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Brooklyn based drummer/producer Jason Nazary (of Anteloper) makes his We Jazz Records debut with "Spring Collection", released on 25 June. The album sees Nazary crafting some deliciously sparkly solo cuts plus working long disctance with choice collaborators Jaimie Branch, David Leon, Ramon Landolt, Matt Mitchell, Grey McMurray and Michael Coleman. This is essentially a collection of home recordings and the whole operation has an infectious feeling of immediacy to it. The result is improv adjacent electronic music, with modern production aesthetics transposed over spontaneous compositions.

Jason writes:

"With Spring Collection, my aim was to capture the spirit of spontaneity & collaboration lost in the absence of live music. Like most everyone else last spring, I suddenly had a lot of time on my hands and with all my work cancelled, and with an indefinite lockdown in effect, it became immediately apparent that most of my time – save a walk or two a day around the neighborhood – would be spent in the tiny one bedroom apartment I share with my wife and two cats.

What kind of music does one make during lockdown? I would begin my days with a cup of coffee and all the cables of my modest little modular set up in my lap, slowly discovering new sound worlds as I connected one cable after another – these became the beginnings for the pieces in Spring Collection. With these unformed sketches, I would record an improvisation, an exploration of sonics: a small kit of bells, shakers, pans, pots; their resonance captured in fine detail with ultra sensitive microphones. These became, in effect, a conversation first with myself, but later one I knew I had to open up, make social. In the desire not to diminish my collaborative impulses, I felt compelled to involve some of my favorite musicians in the process alongside me."

"Spring Collection" is released by We Jazz Records on 25 June on vinyl (neon orange & black vinyl editions), tape and digital formats. The vinyl edition comes with a booklet including original artwork and poetry by Todd Colby.

A Beautiful Revolution Pt. 2 was created with hope and inspiration in mind. The spirit of the album was meant to emulate what a greater day would sound and feel like. We were in the midst of some tough political and socially challenging times. There was still hurt, anger and pain lingering, so I was thinking, “what is the next step in this revolution?” I thought about what being still in these times had brought me and that was a peace beyond understanding, a greater love for self, a closer connection with God, and more appreciation for my family, friends and the simple things in life. I wanted to write about that and create music that embodied that. What does a new day, a brighter day feel like being told through an emcee and some gifted musicians? How could this music be an example of the beautiful aspects of revolution that include joy, self-love, compassion, dreams, peace and good times? As a piece of art, I believe we took it to different places musically only to come back to the original intention. To bring joy to people’s hearts, fun to their lives and smiles to their souls. ABR2. Love Common RADIO: 6Music A List, Album Of The Week on 6Music, support across BBC R1, 1XTRA, Radio 2, 6Music. PRESS: Features in Huck, New Cue, DIY, Daily Star, The Guardian, Line Of Best Fit, MOKO, Clash, NME and more… “If ‘…Pt 1’ felt like a look at the progress we made last year, then this follow up stares down the road ahead – not with trepidation, but with boundless optimism” – DIY **** ‘A Beautiful Revolution, Pt. 2’ is the soundtrack to a new revolt. It’s about unity in the face of adversity and bringing awareness to the Black struggle. But at its core it’s a celebration of Black pride that sees Common in full swing as a champion of peace, love and freedom.” - NME “This is Common’s most hopeful album in years” – The Independent “A late career high” - Clash

Back in 1994, when Lambchop first lurched lackadaisically into public view, they seemed to many people freakish, outlandish, destined at best for the pages of photocopied fanzines and the graveyard hours of specialist radio stations. A sprawling collective of Nashville musicians —eleven were credited on the sleeve of I Hope You’re Sitting Down / Jack’s Tulips, one of them apparently responsible for “open-end wrenches” —they’d named themselves after a sock puppet, inexplicably given their album two titles, and stuck a painting on the cover of a small, barefooted child holding a dog whose cock and balls are on proud display. Perhaps to counteract this bold depiction of canine masculinity, the inner sleeve offered a black-and-white shot of what the more refined sometimes call a “lady garden.” The back cover offered a painting detail of a wedding dress. So far, so weird.

