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For Fans Of: Delvon Lamarr Organ Trio, The Sure Fire Soul Ensemble, New Mastersounds, Soulive, Jimmy Smith, Khruangbin. First reissue since it's original pressing in 2018! The iconic debut LP from the Scone Cash Players. Hammond Organ Stylings By Organ Master Adam Scone. The Hammond Organ is lead singer on this soulful and orchestral journey about industrial decay and the death of the steel town. Deep from the rusted steel mills of Youngstown Ohio, we bring you the much-anticipated reissue of the melting debut from the Scone Cash Players. It's the same organist that brought you the screaming organ on all those Daptone favorites from The Sugarman Three. Scone was behind that organ bench on the modern classics as follows. "Sugar's Boogaloo”, “Soul Donkey”, “Pure Cane Sugar", and "What the World Needs Now." Adam Scone entered the studio on Dunham Street in Brooklyn. He was wearing a blue Adidas jump suit. The studio had just opened. At the helm were his old compadres from The Dap-Kings. Namely Thomas Brenneck, Eric Kalb, Homer Steinweiss and lan Hendrickson-Smith. They make up the "Bliss Machine" behind Scones's groove. It was a truly rare moment to catch these masters of music and taste in between tours of Sharon Jones and Charles Bradley. Tommy put the mics around. Scone powered up the organ. The analog tape machine turned and turned until they couldn't turn any more. These songs were recorded. We worked all day and all night. Tears were shed. Espresso was made. There was beer on tap. 3 days of life were taken to make this album. We will never get them back. They were distilled to 40 minutes of pure emotion. It's a tale of woe. It's a tale of leaving art for responsibility. It's a farewell to an era. It's a journey that the Hammond B3 organ wasn't accustomed to. You can't compare this album to any other organ record. Don't expect to hear what you want. Free your mind. Be open. Your world is going to feel the heat of the BLAST FURNACE! It never quite feels how you want it to. Don't get burned... Tracks: 1. 1% Crown 2. Bliss Machine 3. The Slitter 4. Heavy Gauge 5. Necking 6. Blast Furnace 7. Jet Cool 8 Call & Receive No Call Back 9. Grinding Wheel 10. Structural Failure

Sieben lange Jahre nach der letzten Platte ist „The God Machine“ der sehnsüchtig erwartete Schulterschluss zwischen den frühen Neunzigern und der ausgebufften Raffinesse der Gegenwart. Ein beeindruckendes Album, das die letzten Werke keineswegs ignoriert, aber Komplexität und, Orchesterwucht bewusst in den Hintergrund rückt. „The God Machine“ ist das „Imaginations From The Other Side“ des Jahres 2022, komponiert, arrangiert und vor allem entfesselt von einer Band, die 27 Jahre Zeit hatte, ihren Stil zu perfektionieren. Dieser Spagat ist durchaus als Marschrichtung zu verstehen. „Wir wollten nicht einfach unsere Qualitäten von 1995 herausstellen, aber wir wollten diesen komplexen Weg definitiv nicht auf ewig weitergehen. ‚The God Machine‘ ist ein Neuanfang für uns. Wir haben die Weichen neu gestellt und uns auf gewisse Dinge besonnen, die wir auf den letzten Alben ein wenig vernachlässigt haben.“

„The God Machine“ ist, das wird schnell offenbar, die mühelose Spitze ihres bisherigen Schaffens. Ein Album, das gar nicht erst versucht so zu tun, als wären es noch die Neunziger, und sich stattdessen auf die Muskelerinnerung der damaligen Zeit verlässt. Hochgradig infektiös, beseelt von den Frodos, Peter Pans und Kapitän Nemos der Vergangenheit, ein packendes, aggressives, hochmelodisches und bei aller Zugänglichkeit brillant arrangiertes Album, beseelt von Magie und dennoch kein reiner Eskapismus. Ein modernes Meisterwerk in der Tradition jener Werke, mit denen BLIND GUARDIAN in den Neunzigern nach den Sternen griffen.

Picture Vinyl

Sieben lange Jahre nach der letzten Platte ist „The God Machine“ der sehnsüchtig erwartete Schulterschluss zwischen den frühen Neunzigern und der ausgebufften Raffinesse der Gegenwart. Ein beeindruckendes Album, das die letzten Werke keineswegs ignoriert, aber Komplexität und, Orchesterwucht bewusst in den Hintergrund rückt. „The God Machine“ ist das „Imaginations From The Other Side“ des Jahres 2022, komponiert, arrangiert und vor allem entfesselt von einer Band, die 27 Jahre Zeit hatte, ihren Stil zu perfektionieren. Dieser Spagat ist durchaus als Marschrichtung zu verstehen. „Wir wollten nicht einfach unsere Qualitäten von 1995 herausstellen, aber wir wollten diesen komplexen Weg definitiv nicht auf ewig weitergehen. ‚The God Machine‘ ist ein Neuanfang für uns. Wir haben die Weichen neu gestellt und uns auf gewisse Dinge besonnen, die wir auf den letzten Alben ein wenig vernachlässigt haben.“

„The God Machine“ ist, das wird schnell offenbar, die mühelose Spitze ihres bisherigen Schaffens. Ein Album, das gar nicht erst versucht so zu tun, als wären es noch die Neunziger, und sich stattdessen auf die Muskelerinnerung der damaligen Zeit verlässt. Hochgradig infektiös, beseelt von den Frodos, Peter Pans und Kapitän Nemos der Vergangenheit, ein packendes, aggressives, hochmelodisches und bei aller Zugänglichkeit brillant arrangiertes Album, beseelt von Magie und dennoch kein reiner Eskapismus. Ein modernes Meisterwerk in der Tradition jener Werke, mit denen BLIND GUARDIAN in den Neunzigern nach den Sternen griffen.

Tansparent Red Vinyl

Sieben lange Jahre nach der letzten Platte ist „The God Machine“ der sehnsüchtig erwartete Schulterschluss zwischen den frühen Neunzigern und der ausgebufften Raffinesse der Gegenwart. Ein beeindruckendes Album, das die letzten Werke keineswegs ignoriert, aber Komplexität und, Orchesterwucht bewusst in den Hintergrund rückt. „The God Machine“ ist das „Imaginations From The Other Side“ des Jahres 2022, komponiert, arrangiert und vor allem entfesselt von einer Band, die 27 Jahre Zeit hatte, ihren Stil zu perfektionieren. Dieser Spagat ist durchaus als Marschrichtung zu verstehen. „Wir wollten nicht einfach unsere Qualitäten von 1995 herausstellen, aber wir wollten diesen komplexen Weg definitiv nicht auf ewig weitergehen. ‚The God Machine‘ ist ein Neuanfang für uns. Wir haben die Weichen neu gestellt und uns auf gewisse Dinge besonnen, die wir auf den letzten Alben ein wenig vernachlässigt haben.“

„The God Machine“ ist, das wird schnell offenbar, die mühelose Spitze ihres bisherigen Schaffens. Ein Album, das gar nicht erst versucht so zu tun, als wären es noch die Neunziger, und sich stattdessen auf die Muskelerinnerung der damaligen Zeit verlässt. Hochgradig infektiös, beseelt von den Frodos, Peter Pans und Kapitän Nemos der Vergangenheit, ein packendes, aggressives, hochmelodisches und bei aller Zugänglichkeit brillant arrangiertes Album, beseelt von Magie und dennoch kein reiner Eskapismus. Ein modernes Meisterwerk in der Tradition jener Werke, mit denen BLIND GUARDIAN in den Neunzigern nach den Sternen griffen.

Japanese born Shoko Igarashi's debut album Simple Sentences is a record that, not unlike a piece of luggage checking in from city to city, has managed to absorb vital influences from each place it has landed. Shoko grew up in rural Japan, she studied in the US and is currently
living in the most quintessential European city, Brussels.

