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Full of Hell Coagulated Bliss bio Full of Hell burst forth with incredible force from the small, dagger-shaped city of Ocean City, Maryland, 15 years ago. Over five full-lengths, five collaborative full-lengths, and countless splits, EPs, singles, and noise compilations, they’ve evolved at extraordinary speed, their music becoming more complicated and technical without ever slowing down or losing its soul. Everything on a Full of Hell album feels like a blur: smears of guitar, harsh noise shaken like gravel in a bag, singer Dylan Walker’s snarl and bite carrying him into outer space or into the core of the earth. They’re coiled, interlocking, impossible to penetrate, and they move with alarming speed. They have now reached terminal velocity. Having created their own context, they’re now able to walk around within it, to survey its terrain, to visit far corners and see who’s nearby. Coagulated Bliss sounds like Full of Hell, but it’s nothing like any Full of Hell record that’s come before it. These songs are trimmer, less freighted with anxiety, more interested in opening up than speeding away. Its bile is sometimes funneled into traditional song structures. It never shies away from the extreme harsh noise, unrelenting spirit, and pitch-black sadness of previous Full of Hell records; if anything, the leanness of these songs makes them feel even heavier. Nevertheless, there are tracks here you might find yourself whistling hours after listening. It’s an extraordinary and unexpected evolution in sound for a band who made their name on rapid metamorphosis, and it’s the logical endpoint of everything Full of Hell has covered so far..

Born of Austin's underground musical melting pot; Glassing's 2017 debut album `Light and Death' erupted out of the famously genre-resistant scene. 35 minutes of harrowing blast beats, searing angular feedback and frontman/bassist Dustin Coffman's sandpaper screams that set out to redefine the idea of heavy music to better reflect increasingly heavy times. Two subsequent full-length releases, 2019's `Spotted Horse' and 2021's `Twin Dream', plus especially the band's last release, the eponymous two-track EP, `Dire and Sulk' paved way for the new longplayer. More discordant, more distorted and somehow even angrier than before `From the Other Side of the Mirror', Glassing prove that uncertain times call for decisive measures. Recorded across two years of intense fits and starts, affectionately nicknamed `Hell Weeks' by the band, `From the Other Side of the Mirror' is a metaphysical foray into the fractured, warped impressions of ourselves that exist only in the minds of others. Working again with producer Andrew Hernandez, who the band liken to a fourth member at this point, Glassing pushed themselves harder, faster and more punishing than ever before. As their first full-length release with Osment and their first release on Pelagic Records, `From the Other Side of the Mirror' became an opportunity for a new beginning, free of any pre-existing limitations or thresholds. As Coffman tells us, "This allowed us to forgo a lot of the convention and structure we've relied on in the past, the substitution was for raw expression. Kindred to the emotions that birthed it, this record is spirited, painful and unmethodical." There's an indescribable, beautiful rawness to this album that comes from Glassing throwing everything on the table in plain sight, rather than polishing ideas for the benefit of others until they're unrecognisable, perfect and fake. FFO Portrayal of Guilt, Neurosis, Converge, Botch, Pelican, Unsane, This Will Destroy You, Chat Pile, Old Man Gloom, Départe

Born of Austin's underground musical melting pot; Glassing's 2017 debut album `Light and Death' erupted out of the famously genre-resistant scene. 35 minutes of harrowing blast beats, searing angular feedback and frontman/bassist Dustin Coffman's sandpaper screams that set out to redefine the idea of heavy music to better reflect increasingly heavy times. Two subsequent full-length releases, 2019's `Spotted Horse' and 2021's `Twin Dream', plus especially the band's last release, the eponymous two-track EP, `Dire and Sulk' paved way for the new longplayer. More discordant, more distorted and somehow even angrier than before `From the Other Side of the Mirror', Glassing prove that uncertain times call for decisive measures. Recorded across two years of intense fits and starts, affectionately nicknamed `Hell Weeks' by the band, `From the Other Side of the Mirror' is a metaphysical foray into the fractured, warped impressions of ourselves that exist only in the minds of others. Working again with producer Andrew Hernandez, who the band liken to a fourth member at this point, Glassing pushed themselves harder, faster and more punishing than ever before. As their first full-length release with Osment and their first release on Pelagic Records, `From the Other Side of the Mirror' became an opportunity for a new beginning, free of any pre-existing limitations or thresholds. As Coffman tells us, "This allowed us to forgo a lot of the convention and structure we've relied on in the past, the substitution was for raw expression. Kindred to the emotions that birthed it, this record is spirited, painful and unmethodical." There's an indescribable, beautiful rawness to this album that comes from Glassing throwing everything on the table in plain sight, rather than polishing ideas for the benefit of others until they're unrecognisable, perfect and fake. FFO Portrayal of Guilt, Neurosis, Converge, Botch, Pelican, Unsane, This Will Destroy You, Chat Pile, Old Man Gloom, Départe