Where Lambchop brought us was somewhere so singular and bewilderingly gripping that — to perhaps no one’s greater surprise than
the band themselves, whose homeland remained baffled for quite some years to come — the album ended up in British music paper NME’s Top 50 Albums of the Year. In case anyone were to consider this an anomaly, France’s similarly influential Les Inrockuptibles placed it at number 25 on their own list. Not bad for a band who had gathered since the mid-1980s, once a week, purely for pleasure, in that smoky, dimly lit basement. Not bad, either, for a record whose sessions were initially only expected to produce enough material for a handful of 7 -inch singles. Disheveled yet tender, anarchic yet intricate, I Hope You’re Sitting Down / Jack’s Tulips instead provided the springboard for a career — still ongoing, despite repeated reinventions, and still compelled by stubbornly freakish, outlandish intentions — during which Lambchop’s ever-changing line-up has continued to confound expectations. Wagner, meanwhile, remains one of our most cryptic but crucial voices, an authentic poet of the magical banal. Sure, it was weird here, but it was wonderful, too. Over a quarter century later, it still is.

Back in 2004, Vampisoul was extremely honoured to play a role in the return to recording of the legendary Joe Bataan, which fully materialized in the lauded 2005 album "Call My Name", written and produced by Daniel Collás.After being out of print for a while, the LP has now been revamped featuring new artwork and liner notes written by Andrew Mason and Daniel Collás, plus photos from the sessions.

“This whole project grew out of a song called 'Cycles Of You', which I had written around 2000-2001 with the guitarist and bassist of my band at the time, Easy. The chord progression and vocal melody really reminded me of Bataan, and it occurred to me that it wouldn't be impossible to get him into the studio to do a guest vocal if we ever recorded it. I had met Bataan a few years before at a small, family-reunion style show at the Nuyorican Poets Cafe in my neighborhood, where he not only still sounded great, but was also gracious and easy to talk to.

He was agreeable, so we decided to turn it into a Joe Bataan session and do 'Cycles Of You'. The funny thing is, 'Chick-A-Boom', a live favorite with Easy, was hastily added so we could have a B-side, but it ended up chosen to be the A-side of the single. When I got the opportunity from Vampisoul to do a full album, I was hoping Bataan and I could write some songs together, but our schedules proved tough to coordinate. I figured the best way to go about it was to do most of the work and just have him come sing on it. I thought this might be a little weird for him, since he is used to writing and producing most of his own records, but he was open to it.

The reactions to this album were gratifying. Diehard fans accepted it as a welcome addition to the canon and regularly compared it to some of my favorite records of Bataan's. At one point a New York radio station's listener poll listed two songs off of the album in the top ten of all-time best-loved Joe Bataan songs, and Ry Cooder enthusiastically mentioned "Call My Name" in a Wall Street Journal interview.” Daniel Collás, producer of "Call My Name".

“Victory in Blood” is the band's first studio album in over 10 years and offers fresh material for the first time after the highly acclaimed 2018 EP "Annihilation". The new longplayer can be counted as another milestone in the long band history of UNANIMATED and proves that they are still true masters of Nordic Black/Death Metal with insane melodies! The truly incredible artwork and layout was handled by none other than Daniele Valeriani (Mayhem, Triptykon, Behemoth, Dissection, etc. – just to name a few). The vinyl version comes in a Ltd. Gatefold 180g. 2LP, with an Etching on Side D, Art Print and 12-page LP-Booklet. This exclusive vinyl edition also includes a cover version of Brazilian metal legends Sarcofargo, which will be only available on this format. The CD version comes as a 6-panel Pocket Pac eco-friendly enclosure with 12-page CD-Booklet. Also available as digital album.

Since its creation in 2007, Hifiklub has led more than 150 collaborations which have allowed the Toulon trio to open its music to multiple artistic experiences revealing a constant desire for research and novelty. From unprecedented encounters to unique projects, Hifiklub has developed over the years a now substantial discography whose musical proposals range from pop to jazz through the most experimental sounds and even traditional music. One path, however, remained unexplored: contemporary music."Last Party On Earth" is organized around the association of three energies: contemporary composer Jean-Michel Bossini, singer Duke Garwood and the instrumental ensemble Hifiklub.

Surrounded by mysticism and darkness, the creation has cinematographic dimensions. It positions the listener in a depth and disposition of soul where the voice - and the poetry - of Duke Garwood is carried by Hifiklub and Jean-Michel Bossini around cold and tormented atmospheres. The album seduces by the detail of its sounds, its apparent tranquility and its intimate atmospheres thwarted by harsh flashes.