Shining in its diversity, Simple Sentences carries elements from each one of those stops in her life.

The influences from Far East are more than evident and funnily enough, even unconscious, which makes them integrate in a beguiling childish and naive way that adds even more to the originality of the sound. Take for Example the lead track ’AppleBanana’ - Echoes of Chiemi Manabe, Hosono and even overtones of Akiko Yano are all seamlessly there. 'Sand Dungeon' is a little gem reminiscent of Yellow Magic Orchestra at the heights of their powers and the aptly titled 'Anime Song' could be an unreleased track from Testpattern’s infamous and sought after LP. 'Lovely Song' in its electronic pastoral vibe could have been produced by Seigen Ono, but is entirely the work of Shoko's expansive creative world.
'CASH OK' harks back to New York’s 90’s Jazz Street scene, paying tribute to her Brooklyn live gigs, and album closer 'Tsuki No Yama' goes back to her roots with a meditative folk sound quite different from the rounded pop edges that the rest of her album carries.

Simple Sentences is like its title implies: straightforward in its brilliance and simplicity, yet carefully measured with a maturity that almost makes us wonder - how did Shoko manage to absorb all these influences and bring them together into a vibrant sound collage which ultimately is fresh and timeless.

‘Sketches of Miles‘ – eine schillernde Hommage an die
Jazz-Ikone und ein Abend mit Nachhall. Gemeinsam wandeln das Theo Croker Quartet, die Mitglieder der Berliner
Philharmoniker und Magnus Lindgren auf den Spuren des
Meisters und hinterlassen mit diesem Konzert ihre eigenen.

repress

Back once again… Know How offer up another two treasured cuts on 7 inch. This time they set their sights on the magnetic duo of Erick Sermon and Parrish Smith as EPMD – uncovering the quintessential ‘So Watcha Sayin’’ backed with ‘You Gots To Chill’ – of which 7” copies of the later have been trading hands for £120+.

Doublepack of thumpin' repetetive soulful housejams from 1997 by the team of Woody Mcbride and Dave Stevens, Re-mastered re-issue

The Hammond Organ is lead singer on this soulful and orchestral journey about industrial decay and the death of the steel town. Deep from the rusted steel mills of Youngstown Ohio, we bring you the much-anticipated reissue of the melting debut from the Scone Cash Players. It's the same organist that brought you the screaming organ on all those Daptone favorites from The Sugarman Three. Scone was behind that organ bench on the modern classics as follows. "Sugar's Boogaloo", "Soul Donkey", "Pure Cane Sugar", and "What the World Needs Now." Adam Scone entered the studio on Dunham Street in Brooklyn. He was wearing a blue Adidas jump suit. The studio had just opened. At the helm were his old compadres from The Dap-Kings. Namely Thomas Brenneck, Eric Kalb, Homer Steinweiss and lan Hendrickson-Smith. They make up the "Bliss Machine" behind Scones's groove. It was a truly rare moment to catch these masters of music and taste in between tours of Sharon Jones and Charles Bradley. Tommy put the mics around. Scone powered up the organ. The analog tape machine turned and turned until they couldn't turn any more. These songs were recorded. We worked all day and all night. Tears were shed. Espresso was made. There was beer on tap. 3 days of life were taken to make this album. We will never get them back. They were distilled to 40 minutes of pure emotion. It's a tale of woe. It's a tale of leaving art for responsibility. It's a farewell to an era. It's a journey that the Hammond B3 organ wasn't accustomed to. You can't compare this album to any other organ record. Don't expect to hear what you want. Free your mind. Be open. Your world is going to feel the heat of the BLAST FURNACE! It never quite feels how you want it to. Don't get burned... FOR FANS OF: Delvon Lamarr Organ Trio, The Sure Fire Soul Ensemble, New Mastersounds, Soulive, Jimmy Smith, Khruangbin

Madfish are extremely proud to present:

LAURA NYRO - AMERICAN DREAMER

An 8LP Deluxe Vinyl Box Set housing 7 of Laura’s breathtaking original albums - More Than A New Discovery, Eli And The Thirteenth Confession, New York Tendaberry, Christmas And The Beads Of Sweat, Gonna Take A Miracle, Smile & Nested, alongside an original LP of Rarities & Live Recordings.

During the singer/songwriter movement in the late ‘60s and early ‘70s, Laura Nyro was one of the most celebrated tunesmiths of her day. She penned soulful, literate songs that took the folky introspection of her peers and infused it with elements of soul, R&B, jazz, and gospel, giving them an emotional heat that set her apart. Nyro was a hugely respected recording artist, whose confident piano work and rich, expressive vocals made other sonic trailblazers such as Miles Davis and Alice Coltrane navigate towards her. She has influenced the greatest of songwriters - Bob Dylan, Joni Mitchell, Elton John, Neil Young, Carole King, Kate Bush and Elvis Costello among them. That influence continues today being heard in the works of Alicia Keys, Tori Amos, Suzanne Vega, Jenny Lewis and more. Nyro’s wonderfully
expressive and poetic songs – of which many became major hits by other artists, most notably The 5th Dimension, Three Dog Night and Barbra Streisand – remain hallmarks of outstanding quality. ‘Eli’s Comin’, ‘Gibsom Street’, ‘Wedding Bell Blues’, ‘And When I Die’, ‘Stoned Soul Picnic’, ‘Map To The Treasure’, ‘Sweet Blindness’ and ‘Stoney End’ are magnificent examples. Nyro was 18 years old when
she signed her first recording contract and wrote the songs for which she is likely to be best remembered. By the time she was 22, she had become one of the most successful composers in American popular music. But at the age of just 24, she drew back from her creativity and fame, battered and drained by the sheer energy and nerve required to sustain her career. Fortunately for those of us who loved her music, that was not the end of the story. She returned briefly to the fray for three turbulent years in the mid-to-late 1970s, and then enjoyed a final decade of artistic achievement and public acclaim, before illness took her from us at the tragically early age of 49 in 1997. Nyro found her early fame challenging yet despite living under an unrelenting spotlight, she was able to create this series of utterly beautiful
and stunningly unique albums.

Blue Mitchell's run of albums for Blue Note are among the great jazz recordings of the era. His '70s output has often been overlooked, however Blue Mitchell remains a fantastic set featuring the stellar lineup of Black Jazz recording artist Walter Bishop, Jr. on piano and keys, the legendary Doug Sides on drums, bass extraordinaire Larry Gales and the one and only Jimmy Forrest on tenor sax. This record deserves reappraisal as a fine selection of recordings. Licensed officially from Mainstream and remastered from the original tape transfers, this is the best the record has ever sounded. Featuring new words from Doug Sides especially for this release.

How Do I Get That Star is Zannie Owens' debut record under their own
name, as well as the first release with Kill Rock Stars
Previously, they performed as Potted Plant and they co-helmed the band Really
Big Pinecone alongside Michael Buishas (0 Stars, .michael). This latest effort is
self- produced, and features contributions from friends in New York, as well as
zannie's brother Sam, who plays bass and also mixed the record. Made over the
course of four years, the record deals with feelings of pining for the unknown, the
mystical, and the mundane. To paraphrase zannie, the record was produced
mitotically from their mind. The resulting 11 songs (picked precisely because of
the number's magical, symmetrical qualities), are warm to the touch. To listen to
How Do I Get That Star is to immerse oneself in a sound bath or look up at the
stars on a summer night in the middle of nowhere.

