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A lost Chantays album that's locked in and leaving a foamie! A Dawning Sun, largely recorded in '66, sees the originators of "Pipeline" riding another pearler of a platter! These 13 lost tracks come from the tape archive of Richard Delvy (Belairs, Challengers) and features the bands unique take on "Mr Moto," some new surf anthems and even a trio of vocal cuts for when you just hit out or the wave eats your lunch! It also features a killer instrumental cover of The Fortunes' "You've Got Your Troubles.

Lost for over 50 years, these sound waves are finally ready to ride!

Demon Records presents a new collection of 24 UK garage anthems, brought together on vinyl for the first time, exploring the very best of the UK garage scene and packed full of classic floor-fillers.

Across the two 140g vinyl, highlights include tracks such as - Craig David ‘Fill Me In’, The Streets ‘Has It Come To This?’, Artful Dodger and Romina Johnson ‘Moving Too Fast’, Shanks & Bigfoot ‘Sweet Like Chocolate’, T2 ‘Heartbroken’ plus 19 other massive tracks.

• Pressed on two 140g vinyl, housed in printed inner sleeves.

• An essential collection for any UK garage fan!

Mit ihrem unverwechselbaren Sound ignorieren As Everything Unfolds traditionelle Grenzen und schaffen durch die Kombination zahlreicher Genres alternativer Musik ein einzigartiges Hörerlebnis. Mit über 20 Millionen Streams für ihr Debütalbum, "Within Each Lies The Other", bleibt ihre Kunst nicht unbemerkt. Die Band wurde für einen Heavy Music Award nominiert, trat auf großen europäischen Festivals wie dem Download, Graspop, Rock For People oder Full Force auf und tourte mit Bands wie Enter Shikari, Wargasm, Holding Absence, Being As An Ocean und vielen anderen. Mit der
Veröffentlichung ihres neuen Albums und vielen weiteren Touren und Festivals in der Pipeline, verspricht 2023 ein großes Jahr für As Everything Unfolds zu werden.

"The new album 'Ultraviolet' is an open work on the thoughts and feelings surrounding us at the time," erzählt Sängerin Charlie Rolfe. "The anger, the frustration, the progress, everything on show, nothing to hide. Darkroom practice is something that has been a large part of my creative path, finding links between the emotion in music, putting everything on display for all to listen and exposing a colour photograph, putting it on display for all to see. Only when you are exposed to Ultraviolet light can you see life in full colour."

Opening the series with Sensual Setup, a deep and beautiful long player from our label head Rupert Hartick, including a dedicated and powerful driven remix by Ion Ludwig on the flip side. Intense material for your record bag!

Pressed on solid black vinyl, including a beautiful artwork by Justus alias Love JMP.
First 150x Copies come in a handstamped full Cover.

Belgian junk jazz trio schroothoop (which translates as 'junk yard') bring together multi-instrumentalists Rik Staelens (wind & string instruments), Timo Vantyghem (bass & thumb piano) and Margo Maex (percussion). Their new album called 'MACADAM' will be out April 7 via Sdban Records, home of many strongholds in the lively contemporary Belgian jazz and groove scene.

In 2020, schroothoop first emerged with their much-acclaimed and infectious debut album Klein Gevaarlijk Afval (Small Hazardous Waste). "Music on homemade instruments with a surprisingly good result" (De Standaard). "Schroothoop show that material limitation can be liberating and that sometimes the source of new sounds is just old junk."(Written in music). "We assure you that this "scrap heap" is worth gold!" (Le Grigri).

On their second album, to be released on April 7, schroothoop explore the vast sounds of discarded objects found on the macadam streets of Brussels. Wooden crates turn into guitars and lyres. Scrap metal becomes a thumb piano, a cimbalom, or percussion bells. Their compelling collection of semi-improvised songs is born out of several fruitful residencies and live performances during which Margo Maex, Rik Staelens and Timo Vantyghem dive deeper into the possibilities and unique timbres of their DIY instruments.

The junk jazz trio find inspiration in traditional Afro-Cuban and North-African rhythms, New Orleans second line grooves, and Arabic Hijaz scales. On Macadam, the band also explore the realms of electronic music, not shunning hints of drum and bass, dub riddims and ambient soundscapes, using pitch shifting delays or gauzy reverbs. The album delivers a mesmerizing trip through the most diverse capital of Europe, mixed and post-produced by none other than sound wizard Dijf Sanders.

The trio originally met in the Brussels street orchestra scene. One night they found themselves jamming on trash cans, buckets and other illegally dumped materials. Soon after, they started building their own DIY instruments from street trash. Imagine flutes made out of pvc pipes, a scrap metal drum kit, thumb pianos made out of old kitchen knives, a tin can violin, worn-out cutting discs as gongs, and a washtub bass. Delivering their own brand of "junk jazz", Schroothoop literally gives junk a second life by immortalizing a whole range of lost and found objects through music. The Brussels-based group effortlessly incorporates jazz, Northern African music, and Afro-Cuban rhythms, resulting in a danceable and hypnotic trip through the city's melting pot.

Belgian junk jazz trio schroothoop (which translates as 'junk yard') bring together multi-instrumentalists Rik Staelens (wind & string instruments), Timo Vantyghem (bass & thumb piano) and Margo Maex (percussion). Their new album called 'MACADAM' will be out April 7 via Sdban Records, home of many strongholds in the lively contemporary Belgian jazz and groove scene.

In 2020, schroothoop first emerged with their much-acclaimed and infectious debut album Klein Gevaarlijk Afval (Small Hazardous Waste). "Music on homemade instruments with a surprisingly good result" (De Standaard). "Schroothoop show that material limitation can be liberating and that sometimes the source of new sounds is just old junk."(Written in music). "We assure you that this "scrap heap" is worth gold!" (Le Grigri).

On their second album, to be released on April 7, schroothoop explore the vast sounds of discarded objects found on the macadam streets of Brussels. Wooden crates turn into guitars and lyres. Scrap metal becomes a thumb piano, a cimbalom, or percussion bells. Their compelling collection of semi-improvised songs is born out of several fruitful residencies and live performances during which Margo Maex, Rik Staelens and Timo Vantyghem dive deeper into the possibilities and unique timbres of their DIY instruments.