Mixed by Alain Johannes (Queens of the Stone Age, Them Crooked Vultures, Eleven), the album sees the exceptional participation of the string trio Anpapié (Alice Piérot, Fanny Paccoud and Elena Andreyev) who magnificently perform the score by Jean-Michel Bossini.

All songs performed by Hifiklub, Duke Garwood and trio Anpapié (conducted by Jean-Michel Bossini)

Pascal Abbatucci Julien – drums, percussion
Eléna Andreyev – cello
Jean-Loup Faurat – guitar
Duke Garwood - vocals, guitar
Régis Laugier – bass
Nico Morcillo – guitar
Alice Piérot – violin
Fanny Paccoud – alto

Collaboration is an essential ingredient to this open trio’s creative approach, forming a recurring theme in Hifiklub’s extensive discography and filmography. Based in Toulon, the hyperactive experimental rock band offer a diverse ever-evolving catalogue that now boasts over 150 artist collaborations since they started in 2006. Over the years they have formed as many fruitful artistic friendships allowing them to explore the endless possibilities of expression combining sound, image and text.

Some of the artists that feature in Hifiklub’s kaleidoscopic discography: Lee Ranaldo (Sonic Youth), Alain Johannes (Queens of the Stone Age, Them Crooked Vultures, Eleven), Roddy Bottum (Faith no More, Imperial Teen), Matt Cameron (Pearl Jam, Soundgarden), The Legendary Tigerman, Jad Fair (Half Japanese), Iggor Cavalera (Sepultura, MixHell), Jean-Marc Montera, R. Stevie Moore, Mike Watt (Minutemen, The Stooges), Fatso Jetson, Nels Cline (Wilco), Scanner, Mike Cooper, Eugene Chadbourne…

Comes with 10'' booklet and download code. Limited 500. - "Those awaiting", the name chosen by the musicians of Sabreen, still rings true forty years after the foundation of this group in Jerusalem. Voice of the hopes as well as the anger of the Palestinian youth, this group has recorded four self-produced albums. With the weapons of poetry, they will embody the voices of resistance against the occupation but also the desire for emancipation from tradition.Emblematic of this state of mind, their second album Death Of The Prophet was released on cassette at the beginning of the first intifada. It will be the soundtrack, while providing the tuning fork of the future generations. Whether meditative beaches or collective outbursts, joyful outbursts or more serious moments, the band goes through the range of feelings, drawing its inspiration from the sources of classical Arabic music and popular folklore. The result is a unique style, irreducible to any category. All that makes that forty years later, this cult album, never released on vinyl, remains very current. Including booklet with extended liner notes by Jacques Denis and rare photos.

It’s been four successful collaborative releases and Mama told ya has grown up so much since this last couple of years.

Faithful to its praise of collaboration, this fifth release will be no exception: Anetha invited the prodigious Alex Wilcox in a 4-tracks emotional roller coaster adventure entitled « It’s okay to cry ». Because yeah, newsflash : it really is.

Best piece of advice from Mama, you should now let it go, open the floodgates, release the pressure. Let yourself be carried through BPMs, Glitched-Ghetto-Techno, satured yet textured, that our powerful duo concocted. It is time to catharsis! The artwork has been commissioned to the extraordinary Risa from Olga Goose Candle. It was an evidence to bring to the table her vintage kooky wax characters whose ultimate poetic fate is to melt. Into tears.

Photographer Anaïs Lallite and designers Diplomatie Studio took care of the design, mastering was entrusted to Sixbitdeep, as usual. Embark for a jazzy-cowboy-bepopesque-techno ballad in Funky Blender (A1). At first, you’ll feel the sharp blades twirling by your ear: Alex Wilcox chops up what’s left of our sorrow then smooths it up with some soul in it through that « groovgeous » bass saxophone. Featuring Latrice Pink, Alex Wilcox shows some damn good maestria in glitched and vocal effects with RESPOND! (A2). The urge to let it go is relentless. So irrepressible that you let the boisterous uptempo drumming race sweeps you in direction of that point of no return where you’ll have nothing else to do but finally release. And here we are, Paris, Texas (B1), where two universes collide. Both Anetha and Alex Wilcox discharge their heart into two beautiful tunnels of grief intertwining into one bomb aquatic transe track. The drop you’ve been waiting for is here and it’s okay to cry, honey. Alex Wilcox upbeats one last time our journey in a spooky, spine-chilling electronic course in BOO. (B2).