Squalls were a band who came from the same rich Athens, GA scene as
The B-52's, Pylon, REM., and Love Tractor, but played their own brand of
quirky pop with their own unique sound
Equal parts Lovin' Spoonful, Grateful Dead and Talking Heads, they got many a
person up on the dance floor. From 1981 to 1989, Squalls rocked Athens and
made several tours of the South, the Midwest, and East coast cities including
several shows at New York City clubs CBGB, Danceteria, and Peppermint Lounge.
They released 4 recordings and were included in the 1986 movie Athens, GA:
Inside/Out. The band also played at the legendary Athens 40 Watt Club 64 times
during their heyday.
Squalls Live from the 40 Watt is a collection of 24 tracks recorded by 40 Watt
Club soundman, T. Patton Biddle, and selected from five early 1980s shows.
Live from the 40 Watt is set for release on August 19, 2022 via Strolling Bones
Records.
Audio Link

Philadelphia's Sweet Pill write eruptive emo songs that embrace the
edges of pop and hardcore
The kind of band whose members are fully immersed in their local scene-through
a handful of notable side projects and the show- promoting Philly staple 4333
Collective- the quintet's sound takes wide- spectrum influence from its
environment. The result is an amalgam of complex song structures and
flourishes of technical acumen, wholly unconcerned with genre, yet evoking the
specific styles of touchstones such as Paramore and Circa Survive.
On their debut longplayer Where the Heart Is, Sweet Pill's unbound, raucous
energy presents through ten autobiographical tracks that hinge on singer Zayna
Youssef's elastic, enrapturing voice- at times belting and controlled, at others
textural and guttural. Supporting Youssef are guitarists Jayce Williams and Sean
McCall, bassist Ryan Cullen, and drummer Chris Kearney. Their blistering lead
single "Blood" sees Youssef exploring a deteriorated friendship over Williams and
McCall's trudging riffs and tactful counterpoint, with Cullen and Kearney rumbling
nimbly in the song's foundations.
Second single "High Hopes" counters with introspective, melodic punk that
reshapes anxiety rather than succumb to it. But third single "Diamond Eyes"
momentarily slows the pace, with McCall joining Youssef on vocals for a breakup
lament laden with acoustic sentimentalism and an emotive flurry from guest
flutist Jill Ryan. Such range is the central facet of Where the Heart Is, where
Sweet Pill's penchant for combining punkish tropes enlivened with the vibrance of
math- rock and the aggression of post- hardcore sweetened with pop sensibility
compound into something stylistically new yet still familiar. Pressed on 180-gram
Red color vinyl

Since releasing their first album There Is a Bomb in Gilead in 2012, the
road-worn Birmingham, Alabama band has built a reputation as being
what NPR calls 'punks revved up by the hot-damn hallelujah of Southern
rock' who carry on 'the Friday-night custom of burning down the house,' a
raw live sound that they captured with Texas punk producer Tim Kerr on
studio albums Dereconstructed (2014) and Youth Detention (2017)
before recording a full-on live album at their favorite hometown dive, Live
at the Nick (2019)
While the Glory Fires have spent a decade propagating what the New York Times
calls 'pandemonium with a conscience,' they've long talked about wanting to
make a classic record'not a transparent document of their playing live with the
occasional embellishment'but a record. So, that's what they did. They contacted
Athens, Georgia's David Barbe, whose work with the Drive-By Truckers, Sugar, Son
Volt, Vic Chesnutt and countless other artists has earned him a legendary
reputation amongst Southern independent rockers, and they agreed to set about
bringing this vision to fruition. While tackling such lofty political, historical and
philosophical concepts, the album is also the band's most intimate, vulnerable
and spiritual to date. The perspective is both outward- and inward-facing, Bains
never taking on the persona or experience of others, but rather writing about the
way his own limited experience and perspective of the band's place can lift the
veils of false narratives, and uncover 'piles of winding stories' through time. In an
age characterized by individualism, and at a time when the past seems to be the
sole domain of the status quo, Old-Time Folks illustrates the deep, thick, tangled
roots of liberation, collectivism, mutuality and solidarity in the Deep South, and
where they are flowering and bringing forth fruit today.Packaging: CD Old- Style
Stoughton-Tip on Jacket

300 transparent green vinyl 12” albums / 400 black vinyl 12”. In their relatively brief lifetime, between 1996 and 2002, Hefner enjoyed an incredibly productive four-album, multi-EP career. Their beautiful, concise, intelligent songs earned a fiercely loyal, cult audience and the long-term support of legendary DJ John Peel, for whom they recorded innumerable sessions. Originally released in 2001, their final album, Dead Media, found Hefner reaching out and taking risks. Keen to break free of their indie-folk roots, they cocooned themselves in a home studio with broken analogue synthesizers, antique drum machines and battery-powered amplifiers. The band’s naivety and guile produced some curiously engaging music, with frontman Darren Hayman’s precise, economic, poetic dissections of quotidian romance draped over awkward, fuzzy beats: something like Cat Stevens covering Warm Leatherette. Dead Media caused confusion at the time and ultimately lead to the band’s break up. However, the songs like ‘Junk’, ‘The Night’s Are Long’ and ‘When The Angels Play Their Drum Machines’ are among Hayman’s most adult and affecting essays and stand out among the finest of Hefner’s achievements. Tracks: 1 Dead Media 2 Trouble Kid 3 Junk 4 When The Angels Play Their Drum Machines 5 Union Chapel Day 6 China Crisis 7 Alan Bean 8 Peppermint Taste 9 The Mangle 10 The King Of Summer 11 The Nights Are Long 12 Treacle 13 Half A Life 14 Waking Up To You 15 Home

300 transparent green vinyl 12” albums / 400 black vinyl 12”. In their relatively brief lifetime, between 1996 and 2002, Hefner enjoyed an incredibly productive four-album, multi-EP career. Their beautiful, concise, intelligent songs earned a fiercely loyal, cult audience and the long-term support of legendary DJ John Peel, for whom they recorded innumerable sessions. Originally released in 2001, their final album, Dead Media, found Hefner reaching out and taking risks. Keen to break free of their indie-folk roots, they cocooned themselves in a home studio with broken analogue synthesizers, antique drum machines and battery-powered amplifiers. The band’s naivety and guile produced some curiously engaging music, with frontman Darren Hayman’s precise, economic, poetic dissections of quotidian romance draped over awkward, fuzzy beats: something like Cat Stevens covering Warm Leatherette. Dead Media caused confusion at the time and ultimately lead to the band’s break up. However, the songs like ‘Junk’, ‘The Night’s Are Long’ and ‘When The Angels Play Their Drum Machines’ are among Hayman’s most adult and affecting essays and stand out among the finest of Hefner’s achievements. Tracks: 1 Dead Media 2 Trouble Kid 3 Junk 4 When The Angels Play Their Drum Machines 5 Union Chapel Day 6 China Crisis 7 Alan Bean 8 Peppermint Taste 9 The Mangle 10 The King Of Summer 11 The Nights Are Long 12 Treacle 13 Half A Life 14 Waking Up To You 15 Home

The legendary BORIS celebrate a 30 year career as one of experimental music's most forward-thinking, heavy, and innovative bands with the new album Heavy Rocks (2022). Continuing their series of Heavy Rocks records, BORIS once again channels the classic proto-metal sounds of the 70s into something all new. The album, 10 pulse-pounding tracks, highlight the very trajectory of BORIS and their storied career - from the driving, fuzzed out Rock N' Roll opener "She is Burning", to the punk, raucous "My Name is Blank", BORIS are heavier than ever before. "Question 1" is just kickass - D-beats give way to a doomed, spaced out and heavier-than-anything guitar wailing and feedback, before diving back into their Metal, sending the listener into a complete frenzy. This is unmistakably BORIS, and this is the band at the height of their powers. Elsewhere on the record, a more daring, "out there" side of the band begins to shine on tracks such as the aptly titled "Blah Blah Blah", the industrial "Ghostly Imagination" and the truly wild "Nosferatou". Noisy passages (not unlike prior collaborations with legendary artists like Merzbow,) collide with visceral vocal howls while a relentless, almost Zornian-saxophone shreds harder than any guitar solo ever could. In 2022, BORIS cement what Heavy Rock means to them, and release one of their most captivating records to date.