Keepsakes returns to Perc Trax for his first full EP for the label,following his appearance on the 'Forever 2' various artists release back in 2020.
On 'Rant 4 Cash' James Barrett (aka Keepsakes) turns his attention to the lies and fakery of the current dance music scene, with lead track 'Scene Analysis' refusing to hold back when it comes to calling out the issues facing today's techno scene. A deep Green Velvet style vocal floats over a swinging junkyard percussion groove to drive the original mix forwards.
Label boss man Perc can't resist remixing such a memorable vocal track and swaps the swinging groove of the original with a pounding kick heavy rhythm to add even more intensity to the raw rage of the original mix.
Flip the record over and the B-side serves up another two punchy groove based tracks, pairing Keepsakes' unique brand of swinging percussion with cut up vocal shouts and grinding synth lines. B1 track 'Industry Anthem' repeats and warps the word 'money' as an extension of the cash grab call out of 'Scene Analysis' whist closing track 'Prey For Hype' uses other-worldly robotic vocal shouts over a tough kick led groove to finish the EP on an energetic high.

If blue is the color of sadness, or the best color to reach authenticity, R.Y.F. – the project of the Italian singer-songwriter and musician Francesca Morello, based in Ravenna – goes even further with the new album Deep Dark Blue. Deep Dark Blue is an underwater album, maybe it is even a deep-sea album. The sound is dark and muffled, as if we were in a sort of cradle, a blue bubble, a sea cocoon in which to wrap ourself ves to regenerate and achieve peace, but whose casing also conveys energy. Born following a dazzling baptism in the mesmerizing sea of Stromboli, in Sicily, Deep Dark Blue is an album of suffering and healing which confirms R.Y.F.‘s destabilizing power. According to her: ”Sometimes I experience moments of great suffering, in the last two years caused by my wife’s health problems. I was “broken inside” and I didn’t know if I would be able to go back to the way I was before. Deep Dark Blue tells how I felt and how I would like to rebuild myself. I still talk about the freedom to love, but I also felt the need to talk about suffering, and I tried to do all this with irony, in the most joyful way possible. And it worked. That’s why this is also a healing album”. In Deep Dark Blue there are also some important guests, underlining R.Y.F.’s rise in her international career. They are Moor Mother, Skin (Skunk Anansie) and Alos (aka Stefania Pedretti, formerly OvO and Allun), united by feminism, queerness and political activism, to get precious artistic affinities stronger in these hard times of new repression that we are experiencing. Deep Dark Blue arose from software and analog instruments and was then developed with Maurizio “Icio” Baggio (The Soft Moon, Boy Harsher), who also took care of recording, production, mixing and mastering at the music studio La Distilleria in Bassano del Grappa. Matteo Vallicelli (The Soft Moon, Death Index) participated in the production of some tracks. Although it flows with compact fluidity, the album highlights R.Y.F.‘s mastery in expressing herself through different stylistic genres. There is a dark electro-punk common thread, but there are also blackness (Run Run Run), alt-metal guitars on dance house structures (Can I Can U feat. Skin), industrial doom (Deep Dark feat. Alos) and other experiments (the instrumental interludes Droplets and Sirene). The variety of sounds corresponds to a spontaneous variety of topics. The theme of suffering opens and closes the tracklist with Blue and Deep Dark feat. Alos, almost as if to represent a first contact with the water and the culmination reaching the bottom of the abyss, and is approached both with a smile on the lips in the sexy Lies and from a more authorial perspective in the heartfelt Violent Hopes and December 25th, the first songs on the album to have been written. Deep Dark Blue by R.Y.F. is an immersion from which you emerge different from your old self, some kind of magical creature in a new form, but it is first of all an electric shock from which one is violently happy to be struck.