Sharing his InBach album with the world in 2020 set events into motion that ultimately led to Arandel making second edition in the critically acclaimed, borderless project that unites rare instruments, musical reimanigation.

Arandel unites once again behind the musical phrases of the Leipzig composer specialists of ancient and modern instruments (Thomas Bloch), modern synthesizers and moogs, strings experts (Gaspar Claus), and the poetic spoken word of Myra Davies and Bridget St.John.

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"There is a Bach for everyone" Arandel says, "and that discovery is what led me here, to InBach". Beneath the intricate history, the godlike adoration placed upon Bach, he was a playful musician, an eclectic one even. And so, a full year after the release of the first InBach record on InFiné, there is enough material to make a second one. "There is so much about Bach I didn't even know when making the first one - but after the release, people kept coming to me, telling me about certain pieces I should listen to or rework; songs that I had never even heard of."

The second InBach grew like a garden from the seeds of the first one - an eclectic journey through melodic fantasies, intricate sound design and a certain Pop silver lining. Some tracks were born out of Arandel's band performing on stage, experimenting with the songs live and composing them anew, like "Nos Contours", a new, French-lyrics version of Bodyline with Ornette, Arandel's stage partner.

InBach vol. 2 is a logical consequence then, of someone diving into a pool of music and history so large that it is being chronicled to this day. A substantial part of the instruments used on the lofty, eclectic album were recorded at the Musée de la Musique Paris: rare instruments like the *Erard square piano, ondioline, Zach's cello, Stroh violins*. They help shape the unique sound of Arandel's InBach project: sometimes _eerily familiar, always otherworldly and elusive.

In the vein of rare instruments, the first guest musician Arandel approached for InBach was Thomas Bloch, who lends his gift to four tracks over the two albums, playing the ondes Martenot, one of the first electronic musical instruments ever invented. Thomas has worked with many major artists in his career of ike of Radiohead, Gorillaz, Marianne Faithful, Tom Waits, Daft Punk.

The record travels *between styles, ideas and moods elegantly - it is a distinctly fun and personal album. Freeing himself from the weighty shackles of expectation surrounding the classical maestro, Arandel goes for the core of every Bach piece he tackles, making them his own. on "Octobre", based on Air On G-String, from Orchestral Suite No. 3 D-dur, BWV 1068, his nephew tells a dreamlike story of an ominous gang of children, literally blossoming in the mud. "Fabula" - featuring the French singer Scalde - based on the melancholic, Christian lament Meine Seele wartet auf den Herrn, becomes a grandiose, auto-tuned pop ballad on InBach vol. 2, featuring the virtuoso cello of fellow InFiné associate *Gaspar Claus*.

The use of spoken word is another new layer to InBach, and acts a lyrical thread carrying the listener through InBach vol.2: the closing track features Bridget St.John, John Peel-associated folk legend from the UK to offer to collaborate on a poem for this second volume, she replied to him with a line from André Gide : "You can't discover new land if you aren't willing to lose sight of every shore". A lovely way to sum up the InBach experience for both artist and listener.

Detroit’s own Malik Alston is a man of many talents ranging from singing and producing to djing and performing poetry and has a long list of classic realeases under his belt.
This new EP for Mother Tongue is once again another demonstration of his brilliance!
‘In A Better Way’, the downtempo collaboration with fellow detroiters Jason Hogans and John Arnold, appears here in an extended version on the B side and gets a full house treatment with the help of Dwayne Jensen on the main side to become a relentless gospel house anthem! To complete the EP an exquisite remix of Alston’s ‘Promise Me Love’ by Kemetic Just’s own Just One wich feautures the sublime vocals of Laronn Dolley.

Debut studio album by legendary American singer/songwriter/artist. Originally released on November 10th 1975 by Arista Records. When she emerged Smith's music was hailed as the most exciting fusion of rock and poetry since Bob Dylan. Produced by John Cale with a Robert Mapplethorpe cover - a raw combination of poetry, shamanistic chant and rock ‘n’ roll thrills.