Limited edition 300 copies. Sababa 5’s debut single features the talented Japanese singer and belly dancer Yurika. The two songs - Crossroad of Love (Ai no Kousaten) and Blue Universe (Aoi Sekai) – blend Yurika's dreamy vocals and texts with the band's 70's sensibility and Israeli soul music. As the band plays a mediterranean groove of both Israeli and Arabic origins, Yurika's Japanese lyrics float effortlessly on top. Sababa 5 and Yurika met in the summer of 2017, when Yurika was in Israel for an internship at the Orly Portal Dance Company. Yurika, performing at the time as a belly dancer with Boom Pam and Ouzo Bazooka, wrote lyrics in Japanese for two melodies composed by Sababa 5 guitarist Ilan Smilan. Both songs on the single are love songs, love that is both personal and universal. The combination of lyrics in Japanese, Yurika's gossamer vocals influenced by the Kayokyoku style and the Israeli sound of Sababa 5 creates a unique and interesting sound. Yurika (vocals), Ilan Smilan (guitar), Amir Sadot (bass) In the recording Lior Romano (keyboards) and Assan (drums).

ABOUT SABABA 5 Sababa 5 was formed in 2016 by Amir Sadot and Ilan Smilan, both members of TIGRIS band and the Hoodna Orchestra. The four members of Sababa 5 are already well known for their work with some of Tel Aviv's top artists/vocalists such as Gili Yalo, Liraz Cherchi, Sari and Reno, Ester Rada and Kutiman - to name but a few. With influences that range from Wrecking Crew and The Funk Brothers recordings from the 60's, to analog Middle Eastern music from the 70's, the sound of the band constantly evolves around different genres and rhythms. Yet, in its core, Sababa 5 remains very much a groove-centric band. The main source of inspiration for the band are "lehakot ketzev" (beat groups) from Israel that played innovative combinations of psychedelic rock mixed with Mediterranean Arab music during the 60’s and 70's. The fusion of East and West, along with the new spirit brought by the band members, creates a unique mix of styles that comes together into a new and original work. The band is currently working on a new instrumental album alongside the production of new songs for local singers. ABOUT YURIKA Born in the Chiba district on the eastern outskirts of Tokyo, Yurika began her journey towards belly dancing at the tender age of five, taking up lessons in jazz dance. After high-school, she applied for belly dancing lessons almost by chance - yet as she quickly fell in love with the music and the nature of the movements, Yurika knew this is what she was meant to do. Before long, Yurika began traveling around the Middle East, learning belly dancing in different cities and countries like Egypt, Morocco and Turkey. Whilst in Turkey, she met the famous Istanbul-New York based female darbuka player Raquy Danziger - who later invited her to perform in Israel. Once in Israel, Yurika began studying with Orly Portal, a master of contemporary folklore dance. After finishing her studies with Orly, Yurika remained in Tel Aviv and joined bands like Boom Pam and Ouzo Bazooka as a dancer. In her work with Sababa 5, Yurika is featured as a vocalist for the first time.

Mid-summer, 2021, Waleed quietly released his debut single 'Se Rompen'. The response was anything but, with the track immediately taking hold as a sleeper hit that summer, being played out by the likes of Four Tet, Floating Points, Daphni, DJ Boring, DJ Seinfeld, Tourist and more. With word already spreading, an inclusion in Ben UFO's winter Essential Mix solidified the desire for more from this surprising new producer.

Last month, Waleed announced his signing to City Slang (Caribou, Gold Panda) with a re-release of 'Se Rompen', offering the track on ultra-rare test pressings (50 / sold out already) for the first time.

Today, we announce the pre-order of a white label 12” with “Se Rompen” and his new single “SuenÞos”, limited to 300 units worldwide.

Born in Washington DC to Iraqi/Puerto Rican parents, Waleed works in coding by day. Built around ready-made for the dancefloor kick and chopped vocals, 'Se Rompen' is an ambitious debut that showcases his focus on sound design. Waleed’s meshing of cultures and references gives 'Se Rompen' a unique perspective on dance music. At once melancholic and high energy.

“A beautiful euphoric/melancholy fusion of cut-up vocals, soft electronics and two-step beats.” The Guardian

“Highly refreshing, 'Se Rompen' has a rare immediacy, a feeling that it has always been a part of your life." Clash

The experimental legends BASTARD NOISE and MERZBOW present their new collaborative album, RETRIBUTION BY ALL OTHER CREATURES. A lashing out against man-made institutions that perpetuate animal cruelty, every second of BASTARD NOISE's contribution to this collaboration is simply put - pitch-black, palpable fury. Elsewhere, the iconic MERZBOW's influence creeps in with a two part concept - the ZooNOsISE tracks, firing off MERZBOW's calling card - grainy, unsettling distortion that builds and builds, set against wretched technological wailing and alarming constants.

The record's intent is both a call to action, and a foreboding signal of end times. "Stand up against any form of animal abuse you witness at all cost," BASTARD NOISE mastermind Eric Wood writes in his liner notes. "Be part of positive, compassionate change and spit on the grave of the status quo." MERZBOW/Masami Akita's message is simple, but hits hard - "TIME IS RUNNING OUT. NOISE IS MUSIC"

Oli Stewart is Casbah 73. American-born, Madrid-based DJ, producer, vinyl collector and selector extraordinaire with several decades of experience under his belt.

Classic soul, funk and disco at its finest, with releases on mainstay outlets such as Glitterbox and Lovemonk, we're extremely proud to have him in the Boogie Angst record bins.

Casbah 73's Boogie Angst debut is a two-sided live band funk workout reminiscent of early 70's acts and labels such as 24 Carat Black, Black Heat and Strata East, but also connects to the current sounds of Black Jazz Chronicles, Sault and Nu Genea.

Let's Invade the Amazon is a highly grooved piece of live musical wizardry, with vocal performances to match. Beautifully extended and ongoing, the steady backbone interplay with funky electric pianos, with the occasional synth riff popping up for a breath of fresh air. And in the words of Casbah himself: "Quite possibly - no, definitely, the only soul-disco track ever to be inspired by Michael Mann's book "The New Climate War", The Clash, Sun Ra... and Dr Seuss".

On the B-side we find Pale Splash of Blue; some top shelf live Moog-, Rhodes- and Hammond featuring jazz funk. Punchy organs stab away alongside Casbah 73's signature electric piano sprinkles, bouncing around his unique rhythmic groove. All resulting in a driving pace and attractive up-tempo moment; more than worthy of that evening beach club get-together.

Casbah 73's sound is a clear amalgamation of his broad range of influences, and the two songs on this release are a definite showcase of his love for funk, soul and disco.

With some excellent remixes on their way, keep an eye out for the upcoming limited edition vinyl release.

'Casbah 73 – Let's Invade the Amazon' is out on all digital portals on May 20, 2022, via Boogie Angst

Stemming from a great legacy of poetry, Quintal de Clorofila was a duo from the south of Brazil composed by two musician brothers, Dimitri and Negendre Arbo, who turned their dad's poetry into music. In the album O Mistério dos Quintais, the two brothers presented a Brazilian Hippie Folk full of psychedelic touches a times with flanger effects, reverb and synthesizers, a times totally raw with medieval melodies, flutes and strings. The record goes with the original artwork, insert with lyrics plus unreleased photos including the one of the debut album O Mistério dos Quintais featuring the bird (a canary) that sang on stage with its own microphone. O Mistério dos Quintais was released originally in 1983 via a some sort of crowdfunding, before the term itself and even the existence of internet. Supporters who invested in the project had their names in the acknowledgements on the first edition insert. Given the fact that it was released independently, the purity and innocence of the Arbo brothers came to light and set them free to grace the listeners with sounds of nature, mysticism, influences from the Peru Andes and even some madness such as taking the family's bird (that was used to singing along with the brothers at their rehearsals at home) to then record in the studio. When the record was ready, the band realized that the record RPM was wrong. The songs were a bit faster, slightly 1/2 a pitch higher. However, it was too late, nothing else could've been done. Because they were a small band, the manufacturing plant refused to repress the records and they had to endure this. Almost 40 years later, Fatiado Discos present the first version of O Mistério dos Quintais in its original rotation speed, the right one.