The junk jazz trio find inspiration in traditional Afro-Cuban and North-African rhythms, New Orleans second line grooves, and Arabic Hijaz scales. On Macadam, the band also explore the realms of electronic music, not shunning hints of drum and bass, dub riddims and ambient soundscapes, using pitch shifting delays or gauzy reverbs. The album delivers a mesmerizing trip through the most diverse capital of Europe, mixed and post-produced by none other than sound wizard Dijf Sanders.

The trio originally met in the Brussels street orchestra scene. One night they found themselves jamming on trash cans, buckets and other illegally dumped materials. Soon after, they started building their own DIY instruments from street trash. Imagine flutes made out of pvc pipes, a scrap metal drum kit, thumb pianos made out of old kitchen knives, a tin can violin, worn-out cutting discs as gongs, and a washtub bass. Delivering their own brand of "junk jazz", Schroothoop literally gives junk a second life by immortalizing a whole range of lost and found objects through music. The Brussels-based group effortlessly incorporates jazz, Northern African music, and Afro-Cuban rhythms, resulting in a danceable and hypnotic trip through the city's melting pot.

Recorded at the height of the global pandemic, and at a time when remote communication was becoming increasingly prevalent, "Choreological Exchanges" is part of Hastings Of Malawi's continuing investigations into the medium of communication itself. Prior to telephony becoming digital, all phone calls were routed through mechanical telephone exchanges, and the majority of the sounds on side one are the sounds of these exchanges and some of the voices of the engineers who worked with them.

Hastings Of Malawi make strange records and this one is no exception although it has a more linear narrative structure in opposition to what critics have described as their Dadaist approach. Their records certainly resist genre classification and do not really fall into the category of music. Hastings Of Malawi have themselves described previous records as films without light, radio plays and as poems. This one is a dance - a dance that takes place within the chain, or pipe, that is brain - mouth - telephone - telephone exchange - telephone - ear - brain.

"It is a dance record but not in the way that these are usually understood. An invitation to dance appears twelve minutes in on the first side. It is a dance within the wires, movement around noise used as a sculptural material rather than unwanted signals and a joyful exploration of sonic materiality. The second side begins with the voice of a telephone engineer, who states that in the top floor switch room of the exchange is the only vestige of human control. Is this top floor switch room the human brain? The sounds on this side, float between the mechanical telephone exchange and the body where the messages are created and interpreted - it is an exploration of the relationship between thought and the material devices in which telephone sound is propagated and transformed. Side two ends with a long list of randomly generated words created by digital voice synthesis." - HOM

Crackled radio-like transmissions from Norway's rural hinterland. Juni Habel's fragile finger-picked lullabies warm themselves by the open fire with her rich intimate voice atop twinkling arrangements and strange percussive instrumentation. Like glowing embers in the dark, these songs are odes to life and death, the beauty of belonging and human kinship with nature.
Push open the door of the old school house in the remote flatlands of Southern Norway that Juni Habel shares with her close-knit family and climb the stairs; you’ll find yourself in a former classroom – the home of her new album Carvings. A songbook of life’s lessons offering an expansive perspective as it navigates personal shadows between darkness and light.
“I knew I wanted to write from a larger perspective. I wanted to write about the course of nature, and the people in it - life and death, beauty and tragedy.” Juni says, “loss - the search for the dead - grasping to find the words, and liberation of giving that up. I also wanted to explore my own kinship with nature - a sense of belonging, and notice what is around with gratitude and zest for life.”
This unyielding spirit of family and nature is etched into Carvings’ unschooled approach. With beauty in mock-simplicity and radiating humanity like the music of Tia Blake, Julie Byrne or Myriam Gendron, Juni’s songwriting unfolds on her own terms, and is the sound of facing whatever mother nature decides will find its way to the top of the list.
Recorded between the classroom (‘big hall’), the hallway on the 2nd floor, and her bedroom with simple gear and vocals laid down in a single take. Co-producer, musician and singer Stian Skaaden, became her melodic confidant and experimental co-conspirator halving the burden by building the album’s layers through blowing a pipe, playing bow on the banjo, bottles or glockenspiel. “With this album I wanted to lean deeper into the process. The title Carvings illustrates thoroughness. It was a vulnerable project, to strive for creating something truly beautiful, to pour my soul into it,” she says.
Uninhibited by the possibility of ‘mistakes’ and jamming until she struck gold, Juni confidently discovered the truest expression of herself. “It takes courage to do things ‘wrong’ with uncertainty, record lyrics which are strange but feel right, on crappy mics, it can be good to fumble a bit,” Juni says before tellingly, “the joy of playing is quite fragile. I have to protect it. You can't use your head, you have to be inside the song.”

Bartosz Kruczyński, also known as artist Earth Trax, is arguably among the leading names in Poland’s current electronic music scene. Based in Warsaw, his music is deeply emotive and explores a wide-ranging sonic palette that is complemented by well-defined artistic concepts. He has already featured on labels including Phonica Records, Growing Bin, Into The Light and Shall Not Fade –with whom he released his acclaimed debut album in 2020–.

His Lapsus release 'Closer Now', takes a different trajectory to his previous album 'The Sensual World' Shall Not Fade, 2022, fundamentally an energetic and high tempo club record. In contrast, 'Closer Now' focuses on fresh and disparate ideas, with tracks that could typically be classified as more unrestrained B-sides that deconstruct sounds aimed at the dancefloor.

‘Closer Now' is influenced by liminal spaces and cultivates surreal and dreamlike qualities. Conversely it also possesses a sense of strength and grit, highlighted by moments where electronic distortion bares its teeth. It is an album that both refers both to IDM and chill out rooms.

First Word Records is extremely proud to welcome the legendary New Sector Movements to the label, and the first new release from this moniker in 15 years! A 5-track EP for 'These Times', comprised of street soul, hip hop, jazz and bruk-tinged vibes.

