk - Loving this!

Tom Simpson - some good stuff ....summer is coming.

Junior Simba - peng !

Willie Rosado - nice soulful sound

Through darkness diamonds spread their richest light…

Part four is here with Zakmina from Lithuania, Elfenberg from Sweden and Some Chemistry and Pete Beluga & Du Chatinier from Amsterdam, The Netherlands!

In 2011 London duo Nick Harriman and Alfie Granger-Howell, aka Dusky, released their debut album ‘Stick By This’. The LP, released on UK independent label Anjunadeep, won acclaim from Resident Advisor, DJ Mag and Mixmag, who described it as “deep, soulful, swooning house”. Pete Tong crowned ‘Stick By This’ as “one of the albums of the year”, and it went on to kick-start Dusky’s rise to the top of the UK underground. Marking a decade since it’s release, ‘Stick By This’ is being re-issued as a deluxe 10th anniversary edition, with a first ever vinyl pressing on a 3x12” colour vinyl. The deluxe album also sees two new remixes from the legendary Matthew Herbert and exciting Russian artist Maruwa, alongside an existing remix from Midland

Philadelphia’s DEVIL MASTER’s roots in ritual magick have never been more prominent than on their highly anticipated new album Ecstasies Of Never Ending Night. Recorded live to analog tape by Pete DeBoer (Blood Incantation, Spectral Voice), Ecstasies expands on the warped riffing and dark atmospheres that have already propelled DEVIL MASTER as one of the underground’s most unique and unfettered bands. From the band’s blackened punk maelstrom of “Acid Black Mass” to the spiraling death rock of “Abyss In Vision” and the layers of refined atmosphere on the closer “Never Ending Night”, lead guitarist Darkest Prince of All Rebellion shines across a collection of fiery, tumultuous riffs - Lyrically, vocalist Disembody Through Unparalleled Pleasure laces Ecstasies with life-affirming blasphemy and existential dread. Ecstasies of Never Ending Night witnesses DEVIL MASTER at its core. Vocalist Disembody Through Unparalleled Pleasure has assumed the role of bassist, strengthening the songwriting alongside Darkest Prince and founding member/rhythm guitarist Infernal Moonlight Apparition. Fresh blood was required and found in drummer/keyboardist Festering Terror in Deepest Catacomb (a.k.a. Chris Ulsh of Power Trip and Iron Age). Ecstasies of Never Ending Night proves to be a crucial addition to the pantheon of evil satanic metal. In the end, magick reigns!

"The album has been Half-Speed Remastered and cut to lacquers at 33RPM, across 2x heavyweight black vinyl LPs, to deliver maximum dynamic range in the sound.

Vinyl cut by Matt Colton at Alchemy Mastering, mastered by Tony Cousins at Metropolis. The album is true to the original LP design with a wide-spine jacket and printed inner sleeves, but now utilises colour photographs from The Last Temptation of Christ film. All images are newly re-scanned."

"The album has been Half-Speed Remastered and cut to lacquers at 33RPM, on 1x heavyweight black LP, to deliver maximum dynamic range in the sound.

Vinyl cut by Matt Colton at Alchemy Mastering, mastered by Tony Cousins at Metropolis. The album is true to the original LP design, but all images are newly re-scanned."

Highly acclaimed guitarist Philipp van Endert played and produced on
"Moon Balloon" the largest and most complex music project that he has been able to record with in his music career so far

Combined with the renowned Filmorchester Babelsberg he recorded an outstanding and unique album featuring his original tunes that combine Jazz, Classic and Film music. Philipps compositions were arranged by Peter Hinderthür and the live performance at Filmstudios Babelsberg was conducted by Jörg Achim Keller (BBC Concert Orchestra, Metropole Orkest, HR BigBand, WDR BigBand a.o.)

Billie Holiday's first recordings for Norman Granz' Clef Records present the vocalist at the top of her craft. Originally issued as a 10 8243; LP titled 'Billie Holiday Sings', this 1952 session placed Holiday in front of small piano and tenor saxophone-led groups that including jazz luminaries such as Oscar Peterson and Charlie Shavers.

Includes the song 'If The Moon Turns Green' from the same session but not included on the original LP.

- First vinyl reissue, available on LP for the first time in 20 years - Completely remastered audio and restored artwork - Side D lunar vinyl etching art // After leaving London in 1999 for the sleepy seaside retiree town of Weston-super-Mare, Coil co-founders John Balance and Peter "Sleazy" Christopherson set up shop in a palatial eight-bedroom estate to pursue the outer reaches of the group's heightening cabalistic chemistry. Among the staggering string of late-era masterpieces they produced is lunar opus Musick To Play In The Dark, widely hailed as an artistic zenith upon its release. The sessions that birthed it were in fact so fruitful that a second LP took shape during the creation of the first one. Aided by the recent addition of Welsh multi-instrumentalist engineer Thighpaulsandra, Coil mined further into the recesses of surrealist eldritch electronica Balance termed "moon music" - post-industrial spellcasting at the axis of narcotic and nocturnal energies. Musick To Play In The Dark² spans a full witching hour of bad acid sound design, synthesizer voyaging, opiated balladry, Luciferian glitch, and subliminal hymnals, alternately ominous, oracular, and absurd. Scottish gothic icon Rose McDowall guests on vocals for two tracks but otherwise the album is a hermetic affair, tapping into the group's limitless insular synergy. Opener "Something" is stark and incantational, a spoken word experiment for windswept voids. "Tiny Golden Books" unspools an aerial whirlpool of cosmic synth, both whispery and widescreen. "Ether" is an exercise in funeral procession piano and intoxicated wordplay ("It's either ether or the other"), while "Where Are You?" and "Batwings - A Liminal Hymn" lurk like liturgical murmurings heard on one's death bed, framed in granular FX and flickering candlelight. As a whole the collection skews more muted and remote than its predecessor, as if having grown accustomed to the nether regions of these darkening seances. But music box hallucination "Paranoid Inlay" captures the group's oblique comedic side, always glimmering beneath: over a warped, wobbly beat Balance intones an opaque narrative of serenity, Saint Peter, and suicidal vegetables, accompanied by spiraling harpsichord and stuttering squelches of electronics. "It seems concussion suits you," he repeats twice, like a macabre pickup line, before dictating a dear diary entry about risks and failures, finally concluding with as close to a self-portrait as Coil ever came: "On a clear day I can see forever / that the underworld is my oyster."

- First vinyl reissue, available on LP for the first time in 20 years - Completely remastered audio and restored artwork - Side D lunar vinyl etching art // After leaving London in 1999 for the sleepy seaside retiree town of Weston-super-Mare, Coil co-founders John Balance and Peter "Sleazy" Christopherson set up shop in a palatial eight-bedroom estate to pursue the outer reaches of the group's heightening cabalistic chemistry. Among the staggering string of late-era masterpieces they produced is lunar opus Musick To Play In The Dark, widely hailed as an artistic zenith upon its release. The sessions that birthed it were in fact so fruitful that a second LP took shape during the creation of the first one. Aided by the recent addition of Welsh multi-instrumentalist engineer Thighpaulsandra, Coil mined further into the recesses of surrealist eldritch electronica Balance termed "moon music" - post-industrial spellcasting at the axis of narcotic and nocturnal energies. Musick To Play In The Dark² spans a full witching hour of bad acid sound design, synthesizer voyaging, opiated balladry, Luciferian glitch, and subliminal hymnals, alternately ominous, oracular, and absurd. Scottish gothic icon Rose McDowall guests on vocals for two tracks but otherwise the album is a hermetic affair, tapping into the group's limitless insular synergy. Opener "Something" is stark and incantational, a spoken word experiment for windswept voids. "Tiny Golden Books" unspools an aerial whirlpool of cosmic synth, both whispery and widescreen. "Ether" is an exercise in funeral procession piano and intoxicated wordplay ("It's either ether or the other"), while "Where Are You?" and "Batwings - A Liminal Hymn" lurk like liturgical murmurings heard on one's death bed, framed in granular FX and flickering candlelight. As a whole the collection skews more muted and remote than its predecessor, as if having grown accustomed to the nether regions of these darkening seances. But music box hallucination "Paranoid Inlay" captures the group's oblique comedic side, always glimmering beneath: over a warped, wobbly beat Balance intones an opaque narrative of serenity, Saint Peter, and suicidal vegetables, accompanied by spiraling harpsichord and stuttering squelches of electronics. "It seems concussion suits you," he repeats twice, like a macabre pickup line, before dictating a dear diary entry about risks and failures, finally concluding with as close to a self-portrait as Coil ever came: "On a clear day I can see forever / that the underworld is my oyster."