Jazz iconoclast Albert Ayler took the experimental leanings of contemporaries like John Coltrane and Ornette Coleman as a starting point and then blasted them to stratospheric extremes, creating some of the most polarizing and brilliant music of the 20th Century. In particular, 1964 was a pivotal – and well documented – year in the free jazz artist’s career. After returning to New York, Ayler assembled a brilliant group with Sunny Murray on drums and Gary Peacock on bass, recording Spiritual Unity, Ayler’s first record for the legendary ESP-Disk’ label, that summer.

Soon after that session, Ayler took his trio to Europe where they were joined by cornetist Don Cherry for a tour of The Netherlands, Sweden, and Denmark. The Hilversum Session is a live radio session recorded on November 9th, 1964. At that point the quartet was months into its European tour and the interplay is extraordinary. On classic Ayler compositions like “Spirits” and “Ghosts” the band absolutely rip, with a kind of intuition and connectivity rarely heard, creating some of the most untethered and undeniably powerful music in the history of free jazz. Our Swimmer is pleased to present the first official vinyl reissue of The Hilversum Session in over thirty years.

BLACK VINYL REPRESS

ITS 25 YEARS Since the first Heads album was released.. .so.. for 2021..Rooster has decided to get the album back in print on vinyl.. but changing the artwork. With some silver foiling and bordering, the single sleeve has been boosted to a sweet gatefold, Rooster also got the Radio 1 sessions from the time remastered, and re-cut along with the huge b-side to their Television 7” “Jellystoned Park”.
So there you have it, a double vinyl silver jubilee reissue of a fantastic debut album!

From the original reissue sales notes:
“The Heads had self-released a couple of 7"', and then Cargo Uk's inhouse label Headhunter UK got to release a further 7", and then the Debut album in 1996. Amidst a world suffocating in Britpop smarm, the Heads cut a timely swathe with their unkempt rock psychedelique. The album contained 10 tracks of guitar driven, amp destroying rock, with cues taken straight from the US underground, Stooges, MC5, Mudhoney, Pussy Galore, early Monster Magnet too but with a disitinctly British stamp, some of the drone and fuzz from Loop / Spacemen 3, some of the attitude of the Fall, Pink Fairies and Walking Seeds and overlaid with the spaced rock of early Hawkwind. It was obvious that the four members of the Heads were music obsessives. The debut album was recorded at Foel studios (owned by Dave Anderson from Hawkwind) and engineered by Corin Dingley, it was mastered by John Dent at LOUD.”


We’ve asked for some new appraisal of the Heads for the Silver Jubilee edition from good friends....

Stewart Lee February 2021
“The Halley's Comet victory orbits of historic heavy artefacts from Detroit, like The Stooges or The MC5, leave grateful onlookers aghast. But, hidden away in Bristol, The Heads are still with us now, our homegrown acid-garage godfathers, an ongoing thirty-two year old concern with a back catalogue arguably more consistent than the super-dense psyche-rock groups that inspired them. The Heads arrived fully formed and have spent three decades becoming more like themselves, a musical black hole that sucks in all surrounding matter. I love The Heads “

Phil Alexander February 2021
“The Heads make music for freaks in the know. If you were there in 1996, you’ll know just what that means…

Back then, they were gloriously out of step with the pop-cheese of the time and geezerly lumpiness of Britpop. Theirs was an altogether different take on music – a take inspired by the glorious burn-out of the ‘60s, the sonic overdrive of the ‘70s and the axis of joy created by the combination of excess volume and repetition.

We could name-check some inspirations and kindred spirits: The Stooges, Hawkwind, Floyd, Loop, Sabbath, Amon Düül II, Spacemen 3, Walking Seeds, Mudhoney, Monster Magnet among them... But in all honesty, The Heads have always existed in a world of their own, surfacing as and when the mood takes them, before returning to their subterranean rehearsal room to jam their way through yet more mind-altering riffs and mood-altering rhythms.

Relaxing With The Heads is their first defining statement. It is also possibly their most straight-forward release, the sound of a band attempting to find structure in their playing rather than abandoning themselves to their wildest impulses. That would come later…

And yet, 25 years on, this album blasts forth like few records from that time, its slacker charm welded to super-fuzzed riffs that propel its 10 tracks ever onwards. Righteous is probably the only word for it…”

Radio Diaspora works on the concept of cultural identity, which is flexible and dynamic. This provocation is generated by referring to all African ancestry moved by the diaspora and its sonorous, vocal, polyrhythmic, and polyphonic codes - all the ancestral heritage that has spread throughout the world following expropriations, genocide, and slavery - sampling and amplifying references that become triggers of energetic approaches. A heavy core of representations and senses aims to exorcize through noise and strangeness all secular violence against people of the African diaspora. In the title song of this album, 'Negro Humor', the respected Brazilian actor Grande Otelo highlights the contradiction of the clown, which awakens joy in everyone but is a sorrowful, lonely figure, ridiculing himself and putting himself in the most embarrassing situations. Relieved, loud laughter echoes in the audience because it is not the target of ridicule. In 'Despacho', Radio Diaspora explores the dichotomy of society by introducing a speech by Brazilian lawyer Hédio Silva Júnior specialised in Afro-Brazilian religion. He questions a rule under discussion in Brazil's Congress that would prohibit the use of chickens in Candomblé and Umbanda rituals. Silva Júnior points out that everyone takes a stand to protect the rights of animals, but the same cannot be said of the defense of young black people and outlying societies. The track 'Meia-Noite' evokes a celebrated point of Umbanda, an Afro-Brazilian religious syncretic cult, permeated by free jazz and electronic atmospheres developed by the duo. The other songs on the album are divided into two parts. They feature the voices of North American icons of the black struggle for civil rights: The tracks 'A.H.M. Al-Shabazz 1 and 2', amid sonic dissonances, use extracts from speeches by the American leader Malcolm X, and in 'Muhammad Ali 1 and 2' we hear quotes from famous interviews given by the boxer and activist. Ali ironizes the questions he asked his mother as a child, why all good and positive things are associated with white. "Mother, how come is everything white? Why is Jesus white with blonde hair and blue eyes? Angels are white, the Pope, Mary, and even the angels. When we die, will we go to heaven? She said naturally we go to heaven. So, I said, what happened to all the black angels they took from the pictures." His Inquiry, however, is seen as a joke by the white audience present at the TV show, which laughs off Ali's scathing criticism. Radio Diaspora uses art as an instinctive force to reject submission to traditions and culture as taming. Music is the weapon. "The (album) sound means to exorcise racism out of our minds and make us ready to act". - Rômulo Alexis