Founded, headed and produced by DJ & musician IG Culture (CoOp Presents / LCSM), this all-new quasi-group project also features the vocal talents of Allysha Joy, Mike City and Natalie May with additional accompaniment from Wonky Logic, Wayne Francis, Alex Phountzi and the NSM Fusion Starship!

New Sector Movements (aka NSM) were the first out the gate at the dawn of the original broken beat movement, releasing their first single 'Groove Now / New Goya' on the People label in 1997, then releasing several singles and EPs through to the late noughties, and dropping a classic album on Virgin entitled 'Download This'. The previous incarnation featured several other artists from the bruk foundation era, including Kaidi Tatham, Izzy Dunn, Julie Dexter and Eska Mtungwazi amongst others.

Awarded a 'Lifetime Achievement Award' at the 2019 Worldwide Awards, NSM's IG Culture is a hugely pioneering prolific artist in the UK music scene. His catalogue of releases over the years has seen numerous aliases, collaborations, remixes and productions. Appearing on the scene in 1990 as part of Dodge City Productions, to producing several solo albums throughout the noughties, to recent years with his hugely-acclaimed cosmic jazz outfit LCSM (Likwid Continual Space Motion), additionally to co-running the CoOp Presents label, continuing the legacy of the award-winning club night whilst showcasing new artists, IG Culture has been omnipresent at every corner of British black music for three decades deep, influencing many a sound.

This is all additionally to projects like NameBrandSound, Likwid Biskit, Da One Away and Son of Scientist to name just a few. His work has appeared on releases by Roots Manuva, Young Disciples, Les Nubians and Monday Michiru, while remix work over the years has included Gang Starr, Femi Kuti, José James, Miraa May, Slum Village, Digital Underground, Luniz, Naughty By Nature, Airto Moreira & Flora Purim.

As a DJ, he's shut down dances all over the world, recently at places like Fabric, We Out Here festival and Summer Dance Forever in Amsterdam, as well as regularly rocking the airwaves on Worldwide FM and combining the two at BBC 6 Music's All Points East stage in the Summer. IG Culture also founded Selectors Assemble; a collective of forward thinking DJs and producers.

So, as we head towards Winter 2022, New Sector Movements has returned (but don't call it a comeback!). After a turbulent few years in the world, it seemed a poignant moment to reinvigorate the soul, and reflect upon 'These Times'. Here we have five brand new tracks, each illustrating a pertinent mood and attitude representing the current climate. Allysha Joy leads the vocal on EP opener 'These Times', a sumptuous slice of street soul with a deeply infectious horn hook. 'Stand' is next - uptempo boom bap for the dancers, this one featuring the soulful pipes of Mike City. 'Hope' is a midtempo jazz-funk dub again feature vocal licks from Allysha, and introducing the mysterious NSM Fusion Starship into the fold. 'H.E.A.T.' picks up the pace with some infectious jazz-bruk business, this one lead by Natalie May on the vocals, who explains "heat = movement, motion". And finally 'Bless' with closes the set on a four-four riddim with bruk sensibilites, inviting Mike City back with an uplifting vocal requesting we "bless the people just trying to make it".

An essential EP of cross-genre vibes to resonate cross-generations, New Sector Movements do not ramp. IG Culture and crew proceed to give you what you need for 'These Times'.

'These Times' is released on vinyl and digital worldwide via First Word Records late February 2023.

Bondo is four Los Angeles musicians collaging displaced tempos and fractured melodies. Their sparsely vocalised music conspires to bring into view a practical enlightenment, evoking the sandy contentment of an exhausted marine sunset. The organically mechanical compositions wander with the intention not to be aimless, but to be consumed in Process.
Bondo comes to Quindi Records to release its first full-length album, Print Selections, and it is saturated in the communal consciousness of the band. The songs call for the individuals to dissolve to make way for the music.
The lyrical content of the record tells of a mind made anew, cleared of its data & ego to witness nothing in particular. Bringing the past with them, the band makes clear allusions to their influences - their tones reminiscent of outfits like Duster, Unwound, Acetone & Fugazi, but also has heavy nods to more formless genres like the dub melodies of King Tubby and the jazz of Archie Shepp.
The music feels like the dusty bed of a scanner, plays like the light leaking from underneath its lid.

The first LP by Bloedneus & de Snuitkever, MILLI MILLE. Finally on wax, it’s Lukas De Clerck’s musical vehicle for his explorations with the aulos, that ancient reed instrument that mainly satyrs and archeological enthusiasts found beguiling. Equipped with his handmade pipes and the artful sense of devotion of a true modern-day aulete, De Clerck has dug deep into the technical and cultural peculiarities of this long-silenced instrument, paying it the kind of attention and mindfulness that Marsyas the satyr so lacked when he challenged Apollo and his lyre to that ill-fated musical match. But beyond merely resuscitating an ancient cult, De Clerck as Bloedneus gives the aulos a different kind of renaissance where its penetrating qualities are expanded and expounded to effects worth every nosebleed, paving new grounds in these practices of old.

MILLI MILLE hints at mysteries universal to humans of yore, present and morrow, like a Joseph Campbellesque recounting of transcendental journeys through drones and extra reverb. Elegiac modes encounter pastoral vibes that are punctuated by sly baroque flourishes, all pointing to the timelessness of the aulos’s sound - one can easily imagine its power of enlightenment through many ages. Yet in MILLI MILLE, an insistence on the fickleness of the instrument surfaces through disorienting, perception-shifting blasts and a compulsion to push the aulos to its fullest and most destabilizing potential. This is the flavor that Bloedneus & de Snuitkever imbues into that dormant canon, one that permeates the atmosphere long after the last note puts an abrupt end to these vibrations. The satyr’s song rings on, leaving the air abuzz with a timeless pulse that holds the promise of sounds still to be unearthed.

Repressed!

For the past two years, Nils Frahm has been building a brand new studio in Berlin to make his 7th studio album titled All Melody, which will be released on January 26th, 2018 via Erased Tapes, before Nils embarks on his first world tour since 2015.Since the day Nils first encountered the impressive studio of a family friend, he had envisioned to create one of his own at such a large scale.