Sleap-e is reclaiming herself. The Italian singer-songwriter’s second album, 8106, captures the spirit of play; the child-like instinct to pursue what you love without compromise - and here it is, that particular magic that rarely survives adulthood, remarkably intact. Each of its eleven songs are vibrant shards which build a mosaic of Asia Martina Morabito’s world: the growing pains of your early twenties, remaining faithful to your dreams despite the hostility of adulthood, places of escape both real and imagined - and the pulse of Bologna, her home and north star. As a student of old-school iconoclasts like The Fall and inspired by the outsider streak of Jimmy Whispers and Daniel Johnston, it was not any particular musical quality of theirs which Asia wanted to channel in Sleap-e, but their confidence to “explode in a raw, free and authentic way.” Though her sound has shifted from the tender bedroom pop of her 2020 EP Mellow and her 2022 debut album Pouty Lips which was bedecked with jubilant brass and Mediterranean rhythms, it’s her self-belief which endures. 8106 is Sleap-e’s most raucous, unpolished and playful offering to date, steeped in the influence of “egg-punk”, an internet-grown genre which seeks to satirise the tropes of punk with its danceable irreverence. There is joy to be found, Asia feels, in refusing to conform, and it has brought her closer to herself than ever before. But to gain her sense of self, first, she had to lose sight of it. Summer of 2023, when the outlines of the record were made, was a difficult time for her. 8106 was the number of the hotel room she felt confined to, alone and adrift from comfort when she was working away from home. Writing this album was her getaway car. “It represents an important choice I made,” she explains. “I chose happiness. I chose myself.” The title represents a kind of mental post-it note reminding herself to stay focused on what she loves; it’s a talisman to protect her from hard times. She returned home, and there she began recording the album in residency at the Bronson Club, a hive of like-minded creatives and mentors who helped it take its final form. At home, her own music was played freely and instinctively. The artwork for 8106 is by Noemi Vola, a prolific Bolognian illustrator and author who specialises in designs for children, which reflects the “funky, fairytale mood” of the record itself.

The third studio album from Rebecca Downes with 12 new, original blues-influenced, rock tracks all written by Steve Birkett and Rebecca. Album mixed by Bill Drescher and Chris Childs. With exciting new material that continues the evolution of the music towards rock, More Sinner Than Saint is worth the wait. At the outset, Downes consulted with producer Chris Kimsey, who has previously worked with The Rolling Stones, to select and refine the 12 tracks and to achieve what she and co-writer Steve Birkett see as the perfect expression of their current writing. With five of the fabulous tracks having been mixed by Californian based Bill Drescher, whose previous accolades include working with Rick Springfield and The Bangles, Downes showcases her trademark powerful vocals throughout. With the remainder of the tracks being mixed by Thunder’s Chris Childs, the pedigree of this album is faultless. With her superb studio band that includes Dan Clark, Lloyd Daker and Magnum’s Rick Benton, there was no shortage of artists queuing to join her on the odd track or two. The multi award winning Alan Nimmo (King King) plays guitar on If I Go To Sleep and Magnum’s Tony Clarkin delivers a fabulous guitar solo on Breathe Out. With her signature voice, style and song writing, it was little wonder that last year she was voted Female Vocalist of the Year at the FORM UKBlues Awards. The release of this jubilant new album once again gives her the chance to showcase her formidable powerhouse and gutsy vocals in tracks that have greater range and depth than anything she’s done before. Rebecca said: “We were honoured and humbled to receive Chris Kimsey’s guidance. He gave us confidence about the direction of our writing changing to a rockier sound and advice on the way the material should be recorded. Meeting Bill Drescher in LA was fantastic – such a lovely, down-to-earth guy – and his mixing took the five tracks to the next level. Chris Childs has since done an excellent job on the rest in matching Bill’s mixing style. We are very proud of this album – and the way the music has evolved towards rock. More than ever before we believe it captures the best of our song writing.”

Somehow Klasse Wrecks has made it to 50 official releases, not bad for a label that wears its ignorance for others and 'the norm' proudly on its dirty sleeve. Over the years the label has released a multitude of various sounds, spanning bleep, rave, deep house, down tempo and the 50th release does well to encapsulate that free spirit and openess. Without much planning and totally by way of coincidence the responsibility lies with label co-owner Luca Lozano and its sonically a typical mixed bag as to be expected. Kicking off with restless acid stomping, the title track barges through the door...knocks over a few drinks before blossoming into a breakdown that propels the 303 deep into space and back again. On the A2, Lozano shows off his love for creaky breakbeats and DX donks on a track called 'Re-Mix'...which as far as we know isnt a remix of anything at all. The flip contains more raving beauties, 'Save Me From The Rave' might be a desperate plea but by the sounds of it he's still enjoying the madness, the producer makes an epic breakdown that might well signify the end of all Trance homages. Then the final track of the EP sounds like it could be played in a field in Glastonbury in 1993, its haunting vocal harmonies signify the sun is coming up soon and likely that we're about to start Chapter 2 of the Wrecks Wrebellion. The special edition sleeve artwork features examples of previous artwork from the last 50 records, overlaid in a typically chaotic manner by the label's designer

Embark on a sonic journey with Danza Tribale's latest release, "Das Neue Elektronische Volkslied," an album born out of a relentless pursuit of cutting-edge, non-retrospective techno tracks.

The creative process, initiated in 2022, took a unique twist as it drew inspiration from live performances - raw, improvised moments fueled by the electric energy of the club atmosphere.

Tobias., the mastermind behind this musical odyssey, meticulously reproduced and evolved these spontaneous creations in his studio, crafting a seamless fusion of diverse elements. Seeking guidance on the ideal label for this innovative project, the artist turned to the talented Adiel. What transpired was beyond expectation.