This mega-rare 1969 album pays tribute to the Bronx and Brooklyn neighborhoods where young Latinos had invented the boogaloo a few years earlier. This record highlights the quality of Peruvian boogaloo and the talent of musicians such as pianist Otto de Rojas and percussionist Coco Lagos. First time reissue. In the mid-sixties, when young Latino musicians in New York fused Afro-Cuban rhythms with rock, soul and jazz, they had no idea that their boogaloo bang bang would reverberate just as strong and loud in a distant South American country. From 1955, La Sonora Macedo, took Cuban music to every corner of Peru, backed the leading musicians of the Peruvian tropical universe, such as Ñiko Estrada, Joe di Roma, the double bass player Pepe Hernández, and the trumpet players Tito Chicoma and Charlie Palomares. All diehard fans of Cuban music, always alert to any new artist arriving from the island. In the early sixties, light rock, doo-wop, ballads, Italian songs and bossa nova paraded across Lima's stages, making performances by Cuban bands, previously so frequent, a thing of the past. Moreover, the unanimous success of the Beatles from 1964 onwards, gave the impression that music from the English-speaking world would dominate the rest of the decade. But this was not the case. In large part because of Manuel Guerrero's good relations with U.S Latino labels, such as Alegre Records, which released the initial recordings by Johnny Pacheco and Charlie Palmieri, allowing listeners in Lima to follow the development of the salsa movement almost from the beginning. MAG was undoubtedly the best representative of these new sounds. In 1969, the LP "Acabo con Lima, huyo pa' Nueva York" was released on this label, a project which brought together three figures from Lima's show business world: Manuel Antonio Guerrero, owner and founder of MAG, who wasn't shy of joining in on the chorus and percussion during recordings, Pablo Villanueva "Melcochita", a multifaceted artist from a talented musical family from the popular district of La Victoria, was responsible for the vocals and percussion on the album. And the third Lima show business figure in this project was the musician, singer and comedian Alberto Montroy Laostervened, who gained fame in the sixties while still in his twenties for his imitation of Cantinflas, the Mexican actor. Alberto bore a devilish resemblance to Cantinflas, not only in his gestures but also physically. Under the name of Pepe Moreno "Karamanduka" he also went on to record songs abroad such as "El boogaloo de Cantinflitas". "Acabo con Lima, huyo pa' Nueva York" was immediately re-released in other countries, highlighting the quality of Peruvian boogaloo and talent of musicians such as pianist Otto de Rojas and percussionist Coco Lagos, who feature prominently on the album. Songs such as 'Vuela mi descarga', 'Peruvian boogaloo' and 'Peruvian guajira', pay tribute to the Bronx and Brooklyn, neighborhoods where young Latinos had invented the boogaloo a few years earlier.

"Ésta sí es salsa!" is one of the most sought-after records in the impressive catalog of the Discos Fuentes tropical all-star group Los Corraleros de Majagual. The record is high on collectors' want lists for many reasons: excellent sound quality, diverse and highly danceable repertoire infusing its grooves, and the inclusion of the Cuban genres of descarga and charanga. The album includes outstanding cover versions of '60s New York salsa but featuring the unusual sound of the accordion and the heavy bass playing of Julio Estrada. First time reissue. "Ésta sí es salsa!" is one of the most sought-after records in the impressive catalog of the Discos Fuentes tropical all-star group Los Corraleros de Majagual. It was released in 1970, nine years after the band was first conceived by Alfredo Gutiérrez, Calixto Ochoa and label boss Don Antonio Fuentes as an orchestra to play mostly typical folkloric Colombian genres like porro, cumbia and paseo and the occasional guaracha or pachanga, but with a fully orchestrated big band sound that combined the accordion with a complete rhythm and brass section. The record is high on collectors' want lists for many reasons, not least of which is its excellent sound quality and the diverse repertoire infusing its grooves, ranging from expected coastal tropical Colombian rhythms like paseaíto, paseo and pasebol (all related to cumbia and vallenato), to more exotic modes like sonsonete, casatschok, and the Cuban genres of descarga and charanga. There was never any doubt with the label's intentions of introducing this "new" genre of salsa on this LP, albeit as seen through the lens of Colombian musicians only recently converted to the movement, and indeed, the title unequivocally proclaims: "¡Ésta sí es salsa!" ("This is definitely salsa!"). The proof is in the fascinating (and long) cover versions of Nuyorican artists from the burgeoning Big Apple salsa scene that are the centerpiece of the album. Two massive dance tracks on the record are 'Ocho días' and 'Amanací tomando', but neither was inspired by exposure to New York salsa, as they are very "typical" Colombian numbers. First time reissue.

Highlights: Limey and the Yanks' A-side 'Love Can't Be A One Way Deal' is a garage song with a sound pitched somewhere between the Beau Brummels and the Beach Boys. 'Guaranteed Love', on the flipside, is an outstanding bluesy number with a stinging fuzz guitar, a concise harp solo and a rousing Bo Diddley-fied groove that has made its way to various compilations since the early 80s and now gets reissued for the first time on a 7" single. This release includes notes by Mike Stax (Ugly Things Magazine) Details: In California in the mid-sixties, with the British Invasion raging, having an authentic Englishman as the lead singer of your band was an ace in the hole that gave you an edge over the competition. Such was the case with Limey & the Yanks a quintet from Buena Park in Southern California's Orange County. Limey was young Steve Cook, and his Yanks by 1965 were guitarists Gregg DeLorto and Tim Gunne, bass player Bob Batman and drummer Wes Hunsinger. With his blonde Keith Relf-style hair, Steve was a striking front man who fortunately also possessed a decent voice, and with his father managing the group they were soon making waves throughout the area. A victory at a Battle of the Bands at the Hollywood Palladium put them on the map in Los Angeles, attracting the attention of producer Gary Paxton. By this time Wally Downing had joined on lead guitar, replacing Gregg DeLorto who had defected to the Spats. Paxton produced their debut single in late 1965, and it was released in January of the following year on his Starburst label. Paxton's business partner in Starburst was Lloyd Johnson, and the single's A-side was written by Lloyd's son Ken, who also recorded for Starburst with his group Ken & the Forth sic Dimension. Paxton had already produced a version of 'Love Can't Be A One Way Deal,' a couple of years earlier with the Rev-Lons, a girl group from Bakersfield, but the version by Limey & the Yanks took a completely different approach, turning it into a lovelorn garage number with a sound pitched somewhere between the Beau Brummels and the Beach Boys, with bright harmonies, mournful harmonica and a melodic twangy guitar solo. Swinging on a guitar hook based on Bobby Parker's 'Watch Your Step,' 'Guaranteed Love,' took a bluesier approach with a confident Limey vocal, stinging fuzz guitar, a concise harp solo and a rousing Bo Diddley-fied groove. The single was not a hit, but it added heft to the group's growing reputation. A second single, 'Out of Sight, Out of Mind,' was released in October, but it would be the group's last, although they did continue, through several lineup changes, into 1967. Limey's legacy lives on_

Somewhere in the middle of the first track, “Torres e Baldios”, there’s a sudden change of pace with percussion rhythms interfering with the trance-like sound of the first six minutes. It sounds like steps, people running away on a corridor bashing their feet. It dazzles you because of how unexpected it is, how unpredictable those sounds sound like and, most of all, how it makes perfect sense. It is a monstrous piece. And the beginning of a new age for Ondness, in the same year he defied his Serpente moniker to create an absolute classic, “Dias da Aranha”.

What makes “Oeste A.D.” so remarkable is the intangible idea of nostalgia. “Aqua Matrix Alternative Nation” recreates with a slowed down mentality the theme of one of the main events of the Expo 98 in Lisbon. It’s nowhere similar to the original, what it does is to mess around with the global ideas that were such a big part of that event. The Portuguese musicians that were invited to collaborate with Expo 98 were mesmerized by the ideas of union and globalization, creating overpriced music that sounds like shit today. “Aqua Matrix Alternative Nation” messes around with that vibe in a positive way. Think Mark Leckey playing around with his rave memories. Same thing, but in Portugal we had Expo 98.