Fast forward to the present day and Nils is now the proud host of Saal 3, part of the historical 1950's East German Funkhaus building beside the River Spree. It is here where he has spent most of his time deconstructing and reconstructing the entire space from the cabling and electricity to the woodwork, before moving on to the finer elements, building a pipe organ and creating a mixing desk all from scratch with the help of his friends.

This is somewhere music can be nurtured and not neglected, and where he can somewhat fulfil his pursuit of presenting music to the world as close to his imagination as possible.His previous albums have often been accompanied with a story, such as Felt (2011) where he placed felt upon the hammers of the piano out of courtesy to his neighbours when recording late at night in his old bedroom studio, and the following album Screws (2012) when injuring his thumb forced him to play with only nine fingers.

His new album is born out of the freedom that his new environment provided, allowing Nils to explore without any restrictions and to keep it All about the Melody.Despite being confined within the majestic four walls of the Funkhaus, buried deep in its reverb chambers, or in an old dry well in Mallorca, All Melody is, in fact, proof that music is limitless, timeless, and reflects that of Nils' own capabilities. From a boy's dream to resetting the parameters of music itself.

Der Startschuss für das vierte Album von PIGS x7 war im November 2022 die erste, süchtigmachende Single, das knallharte und auf den Punkt gerockte "Mr. Medicine". Die Intensität des pulverisierenden Album Opener "Ultimate Hammer" und seinem Schlachtruf "I keep spinning out, what a time to be alive" ist nicht geringer. Während "Terror's Pillow" und "Big Rig" mit der für die Band typischen SABBATH'schen Kraft ausgestattet sind, übertrifft die Bandbreite dieses Mal alles, was die Band bisher versucht hat. Matts Duett mit dem traditionellen Folk-Gesang von Cath Tyler auf dem abschließenden Lamento "Ball Lightning" ist zum Beispiel eine besonders starke Illustration ihres erweiterten Horizonts. Was die emotionale Wirkung angeht, so ist "The Weatherman" ein weiterer Höhepunkt auf "Land Of Sleeper". Voller hingebungsvoller Entrückung und strahlender Intensität wird die Attacke der Band auf ein mantrisches und hypnotisches Kriechen verlangsamt und markiert eine Zusammenarbeit mit den heulenden Tönen der BONNACONS OF DOOM-Sängerin Kate Smith und einem Chor, dem Richard Dawson und Sally Pilikington angehören. Das Ergebnis ist ein Sound, der dem "We Will Fall" von THE STOOGES nicht unähnlich ist, neu erfunden und adrenalisiert als eine belebende Predigt für den Zeitgeist. PIGS x7 sind mit einem grandiosen Heavy-Stoner-Psychrock-Album zurück! Limitierte orangefarbende Vinyl-LP!

Most Excellent Unlimited teams up with Giant Step Records for this special release of a U.K. jazz-dance classic's Twentieth Anniversary.


Voted Track of the Year at Gilles Peterson’s 2003 Worldwide awards, RSL’s “Wesley Music” was an instant anthem on its release, combining a jazzy sensibility with heavy percussion, catchy brass riffs, and a building, hands-in-the-air chorus hook. The Manchester, UK-based band first released the single on their own label, but as the tune took off it was quickly released in the U.S. by Giant Step Records, long a pipeline for the freshest British new music. Most Excellent Unlimited has collaborated with Giant Step Records for this exclusive re-release to celebrate the twentieth anniversary of the original record. The A side swaps out the original mix with a never-released Danny Krivit “Part 1” mix, a slightly more extended and direct to-the-point punch of Latin percussion and chants. The B side features Krivit’s “Part 2” mix that lets the tune unfold in all its building-anticipation glory, gradually elevating to a thunderous pinnacle of an almost spiritual nature.


With RSL recently finding favor in the sets of Chicago deep disco don Rahaan and NYC’s globetrotting Ge-Ology, remaster & pressed on an attention to quality vinyl, ideal to celebrate the twentieth anniversary of this timeless iconic track.

Für den LP-Sampler 'Ganja Anthems' hat das Label Irie Ites Records 12 Perlen tief aus seinem Katalog ausgegraben, die dieser Pflanze, die elementarer Bestandteil der Reggae-Kultur ist, Tribut zollen. Darunter befinden sich internationale Hits von Turbulence & Spectacular, Perfect Giddimani, Sizzla und Lorenzo & Chezidek, aber auch unveröffentlichte Tunes von Suga Roy & Conrad Crystal (im Studio One-Discomix) und Peetah Morgan (mit einer Roots Radics Komposition).

Iceland's Thule offshoot label 66 Degrees was a vital label back in the day. After a 20-year hiatus, it came back strong in August and now follows up quickly with a second superb EP. This one is a carefully curated various artists collection that pulls together some local house anthems new and old. Ozy's 'Sequential Dub' is a super smooth deep house number with lush chord work. Sanasol brings heavier, more raw house drums and grinding bass that will get floors in a sweat. Oz Artists mixes up a raw, mechanical groove with balmy, dreamy pads up top to make for something utterly compelling on 'Atomox; while last of all Terry Cummingz pays homage to dusty Windy City house on his perfectly lo-fi 'Cherry Bon Bon. Classy business for sure.

The sum to infinity of a sequence is the sum of an infinite number of terms in the sequence. It is only possible to compute this sum if the terms of a sequence converge to zero. "sum to infinity" is also the second release from gamut inc, the retro-futuristic ensemble around composers and curators Marion Wörle and Maciej Sledziecki.

This second album by gamut inc combines custom-build autonomous music-machines with haunting classical synthesizer sounds to a dense musical kaleidoscope.
The core of the album is formed by Risset rhythms - cyclic accelerations and decelerations, in which rhythmic layers are repeatedly faded in and out, setting in motion a seemingly endless process of rhythmic movement. The motifs are taken from geometric and arithmetic series that create an urgency and restlessness. The rigor of the construction is obscured by an orchestrion whose timbres are reminiscent of a retro-futuristic indigenous ensemble. gamut inc translate strategies of electronic music like pulse-width modulation to music machines such as automated accordion, automated percussion or glockenspiels and create an intense atmosphere that is idiosyncratic, original and modern at the same time.