- First vinyl reissue, available on LP for the first time in 20 years - Completely remastered audio and restored artwork - Side D lunar vinyl etching art // After leaving London in 1999 for the sleepy seaside retiree town of Weston-super-Mare, Coil co-founders John Balance and Peter "Sleazy" Christopherson set up shop in a palatial eight-bedroom estate to pursue the outer reaches of the group's heightening cabalistic chemistry. Among the staggering string of late-era masterpieces they produced is lunar opus Musick To Play In The Dark, widely hailed as an artistic zenith upon its release. The sessions that birthed it were in fact so fruitful that a second LP took shape during the creation of the first one. Aided by the recent addition of Welsh multi-instrumentalist engineer Thighpaulsandra, Coil mined further into the recesses of surrealist eldritch electronica Balance termed "moon music" - post-industrial spellcasting at the axis of narcotic and nocturnal energies. Musick To Play In The Dark² spans a full witching hour of bad acid sound design, synthesizer voyaging, opiated balladry, Luciferian glitch, and subliminal hymnals, alternately ominous, oracular, and absurd. Scottish gothic icon Rose McDowall guests on vocals for two tracks but otherwise the album is a hermetic affair, tapping into the group's limitless insular synergy. Opener "Something" is stark and incantational, a spoken word experiment for windswept voids. "Tiny Golden Books" unspools an aerial whirlpool of cosmic synth, both whispery and widescreen. "Ether" is an exercise in funeral procession piano and intoxicated wordplay ("It's either ether or the other"), while "Where Are You?" and "Batwings - A Liminal Hymn" lurk like liturgical murmurings heard on one's death bed, framed in granular FX and flickering candlelight. As a whole the collection skews more muted and remote than its predecessor, as if having grown accustomed to the nether regions of these darkening seances. But music box hallucination "Paranoid Inlay" captures the group's oblique comedic side, always glimmering beneath: over a warped, wobbly beat Balance intones an opaque narrative of serenity, Saint Peter, and suicidal vegetables, accompanied by spiraling harpsichord and stuttering squelches of electronics. "It seems concussion suits you," he repeats twice, like a macabre pickup line, before dictating a dear diary entry about risks and failures, finally concluding with as close to a self-portrait as Coil ever came: "On a clear day I can see forever / that the underworld is my oyster."

The Reflex returns with another double dose of heavenly heaters. As ever, strictly multitrack remixes from the original tapes, combining creativity and functionality for maximum dance floor impact.

DJ Support:
Dave Lee / Gilles Peterson / Dimitri from Paris / The Blessed Madonna / Skream

Rising transatlantic duo PVBLIC XCESS are preparing for a heavy summer season in Ibiza as they drop their debut EP Wale Wale. The track is a roof-raising single tailor-made for Pacha, Ushuaïa, Amnesia or any other superclub packed to the rafters with mesmerised revellers.

Made up of French-American dance honcho Chloé Caillet and emerging London artist Josh Ludlow, PVBLIC XCESS’ debut EP features Beninese-Nigerian afrobeat veteran Kaleta and revered French-Cameroonian afro-disco and soul musician Pat Kalla.

Early support from Pete Tong, David Penn, Mano le Tough

Peter Brown's P&P label is possibly the most collectible of all the Disco-era independent labels. The distribution was always patchy, the records would often appear out of nowhere and then disappear equally fast. Many of the artists were one-off productions or working under hastily conceived pseudonyms.

In short, P&P has all the ingredients of the perfect label for diggers everywhere with records still being discovered some 40 years later. Little is known about Marta Acuna but plenty is known about the production team of Patrick Adams and Lonnie Johnson who were just way ahead of everyone else on this spacey Disco jam from 1977. It's been consistently popular on the cooler dance-floors for the last 20 years but suddenly the 7" has sprung into demand. A mint copy isn't far off £100 these days, so it seemed a good time to finally make the 7" available again.

As per usual, this will be on the original 7" P&P label and mint (which is near impossible to find these days). Always handy to have a guaranteed banger on a crisp 7" pressing and that P&P label looks so good. Black Vinyl in P&P Disco Sleeve.

“They were so solid. They meant what they said, they did what they did… here’s two guys, a guitar player and a harmonica player, and they could make it sound like a whole orchestra.” – Taj Mahal

“It was perfect. What else can you say?” – Ry Cooder

Nearly sixty years after they first played together, Ry Cooder and Taj Mahal, longtime friends and collaborators, reunite with an album of music from two Piedmont blues masters who have inspired them all their lives: GET ON BOARD: THE SONGS OF SONNY TERRY & BROWNIE MCGHEE, on Nonesuch Records.

With Taj Mahal on vocals, harmonica, guitar, and piano and Cooder on vocals, guitar, mandolin, and banjo – joined by Joachim Cooder on drums and bass – the duo recorded eleven songs drawn from recordings and live performances by Terry and McGhee, who they both first heard as teenagers in California.

Explaining where Terry and McGhee took him musically, Cooder says, “Down the road, away from Santa Monica. Where everything was good. ‘I have got to get out of here,’ was all I could think. What do you do, fourteen, eighteen years old? I was trapped. But that first record, Get on Board, the 10” on Folkways, was so wonderful, I could understand the guitar playing.”

Taj Mahal adds, “I started hearing them when I was about nineteen, and I wanted to go to these coffee houses, ‘cause I heard that these old guys were playing. I knew that there was a river out there somewhere that I could get into, and once I got in it, I’d be all right. They brought the whole package for me.”

Taj Mahal and Ry Cooder originally joined forces in 1965, forming The Rising Sons when Cooder was just seventeen. The band was signed to Columbia Records but an album was not released and the group disbanded a year later. The 1960s recording sessions, widely bootlegged, were finally issued officially in 1992. GET ON BOARD is Taj Mahal and Ry Cooder’s first recording together since then.

Harmonica player Sonny Terry and guitarist Brownie McGhee, both originally from the southeastern United States, had active solo careers as well as collaborating with some of the most celebrated musicians of their time. But they were best known for their forty-five-year partnership, which began in 1939 and included mesmerising live performances around the world and numerous acclaimed recordings.

Their Piedmont blues style became popular during the folk music revival of the 1940s and ’50s, centered in New York City’s flourishing club scene for jazz, boogie-woogie, blues and folk music. Terry and McGhee traveled in the same circles as Woody Guthrie, Pete Seeger, Leadbelly, and Josh White, among others in a rich mix of writers, actors and musicians. As a new generation emerging in the 1960’s drew inspiration from folk and blues, Terry and McGhee toured the world as the foremost exponents of the acoustic music of the Piedmont. They were named National Heritage Fellows in 1982 in recognition of their distinctive musical contributions and accomplishments.

“You got the south on steroids, when you got the music of the south, the culture of the south, the beauty of the south, through Brownie and Sonny,” Taj Mahal says. He describes McGhee as a “solid rhythm player. To really play behind the harp like that. He would set stuff up. He wasn’t making many notes. Sonny had all the notes, running around. But Brownie, he laid it down.” Cooder adds: “This thing of squeezing the thumb and first finger and a little bit of the second finger, which I still do. I’d forgotten where it came from. That’s what Brownie did. I saw him do that and said, ‘I think I can do that.’”

Taj Mahal calls Terry “a wizard harmonica player”. Cooder says, “Sonny had incredible rhythm for one thing. Making sounds with his voice and the harmonica so you couldn’t tell quite which was which. He was good at that.”

“We’ve been doing this a while,” Cooder says. “Perhaps we’ve earned the right to bring it back. Taj Mahal concludes. “We’re now the guys that we aspired toward when we were starting out. Here we are now… old timers. What a great opportunity, to really come full circle.”

"“The New Backwards” was conceived by Peter “Sleazy” Christopherson in 2007, revisiting stray tracks which hadn’t seemed to gel with the material he had chosen for the more somber “Ape of Naples” from 2005, COIL’s initial posthumous release, a sort of requiem and a kiss-goodbye to his then recently deceased partner John Balance.

Significantly different to its sister release, this album collects the brilliantly chaotic and outrageously rhythmic material from the original sessions for the album that was begun as early as 1993 and had originally been conceptualised as the follow-up to “Love’s Secret Domain”. These songs are as diverse and wild as the places they originated from, partly infamously spawned in Sharon Tate’s former home in the Hollywood Hills, the Nine Inch Nails home base in New Orleans and London’s Swanyard, remixed and restructured with the help of long-term friend Danny Hyde in Thailand, this collection has its own unique flow and an atmosphere not found on any other COIL release.