Jokes aside, B Side is more futuristic with “Torres e Baldios II” and “Endless Domingo”, a nod to “Endless Summer”, by Fennesz, and “Endless Happiness” (from “Beaches And Canyons”), by Black Dice, mashing up – freely - both covers and reminding of how great 2001/2002 was for experimental music. Both tracks are full of sci-fi drama and this sickness of the future that has been travelling with Ondness since its early days. But the approach here is somehow different. Before “Oeste A.D.” the Ondness sound was fragmented, sparse and intensively reflexive. There was this uncertainty to it that made the previously releases so good. But “Oeste A.D.” is full of clarity, the phrases are straightforward, and the music moves in one direction, continuously. Before, there were loads of unanswered questions. The only doubt is when will the world start to care and listen to Bruno’s brilliant music. Now sounds like a good time.    

"Art is awe, art is mystery expressed," writes Kaitlyn Aurelia Smith. "Art is somatic, even if it is experienced cerebrally. It is felt." The central mysteries of Smith's ninth studio album, Let's Turn it Into Sound, have to do with perception, expression, and communication: How can we communicate when spoken language is inadequate? How do we understand what it is we're feeling? How do we translate our experience of the world into something that someone else can understand? For Smith, a self-described "feeler," the answers are inspired by compound words in non-English languages, translation, sculptural fashion, dance, butoh, wushu shaolin, and other forms of sensory and somatic experience. Just like fashion uses lines, shapes, colors, textures, and silhouettes to communicate on a sensual level separate from the conscious mind, Let's Turn it Into Sound strives to use sound to communicate what words alone cannot. "The album is a puzzle," Smith says. "It is a symbol of receiving a compound of a ton of feelings from going out into a situation, and the song titles are instructions to breaking apart the feelings and understanding them." The energized "Is it Me or is it You" comes from traversing the gaps between how you see yourself and how another might see you, through a filter of their own projections. The hushed sense of revelation that brackets "There is Something" refers to the feeling of walking into a room and being subconsciously aware of the dynamic present. All the while, Smith interprets these feelings through sound. This auditory interpretation process, driven by earnest curiosity, led Smith to record some thoughts and questions that popped up along the journey in Somatic Hearing_a booklet which accompanies the album. Over three frenzied months, recording alone in her home studio, Smith allowed herself to pursue new experiments to accompany her usual toolkit of modular, analogue, and rare synthesizers (including her signature Buchla), orchestral sounds, and the voice. She created a new vocal processing technique, and gave herself permission to pursue a pacing that felt intuitive, rather one that followed typical song structures. She walked around in the windiest season with a subwoofer backpack and an umbrella, listening to the low end of the album amidst 60mph gusts. She listened to herself, and, in doing so, to an inner community which suddenly opened to her. Underlying the album is a dynamic relationship between what Smith describes as six distinct voices, each a multifaceted storyteller. By acknowledging these characters, she was acknowledging her whole being: the woven plurality of self, the complex process of noticing and resolving inner conflicts, and the joy of finding harmony in flux. "I started to feel so embodied by all of these characters. This is all the felt, unsaid stuff my inner community wants to communicate but it doesn't have the English language as its form of communication, and so this album was a form of giving space to let it talk and not judge it and just let it play." By not adhering to expected song structures, each song feels even more like a conversation, with each character getting to express themselves in full.

"Art is awe, art is mystery expressed," writes Kaitlyn Aurelia Smith. "Art is somatic, even if it is experienced cerebrally. It is felt." The central mysteries of Smith's ninth studio album, Let's Turn it Into Sound, have to do with perception, expression, and communication: How can we communicate when spoken language is inadequate? How do we understand what it is we're feeling? How do we translate our experience of the world into something that someone else can understand? For Smith, a self-described "feeler," the answers are inspired by compound words in non-English languages, translation, sculptural fashion, dance, butoh, wushu shaolin, and other forms of sensory and somatic experience. Just like fashion uses lines, shapes, colors, textures, and silhouettes to communicate on a sensual level separate from the conscious mind, Let's Turn it Into Sound strives to use sound to communicate what words alone cannot. "The album is a puzzle," Smith says. "It is a symbol of receiving a compound of a ton of feelings from going out into a situation, and the song titles are instructions to breaking apart the feelings and understanding them." The energized "Is it Me or is it You" comes from traversing the gaps between how you see yourself and how another might see you, through a filter of their own projections. The hushed sense of revelation that brackets "There is Something" refers to the feeling of walking into a room and being subconsciously aware of the dynamic present. All the while, Smith interprets these feelings through sound. This auditory interpretation process, driven by earnest curiosity, led Smith to record some thoughts and questions that popped up along the journey in Somatic Hearing_a booklet which accompanies the album. Over three frenzied months, recording alone in her home studio, Smith allowed herself to pursue new experiments to accompany her usual toolkit of modular, analogue, and rare synthesizers (including her signature Buchla), orchestral sounds, and the voice. She created a new vocal processing technique, and gave herself permission to pursue a pacing that felt intuitive, rather one that followed typical song structures. She walked around in the windiest season with a subwoofer backpack and an umbrella, listening to the low end of the album amidst 60mph gusts. She listened to herself, and, in doing so, to an inner community which suddenly opened to her. Underlying the album is a dynamic relationship between what Smith describes as six distinct voices, each a multifaceted storyteller. By acknowledging these characters, she was acknowledging her whole being: the woven plurality of self, the complex process of noticing and resolving inner conflicts, and the joy of finding harmony in flux. "I started to feel so embodied by all of these characters. This is all the felt, unsaid stuff my inner community wants to communicate but it doesn't have the English language as its form of communication, and so this album was a form of giving space to let it talk and not judge it and just let it play." By not adhering to expected song structures, each song feels even more like a conversation, with each character getting to express themselves in full.

The garage -psychedelic French duo The Liminanas straddles since 2009 the boundary between psychedelic ,shoegaze,garage & French yé-yé up to cool vocals . Quintessentially French but first known at the start in the US before hitting homeland France. 7 studio albums so far, 2 rare tracks compilations, many Eps,some OST, collabs such as L’Epée with Anton Newcombe & Emmanuelle Seigner : time for a first time Best of, and actually more than a Best of : Double Cd , Ltd Triple Vinyl& Digital editions offer 12 exclusive bonus tracks -new songs + rare songs when they called themselves les Bellas, before The Liminanas-.
“Electrified” also includes 23 classics songs , with featurings such as Peter Hook, Anton Newcombe and French pionners Laurent Garnier, Etienne Daho & Pascal Comelade.
Features liner notes written by Iggy Pop, Peter Hook & Keith Streng (Fleshtones) : because it’s only rock’n’roll.

Detroit's deep techno master, Deepchord, makes a more than welcome return to Soma after 5 years. With a brand new album dropping, Rod Modell delves deep into his ethereal sonic world to bring you 'Functional Extraits 1'. The first single to be taken from the forthcoming album. Built in a way that only Deepchord can, he transports you to different realms with lush soundscapes and perfectly processed electro-acoustics giving you an insight to the mind of the unique artist.

Shale glides across a field of electo-static noise, guided gently by cisps, fleeting percussion and gently warping synths. Lateral begins awash with waves of sound and glistening dub stabs while rolling beats acts as the heart beat of the track with a building intensity adding a sense of urgency. The uplifting yet dystopian sounds of Mapping spiral into existence urging you down the rabbit hole as more classic techno percussion manoeuvres this track on it's journey. Modell seeking out his roots as yet more traditional dub techno prevails via the final track, Ricochet. Pumping kicks and sub set to a perfect pace and ambience is a perfect, contemporary nod to the time honoured Deepchord sound.

(Ricardo Villalobos, Ada & Tolouse Low Trax Remixes)

This EP is more than your usual remix package—»Remixed« is a meeting of kindred, idiosyncratic spirits. Ricardo Villalobos, Ada, and Tolouse Low Trax each give a new spin to one track from »You're Super In Diagonal«, the latest album by Ant Orange. Their versions of »Monogome«, »Flutter«, and »Cracker« are complemented by the brand-new track by the elusive artist, »FFF«.