Gamut inc. build their own music machines, play electronic music festivals internationally, curate the AGGREGATE festival for automated pipe organs, and compose for film, radio drama, and theater. Their first opera, ROSSUMS UNIVERSAL ROBOTS, premiered in 2022. Since 2011, at the intersection of electronic club culture and experimental music, they have been producing live music, music theater, film and theater scores (including for the Junge Staatstheater Berlin) with their specially developed musical robots. They composed for ensembles like the RIAS chamber choir or the robot orchestra Logos Foundation and received invitations and commissions from international festivals and venues such as Sónar, CTM, Berghain, Sonic Acts, Technosphärenklänge or Numusic (NO).
Their first release EX MACHINA was produced exclusively with music robots, and released in 2014 in cooperation with Bôłt Records.
"Percussion tracks bring to mind the music of Einstürzende Neubauten in their industrial mechanics, until finally the music warms to an expression reminiscent of Johnny Cash's late work."
Süddeutsche Zeitung

Does Spring Hide Its Joy is an immersive piece by composer Kali Malone featuring Stephen O'Malley on electric guitar, Lucy Railton on cello, and Malone herself on tuned sine wave oscillators. The music is a study in harmonics and non-linear composition with a heightened focus on just intonation and beating interference patterns. Malone's experience with pipe organ tuning, harmonic theory, and long durational composition provide prominent points of departure for this work. Her nuanced minimalism unfolds an astonishing depth of focus and opens up contemplative spaces in the listener's attention.

Does Spring Hide Its Joy is an immersive piece by composer Kali Malone featuring Stephen O’Malley on electric guitar, Lucy Railton on cello, and Malone herself on tuned sine wave oscillators. The music is a study in harmonics and non-linear composition with a heightened focus on just intonation and beating interference patterns. Malone’s experience with pipe organ tuning, harmonic theory, and long durational composition provide prominent points of departure for this work. Her nuanced minimalism unfolds an astonishing depth of focus and opens up contemplative spaces in the listener’s attention. Does Spring Hide Its Joy follows Malone’s critically acclaimed records The Sacrificial Code Ideal Recordings, 2019 & Living Torch [Portraits GRM, 2022]. Her collaborative approach expands from her previous work to closely include the musicians Stephen O’Malley & Lucy Railton in the creation and development of the piece. While the music is distinctly Malone’s sonic palette, she composed specifically for the unique styles and techniques of O’Malley & Railton, presenting a framework for subjective interpretation and non-hierarchical movement throughout the music. Does Spring Hide Its Joy is a durational experience of variable length that follows slowly evolving harmony and timbre between cello, sine waves, and electric guitar. As a listener, the transition between these junctures can be difficult to pinpoint. There’s obscurity and unity in the instrumentation and identities of the players; the electric guitar’s saturation timbre blends with the cello’s rich periodicity, while shifting overtone feedback develops interference patterns against the precise sine waves. The gradual yet ever-occurring changes in harmony challenge the listener’s perception of stasis and movement. The moment you grasp the music, a slight shift in perspective guides your attention forward into a new and unfolding harmonic experience. Does Spring Hide Its Joy was created between March and May of 2020. During this unsettling period of the pandemic, Malone found herself in Berlin with a great deal of time and conceptual space to consider new compositional methods. With a few interns left on-site, Malone was invited to the Berlin Funkhaus & MONOM to develop and record new music within the empty concert halls. She took this opportunity to form a small ensemble with her close friends and collaborators Lucy Railton & Stephen O’Malley to explore these new structural ideas within those various acoustic spaces. Hence, the foundation was laid for Does Spring Hide Its Joy. In Kali’s own words: “Like most of the world, my perception of time went through a significant transformation during the pandemic confinements of spring 2020. Unmarked by the familiar milestones of life, the days and months dripped by, instinctively blending with no end in sight. Time stood still until subtle shifts in the environment suggested there had been a passing. Memories blurred non-sequentially, the fabric of reality deteriorated, unforeseen kinships formed and disappeared, and all the while, the seasons changed and moved on without the ones we lost. Playing this music for hours on end was a profound way to digest the countless life transitions and hold time together.” Ideologic Organ is pleased to present Kali Malone’s Does Spring Hide Its Joy as a triple LP set of around two-hours duration. Mastered by Stephen Mathieu and cut at Schnittstelle Mastering, the record is pressed in perfect sound quality by Optimal in Germany. The album is packaged in a heavyweight laminated jacket with full-color printed inner sleeves, and also available as a three-hour triple CD. Kali Malone’s album “The Sacrificial Code” (2019) has sold over 6000 copies in vinyl and CD format. Kali Malone’s album “Living Torch” (June 2022) has sold over 4000 copies in vinyl and CD format.

Zum ersten Mal überhaupt ist das erfolgreiche Mini-Album LOVE YOURSELF ff ’Her’ von BTS jetzt auf
Vinyl erhältlich! LOVE YOURSELF ff ’Her’, das die Hits ”DNA” und ”Go Go” der Gruppe enthält, landete
bei seiner ursprünglichen Veröffentlichung im September 2017 weltweit an der Spitze der Charts. Das
Album ist ein Ausdruck der Angst und des Gefühls der Liebe, erzählt im einzigartigen Stil von BTS. Die
”Liebe”, die BTS in der LOVE YOURSELF-Serie vermitteln will, ist sowohl die individuelle Erfahrung eines
Jungen, der ins Erwachsenenalter hineinwächst, als auch eine Botschaft des Friedens und der Einheit für
unsere heutige Gesellschaft.
LOVE YOURSELF ff ’HER’ ist erhältlich auf Vinyl.

Most audiophiles know Alan Parsons Project's I Robot by heart. Engineered by Parsons after he performed the same duties on Pink Floyd's Dark Side of the Moon, the 1977 record reigns as a disc whose taut bass, crisp highs, clean production, and seemingly limitless dynamic range are matched only by the sensational prog-rock fare helmed by the keyboardist and his creative partner, Eric Woolfson. Not surprisingly, it's been issued myriad times. Can it be improved? Relish Mobile Fidelity's stupendous UltraDisc One-Step 180g 33RPM box set and the question becomes moot.