Both “AYOR” and “Backwards” had by the time the album was first released already become favourites in COIL’s manic live performances. Some of the other tracks had only leaked in demo versions and are here presented updated and polished as Christopherson and Hyde intended them to be heard. It is interesting to consider Balance’s vocal contributions, too. Whilst on the albums COIL did release at the time this material was first put aside (“Black Light District” and “ElpH”) his voice is all but absent, his vocal performances and his lyric writing here are arguably more closely indebted to the previous “Love’s Secret Domain” era, especially the epic “Copacaballa” is noteworthy in that respect.
The New Backwards” effectively became the final official COIL studio release of all new material whilst Peter was still alive and is here presented for the first time fully supervised by Danny Hyde, its co-creator.
The stunning cover uses a detail from artist Ian Johnstone’s “Cubic Raven” painting, licensed from the estate of IJ..

It is high time to rediscover this timeless album with the Infinite Fog release boasting eight further tracks of previously unheard material from the same sessions, rough working stages and surprising remixes which will surely delight the dedicated COIL archaeologists, as they shine yet another light on the creative process and on what could have been.

Recorded at Swanyard, London and at Nothing Studios, New Orleans, 1996.
Thanks to everyone there, especially Trent Reznor who made it all possible.
Written & Produced by Coil & Danny Hyde.
Remixed by Peter Christopherson & Danny Hyde, Bangkok 2007.
For that session Coil were: Peter Christopherson, Jhonn Balance & Drew McDowall.
Mastered by Jessica Thompson.
Front artwork by Ian Johnstone.
Artwork licensed from The Estate of Ian Johnstone.
Layout Cold Graves and Oleg Galay."

"Long hailed as the audiophile's label, Mercury Living Presence represents an important milestone in the history of classical recording. Since they were first released, Mercury Living Presence LP records have been collected and coveted and 70 years after the label’s first release — Mussorgsky’s Pictures at an Exhibition, with Rafael Kubelík conducting the Chicago Symphony Orchestra — Mercury continues to be admired for the quality of its artistry and recordings: all celebrated for their sheer vividness of sound. This audiophile series sources the original first-generation master tapes. New HD transfers were made at Abbey Road Studios. Master files, including new 3-to-2 mixes for stereo titles, were produced by Thomas Fine, son of the original producer and recording engineer for the majority of Mercury Living Presence titles.
Mid-century Modern music, rich in dynamics and orchestral textures. The Wayne Peterson piece was commissioned and received its performance and recording debut by Dorati's Minneapolis band. Bloch recorded April 17, 1960; Peterson recorded April 21, 1959. Both recordings were made in Northrop Auditorium, Minneapolis MN, using three Schoeps M201 microphones."

Peter Brötzmann - alto & tenor saxophone, E flat clarinet, A clarinet, bass clarinet; / Misha Mengelberg - piano, voice / Han Bennink - drums, tenor saxophone, clarinet etc. - Recorded by Jost Gebers on February 26th, 1979 at the Akademie der Künste in Berlin. Produced by Peter Brötzmann and Jost Gebers. - Cover Design by Peter Brötzmann, Photograph by Roberto Masotti. This album was originally released on FMP in 1979 Remastered by Martin Siewert in 2021.

Die Wände. Das sind Carsten von Postel, Jann Petersen und Mathias Wolff. 2013 während des gemeinsamen Studiums an der Universität der Künste Berlin gegründet, veröffentlicht das Trio bereits im Oktober 2015 ihre erste gleichnamige EP, tourt zusammen mit Molde und spielt auf Festivals wie u.a. dem Jenseits von Millionen, c/o pop, Alinae Lumr und dem Incubate in den Niederlanden. Der Musikexpress kürt sie zu einem der besten Newcomer auf dem c/o pop Festival 2016. Im gleichen Jahr veröffentlichen sie eine gemeinsame Split-EP mit der Berliner Band Pigeon. Im Frühjahr 2019 erscheint endlich ihr Debütalbum "Im Flausch" bei Späti Palace. Es folgen ausgedehnte Touren und Festivalshows im In- und Ausland, während die Band parallel bereits an neuem Material arbeitet. Im Spätsommer 2021 geht es für die Band ins Studio Tutti nach Leipzig, um gemeinsam mit Alexander Günther (u.a. Mellie, Adrie, Molde, Go Lamborghini Go) ein neues Album zu produzieren und aufzunehmen.

Die Wände. Das sind Carsten von Postel, Jann Petersen und Mathias Wolff. 2013 während des gemeinsamen Studiums an der Universität der Künste Berlin gegründet, veröffentlicht das Trio bereits im Oktober 2015 ihre erste gleichnamige EP, tourt zusammen mit Molde und spielt auf Festivals wie u.a. dem Jenseits von Millionen, c/o pop, Alinae Lumr und dem Incubate in den Niederlanden. Der Musikexpress kürt sie zu einem der besten Newcomer auf dem c/o pop Festival 2016. Im gleichen Jahr veröffentlichen sie eine gemeinsame Split-EP mit der Berliner Band Pigeon. Im Frühjahr 2019 erscheint endlich ihr Debütalbum "Im Flausch" bei Späti Palace. Es folgen ausgedehnte Touren und Festivalshows im In- und Ausland, während die Band parallel bereits an neuem Material arbeitet. Im Spätsommer 2021 geht es für die Band ins Studio Tutti nach Leipzig, um gemeinsam mit Alexander Günther (u.a. Mellie, Adrie, Molde, Go Lamborghini Go) ein neues Album zu produzieren und aufzunehmen.

Spider-Man is an established worldwide cultural phenomenon and this movie is already breaking records and exceeding all expectations - Spider-Man: No Way Home is set to be the film of 2021. The thrilling soundtrack by Oscar® and GRAMMY® winning composer, Michael Giacchino, contains the infamous Spider-Man theme, beloved of fans, alongside other popular melodies from the wide-ranging MCU/Spider-Man universe.

The album "CRYSTERIA" opens a new chapter in CRYSTAL BALL's history. In their 3rd decade, the band is far from just repeating itself, and you can find new, fresh, and energetic elements in their music.
CRYSTAL BALL took its time during the pandemic-related break to write lots of new material, so they could choose from over 30 Songs for the "CRYSTERIA" album.
CRYSTAL BALL's new guitar player Peter Berger also contributed many songs and ideas to this album. He was a very refreshing and motivating input.
The production of "CRYSTERIA", that was taken care of by Stefan Kaufmann, improved even further and reflects the bands live energy perfectly.
The album features the vocal duet "Call Of The Wild" with Ronnie Romero (Rainbow, MSG) whom the band got to know at a festival in Switzerland in 2018.
The album also contains the band duet "Crystal Heart" with the guys from Jaded Heart. This song was written by members of both bands.
As both bands are friends for a long time, CRYSTAL BALL invited Jaded Heart as special guest on their planned headliner tour in 2022.

The Vicious Seeds from St. Petersburg have been putting out 45s with their blend of raw cinematic grooves and deep funk instrumentals for a while, here they introduce us to vibraphonist Pavel Chiznik, who adds his midas touch to the group's well seasoned rhythm section. Reminiscent of early CTI recordings and - of course - Roy Ayers, the band delivers their own version of summer jazz dope beats, with sample-friendly drumbreaks, funky basslines, psych guitars and lush vibes. With communication to the group largely cut off or heavily censored, we leave it to the music to do the talking and spread the band's message. "Make records, not war".

Dimensions Recordings present an all-new dancefloor-ready remix package of tracks from Charles Webster's 'Decision Time' LP.

The release of Charles Webster's highly-acclaimed 'Decision Time' in late 2020 marked his first album project in almost 20 years.

An undeniable master of his craft, Webster delivered a body of work that was well worthy of the wait and saw support from the likes of Mary Anne Hobbs, Gilles Peterson, Joe Muggs and Tom Ravenscroft. With collaborators ranging from Shara Nelson (formerly of Massive Attack), to Ingrid Chavez (Prince muse & Madonna songwriter) and of course the infamous Burial, the British DJ/producer demonstrated that his ability to draw the right partners to exactly the right projects and execute them perfectly, has only improved with time.

In this vinyl remix package, Webster once more demonstrates his draw, drafting in an impressive cast of remixers to deliver a varied set of fresh takes on his original works.