Color Vinyl

'This is the story of a man, marked by an image from his
childhood.' Thus begins, with deceptive simplicity, Chris
Marker's La Jetée (1962). The film, by far Marker's bestknown
work, synthesizes many of the elusive filmmaker's
central preoccupations - time and memory, power and resistance,
the ephemerality and resilience of love - yet it also
undermines the very idea of film. Composed almost entirely
of still photographs, La Jetée quite literally pieces together
the tale of an unnamed, forsaken protagonist, drafted into a
series of time travel experiments in post-apocalyptic Paris.
While Marker creates some of the most hauntingly beautiful
imagery in cinema, what animates La Jetée's frozen
pictures is its sparse and unsettling soundscape. Whispers,
breaths and heartbeats offer an unnerving reminder of
bodily rhythms that, inside the film and out, will inevitably
cease. Fragments of symphonic music at once capture a
love affair and underscore the tragedy awaiting it. The poetic
momentum of the narrator's voice, our only guide: 'On
the tenth day, images begin to ooze, like confessions.'
Superior Viaduct is honored to present the first-time release
of the soundtrack from La Jetée. This vinyl album
features both French and English voiceover narrations,
along with organic textures and Trevor Duncan's impressionistic
score. More than half a century has passed since
La Jetée's theatrical release - now is the time to travel back
to the 'sudden roar' of this masterpiece in a completely
different light.

Intimate, sensual: such is the music of Malik, shaped as desired over the albums: Un (2017), Tempéraments (2019), which earned him the nomination “Revelation album of the year” at the Victoires de Music 2020… And, today, Troy. Which opens a new chapter, that of an organic bias whose idea germinated after his last tour. Major fashions, solar and organic: TROIE imposes itself in warmth and sensuality.

Malik Djoudi has always been fond of duets or collaborations - with Juliette Armanet, Cécile de France or even Etienne Daho, support from the start - does not deprive himself of it here. Thus, we savor the tempo shared with the young rapper Lala & ce, “Point sensible” and the synthetic poetry explored with Philippe Katerine, “Eric”. Third collaboration, and not the least: "A few words", sung with Isabelle Adjani, the immense actress in a state close to Ohio, that of the navy sweater made in Gainsbourg.

It is highly likely that you will have hummed a song by
Charles Trénet at some point in your life. Thus ‘La Mer’
(aka ‘Beyond the Sea’), a song written on a train
between Narbonne and Montpellier in July 1943, is sung
in Tokyo as well as in Los Angeles and its popularity is
universal. And this is not the only one, among the 700 or
so songs that Charles Trénet submitted to Sacem during
a career of exceptional longevity: nearly seventy years.
 10 CD box set features 277 tracks, including 11 rarities.
This edition presents the complete studio recordings
1937-1962 plus several bonus titles from 1933-1936.
 2LP vinyl format offers a selection of 29 of his most
famous songs.
 What they said about Charles Trénet:
 “This new pulse, this extraordinary joie de vivre brought
by the songs that this dishevelled boy was throwing by
dozen, were born from the conjuncture of a remarkable
poetic gift and the vitality of jazz fully assimilated by a
fine sensitivity.” - Boris Vian
 “The Sun-King of songs” - Henri Salvador
 “He’s a giant … someone who brought everything to
French song. The ‘Singing Fool’ was not only a singerpoet, he was someone extraordinary who is part of the
heritage. He will be teached in schools, he will be talked
about in universities around the world” - Charles
Aznavour
 “Charles never asked for anything, but he knew exactly
which place was his, which is the first.” - Alain Delon

Underground coldwave duo The KVB are back
with their most potent and immediate record yet.
Produced and mixed by Andy Savours (Black
Country New Road, My Bloody Valentine, The
Horrors), ‘Unity’ represents an exciting
development in the band’s sonic journey.
 Across the album’s ten songs, The KVB
masterfully pull together their trademark
components; radiant guitars, textural synths and
an ear for a moody, brooding melody all presented
here with a renewed dynamism.
 Throughout the album, lyrical themes combine
double meanings and a sleight of hand is present;
Le Corbousier’s brutalist ‘Unité d’habitation’
informs the title track and via the French-to-English
translation ‘Unité’ becomes ‘Unity’ - a rallying cry to
totality on the dancefloor. ‘Unbound’ is informed by
the classic shoegaze stylings of Slowdive and Ride
but also late-modern poet Keston Sutherland and
the idea of recreating a special moment lost to the
past.
 Black vinyl, housed in a deluxe spined sleeve with
the vinyl itself housed in a double sided printed
inner sleeve. Comes with digital download card
included