Mastered from the original master tapes and pressed at RTI on MoFi SuperVinyl, I Robot comes to life with reference-setting realism on this numbered, limited-edition reissue. Boasting immaculate highs and lows, generous spaciousness, and see-through transparency that takes you into the studio with Parsons and Woolfson at Abbey Road, this definitive edition is designed to demonstrate the full-range capabilities of the world's best stereo systems while offering listeners the convenience of having all the music on one LP.

Featuring a nearly inaudible noise floor, this transcendent UD1S edition functions as a repeat invitation to savor reference-grade soundstages, immersive smoothness, sought-after instrumental separation, three-dimensional imaging, and consummate tonal balances. Able to be played back at high volumes without compromise or fatigue, it is a demonstration record for the ages – the likes of which are no longer being made. This is the very reason you own and invest in high-end audio gear.

The special characteristics of this UD1S version extend to the premium packaging. Housed in an elegant slipcase, the reissue features special foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, it is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves in everything about this conceptual landmark. The Alan Parsons Project's most famous record deserves nothing less.

Inspired by and loosely based around the Isaac Asimov stories of the same name, I Robot delves into themes of artificial intelligence and technological dominance that make the record extremely relevant in the 21st century. Indeed, Parsons and Woolfson's pinnacle creation dovetailed with the ascendency of Star Wars, which itself is experiencing a rebirth in an age of self-driving cars, smart devices, and mindless automation. Lyrically, songs such as "The Voice" call into question human behavior – and their relationship to increasing robotic supremacy – in everyday life. Parsons and Woolfson reflect the associated paranoia, dichotomy, and transformation via shifting sci-fi arrangements steeped in drama and moodiness.

The absorbing tunes on I Robot also continue to fascinate due to their perfectionism and innovation. Borrowing from Pink Floyd's strategies, Parsons and Woolfson utilize a looped sequence on the title track to create new downbeats. "Some Other Time" employs two different lead vocalists and yet gives the illusion that only one is involved. Captivating strings, a piccolo trumpet, and bona fide pipe organ grace "Don't Let It Show." The origins of "Nucleus" stem from a unique analog keyboard concoction dubbed "the Projectron," devised by Parsons and electronic engineer Keith Johnson. Andrew Powell's orchestral and choral arrangements top it all off, with "Total Eclipse" arriving as a frightening track that presages the climactic "Genesis Ch. 1 V. 32."

Does man or machine win in the end? Decide as you get lost in Mobile Fidelity's UltraDisc 180g 33RPM LP pressing. Secure your numbered copy today!

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Colin Chiddle’s Art of Dark releases its 14th EP.

Art Of Primitive Sound is a sensational journey to the origin of Music. In his crucial research chapter on the Paleolithic, Walter Maioli between 1986 and 1991 investigates the soundscape of different geographical, climatic and botanical environments, in which the mystery of the ancient human-nature relationship resides. What emerges is an expanded and unprecedented Paleorganology, with a range of acoustic and natural instruments from all over the World. Rubbing of fossils, animal artefacts, plant elements of all sorts, everything becomes sound and each object opens up forms of imaginary communication, psychic effect and unexplored languages. Whistles, flutes, leaf and shell rattles, rhombuses, horns, bone pipes, slate slabs, bamboo arches, stones, vertebrae, seeds, stalagtites etc...how great can be the Natural Orchestra inherent in the spirit of forests, rivers, caves, seas, swamps or Amazon jungles? Thanks to an interdisciplinary partnership (Anthropology, Archaeology, Botany, Ethnomusicology) of collaborating friends, Maioli directs an Opera of universal character inspired by the archaic essence of sound and infrasonic dimension.

Repress

Als Al Di Meola Anfang der 90er Jahre in Kooperation mit
Gibson die Al Di Meola Jazz Guitar kreierte, war es nur eine
Frage der Zeit, bis der einzigartige Klang dieser Gitarre auf
einem Studioalbum zu hören sein würde. "Orange and Blue"
war 1994 dieses Album. Di Meolas virtuose Gitarrenläufe
und Solos verbinden seine einmalige Technik mit einer
neu-entdeckten Leidenschaft für Swing. Kompositionen wie
'Chilean Pipe Song' und das wilde 'Casmir' prägen diesen
Meilenstein. Die Reissue ist nun erstmals überhaupt auf
Vinyl verfügbar und erscheint zudem als CD Digipak.

Matthew Doty didn't set out to write a solo album. His first batch of weightless and brightly lit material under the name Deserta began to take shape in 2017. Shortly after finding out he was going to be a father, Doty started working on a batch of songs inspired by the joy and the unknown of the world he was about to enter. That inspiration is the sonic and emotional backbone of debut album Black Aura My Sun.

Like a hot air balloon headed straight for the stratosphere, Deserta reveals yet another side of the songwriting Doty has spent decades refining. As experimental as it is enthralling, Black Aura My Sun applies the vapor-trailed production values and sublime dynamics of Doty's previous group projects (including post-rock band Saxon Shore and the synth-laced post-punk of Midnight Faces) to a shoegaze-y sound that splits the difference between Slowdive and Sigur Rós.

Doty began finding his own musical voice in the early '00s with the sky-piercing efforts of Saxon Shore. While it was initially a collaboration with Josh Tillman (a.k.a. Father John Misty), Doty was Saxon Shore's only consistent member over the course of five acclaimed records. His responsibility spilled over into everything from booking shows to the songs themselves. He was never completely alone in his pursuit of post-rock perfection, however, so Deserta is very much a new endeavor: a trial-by-fire that was written, recorded, and mixed in total solitude.

Deserta expands and contracts, with chords that drift like clouds, drums that drag and dissipate, and hooks that hang in the air for what feels like forever. That doesn't mean Black Aura My Sun is a subtle or soft record. It actually whips up quite a racket and is particularly heavy when piped through a pair of headphones.

Deserta is Doty's main creative outlet right now and a one-way ticket to another dimension entirely.