Tokyo duo Dazzle Drums, South Africa's Jazzuelle, UK stalwart Mark E and the global trotting DJ Luciano present their unique takes on three cuts from Webster's incredible full length release.

Another essential piece of wax for your crates, this one drops on vinyl & digital via Dimensions Recordings on April 1st 2022.

2023 Repress

"banging piece of sound art" - The Observer

"...a fascinating piece of Brutalist techno that pivots between crisp machine-like minimalism and granulated noise." - Clash

"A piece of immediately engaging techno it reveals more of itself with each listen." - CMU Daily

Nik Colk Void is well established with her work as one half of Factory Floor, one third of Carter Tutti Void (alongside Chris Carter and Cosey Fanni Tutti) and with the late Peter Rehberg as NPVR, but perhaps surprisingly, "Bucked up Space" is her first solo album release.

Void explains, "When Peter Rehberg initially asked me to produce a record for Editions Mego, I didn't feel quite ready and asked if we could make a record together instead. Collaboration is so ingrained into what I do, I only felt ready to make this album after working through ideas live, using the audience in place of the collaborator."

Bucked Up Space combines Void's love of improvisation with the driving force of beat-driven music absorbed from performing in galleries, residencies and clubs across the UK and Europe. She goes on to say, "You find out more about yourself when you explain your ideas to others, and that's how I felt the live performance worked for me."

The process steadily teased out a language and Void employed a variety of tactics in the recording process including a methodical approach of collecting data at her home studio in a manner not dissimilar to keeping a diary. Her microscopic focus on raw instrumental noise, layered and reformulated, resulted in a sound catalogue that Void divided into groups for their tone, density and texture.

These initial pieces were taken to a studio in Margate to put them into a more cohesive compositional context. Something that pragmatically started as cold and detached was given warmth, unity and emotion in the studio. Via improvised repetition co-existing alongside organised production, Void conjures new sonic muscle with tracks such as 'Interruption Is Good' and 'FlatTime'. Initial recordings are rendered into sequences initiating the organic rhythms, triggering awkward jerks of high hats and percussion, or used to activate the margins of post effects detectable in the tracks like 'Demna', 'Big Breather' and 'Oversized'.

Void explains: "It was important to me that the simplicity in the work disguised a lot of complexity, I want this work to be absorbed instinctively."

The sleeve image, a still from We Are City by Brazilian artist Maria de Lima, was chosen to illustrate Bucked Up Space, which Void describes as "a distorted reality, the space that lives at start of an idea, then floats in public view, before returning to inform my understanding of the idea. Once the idea is out in the world, it moves and morphs into something else entirely."

Written, performed and produced by Nik Colk Void, the album was engineered by James Greenwood, mastered by Rashad Becker and tracks 1, 4, 5, 7 and 9 were mixed by Marta Salogni.

Bucked up Space is the result of the ideas and resulting sounds of free exploration morphing into a personal structured album that fearlessly moulds patience, listening and restraint. It's a sharp focussed work embracing collective action through the lens of the self. All this, and also one of the best abstract dance records you will hear in some time!

Historically informed violin player, prize-winning street musician, new age experimentalist, chamber ensemble performer and conservatoire deviant. The career of Valentina Goncharova (b. Kyiv 1953) shares parallels with those associated with the broader new music movement of the 20th century and the dissemination of home recording technologies.

Valentina’s was a youth spent immersed in the world of classical music study under soviet rule, first in Kyiv- later in Leningrad & now St. Petersburg, from the age of 16. With the supervision of professors M. Vayman and B. Gutnikov she learned concert violin and developed alternate playing styles alongside skilled pianists. A student of the Leningrad conservatoire during the years 1969 - 1983, her repertoire included music for violin and later expanded to contemporary music composition.

The improvisatory nature of free jazz and then-budding experimental rock circles also intrigued Valentina during this period in Leningrad. Departing from the rules of the conservatoire, she briefly performed in underground rock clubs alongside future members of the industrial group Pop- Mechanika (Popular Mechanics). This perpetual state of flux is central to the variety found within ‘Recordings Vol. 1’, though as opposed to any degree of uncertainty Valentina’s practice is one
in flux by way of earnest curiosity.

Pushing further into an exploration of solo electro-acoustic sounds, she took to home taping on a modified Olimp reel to reel recorder. Intrigued by the manipulability of dubbing and the fresh sounds of DIY effects chains, Goncharova developed pickups alongside her husband Igor Zubkov. Her infatuation with the music of Stockhausen, Xenakis, Ganelin Trio and Pierre Boulez channels through considerations of space and erratic sound design, the 3 movements of ‘Metamorphoses’ embodying this textural approach to musique concrete.

The compositional skills developed in Leningrad unfold in the romantic gestures of ‘Higher Frequencies’, whilst manipulated cello combines with synthesise keys across ‘Passageway To Eternity’.
The slow, pulsating drone soundscapes recall the likes of Robert Rutman’s US Steel Cello Ensemble or even deep listening pioneer Pauline Oliveros.

The juxtaposition of written notation and improvisatory flare is central to Goncharova’s sound world. This period of home recording documents a confluence of minimalism, free form and flirtations
with new age tropes (inc. bell chimes and cavernous vocal mantras).

Experimenting with unusual performance techniques, such as shouting into amplified cello strings, Valentina’s home studio functioned as a place to foster full artistic and creative freedom
away from any academic strictures.

Relocating to Estonia in 1984, and in parallel to the deeply personal music of ‘Recordings Vol. 1’, Valentina performed at jazz festivals and gave classical concerts across Eastern Europe. In a sense, the recordings on these discs offer only a glimpse into her lifelong body of work. Over the past few decades she has taught at Tallinn Music College, expanded and updated post- Soviet popular music repertoire, collaborated with the Russian Philharmonic Society of Estonia and given concerts and charity events alongside the Catholic Church.

Hers is a life dedicated to the exploration of sound, a career forged through careful study and ceaseless intrigue. In a time where technological interconnectedness has allowed for music of the pas
to be continually mined and evaluated through new lenses, Shukai present an artist whose tendency for private home-taping had allowed recordings to go unheard for thirty years.

Ltd. Pink Vinyl initial pressing. Lucius returns with their highly-anticipated new album Second Nature. Produced by Dave Cobb and Brandi Carlile, the album features ten new songs, with writing contributions from BRIT Award and Mercury Prize nominated Jenn Decilveo, amongst others. The new album is a portrait of singer and songwriters Holly Laessig and Jess Wolfe's shared reflection, chronicling each other's seismic life shifts_motherhood, divorce, unplanned career pauses. On Second Nature, Wolfe explains, "It is a record that begs you not to sit in the difficult moments, but to dance through them. It touches upon all these stages of grief_and some of that is breakthrough, by the way. Being able to have the full spectrum of the experience that we have had, or that I've had in my divorce, or that we had in lockdown, having our careers come to a halt, so to speak. I think you can really hear and feel the spectrum of emotion and hopefully find the joy in the darkness. It does exist. That's why we made Second Nature and why we wanted it to sound the way it did: our focus was on dancing our way through the darkness." Recorded primarily at Nashville's historic RCA Studio A, the 10-song album was written by Laessig and Wolfe and features their longtime band members Peter Lalish, Dan Molad alongside Solomon Dorsey with additional contributions from Drew Erickson, Rob Moose and Gabriel Cabezas with mixing by Rob Kinelski and Molad as well as Carlile and Sheryl Crow on backing vocals. Second Nature is Lucius' third full-length album and first since 2016's Good Grief. Widely acclaimed since their debut album, The New York Times declares, "Luscious, luminous, lilting lullabies," while NPR Music asserts, "gorgeous, joyful songs" and Pitchfork praises, "powerful voices and a keen sense of melody." In addition to their work in the band, Holly Laessig and Jess Wolfe have recorded with Sheryl Crow, Harry Styles, The War on Drugs, Ozzy Osborne and John Legend and toured extensively alongside Roger Waters.