Enchanted by the tracks, Adiel proposed something extraordinary - the birth of "Das Neue Elektronische Volkslied" on her label, Danza Tribale. In her words, the energy and dedication poured into the feedback reflected the label's commitment to pushing boundaries. It was an offer, Tobias. couldn't refuse, convinced that Danza Tribale was the perfect home for his musical creation.

Even Tobias. himself found it challenging to put the essence of "Das Neue Elektronische Volkslied" into words. In his enigmatic statement, he remarked, "In general, music is very difficult to describe because everyone feels something different; music speaks for itself and is only understood by those who speak the same universal language." He emphasised the album's title as a poignant nod to the cyclic nature of current clubculture and a heartfelt homage to a true futurist.

Join us in embracing the avant-garde spirit of "Das Neue Elektronische Volkslied" as it marks a significant chapter in the evolution of techno music.

The album consisting of 8 tracks will be available soon on Danza Tribale, it promises to redefine your perception of sound and rhythm. Stay tuned for a release that transcends boundaries and propels us into the future of electronic music!

Limited edition - 180g vinyl - deluxe gatefold sleeve, remastered from the original tapes by Rinaldo Donati, Maxine Studio, Milano. Cut and pressed by German audiophile specialist, Pallas Group. 1985 was perhaps the best year of the last phase of Baker's career and his recordings with Philip Catherine and Jean-Louis Rassinfosse are clear proof of this. These, in general, are of great artistic standing and show that the trio, born almost extemporaneously, had turned into a real group, in which the musicians conversed with each other, but also had ample spaces to express themselves as soloists. A trio without piano and drums in which the lyricism of Baker's trumpet, Catherine's nervous guitar phrasing, as well as the solidity of Rassinfosse's constant rhythmic drive, ensured the music a surprising balance based on contrasts.

South African Warrick Sony is a ground breaking composer who was behind the Kalahari Surfers project which now gets a vital spotlight courtesy of Emotional Rescue. This compilation shows how effortlessly eclectic his sound was - from jive rhythms to jazz, tabla to political speeches and much more in between. A Hindu pacifist who was once conscripted into the South African Defense Force, he founded this group as a way out getting his ides out there, calling on other musicians as and when he needed them. It was the first radical white anti-apartheid pop in South Africa and as this vital collection shows it explored polyrhythms, slow motorik, dub sound collage and even a goofy cover of Nancy Sinatra.

Especial Specials always deal in releases with a story often as interesting as the music itself. This time out they enlist DJ and producer Dreems for a fine collection of limited-edition 12"s. Angus Gruzman aka Dreems is the man behind the vital Multi Culti label and has dropped his own wares on the likes of Kompakt, Pinchy & Friends and Futureboogie but somehow remains rather in the shadows. This deep dive into his vaults should change that - these are edits and dubs that come doused in psychedelia as they trip through several genres. There is off-kilter dub, melon-twisting dub, intensely percussive and tribal dub, and more besides across the five fantastic tracks.

Curlina is back with three massive edits, ranging from slow Balearic till fast refined Disco: a must have in your record bag! limited copies, don't sleep!

Dark Matter ist Pearl Jams zwölftes Studioalbum und die erste Veröffentlichung der Band seit dem von der Kritik hochgelobten Gigaton (2020). Das Album ist der Höhepunkt eines frischen und rasanten Ansatzes der Band und des Produzenten Andrew Watt (Rolling Stones, Iggy Pop, Post Malone, Miley Cyrus, etc) Während die Band bei Gigaton in vielen Aufnahmesitzungen Songkonzepte erarbeitete und die Fertigstellung des Albums etwa drei Jahre dauerte, kamen die Bandmitglieder für Dark Matter ohne vorgefertigte Songideen und ohne eigene Instrumente in die Shangri-La-Studios. Die Kreativität fand in Echtzeit statt und war eine wirkliche Gemeinschaftsleistung. Die LP wurde in drei Wochen fertiggestellt. In einem Interview mit Classic Rock sagte Mike McCready kürzlich, “Andrew Watt really kicked our asses, got us focused and playing, song after song. It took a long time to make Gigaton, but this new one didn’t take long. Andrew was like: ‘You guys take forever to make records. Let’s do this, right now.’”Von der Bühne ihres Konzerts in Austin im Sommer 2023 sagte Eddie Vedder “We’ve made a record for next year. What I can tell you is if you like the musicians in this group, you’re gonna hear them playing at their highest level.” Dark Matter erscheint auf CD, Vinyl und als Deluxe CD (inkl. Dolby Atmos Version)

Nadyne Rush is a Italian-Haitian singer who begin her artistic career
very earlier in jazz musical range, it boasts multiple experiences
abroad and Italy and collaborations with the most important Italian
musicians.