“A Dream In A Dream” is the debut LP by DJ Piper, also known as Felix Wagner of techno superstar duo FJAAK.
One might be surprised about this all hip-hop instrumental album looking at Felix’ all dance music focussed musical resumé. Nevertheless, he has been crafting rap beats ever since he started producing as a teen, but had his childhood friends freestyle over the tracks solely. It took until 2020 when he teamed up with Lukas and
Jonathan Nixdorff of Kommerz Records to release his first solo track “Iluminay”, which was part of “Kommerz Season 1: Anti-Virus” compilation and shared by B-Real of Cypress Hill right away.

Now, 2022, marks the right moment to share his debut album, a waltzing ode to hip-hop’s golden era. The Berlin- Spandau original merges the legacies of both Pete Rock and Dr. Dre, while funky breakbeats meet laid back SoCal “Chronic” vibes. 12 instrumental tracks and 2 skits strong, his album tells the story of a young man, who lives up to his wildest teenage dreams. Most of the track ideas came up while being on tour with FJAAK. Between international transit areas, making inspirational new friends and bizarre encounters all over the world, beat making became DJ Piper’s safe space to process all the positive madness around him. As a result, “A Dream In A Dream” breathes that raw, untamable creative energy around Felix’ extraordinary day-to-day life, while being heavily influenced by the sound of his childhood, 90s and 2000s rap.

To visualize “A Dream In A Dream” DJ Piper and Kommerz Records joined forces with Raman Djafari, a childhood friend of the artist, who illustrated music videos for Dua Lipa and Elton John (no joke!) and worked for New Release Information Adult Swim. Raman’s supernaturalistic aesthetics bring life to DJ Piper’s somewhat psychedelic, somewhat nostalgic fantasy, locating the album in an otherworldly version of Spandau, hometown to both of the artists.
As one half of FJAAK Felix became an icon of Berlin techno conquering major festival stages and mainstream audiences while heavily representing underground D.I.Y. mentality up to this very day. As an initiator of Spandau20 label and collective, Felix pushes his creative family and day 1’s regardless of commercial potentials.
The same ethos and love for culture fuels the DJ Piper project. No matter if it’s FJAAK or DJ Piper, techno or hiphop… Integrity is key!

Bill Nace"s Through a Room represents a seismic progression from Both, his startling 2020 debut solo LP for Drag City. Nace"s career has been defined by a relentless probing of ways to frame the complex menu of human emotions, and that the guitar has been his primary tool for exploring this terrain is of little consequence. On this new release, he also employs tapes, hurdy gurdy, doughnut pipe, quelle est belle, as well as his latest instrument of choice, taishogoto. This is also, ultimately, insignificant. What matters is the discerning spirit which animates his work. The tracks are carefully built from loops and phrases that talk to each other, subsume one another, overlapping and crashing and diving and expanding and emerging into unimagined vistas. On the whole, the record offers a fascinating and engrossing chronicle - a sequence of interrelated stories told by a temporally dislodged narrator. You think you"re here, then you"re there, and then you go through trapdoors and along tunnels, into cellars and secret rooms, and you find that actually you"re back where you started. But it"s not hard to follow. Trust me. Nothing this enticing can be hard to follow. The record was recorded and edited in Philadelphia during the uncertain summer of 2021 with engineer and co-producer Cooper Crain. Where Both was a chiseling down of spontaneous live performance, Through a Room, while obviously the work of the same artist, treats its sounds as building blocks, combining them to mesmerizing effect. What"s striking is the poise, the degree of authorial intensity. The false dichotomy of composition and improvisation is thoroughly and rightfully abolished. Bill"s interests range from post-punk to post-industrial to hip-hop to free jazz to avant-garde composition, and every area between such unhelpful labels. From the inscrutable, evocative track titles to the enticingly baffling cover art by his longtime compatriot Daniel Higgs, Nace is guided by an ineffable, internal muse, a persistently personal stormcloud of ideas that, ultimately, comprise that thing we call art. Here"s the real deal. - Matt Krefting, Holyoke, 2022

In 2003, Pisco Crane assembled a six-piece band from motivated and talented like minds in the Kinshasa slums where he grew up. Pisco had been involved with a handful of local rap acts when he was younger, but after meeting legendary instrument builder Bebson De La Rue, he was inspired to follow a new path. He set about building instruments from the discarded trash that surrounded his city: bits of old computers or oil cans were fashioned into bass guitars and drums, and keyboards were bashed together using springs, metal pipes, and offcuts of tubing. If there was a core philosophy that guided Pisco at this stage in his journey, it was that everyone should have access to instruments, no matter where they come from or what their budget might be. And following in the footsteps of Bebson, Pisco locked into a Congolese tradition that touches on the eccentric genius of globally lauded artists like Konono Nº1 and Staff Benda Bilili. Over the years, Fulu Miziki's notoriety grew in the Kinshasa underground - their utopian vision of the future was infectious. Eventually, they were joined by performance artist, sculptor and fashion designer Lady Aisha, who offered the band unique colour and a soulful central focus. Influenced by Kinshasa's street performance scene, Aisha helped the band devise vivid masks and costumes that were as electric and singular as the instruments they played, and the scene was set. In 2020, as the world was plunged into lockdown, footage of Fulu Miziki went viral and their star began to grow exponentially, with a video of the band preforming the track 'Tikanga' racking up millions of views on Facebook. The band used this opportunity to work on documenting their sound, and shored up at the Nyege Nyege studios in Kampala for a year to assemble a definitive album. Recorded by HHY & The Macumbas' Jonathan Saldanha, this record captures the band's furiously innovative mixture of industrial sonics, spiritual jazz, punk, and Congolese soukous pressure. At their best, Fulu Miziki sound almost completely out of time, curving pounding rhythms around microtonal clanks, rousing chants and spiky sonics. On 'Mutangila', there's a hint of disco in the 4/4 stomp, but it's been shifted into a post-punk ritual, adorned with complex bell percussion and overlapping vocals. 'Congo' is even harder to define; electrified buzzes form a bassline, but it's the mindboggling rhythms that shuttle the track into psychedelic realms, led confidently by Lady Aisha's limber rhymes. Fulu positively slither on the sultry, industrial-influenced 'Sebe', while 'Tikanga' reminds of Congo's rumba-derived soukous traditions, materializing the sounds into the future with tight, pounding percussion and head-melting fx. The story of Fulu Miziki is sprawling and complex and constantly evolving, with various offshoots and band iterations. Two members left the band in 2016 to form KOKOKO! with French producer Débruit. Not long after they recorded this magnum opus album, several other original members left to form a similarly named outfit currently based in Europe. This other incarnation recently released an EP of electronic productions without the band founder Pisko Crane and lead vocalist Lady Aicha, on the UK based Moshi Moshi records. Pisco and Lady Aicha currently lead a different outfit in Kinshasa made up of completely new musicians. This full-length is the remaining proof of Fulu Mziki at their most vital and most complete - it won't be repeated - and can never be recreated. It's an essential portrait of one of the Democratic Republic of Congo's most innovative contemporary outfits, and some of the most surprising hybrid music you're likely to hear.