Lucius returns with their highly-anticipated new album Second Nature. Produced by Dave Cobb and Brandi Carlile, the album features ten new songs, with writing contributions from BRIT Award and Mercury Prize nominated Jenn Decilveo, amongst others. The new album is a portrait of singer and songwriters Holly Laessig and Jess Wolfe's shared reflection, chronicling each other's seismic life shifts_motherhood, divorce, unplanned career pauses. On Second Nature, Wolfe explains, "It is a record that begs you not to sit in the difficult moments, but to dance through them. It touches upon all these stages of grief_and some of that is breakthrough, by the way. Being able to have the full spectrum of the experience that we have had, or that I've had in my divorce, or that we had in lockdown, having our careers come to a halt, so to speak. I think you can really hear and feel the spectrum of emotion and hopefully find the joy in the darkness. It does exist. That's why we made Second Nature and why we wanted it to sound the way it did: our focus was on dancing our way through the darkness." Recorded primarily at Nashville's historic RCA Studio A, the 10-song album was written by Laessig and Wolfe and features their longtime band members Peter Lalish, Dan Molad alongside Solomon Dorsey with additional contributions from Drew Erickson, Rob Moose and Gabriel Cabezas with mixing by Rob Kinelski and Molad as well as Carlile and Sheryl Crow on backing vocals. Second Nature is Lucius' third full-length album and first since 2016's Good Grief. Widely acclaimed since their debut album, The New York Times declares, "Luscious, luminous, lilting lullabies," while NPR Music asserts, "gorgeous, joyful songs" and Pitchfork praises, "powerful voices and a keen sense of melody." In addition to their work in the band, Holly Laessig and Jess Wolfe have recorded with Sheryl Crow, Harry Styles, The War on Drugs, Ozzy Osborne and John Legend and toured extensively alongside Roger Waters.

Lauded London 6-piece Melt Yourself Down are back armed with a new approach for their fourth studio album Pray For Me I Don’t Fit In. Created for misfits, by misfits, Pray For Me I Don’t Fit In sees Melt Yourself Down embrace a celebratory punk agenda. Having realised they are never going to fit the mould, the group deliberately draw on their myriad influences, speaking all languages musically and lyrically. Led by the potent sounds of Sax pioneer Pete Wareham, the punchy sax hooks pay homage to the traditional horn sections of late 60’s early 70’s era of Jazz, Soul and Rock n Roll, while showcasing African pentatonic scales and dance-inducing rhythms with raw 70’s rock and punk. This album sees vocalist Kushal Gaya celebrate his diversity - tonally, texturally, and emotionally while embracing lyrical depth. Recorded and produced by band favourite Ben Hillier (Blur, Depeche Mode & Nadine Shah), delivering his distinct musical depth, resonance, and dark drive so essential to Melt Yourself Down’s sound. This album is the band’s most cohesive work to date.

In seiner mehr als drei Jahrzehnte umspannenden Karriere hat sich der Komponist und Multiinstrumentalist Arjen Lucassen weltweit als treibende Kraft des Progressive Rock etabliert. Der vielseitig begabte Niederländer ist vor allem für sein Rockopernprojekt Ayreon bekannt, widmet sich aber auch regelmäßig musikalischen Nebenprojekten, die alle verschiedenen Aspekte seiner musikalischen Persönlichkeit erforschen.Lucassen ist bestrebt, bei Star One eine gleichbleibende Sängerbesetzung beizubehalten. Für 'Victims of the Modern Age' hat er die hochkarätige Besetzung der Leadsänger des ersten Albums 'Space Metal' (2002) wieder zusammengeführt: Russell Allen (Symphony X), Damian Wilson (Headspace, Threshold), Floor Jansen (ReVamp, ex-After Forever), und Dan Swanö (Nightingale, Second Sky, ex-Edge Of Sanity). Die unterschiedlichen Gesangsstile dieser großartigen Vokalisten, die von hochfliegenden Power-Vocals über eindringlich-melodische Passagen bis hin zu brutalem Growl reichen, verleihen jedem Song eine atemberaubende Vielfalt an stimmlichen Texturen.Was die Instrumente betrifft, so spielte der Holländer die Rhythmusgitarren, die Hammondorgel, das Mellotron, die Solina-Streicher und die analogen Synthesizer selbst ein und lud Schlagzeuger Ed Warby (Ayreon, Hail of Bullets, Gorefest) und Bassist Peter Vink ein, die kraftvollen Rhythmusspuren zu liefern. Außerdem holte er sich die einschüchternden Solokünste des ehemaligen After Forever-Keyboarders Joost van den Broek und des Gitarristen Gary Wehrkamp (Shadow Gallery), die beide charakteristisch glühende Soli beisteuerten. Zusätzlich zu dieser formidablen Besetzung rekrutierte Lucassen drei weitere Sänger - Mike Andersson (Cloudscape, Full Force, Silent Memorial), Rodney Blaze und den ehemaligen Black Sabbath-Frontmann Tony Martin - für einige Bonustracks des Albums.Zum ersten Mal ist 'Victims of the Modern Age' auf Vinyl als Gatefold 2LP+2CD & LP-Booklet erhältlich, sowie als Ltd. 2CD Digipak und Digitales Album (2CD).

In a career spanning more than three decades, composer and multi-instrumentalist Arjen Lucassen has established himself worldwide as a driving force in progressive rock. The multi-talented Dutchman is best known for his rock opera project Ayreon, but also regularly devotes himself to musical side projects that explore all different aspects of his musical personality

Lucassen is committed to maintaining a consistent vocalist lineup on Star One. For "Victims of the Modern Age," he reunited the high-powered cast of lead singers from the first album, "Space Metal" (2002): Russell Allen (Symphony X), Damian Wilson (Headspace, Threshold), Floor Jansen (ReVamp, ex-After Forever), and Dan Swanö (Nightingale, Second Sky, ex-Edge Of Sanity). The different vocal styles of these great vocalists, ranging from soaring power vocals to haunting melodic passages to brutal growls, give each song a stunning variety of vocal textures

As for the instruments, the Dutchman recorded the rhythm guitars, Hammond organ, Mellotron, Solina strings and analog synthesizers himself and invited drummer Ed Warby (Ayreon, Hail of Bullets, Gorefest) and bassist Peter Vink to provide the powerful rhythm tracks. He also enlisted the intimidating solo skills of former After Forever keyboardist Joost van den Broek and guitarist Gary Wehrkamp (Shadow Gallery), both of whom contributed characteristically blistering solos. In addition to this formidable lineup, Lucassen recruited three other vocalists - Mike Andersson (Cloudscape, Full Force, Silent Memorial), Rodney Blaze and former Black Sabbath frontman Tony Martin - for several bonus tracks on the album

For the first time, "Victims of the Modern Age" is available on vinyl as a gatefold 2LP+2CD & LP booklet, as well as a Ltd. 2CD digipack.

Die „britischen Eagles“ sind im Anflug. Am 15. Oktober erschien„Enjoy The Ride“, das neue Werk der
Frontm3n!

Das zweite Studioalbum von Peter Howarth (The Hollies), Pete Lincoln (Ex-The Sweet) und Mick Wilson (Ex-10cc) beeindruckt mit tollen Melodien, eindrucksvollem Harmoniegesang, frischem Sound und feinstem Songwriting!

Anders als bei ihrem 2018er Debutalbum, als das Star-Trio den Fans in der Mehrzahl noch tolle NeuArrangements der Mega-Hits ihrer „alten“ Bands servierten, enthält die neue Scheibe zwölf nagelneue,
selbstgeschriebene und von Mick Wilson fein produzierte Songs, die dennoch 1:1 nach Frontm3n klingen und auch Fans von Toto und den Eagles komplett auf ihre Kosten kommen lassen. - Jetzt auch als 2LP!

Eyedress' fourth album 'Mulholland Drive' is the latest evolution of the
Filipino musician's unique sound
Following his 2020 breakthrough 'Let's Skip To The Wedding', which introduced
global hits 'Jealous' and 'Romantic Lover', the new record features collaborations
with some of his favourite artists - King Krule, Dam-FunK, Triathalon, Vex Ruffin
and more, while staying true to his vision."This album is about loving yourself and
your life" Eyedress.
Album art by Brain Dead.
Recent Eyedress highlights:
'Jealous' hit 240M streams across platforms.
'Romantic Lover' hit 60M streams across platforms.
#14 Rolling Stone's 'Trending 25' for 'Romantic Lover'.
#19 Rolling Stone's 'Breakthrough 25', featuring "the fastest-rising artists of the
month".
Radio support from from Phil Taggart on BBC R1, Jamz Supernova on 1Xtra,
Steve Lamacq Tom Ravenscroft & Gilles Peterson on 6Music, and BBC Asian
Network.
Press support from Pitchfork, Hypebeast, DIY, Dummy, FADER, Alternative Press,
Pigeons and Planes, and Crack.

Surface Air is the lovechild of a long relationship between Malka Tuti & Black Merlin. After remixing Tapan and Shari Vari for the label, as well as being part of Spectral Empire who released Iron Muscle with us on 2018, George has always been an inspiration for us, both sonically and spiritually.