Spoken word recordings from Gregory Corso, Tina May Hall, Sam Lipsyte, Christine Schutt, Gary Lutz, Allen Ginsberg, Dawn Raffel, Jason Schwartz, Kathryn Scanlan, Scott McClanahan, & Terry Southern. About 40 years ago, in a record shop on Long Island during a weekend visit there to see my parents, i found a double-LP that looked like something i should definitely buy. It was called "BIG EGO", by the The DIAL-a-POEM POETS. On the cover was a picture of John Giorno (a great poet Ed Sanders had turned me on to) on a NYC rooftop with Philip Glass, Meredith Monk, and two kids. It cost $2. I bought it and rushed back to my parents house, where i still had my old turntable in the basement, not far from my Jimi Hendrix and Zappa Crappa posters, and my framed portrait of John Cage. My copy of Eno's "Discreet Music" was still on the turntable, having been left there years before, when i'd fled Long Island for good. I lifted it from the platter, gently slid it back into its sleeve, like a priceless religious artifact, and put Side A of the Dial-a-Poem LP on. I almost lost my mind while listening to it. The next day i went back to the same record shop looking for more DIAL-A-POEM LP's. i found two. One had a long list of names on the back, some famous, and some i'd never heard of before. I bought both LP's, and an hour later, for the first time in my life, i was exposed to the art of Laurie Anderson, whom i'd never heard of before. This was 1978. Her contribution was a piece called "Time To Go". It changed my life. Or at least, that’s how I remember it. I was just a kid, so there were a lot of moments like that, around then. Nowadays, these moments can be had in seconds, with a click of the cursor. That evening, as i sat alone by my imaginary campfire (ie; that record player in my parents basement), i promised myself that someday, somehow, i would embark upon a WORDS & MUSIC project that might move people the same way i was moved when i first heard Laurie, and Robert Wilson & Christopher Knowles, and Burroughs, and Ginsberg, and Corso, and Anne Waldman, and John Ashbery, and the great Charles Olson, and so many others. Words, for the very first time, had wielded the same power as music. And it was visceral. Just like music. It ran deep. It was a FEELING. John Giorno died in 2019, but he kept poetry alive like nobody's business. I was lucky enough to have spent some time with him in the early 1980's, when i was briefly a member of The Fugs, and often found myself surrounded by those Ginsberg called, "...the greatest minds of my generation". Ed Sanders (who'd ushered me into that scene) once told me that when he came to NYC, it was easy to go to a cafe, or to St Marks Church, and hear Burroughs, Corso, Ginsberg, and all the greats, reading their poetry. He said that even if you were just a bum on the street, you could just walk right up to them, and start a conversation. They were totally accessible, if they were in the right mood at that particular moment. So i was shocked when Sanders told me he didn't approach any of them, not even once, til he'd been going to their readings for nearly ten years. "For almost a decade, I went to every reading, every lecture, every panel discussion. But I never went near them. Never approached them. Not even once", Sanders told me. "For ten years, all I did, was listen." It took me four decades, but ... better late than never. I finally made WORDS & MUSIC, Book One.

To write these few lines, we spoke to saxophonist François Jeanneau, an old friend of Jacques Thollot who also played on several of his albums, including the “Watch Devil Go” which interests us here. He told us a story which, according to him, sums up the personality of Thollot. A noted studio had reserved three days for a Thollot recording session. The first morning was devoted to sound checks and putting some order in the score sheets which Jacques would hand out in a somewhat anarchic manner. Then everyone went for lunch. When the musicians returned to the studio, Thollot had disappeared. He wasn’t seen again for the three days. When he reappeared, he had already forgotten why he had left, The music of Jacques Thollot is in the image of its’ author: it takes you somewhere, suddenly escapes and disappears, returning in an unexpected place as if nothing had happened.

Four years after a first album on the Futura label in 1971, Jacques Thollot returned, this time on the Palm label of Jef Gilson, still with just as much surrealist poetry in his jazz. In thirty-five minutes and a few seconds, the French composer and drummer, who had been on the scene since he was thirteen, established himself as a link between Arnold Schoenberg and Don Cherry. Resistant to any imposed framework and always excessive, Thollot allows himself to do anything and everything: suspended time of an extraordinary delicacy, a stealthy explosion of the brass section, hallucinatory improvisation of the synthesisers, tight writing, teetering on the classical, and in the middle of all that, a hit; the title-track - that Madlib would one day end up hearing and sampling.