She was the backing vocals of the Italian Funky Group Dirotta on Cuba and the Italian trapper Ghali and collaborate with many artist as Mario Biondi, Gegè Telesforo, Neri Per Caso, Bengi and Fabrizio Bosso.

Now on FullTime Production her new album 'RUN!' with seven tracks, this album was conceived following the great love for the '70-'80 music sounds, for played live music, for horns sections, for disco music, for funky and house, expertly mixed by the producer Alex Barattini.

An album full of strong emotions, passion, motivation, unconditional
love, is a collection designed to dance but to dream, to redeem and
reflect also, in a world that moves quickly and detaches itself more and more from the ability to perceive values as essentials for our
existence.

As its maiden release, Tbilisi Records presents the recordings by one of the essential Georgian jazz formations of the 1980s. Alexandre Kiladze's Jazz Choral, formed in 1985, featured an impressive lineup of 11 vocalists complemented by a full band. Alongside standards, the ensemble's material contained many outstanding, stylistically versatile originals lushly arranged into the layered vocal harmonies juxtaposed against the band's tuneful, dynamic play. The polyphony Jazz Choral displays draws equally from Georgian folklore and vocal jazz band tradition. This singular fusion of these two culturally distinct elements creates a remarkable listening experience often emulated by newer Georgian jazz formations thereafter.

Zehn energiegeladene, klassische Metal-Songs mit 70er-Rock-Attitüde aus den Straßen von New York City! Auf ihrem ersten Studioalbum seit fünf Jahren hauen New York Citys Tower mit Vintage-Metal-Appeal und klassischer Rockattitüde die Jams raus, die die Old-School in die Gegenwart bringen!
Der freie Charakter des Schreib- und Aufnahmeprozesses hat zu mehreren Neuerungen für Tower geführt: Während ihr typischer Vintage-Metal-trifft-70er-Rock Sound immer noch dominant ist, sind dieses mal Elemente wie Thrash und Doom in die Gleichung eingetreten.
Textlich befasst sich "Shock to the System" mit politischen Themen, persönlichen Verlusten und der Volatilität von Beziehungen und dem Leben im Allgemeinen. Das Cover-Artwork stammt von Morgan Jesse Lappin. Die Gefühle der Isolation, die die Pandemie hervorgerufen hat; die vergeblichen Versuche, einer klaustrophobischen und unangenehmen Umgebung zu entkommen, nur um festzustellen, dass sich die reale Welt drastisch verändert hat - werden hierbei perfekt abgebildet.
Hier gibt es nur noch eines zu tun - Shock to the System einschalten und auf 11 aufdrehen!
Endlich erscheint die LP im Gatefold und auf schwarzem Vinyl!

Die offizielle Wiederveröffentlichung des Dub-Klassikers "Scientist Encounters Pac-Man" ist als 2LP-Edition mit Poster (60x60 cm) erhältlich! Die Aufnahmen des Originalalbums von 1982 finden sich auf der ersten LP, sie wurden mit den Musikern der Roots Radics in Bestbesetzung im Channel One Studio eingespielt und im King Tubby Studio abgemischt. Am Mischpult saß Hopeton Overton Brown, besser bekannt als Scientist, und für die Produktion zeichnete Linval Thompson verantwortlich. Auf der zweiten LP finden sich die dazugehörigen Versionen der Sänger u.a. von Eek-A-Mouse, Linval Thompson, Dennis Brown und den Viceroys und den Meditations. Für dieses herausragende Re-Issue Projekt wurde die Top-Adresse, was Audio-Mastering in Europa angeht, die Firma Soundmasters in London, engagiert. Das dazugehörige Artwork von Tony McDermott hat bis heute nichts an seiner Faszination verloren.

Following the most prolific year of his production career, Adam Beyer starts 2024 right with another standout EP, Let’s Begin’, which takes influence from the ‘90s Drumcode sound with a modern touch. Looking backwards to go forwards, the three-track work kicks off with ‘Let’s Begin’ and sees Beyer lean on faster tempos and rugged rhythms to craft a high octane, atmosphere heavy cut that hits you right between the eyes. An absolutely cracking peak-time tune that highlighted recent gigs at Blitz Club in Munich and Amnesia in Milan. ‘Computerized’ is a masterclass in dancefloor mentalism, bringing forth shades of hardcore influenced vocals and menacing synth lines reminiscent of early 2000s Frankfurt. No surprise this brought maximum vibes at Beyer’s NYE gigs in the States at Teksupport and Insomniac’s Countdown NYE event. Fresh out of the studio, ‘Red Room’ is a dreamy belter that takes in subtle hints of classic four-to-the-floor grooves reminiscent of UK hard dance, before an industrial synth section ramps up the intensity. Exhilarating stuff. “This new three-tracker is on the rawer techno tip and is an ode to Drumcode’s earlier material. It’s a take on the ‘90s sound blended with new modern elements. For this release I wanted to take the Adam Beyer techno sound from that period and bring it up-to-date. It’s dirty with a new twist, direct and to the point. This project is not a statement, rather it’s a release that was inspired by the big techno shows

2LP Repress!