His new record, Surface Air, in which the A-side is accompanied with vocals from Dallas artist Aura Nox, is a slow burning deep record for the late emo hours of the night, for you trippy after hour or your late night drive. On the B-side you can also find a Remix from an artist we’ve been following for years here in MT, and that when his name came up in a conversation with George (BM) as a possible remixer, excitement levels went through the roof.

The Remix Wata Igarashi delivered is a stripped down epic ambient track, ala late 90’s Pete Namlook endeavours with some 2022’s Wata Igarashi unique sonic aesthetics.

When producer, songwriter and multi-instrumentalist Diogo Strausz arrived in France for the first time, he already had an impressive CV. First, as part of the duo Balako, his music was released on Razor-N-Tape, Barefoot Beats and Greco-Roman after gaining the attention of Joe Goddard of Hot Chip. His tracks also have been played by Gilles Peterson on BBC 6. He also produced Brazilian indie artists such as Castello Branco and Alice Caymmi and remixed a track by Brazilian legend Gal Costa. Arrived in France, it is by signing the co-production of the disc "Les Bruits de la Ville" of Voyou or tracks for Julia Jean-Baptiste that he drew attention.

Freshly signed on Goutte d'Or Records, affiliated label of Cracki Records, to whom we can thank for Agar Agar, Saint DX or Alma Elste, Diogo Strausz will present his first EP Flight of Sagittarius in April 2022. Flight of Sagittarius is both retro and current. Between the old school boogie of Marcos Valle and the jazz funk of Azymuth but also the sunny groove of Nu Genea or the electro-funk productions of Guts.

Brooklyn-based musician, producer, and DJ Peter Matson returns to Bastard Jazz with a dance-floor ready 12" and digital EP, "The Right Way." The EP builds on Peter's 2019 release for the label - "Short Trips" - as well as his work as the bandleader for Underground System, and a slew of other solo and collaborative projects over the last two years.

Working from the ground up to produce a batch of 3 original tracks, Matson takes his sensibility as a DJ and musician and blends them into an unique whole, crafting sprawling arrangements into club-ready productions. With overall recording quality and ear for detail taking center stage, "The Right Way" boasts an impressive list of musical collaborators including a standout A-side feature from Ibibio Sound Machine's vocalist Eno Williams on the Afro-Disco workout "Call and Answer." Two beautifully conceived instrumentals on the flip-side dip into slow burning Italo ("The Right Way") and Balearic ("PB (Ça Va)") territories, while the UK duo Faze Action helm remix duty, pushing "Call and Answer" toward their signature Afro-meets-ProtoHouse & Disco vibe.

The EP weaves Matson's affinity for club music with the African influences for which he is known, culminating in a release that is both genre-bending and timelessly danceable. "The Right Way" is out digitally on Bastard Jazz Recordings February 25th, 2022, with the 12" to follow shortly after.

France pianist Vanessa Wagner continues her exploration of the minimalist repertoire by introducing her audience to pieces, many rare or unpublished, by acclaimed composers, young pianists, and genre-bending personalities from the ambient and electronic scenes. In France or even Europe, Vanessa Wagner is practically the only "classical" pianist to tackle this contemporary and timeless repertoire. Study of The Invisible features interpretations of pieces by a spectrum of composers that includes Suzanne Ciani, Harold Budd, David Lang, Bryce Dessner and Phillip Glass.

Described by Le Monde as ‘the most delightfully singular pianist of her generation’, and by Libération as ‘one of the most curious and captivating pianists on the French scene, Vanessa Wagner is able to balance parallel careers. As well as performing a classic solo, chamber and concert repertoire on stages all over the world, through her output on InFiné she is continuously exploring paths that are equally personal, but perhaps more intimate. Study Of The Invisible sees her breaking new ground in a musical tradition, in a way that no other ‘classical’ pianist in France and Europe currently does. Often described as ‘minimalist’, it’s a musical tradition that covers a multitude of singular styles and musical personalities and that spans generations.

Study Of The Invisible seeks out the mysterious world that lives behind the score, the imperceptible links that unite these silences and harmonies, but also the inner resources that this music can bring to light. With this record and this journey, whose apparent melancholy ultimately proves to be powerfully comforting, Vanessa Wagner continues to give a new scale to a music which proves to be above all radiant and luminous.

*are Vinyl exclusive tracks

Some sonic communities grow even in isolation, in the lonely obsessive moments in the studio as time melts away. Deep inside the Detroit Underground nests a Berlin underground, chasing those resonant shared sounds. DU Berlin draws together some of that love felt through music in the German capital. It’s not the wild city of reunification or *Berlin Calling* or tourist-style movies or the easyJet set. This is the side of the city that endlessly romances machines for the sheer joy of it, as The Allegorist titles her track, “until dawn.” And with some big names and emerging, ranging from mainstays to veteran agitators, the Berlin DU crew have telegraphed each other through productions and mutual inspiration. The results vibrate and rumble with sympathetic frequencies, but never limited to grayscale or dithered palettes.

DESIGN: Neubau Berlin.

Formed in Oakland in the early 1970s, the Sons and Daughters of Lite recorded Let The Sun Shine In, their only LP, which has now achieved holy grail status among collectors. Let The Sun Shine In is a spiritual recording filled with soul, funk, jazz, and African percussion. The musical collective described themselves as a mix of African rhythms, Latin flavors, and Far Eastern textures. This album was virtually unknown to DJs and collectors until Michael McFadin's discovery in the late 80s. He then scoured the bay area and bought up multiple copies for his record store The Groove Merchant on Haight Street in San Francisco, many of which were bought from flea markets and the dollar bins of other shops. The outrageously funky title track became a jazz dance classic, courtesy of heavy radio and club play by top UK DJ and tastemaker Gilles Peterson.

The Sub Pop debut by ever-evolving art-punk band Guerilla Toss, who have done prior releases with DFA, Tzadik, NNA Tapes and Feeding Tube Records. This album follows a 2020 Sub Pop Singles Club release.

Past releases have received great reviews, including acclaim from The Needledrop, Stereogum (Best EPs Of 2019) and more.

Dig deep enough inside yourself - start treating your body as your sanctuary rather than your enemy - and eventually you’ll find yourself blooming right back out into the sun. That’s the transformation Guerilla Toss trace on their newest album ‘Famously Alive’, their effervescent Sub Pop debut. After a decade sprinkling glitter into grit, building a reputation as one of the most ferociously creative art-rock groups working, the upstate New York band have eased fully into their light. This is Guerilla Toss at their most luminescent - awake, alive and extending an open invitation to anyone who wants to soak it all up beside them.

Singer and lyricist Kassie Carlson, multi-instrumentalist Peter Negroponte and guitarist Arian Shafiee wrote ‘Famously Alive’ at home in the Catskills during the pervading quiet of the pandemic year. The uncertainty of COVID-19 lockdowns and the total disruption of routine forced Carlson to negotiate with herself in new and challenging ways. “You have to be with yourself all the time during the pandemic,” she says. “I had to figure out a way to manage my anxiety. The pandemic was hard, but it helped me get comfortable inside my own body. My peace of mind came out of being thrust into the deepest shit. This album is all about being happy, being alive, and strength. It’s meant to inspire people.”

‘Famously Alive’ finds Guerilla Toss coming into the fullness of their power, celebrating their prismatic idiosyncrasies from a place of optimism and abundance. It is a joyous album, equal parts bizarre, accessible and fun.

The Sub Pop debut by ever-evolving art-punk band Guerilla Toss, who have done prior releases with DFA, Tzadik, NNA Tapes and Feeding Tube Records. This album follows a 2020 Sub Pop Singles Club release.

Past releases have received great reviews, including acclaim from The Needledrop, Stereogum (Best EPs Of 2019) and more.

Dig deep enough inside yourself - start treating your body as your sanctuary rather than your enemy - and eventually you’ll find yourself blooming right back out into the sun. That’s the transformation Guerilla Toss trace on their newest album ‘Famously Alive’, their effervescent Sub Pop debut. After a decade sprinkling glitter into grit, building a reputation as one of the most ferociously creative art-rock groups working, the upstate New York band have eased fully into their light. This is Guerilla Toss at their most luminescent - awake, alive and extending an open invitation to anyone who wants to soak it all up beside them.