Rousing Robocop Knock-Outs

The third studio release from the There’s Something About Mary star Produced by Beserkley Records founder Matthew King Kauffman and pop-legend and Rock ‘n’ Roll Hall Of Famer, Kenny Lagun. Available CD & LP, with an exclusive green colored variant for Independent retail Jonathan Richman’s intended Beserkley catalog is available again. His true releases, Jonathan Richman & The Modern Lovers and Rock ‘n’ Roll With The Modern Lovers are back, as originally intended, on CD and LP with exclusive coloured variants for Independent retail. Enter Back In Your Life. While credited to Jonathan and the Modern Lovers (which now included Andy Paley – Brian Wilson, Chris Isaak, NRBQ, John Wesley Harding), the release was Jonathan, accompanied on about half of the material by the Lovers. It followed the 'Live' record” Another musician on the record, and co-producer, was Kenny Laguna, whose work with Buddah Records (The Ohio Express, 1910 Fruitgum Company, The Lemon Pipers,) plus Tommy James & The Shondells, Crazy Elephant, Bow Wow Wow, and Joan Jett. Laguna was a perfect person to put Jonathan’s sound where it needed to go. Featuring the Richman staples, “Abdul And Cleopatra,” “Affection,” and the title track, Back In Your Life signals the ending of his Beserkley tenure, but with much more to come . . .

We, the label, asked Ben Wallers (ex-Country Teasers) to write a press release for his new album. "Press Release And Give Me The Disc as Peter said to Murphy said to Daniel said to Ash said to J said to the drummer subs please check name was it Martyn Atkins? No... scratch that please Roger, there's nothing funny about not knowing all the members of Bauhaus. Announcing the new album by The Rebel, yay! Wow! Fucking hell, great! How long is it this time? Oh it's getting on for the optimal 45 mins. Fit on side of a D90 but go bit wobbly near end of SA90. I am listening to my copy on vinyl record, it's much better than tape. That's the intro. Once upon a time there was a man/boy a sort of immature Peter's Pan type pan-pipe type who COULDNT WOULDNT grow up a bit like Keith Richards and who er where was i? The Vagina Museum is very near Maureen Paley's art gallery where if you hurry you can see some INCREDIBLY GOOD paintings/art. Anyway once upon a time it was february 2021 if that's last year or 2020 if it was the one before that, i've lost count, honestly this Covid thing is SO confusing isn't it? Anyway. Ducking fomestic crisis as usual reached boiling point again and i fucked off didn't i, did a runner, off to Turkey wiv a lih-ooh bih-uh ragarahn me ed, first of all 2 weeks on George's spare mattress, then 2 weeks in Merlin's magical tower, then a week in a fucking EasyJet Hotel with no windows, then at last my new exile retreat, Congreve Ho. Meanwhile Dad got me a new recording device the size of a VHS tape, the Tascam D-POO 8 S-E-X multitrack. Quality, oscar mike golf!! Urine for a surprise Listener/s! Ural b sayin "Y could ont he ov get 1 of these B4?" Well! Paid off the fuckin mortgage, didden Eye listenerz. Paid the fucking mortgage of. Dad said "Lets get you a reward Son! Anything name it!" Well i said ... can you fix it for me to touch Britney's hat? The one she wore for the Milkshake video. Great album. Recorded it in exile, from where i write this press release and give me the tape Kevin Haskins." And he did. Tracklist: 1. Nemo To Self 2. I’m Wok Inner Gdn.C 3. A Cretian Build-Up 4. Lays A Seamless Transition 5. A Bottle Of Timotei Hair-Shampoo 6. Long Way Off 7. Teulleodd Hapys (Dave 1) 8. I Aint Gonna Lie To Ya 1 9. Bisgeden Am Swper Eto (Dave 4) 10. Put Your Fucking Glasses On So You Can Fucking See 11. Happy Families (Dave 3) 12. Pyfgosycfs 2/Aquafauna 13. Dave Two Ukraine Nil 14. Nemo Self 2

Heavy-duty Colombian salsa group The Latin Brothers were formed in 1974 by the Discos Fuentes A&R team as a sibling band of Fruko Y Sus Tesos in order to provide the local market with a trombone-heavy ensemble in the mode of the popular Nuyorican Willie Colón orchestra. The band was led by Julio "Fruko" Estrada on bass, featuring basically the same musicians as Los Tesos, minus the trumpets and highlighting the cutthroat trombone work of Gustavo "La Pantera" García. At the time Fruko's Tesos were going through a transition and his talented former lead vocalist, Píper Pimienta, left to sing lead in The Latin Brothers while Joe Arroyo and Wilson "Saoko" Manyoma took over vocal duties in Los Tesos. "El Picotero" was The Latin Brothers' debut album and remains to this day a favorite of salsa dura fans the world over. The album established The Latin Brothers as a bona fide contender in the crowded field of trombone-centric salsa bands taking over the airwaves and dance floors around Latin America. With this bold and brassy record The Latin Brothers would inspire future Colombian salsa orchestras as well as helping establish Medellín as a center of salsa almost as famous as Cali.