Yosi Horikawa makes music quite unlike anything you've heard, music that reflects not only the appeal of rhythm and melodies but also the power and hidden musicality of everyday sounds. In that sense Horikawa is not just a producer or musician or sound artist: he is a world builder whose materials constantly surround us, though we rarely stop to appreciate them. Horikawa honed this approach for more than a decade, travelling far and wide to record forests, beaches, cities and people while never missing an opportunity to also find sounds closer to his home in Tokyo.

'Spaces' is Horikawa's new album, following from 2013's 'Vapor' released via London-based label First Word. This time the album is released on Borrowed Scenery, a new label setup by Horikawa and close collaborator Daisuke Tanabe to enable them to operate free of constraints.

The album features 11 songs that combine field recordings and sound design with a range of stylistic touch points: the fluid intricacies of hip-hop, the precise efficacy of IDM, the euphoric physicality of dance music, the humanity of acoustic instrumentation. Each song blends a primary sound source with a certain style, with titles often hinting at the origins of the sounds – "Moldy Vinyl," "Vietnam," "Fluid," "Swashers," "Nubia" – or the mood the music evokes. What ties it all together is Horikawa' s deeply personal understanding of what constitutes music, an understanding shorn from the commercial and stylistic structures of music as a commodity.

'Spaces' is a deeply human experience, and through Horikawa's approach music feels as natural as breathing. Horikawa has collaborated with French producer Fulgeance, American singer Jesse Boykins III and fellow Japanese experimentalist Daisuke Tanabe. His music has been supported by Gilles Peterson and Benji B. Outside of music Horikawa is an in-demand sound engineer and speaker designer who has worked with J-WAVE, Kengo Kuma, Mitsubishi and Sound & Bar Howl in Tokyo. 　　　 　　　　　　　　　　　

(by Laurent Fintoni / Original Cultures)

Irresistible Brazilian blues reggae from the heart of the Amazon rainforest. A psychedelic guarana induced trip and ode to the fading indigenous cultures and shifting hegemony in Brazil. This one-off release by Manaus native Natacha Fink was originally written in 1986 as the lead track on NOSSA MUSICA - a compilation celebrating regional music from the Amazon. Emerging out of the dictatorship, Natacha and her fellow artists rejected the aesthetic standards driven by internal colonialism and sought out new ways to express themselves away from the styles of the dominant Rio-São Paulo axis. What surfaced was a melodic blend of genres, with Natacha’s haunting vocals and playful lyrics gliding over an arrangement of guitars and double bass. Vocal backing is led by Torrinho, well known for his layered composition style, whose song ‘Porto de Lenha’ is recognised throughout Amazonas as an unofficial anthem. Hidden within the Amazon, Pirarublue lies in that wonderful space between innocence and honesty. Proudly exploring cultural and ecological spaces through a refreshing, ghostly infectious groove. For fans of Gal Costa, Elis Regina, Chico César, Jorge Ben Jor and Joni Mitchell.

Accompanying Natacha’s beguiling single is the field recording “Unseen Songlines” by artist and academic Nimalan Yoganathan. The composition immerses the listener in the soundscapes of Mamori Lake, a remote village inside the Brazilian Amazon. Nimalan explores the ambiguous perception of sounds emanating from the dense rainforest and deep beneath the Amazon River, where we hear the sounds but cannot see their sources: an acousmatic concert performed by the rainforest itself. Processed field recordings of birds and frogs, as well as underwater hydrophone recordings of dolphins and fish subtly weave throughout electroacoustic textures and beats. The listener is invited to hone in on the musical subtleties hidden throughout the environment. The compositional methods employed in this piece draw on the concepts of sonic rupture, presence, absence and memory found in the dub music tradition.

This limited edition 7” by Sticky Buttons puts these two outlying works together for a unique listening experience, combining the human and more-than-human experience of life at the heart of Brazil. Both uniquely Amazonian but with a universal appeal.

Where does pop start and experimental music end? Instead of drawing lines, Red On keeps on exploring the spaces in between these supposed poles with his latest album Phantom Easy, a record that offers moments of pure beauty as well as unpredictable, uncontrollable wilderness.
The spaces Red On moves in aren’t per se terra incognita, but have been explored in recent years by like-minded musicians such as How To Dress Well, Fever Ray, or Dawuna, as well as artists that are affiliated with Präsenes Editionen, where Red On’s album is published, such as Martina Lussi, Belia Winnewisser, or Magda Drozd. Yet, Phantom Easy is an exploration of its own: The melancholic album, which is informed by pop, electroacoustic music, rhythm-focused jazz, and krautrock, is carried by Red On's voice, which appears in ever-changing stages of alienation. The wistful tone of the twelve tracks is reinforced by single phrases sung by Red On that, through their repetition, develop an urgency that can hardly be escaped. The result is pop music that is brave enough to embrace the adventure; or experimental music that doesn’t shy away from offering catchy hooks and grand melodies.