Singer and lyricist Kassie Carlson, multi-instrumentalist Peter Negroponte and guitarist Arian Shafiee wrote ‘Famously Alive’ at home in the Catskills during the pervading quiet of the pandemic year. The uncertainty of COVID-19 lockdowns and the total disruption of routine forced Carlson to negotiate with herself in new and challenging ways. “You have to be with yourself all the time during the pandemic,” she says. “I had to figure out a way to manage my anxiety. The pandemic was hard, but it helped me get comfortable inside my own body. My peace of mind came out of being thrust into the deepest shit. This album is all about being happy, being alive, and strength. It’s meant to inspire people.”

‘Famously Alive’ finds Guerilla Toss coming into the fullness of their power, celebrating their prismatic idiosyncrasies from a place of optimism and abundance. It is a joyous album, equal parts bizarre, accessible and fun.

Ruth B is releasing her sophomore album "Moments In Between" via Downtown Records. With the breakout success of her debut single “Lost Boy,” Ruth B. emerged as an immediately captivating artist who drifts between moody realism and a dreamworld of her own making. An occasional poet who created her own storybooks as a child, the Canadian- Ethiopian singer/songwriter/pianist infuses all her songs with a raw emotional honesty, even as she lets her imagination wander into fantastically charmed terrain. On her sophomore album Moments In Between, Ruth pushes that dynamic to a new level of boldness and sophistication, embracing her most beautifully strange impulses while delivering her most impactful work to date. As the daughter of immigrants from Ethiopia, Ruth grew up on music from her parents’ native country and later discovered the artists who would become formative influences on her songwriting, such as Stevie Wonder and Lauryn Hill. After taking up piano at the age of eight and singing her entire life, Ruth began writing songs in her late teens and soon came up with “Lost Boy.” Initially posted on Vine in 2015, the Peter Pan-inspired piano ballad quickly went viral, with listeners undeniably drawn to Ruth’s heart-on-sleeve storytelling. By the end of 2015, she’d released her gold-certified debut EP The Intro, which led to such triumphs as winning Breakthrough Artist of the Year at the 2017 Juno Awards. Made with producers like Joel Little (Lorde, Taylor Swift) and Mike Elizondo (Fiona Apple, Regina Spektor), her gold-certified full-length debut Safe Haven arrived in 2017 and earned her three Juno nominations, including Album of the Year and Artist of the Year. Executive-produced by Patrick Wimberly (Solange, Blood Orange, Ellie Goulding), Moments In Between finds Ruth also working with producers like Ido Zmishlany (Demi Lovato, Shawn Mendes), Justin Raisen (Angel Olsen, Santigold), Doug Schadt (Maggie Rogers, Ashe), and D’Mile (a five-time Grammy Award-winner known for his work with Khalid and Ty Dolla $ign). In a departure from the minimalist alt-pop of Safe Haven, the album unfolds in a more elaborate and kaleidoscopic sound, yet never overshadows the understated power of Ruth’s vocals or the pure vulnerability of her songwriting. “For me writing songs has always been therapeutic, and I hope that hearing my songs helps other people in the same way,” she says. “Whether they’re feeling lonely or heartbroken or happy, I want them to know that someone else understands what they’re going through.”

LIMITED TO 500 COPIES. THIS IS THE REMASTERED VERSION OF EL GOODO’S SECOND ALBUM ON VINYL AT LAST.

ORIGINALLY RELEASED ON DELL’ORSO IN 2010 THE LP IS ON ECO COLOUR MIX (COMPLETELY RANDOM PATTERN AND COLOUR)
As The Sunday Times wrote back when –

This album  mixed by the Super Furries' Cian Ciaran has an incredibly sure touch in romping through 1960s (and occasionally later) pop sounds, whether early Beatles, Joe Meek meets Morricone, the Monkees or The Velvet Undeground. As the album progresses, El Goodo calmly assimilate these influences and make the sounds their own on a superb set of songs"

SFA’s young-buck buddies El Goodo are here to prove you know of at least
two Welsh bands who can kick ass, and in the hearts of some of our worlds,
save rock-n-roll. -Children of the Coal

The Welsh five piece release an album filled with summery psychedelic
harmonies and spaghetti western rhythms: a match made in vintage
heaven – PopMatters

Coyote is the sound of a band that has perfected its sense of style, while at the same time spreading its wings.- Under the Radar

Evergreen (Tim Reaper remix)
Putting his inimitable Jungle spin on the sleeper hit ‘Evergreen’ from Akuratyde’s ‘Home Movies’ LP, Tim Reaper does what he does best. Retrofitting the original’s Amen and Helicopter breaks all the way back to 1994 and shifting the musical elements in increasingly minor directions, Tim Reaper once again plonks us in the middle of a dizzying past-present-future kaleidoscope and gives us an extra spin for good luck.


Home Movies (Wardown remix)
Wardown, (AKA Pete Technimatic), makes his first appearance following the bombshell 2020 ‘Wardown’ LP, turning his attention to Akuratyde & Whytwo’s track ‘Home Movies’. With shoegazing guitar howls, staccato bells & synthesised marimbas lovingly draped over classic breaks which, in turn, are chopped into unusual time signatures. Wardown once again strikes the gauzy middle ground between melancholy and euphoria that saturated his LP, accentuating the blurry, VHS atmosphere of the original ‘Home Movies’.

A transcendental journey that takes in meditative musical mantras, sprawling tenor sax improvisation and mesmeric percussion, the new album byWork Money Death(the group that backed ATA artist Tony Burkill on his 2017 debut record of the same name) seeks to reinterpret the sound of artists such as Pharoah Sanders & Alice Coltrane over two tracks: the brooding tension of A-Side"Dusk"and the sanguine & uplifting"Dawn"on the B-Side.Titled "The Space In Which The Uncontrollable Unknown Resides Can Be The Place From Which Creation Arises", this new LP was conceived and recorded by Tony Burkill and Bassist Neil Innes during the spring/summer of 2020.

A stalwart of the Leeds music scene for the best part of 3 decades, Tony Burkill had maintained a low profile nationally, choosing to favour continued study and development on the instrument over attainment of success or recognition within the music industry. With his debut release on ATA in 2017 he impressed audiences with his powerful and gutsy approach to improvisation. Also featuring on the record are Drummer Sam Hobbs (The Electric Doctor M and Producer of Matthew Bourne's Moogmemory), Bassist Neil Innes (The Sorcerers, The Lewis Express), Pianist Adam Fairhall (Nat Birchall) and Percussionist Pete Williams (The Sorcerers, The Lewis Express).

Originally conceived as a large scale group performance of a single extended piece "The space in which the uncontrollable unknown resides, can be the place from which creation arises"was written by Tony and Neil through a series of extended improvisations similar to the extended meditation sessions that both musicians practice. These sessions enabled a state of flow through which Tony's compositional approach to improvisation yielded meaningful melodic fragments that would be returned to and developed in a way similar to someone returning to the mantra.

We finally made it: BEWITH100LP! And what better way for a re-issue label to celebrate such a landmark catalogue number than to give it to a record of new music. We couldn’t resist when the artist is Official Be With Family Member Kenny Dickenson and when the music is his lovely, lovely score to French-Vietnamese artist Mai Hua's 2020 documentary film “Les Rivières”. If you enjoy the more minimal, intimate piano of the likes of Nils Frahm or John Carroll Kirby’s solo work, you’re certain to fall for this beautiful album.

Taking six years to make, Mai’s film explores what happened when she brought her dying grandmother to France, pulling together four generations of women from the same family. Kenny’s score accompanies all the pretty things, sad things, dirty, beautiful, happy, broken and reborn moments of these women’s experiences.

The whole score is built around delicate, sparkling piano motifs. At times they’re joined by cello and complemented with ambient chords and other flourishes. It’s a very particular palette that Kenny and Mai established early on, as Kenny explains: “We had agreed on a particular sonic aesthetic early on in the process - to use specific and relatively minimal instrumentation, reflecting the intimacy of the picture. So piano and cello were quite prominent in instructing a sense of space and immediacy. Until I had to get the junkyard percussion out… ”

When it comes to describing the end results, Kenny’s happy to wear his influences on his sleeve:

“When the director and I sat down for the creative meetings early in the process, we watched ‘Wolf Children’, a Japanese animation film by Mamoru Hosoda. The amazing soundtrack by Masakatsu Takagi was a launching point for me and thereafter I leaned into more modern classical composers - Reich, Sakamoto, Glass as well as Jon Hassell’s Fourth World output. Richard Reed Parry’s ‘Music for Heart and Breath’ was a good early touchstone for me and Mark Hollis’ sparse, considered and deliberate approach was a constant presence. Also labels like Ghostly, ASIP and the ubiquitous Erased Tapes should probably get a nod here too…”

We’d even suggest there’s the occasional Yann Tiersen moment in there too.