Villalobos keeps it short and sweet—at least by his standards. His rendition of »Monogome« translates the mutant jungle vibes of the original into an entirely different dialect while maintaining its psychedelic qualities. The chugging, nine-minute-long »Siebhouse Remix« is at once rhythmically intricate and positively disorientating. Ada proves to be as imaginative as ever with her first remix in three years. Her take on the album opener »Flutter« extracts the track’s warmth and transplants it into a laid-back downbeat track. She also incorporates the vocals from »Monogome«, but gives it a very different spin and adds a healthy dose of autotune to it in the process. Dreamy, hazy, blissful.

On the flipside, Detlef Weinrich approaches things very differently. His »Bo Bo Zy Remix« of »Cracker« offers industrial at its most inebriated, dub riddims after a bottle of hard liquor instead of a spliff. Ant Orange’s »FFF« then seems to mediate between those three very different approaches: danceable yet melancholic, challenging yet restrained, it picks up on the underlying concept of »You're Super In Diagonal«, combining IDM’s penchant for complex rhythmic structures and a directness inherent to hip-hop music since the early days of the genre up until the age of UK drill.

Following several tragedies in his personal life, New York rapper El Gant had a decision to make—face those losses head on or bury them deep within. Luckily for us, he chose the former. The result is O.S.L.O., the emcee’s most gripping and personal project yet. It’s also his most relatable, because it shows what we’re all capable of when we’re equipped with the right tools to cope and, in El Gant’s case, transform that tragedy into something powerful.

The album arrives nearly a decade after his previous solo effort, 2014’s great Beast Academy, and after several years spent touring and recording with his group, Jamo Gang, with Ras Kass and J57. Despite the highs associated with that time, El Gant also experienced major personal losses. In particular, he lost three close friends—The Last Original, Bones, and Jim Misa—all of whom had a major impact on his life and career. In fact, the album’s title, O.S.L.O., references the Last Original, because it’s an acronym for “Our Sun the Last Original.”

But it wouldn’t be an El Gant project without some straight-up dope hip-hop, too. Tracks like “Avirex (feat. Innocent? & King Magnetic)” and “Chromed Out (feat. Ras Kass & Planet Asia)” are absolute bangers filled with shape-shifting flows and crazy wordplay.

There’s a reason for these tonal shifts, too; El Gant didn’t want to simply create a linear album. “I want to take the listener on a few ups and downs, just like life does for most of us,” the emcee says. It’s those qualities that make O.S.L.O. so immediately satisfying, and why it’s his most accomplished work to date.

DELUXE EDITION

Das Herzstück der ersten Lou Reed Archive Series Veröffentlichung von Light In The Attic ist die Deluxe 45-RPM Doppel-LP Edition von "Words & Music, May 1965". Diese auf 7.500 Exemplare weltweit limitierte Sammlung wurde von dem mehrfach mit dem GRAMMY ausgezeichneten Künstler Masaki Koike entworfen und verfügt über einen stilisierten, gestanzten Klappumschlag, der von Stoughton Printing Co. hergestellt wurde, mit fortlaufender Foliennummerierung. Darin enthalten sind zwei 45-RPM 12"-LPs, gepresst auf 180-Gramm-Vinyl in HQ-Audiophil-Qualität bei Record Technology Inc. (RTI), mit der einzigen Vinyl-Veröffentlichung von "I'm Waiting for the Man - May 1965 Alternate Version". Eine Bonus 7" Single, die in einer eigenen, gestanzten Bilderhülle untergebracht ist und bei Third Man Record Pressing hergestellt wurde, enthält die einzige Vinyl-Veröffentlichung von sechs bisher unveröffentlichten Bonustracks, die einen nie zuvor gesehenen Einblick in Reeds prägende Jahre bieten, darunter frühe Demos, eine Coverversion von Bob Dylans "Don't Think Twice, It's All Right" und ein Doo-Wop-Ständchen, das 1958 aufgenommen wurde, als der legendäre Singer-Songwriter gerade 16 Jahre alt war. Ein begleitendes, gestanztes, 28-seitiges Buch mit Texten, Archivfotos und Linernotes enthält eine Archivreproduktion eines selten Briefes, den Reed um 1964 an seinen College-Professor und Dichter Delmore Schwartz schrieb. Das Set enthält eine CD mit dem kompletten Audiomaterial des Pakets in einer gestanzten Hülle. "Ein Tonband mit ihren frühesten Demos, aufgenommen am 11. Mai 1965 und bis heute unter Verschluss gehalten, zeigt Spuren von Dingen, die selten mit The Velvet Underground in Verbindung gebracht werden: Blues und Folk, erdig und traditionell, unsicher und zögerlich - und doch von diesem rostigen, ätzenden Lou Reed-Geist durchdrungen. Es ist eine Offenbarung." - Will Hodgkinson, MOJO. Light in the Attic Records ist stolz darauf, in Zusammenarbeit mit Laurie Anderson den ersten Titel ihrer fortlaufenden Lou Reed Archive Series vorzustellen: "Words & Music, Mai 1965". Das Album, das anlässlich des 80. Geburtstages des verstorbenen Künstlers erscheint, bietet einen außergewöhnlichen, ungeschminkten und ergreifenden Einblick in einen der wahrlich größten amerikanischen Poeten und Songwriter. Diese bisher unveröffentlichte Sammlung von Songs, die der junge Lou Reed mit Hilfe seines späteren Bandkollegen John Cale aufnahm und sich selbst als "Urheberrecht des armen Mannes" mit der Post zuschickte, wurde fast 50 Jahre lang ungeöffnet in einem Originalumschlag aufbewahrt. Der Inhalt verkörpert einige der wichtigsten und bahnbrechendsten Beiträge zur amerikanischen Popmusik im 20. Jahrhundert. Die fest in der Folk-Tradition verwurzelten Songs belegen Lous nachhaltigen Einfluss auf die Entwicklung der modernen amerikanischen Musik deutlich - vom Punk bis zum Art-Rock und allem, was dazwischen liegt. Diese Aufnahmen sind eine wahre Zeitkapsel und halten nicht nur die ersten Funken dessen fest, was die Keimzelle der unglaublich einflussreichen Velvet Underground werden sollte; sie machen Reed auch zu einem echten Beobachter mit einem angeborenen Talent, die Welt um ihn herum zu synthetisieren und in reine Klangpoesie zu verwandeln. Mit Beiträgen von Reeds zukünftigem Bandkollegen John Cale präsentiert "Words & Music, May 1965" die frühesten bekannten Aufnahmen so historischer Songs wie "Heroin", "I'm Waiting for the Man" und "Pale Blue Eyes", die Reed später mit Velvet Underground aufnehmen und unauslöschlich prägen sollte, in ihrer Gesamtheit. Außerdem sind mehrere bisher unveröffentlichte Kompositionen enthalten, die zusätzliche Einblicke in Reeds kreativen Prozess und seine frühen Einflüsse geben. Das Album wurde von Laurie Anderson, Don Fleming, Jason Stern, Hal Willner und Matt Sullivan produziert und enthält neu gemasterte Tonaufnahmen vom Originalband durch den GRAMMY-nominierten Toningenieur John Baldwin. Abgerundet wird das Paket durch neue Linernotes des renommierten Journalisten und Autors Greil Marcus sowie ausführliche Archivnotizen von Don Fleming und Jason Stern, die das Lou Reed Archiv betreuen, während die Veröffentlichung von dem mehrfach GRAMMY-prämierten Künstler Masaki Koike gestaltet wurde.

SUBVERTED's second double vinyl release "The Collective Impact" features ten non-binary, trans and female identifying artists, presenting their craft in the field of industrial techno. From ambient to raw and impactful beats, ethereal atmospheres and fast hard hitting sounds, listeners are invited to a hopeful journey and a fight for a more just society.