DJ 3000 Drops "Work In Progress" from the Album "Mezë" – An Ode to Detroit's Unique Sound

DJ 3000, the trailblazing figure in electronic music, unveils "Work In Progress," an electrifying track extracted from his latest album "Mezë." This song is a testament to the essence of Detroit's music scene, where the bassline reigns supreme, and less is indeed more.

"'Work In Progress' is all about that bassline," explains DJ 3000. "I wanted to capture the raw energy and infectious groove that defines Detroit's sound. The combination of a captivating bassline with a catchy vocal creates an irresistible vibe that's impossible to resist."

As the track evolved during production, DJ 3000 felt compelled to introduce stabs, adding an extra layer of Detroit funk that elevates the song to new heights. This infusion of elements reflects his deep-rooted love for Carhartt and Carhartt WIP, paying homage to both fashion and music in a seamless blend of urban culture and sonic innovation.

Joining DJ 3000 on the EP are two Detroit icons, Jon Dixon and DJ Godfather, each offering their unique take on "Work In Progress" through exhilarating remixes. Jon Dixon infuses soulful melodies and driving beats, while DJ Godfather injects his signature energy, resulting in remixes that push the boundaries of sonic exploration.

In addition to "Work In Progress," the EP features an exclusive unreleased tune titled "Kazani,” showcasing DJ 3000's commitment to delivering fresh and innovative sounds to his audience.

"Work In Progress" is not just a track; it's a celebration of Detroit's rich musical heritage and DJ 3000's dedication to pushing the boundaries of electronic music.

The latest suite by composer (and Stars Of The Lid co-founder) Adam Wiltzie took shape following a move north from Brussels into the Flemish countryside, although it was initially inspired by a recurring dream wherein “if someone listened to the music I created, then they would die.”
The album uniquely evokes and evades the allure of oblivion, keening between beauty and ruin, forever unresolved. Wiltzie cites the barbiturate of the title as both muse and sacred escape: “When you are sitting face forward on the daily emotional meat grinder of life, I always wished I could have some, so I could just fall asleep automatically and the feeling would not be there anymore.”
Recorded at Wilzie’s home studio, with strings added in Budapest at the old Hungarian National radio facility (Magyar Radio), the tracks feel simultaneously intimate and infinite, unfolding vistas glimpsed in an inner space.
Robert Hampson of English drone rock icons Loop mixed the album, further lending the music a sense of cinematic expanse and oblique hypnosis.
These are fugue states as much as fugues in a literal classical music sense—smeared epiphanies of uncertain memory and spatial dislocation, coaxed from the unconscious and set aloft.

Repress!

It's five years since we first released Yosi Horikawa's 'Vapor' album. To commemorate the occassion, we're releasing the album on vinyl for the very first time, also including a previously unreleased bonus track, 'Yoggo'.

The devil is in the details. And Yosi Horikawa understands this perhaps better than most musicians from his generation, crafting compositions with broad appeal that also withstand the most intricate scrutiny. Originality has always been a rare currency in the creative arts, and having honed his voice over the years Yosi has plenty of it to give to those willing to listen.

The RBMA graduate has collaborated with artists such as Jesse Boykins III, Dorian Concept & Daisuke Tanabe, performed at Glastonbury, Sónar, Mutek, Dimensions, Low End Theory, Ninja Tune's Solid Steel & Boiler Room, featured in Time Out Tokyo, XLR8R, Dummy & more, and received acclaim and support from the likes of Benji B, Tom Ravenscroft, Fulgeance, DJ Food and Gilles Peterson, with whom he has worked with on several projects since the release of 'Vapor', for Brownswood, Worldwide Festival & Worldwide FM respectively, producing a regular feature, 'Soundscape with Yosi Horikawa'.

Besides writing and producing music, Yosi is a highly skilled sound engineer, working with prestigious architects, fashion brands, and technology firms as well as designing speakers for bars and clubs. He's also composed numerous jingles and theme songs for radio stations to science exhibitions. Such is his diversity and originality, he was the subject of an RBMA film documentary in 2014, 'Layered Memories'.