Out of sheer necessity the collaboration between Kenny and Mai continued beyond this initial creative direction. With Kenny speaking neither French nor Vietnamese, Mai acted as translator, a process that naturally lead to discussing the film beyond just what was being said in the footage. Mai herself explains just how successful this relationship felt to her: “Music plays a very important role in all my work, particularly in Les Rivières. I cried every time Kenny sent me a new composition. I felt understood in a way that words cannot describe. It was absolutely magical and I am so happy if this music can make your soul vibrate too.”

Kenny composed much of the music in London, at the same time that Mai was shooting and editing. As the film took shape and the music also evolved, another challenge presented itself when Kenny relocated to Los Angeles part way through, resulting in Arnulf Lindners beautiful cello taking on new shapes- multi sampled, played and manipulated by Kenny into new compositions.

What Kenny has put together for the film score release is definitely a “soundtrack LP”, with the music arranged to work as a proper album in its own right that should be listened to from start to finish. Indeed the album also includes a new piece “Pour Marthe” that Kenny composed in memory of Mai’s grandmother who died after the film was finished.

Kenny’s personal highlight is also ours: “When I listen back to the album as a whole now, I never want part II of the Trilogy (Belles Larmes) to end. I have fond memories of recording it and I love how the dynamic of the piece gradually evolves from falling on the ‘1 and the 3’ to the ‘1 and the 2’. It’s so short and sweet, I keep wanting it to last for longer. But it’s kind of perfect as it is.”

Pretty much our sentiment for the album as a whole.

Running a record label means we often get asked advice about pressing a record. In this case the music was too good not to offer to release it ourselves. To Kenny, having the Les Rivières score on vinyl also feels like the final part of the project.

“It’s a beautiful thing to have it on vinyl. It’s quite an intimate soundtrack so there’s something really perfect about being able to listen to it on that format. When I was a kid, my Uncle Pat who used to work at Woolworths would visit and bring random records from their record department over to us. I can remember listening to “Theme From Exodus” by Ernest Gold. I had no idea what it was about but the imagery it conjured up when listening to that record was just mind blowing to me at that age. Soundtracks can have their own life on vinyl I think, and removed from their original context is this unique format for reinvention. So I’m excited that people who haven’t (and have for that matter) seen the film can have that experience.”

This might not be a re-issue, but the Les Rivières film score album has still been given the full Be With treatment. The vinyl has been mastered by Simon Francis (under Kenny’s ever-watchful eye/ear, of course), cut by Pete Norman and pressed at Record Industry. The sleeve follows the film’s poster and other promotional material, including Lucile Gomez’s almost magical illustration.

We’re under no illusions that many people reading this will have seen “Les Rivières”, but that doesn’t really matter when it comes to listening to the score. Just on its own, Kenny’s music still captures the robustness and the delicacy of lives lived.

Repress due in March. Includes Previously Unreleased Instrumentals! Air Vinyl is proud to be reissuing Benny The Butcher and 38 Spesh's seminal joint album, Stabbed & Shot. These underground kingpins were both at their hungriest at the top of 2018 and this LP is the proof. Air Vinyl will also be releasing Stabbed & Shot II later in 2020, so this re-release should get fans ready. Benny the Butcher is as hot as any artist on the planet right now, fresh off of an incredible 2019 with his The Plugs I Met project, the collaborative effort Statue of Limitations (with Smoke DZA), and his Shady Records debut alongside his Griselda brethren Westside Gunn and Conway the Machine, entitled WWCD. 38 Spesh is heading up the Trust movement, and also had a stellar few years, including his Son of G Rap album (alongside Kool G Rap) and songs with Styles P, Jadakiss, Uncle Murda, AZ, N.O.R.E., Kool G Rap, and French Montana. He has worked with several high-profile producers as well, including the likes of DJ Premier, Pete Rock and Alchemist. Album art by Manuel "Cep" Concepcion.

'The Fantasy Life of Poetry & Crime' is another beguiling left turn by one of our most prolific artists, Peter Doherty and is some of his finest work to date Peter's deft lyricism combined with Frederick's delicious francophone musical arrangements is a marriage made in heaven.
Written during lockdown and produced by Frédéric Lo 'The Fantasy Life of Poetry & Crime' was recorded at Cateuil in Étretat (Normandy) and Studio Water Music in Paris and mixed by François Delabrière at Studio Moderne, Paris. All words are by Peter Doherty and music by Frédéric Lo.

'The Fantasy Life of Poetry & Crime' is another beguiling left turn by one of our most prolific artists, Peter Doherty and is some of his finest work to date Peter's deft lyricism combined with Frederick's delicious francophone musical arrangements is a marriage made in heaven.
Written during lockdown and produced by Frédéric Lo 'The Fantasy Life of Poetry & Crime' was recorded at Cateuil in Étretat (Normandy) and Studio Water Music in Paris and mixed by François Delabrière at Studio Moderne, Paris. All words are by Peter Doherty and music by Frédéric Lo.

Minimal Wave presents The Complete Collection 1980-1988, a five LP box set by the highly lauded French group Martin Dupont. The band formed in Marseille in 1980 and consisted of Alain Seghir, Brigitte Balian, Beverley Jane Crew, and Catherine Loy. They were immensely talented with a rare dynamic between them that was likely inspired by a combination of their magnetic personalities, creative vision and and the home studio where they recorded. The music they made was colorful, enthusiastic and delicate, but also melancholy and mysterious. A mixture of hot and cold, light and dark. They made electronic music that incorporated guitars and clarinets and are described by many as a New Wave band yet they truly transcended genres. They had some mainstream success finding themselves opening for bands like The Lotus Eaters, The Lounge Lizards and Siouxsie and the Banshees, without any intention of ever being a commercial enterprise. In Beverley Jane Crew’s words, “the songs just tumbled out in a completely organic and spontaneous way and as soon as they were recorded on the four track, they were shared with friends on tapes, openly and excitedly.”

They released three studio albums: Just Because, Sleep Is A Luxury and Hot Paradox, one cassette entitled Inédits 1981-1983 and one 7” single entitled Your Passion. In 2008, Minimal Wave released a compilation of selected tracks entitled Lost And Late. Now one decade later, MW releases its first box set for this phenomenal band.

The Complete Collection 1980-1988 consists of all of Martin Dupont’s recorded material to date in the form of five 180 gram vinyl LPs and spans 60 songs recorded between 1980 and 1988. Along with the five LPs, the box contains a 12 page LP-sized full color booklet featuring previously unpublished photographs of the band, their history, and select song lyrics. The box itself is bound in platinum grey linen, with black foil type and both booklet and box are designed by NYC based artist Peter Miles. All five LPs are pressed on black 180 gram vinyl and feature the original artwork of the French artist Yves Cheynet.

From the shadows of Slovenia, Shadow Universe is an instrumental music project, creating breathtaking cinematic soundscapes from post-rock, neoclassical/ambient and post-metal elements. Their third album, Subtle Realms, Subtle Worlds is released on 11 March 2022 worldwide on Monotreme Records. Formed in 2017 by Peter Dimnik and Žan Šebrek, Shadow Universe merge contrasting textures of shimmering ambient soundscapes and heavy anxious darkness to portray the diversity of nature and life on earth and beyond. Subtle Realms, Subtle Worlds: Every person experiences the world differently, which puts us into our own unique bubbles, subtle worlds. Subtle Realms, Subtle Worlds finds the band turning their songs into living, breathing ecosystems, carefully dissecting every moment of peace and chaos alike. The album sees the building particles of the universe as separate worlds, with their own story, perception, rules and individual inner realm. Opening track Organism, which portrays the coherence of forming organisms; from a vast universe itself down to the tiniest building particles of it, sets the tone with its slow, tense build to crushing, exhilarating peaks. Don’t Look at It and You’ll See It evokes free-flowing spontaneity through beautiful cascading piano and emotive violin, towering guitars, and soaring synths. Masterfully harnessing both the quiet and the loud, Hymn for the Giants glorifies our almighty and precious trees, with moments of calm cut apart by vast swathes of brutal, yet considered, cacophony. Losing Home’s portentous, droning synths and trumpet ratchet up the suspense, while on Antares Goes Supernova the band carve out layer upon layer of affirming and effecting riffs, each one more powerful than the last. Season of Eternal Maze wraps up the album with a meditative piano and harmonium, wide guitar driven melodies and guides you to your inner maze.