“Watch Devil Go” was in the right place in the Palm catalogue, which welcomed the cream of the French avant-garde in the 70s. But it is also the story of a long friendship between two men. Jacques Thollot and Jef Gilson had known and respected one another for a long time. Though barely sixteen years old, Thollot was already on drums on the first albums by Gilson starting in 1963 and would play in his big band (alongside François Jeanneau once again), ‘Europamerica’, until the end of the 70s.

In a career lasting half a century and centred on freedom Jacques Thollot played with the most important experimental musicians (Don Cherry, Sonny Sharrock, Michel Roques, Barney Wilen, Steve Lacy, François Tusques, Michel Portal, Jac Berrocal, Noël Akchoté...) and they all heard in him a pulsation coming from another world. (Jérôme "Kalcha" Simonneau)

BERTIE MARSHALL is a writer/ performer. He is also an acclaimed memoirist, most well known for his book ‘Berlin Bromley’ (2006) about his transformation from Bertie, an anxious, androgynous, depressed teenager, into Berlin, a teenager who would reject suburban values and become a founding member of punk’s ‘Bromley Contingent’, alongside Siouxsie Sioux, Steven Severin and Billy Idol.

October 29th sees Upset The Rhythm release ‘Exhibit’ by Bertie Marshall, collecting for the first time his songs and spoken word tracks from this fertile period of the 80s-90s.

He’s currently working on ‘Looking: Backwards To Go Forwards’, picking up from where ‘Berlin Bromley’ left off. His other books include the debut novel ‘Psychoboys’ (1997), ‘Nowhere Slow’ (2014), ‘From Sleepwalking to Sleepwalking’ (2016), ‘Wild - re write’ (2017), ‘The Peeler’ (2018) and ‘Pete’s Underpants’ (2019). In 2015 the British Library purchased his writing archive.

From 1980-83, Bertie was the frontman for post-punk boundary-pushers Behaviour Red - they released one single (favourably played by John Peel), did a mini-tour and broke up. At various times Behaviour Red featured Noel Blanden of Normil Hawaiians and fine artist Nicola Tyson. Their sound was characterised by looseness and freedom, boasting at times tribal drumming, streams of vocals, dazed guitars and feedback. Bertie continued sketching out atmospheric compositions afterwards too, walking a tightrope between bewildered pop and gothic folk. Central to everything is Bertie’s commanding voice; heartfelt, impassioned and masterfully leading you through the story.

Bertie became interested in spoken word and performance poetry in the 90s, which then led him into writing and performing in his own plays and devised theatre pieces. He did regular readings and performances in NYC and began writing books inspired by the visceral talents of Acker & Burroughs. Having lived in Berlin, San Francisco, and Brittany, Bertie now lives in London.

Driven by support from the likes of Gilles Peterson, Quantic, Nightmares On Wax, The Nextmen, Lauren Laverne, Danny Krivit and most prominently Craig Charles, Sam Redmore has built a name for himself over the last few years for crafting soul-drenched remixes and reworks of both solidified classics and lesser-known material.

Having spent so much time re-working the classics it is no surprise that production values are high when it comes to his own original music.

At the start of 2021 Sam signed to Jalapeno Records, giving everyone involved cause for celebration after a difficult year and his debut album is slated for May 22.

Many of the album tracks were purpose-built for inclusion in his DJ sets - which can range from cumbia, afrobeat, samba, funk and reggae through to house, broken beat, disco and everything in between…

On The One will be the first single to drop from the album and features the inimitable vocals of poet and rapper Mr. Auden Allen as well as the soul drenched horns of Renegade Brass Band. Debuted on BBC 6 Music when Sam performed a guest mix in April this year, it seemed the perfect track to debut from Sam's new record.

Behind Bandhagens Musikforening we find Michel Isorinne and Martin Sander. After their debut album on Northern Electronics they are now the protagonists of the 8th physical release on the label One Instrument.

The Swedish duo recorded the beautifully crafted six tracks at Bandhagen Airport in Sweden between 2017 and 2020.

Six tracks each made with one instrument with a clear preference for vintage synthesizers.
We are brought through delicate sonic journeys made with the Roland System 100, a semi-modular synthesizer built between 1975 and 1979, the legendary first digital synthesizer Yamaha DX-7, the Roland SH-101, the Oberheim Matrix 6R and the Waldorf Microwave all four from the beloved 80's.

Bandhagens Musikforening's compositions are a radiant work of quiet minimalism and poetic deliberation. We are brought into an intergalactic hypnotic world where dreams are colored and vivid, where immersive electronics have the ability to create landscapes on your mind board.