Following his debut EP on Eklektik Records, two EPs were released on First Word prior to this, his debut album, 'Vapor'. 17 tracks from the Japanese sound designer and producer that weave together diverse field recordings and sample sources, with rhythms and melodies, creating something that defies stylistic boxing. Echoes of dance music, hip hop and musique concrete can all be found amid the sounds of nature and everyday life that underpin the grooves of the music. 'Vapor' is an album in the old-fashioned sense, a tightly-woven sonic journey that benefits from repeat listens.

'Vapor' was named amongst 2013 Albums of the Year lists in Fact Magazine and The Japan Times.

"A sonic masterpiece and an entirely new pathway in to the matrix of emerging electronic creativity. Every piece on the album sounds boundless and full of texture & colour imaginable"

Earmilk: "A serendipitous mishmash of electronic, hip hop beats, and a litany of genres that fall in that spectrum with a liberal dose of acoustic magic

Edoardo Florio Di Grazia is a Cantautore (singer-songwriter) and story collector from the Amalfi coast, born in Florence and living in Paris, of a Neapolitan family..
Edoardo tries, like an antenna, to pick up signals and transform them into songs. Writing songs allows him to travel and unite distant worlds, to create imaginary landscapes on which to dream up new music: the Amalfi rocks of Tangier harbor can lead directly to a house in Belleville overlooking a Florentine piazza.

Edoardo is also a writer, with a PhD in medieval history from the University of Florence, a podcast author, radio show host, and DJ Selector, a compulsive Digger constantly on the lookout for the rare gem. He will publish next spring "Italia Express" the podcast produced by Radiooooo. It is a journey in five stages through the main Italian cities (Naples, Rome, Bologna, Milan, and Genoa) to discover music and history, from the post-war period to today.

After a first EP “Indossare Il Mare” released in June 2023, the spring of 2024 will see the release of “Ambra e Corallo”, Edoardo Florio Di Grazia’s first album, produced by the Parisian afro-beat label Comet Records (Tony Allen, Ebo Taylor, etc.). 9 songs about journeys, a small collection of stories found in the deep and mythological Mediterranean Sea. Like bottles in the sea, these songs belong to no one and are timeless, messages whispering us the dream of a new path to explore. The story of his first album, "Ambra e Corallo" has the flavor of a novel, the aftertaste of a contemporary fairy tale.

The vinyl includes a QR Code booklet featuring lyrics, liners notes, photos..

Repress!

For the upcoming release on KNTXT, label boss Charlotte de Witte announces a dual EP release. “The Selected EP and Pressure EP, to me, are the perfect reflection of the music I have been playing over the years.” says Charlotte de Witte. “On the Selected EP people will find the straightforward Techno sound with the Acid twist, that I love to bring to the floor when I’m touring.”
“It’s counterpart, the Pressure Ep, is an extension of the mixes that I assemble for my BBC Residency.

A more ambient approach, that’s rougher around the edges.” “Both releases can be seen as an ode to the techno I love and cherish.” concludes de Witte. On the subject of the dual release Charlotte says “For me this duality is essential to explore my interests both as a producer and DJ. Therefore it also made sense to me to release them simultaneously, as we also combine our label releases with events and our weekly radio show.”

My Proud Mountain is proud to announce third volume of the series "Songs of Townes Van Zandt", that was started in 2012 and features various artists covering Townes Van Zandt songs. Songs of Townes Van Zandt Vol. III featuring Amenra, Cave In & Marissa Nadler and will be released on April 22, 2022. Steve Brodsky of Cave In about being part of the record: "In the winter of 2010, I did a solo tour with Scott Kelly of Neurosis and Bob Wayne. It was the 3 of us and Ansgar Glade traveling in Bob's "green machine" van around the UK and Ireland. At every show, Scott played the song "Caroline" and each time I heard it, I found myself enraptured. This was my introduction to Townes Van Zandt. Pretty cool that 10 years later, Ansgar has given me and Cave In this great opportunity to show our love for TVZ's music." Lennart Bossu of Amenra says: "Being Belgians, the very American folk and country of Townes Van Zandt is not exactly the music we grew up listening to, but upon discovering his songs in our early twenties, they immediately struck a chord with us. Even people who do not understand the lyrics can probably tell that they are listening to someone who has lived and suffered, and, oddly enough, at the same time find deep comfort in his soothing voice. It is the kind of comfort that often defines great music or art in general, and it made the prospect of trying our own hand at a few of his songs no less daunting. Nonetheless, when we were asked to be part of this collection of Townes Van Zandt cover songs, we felt excited and compelled to be part of it, as, in a way, it offered us a chance to do something in return for the great songs he has given us, and also be a part of a series of albums that are almost exclusively comprised of artists we deeply respect." Marissa Nadler about Townes Van Zandt: "I've been a fan of Townes Van Zandt's music for nearly as long as I've been writing songs. When I was starting out, a friend introduced me to Townes's music and I pretty much instantly fell in love with both the rawness of his songs as well as the intense sense of longing expressed within them. His lyrics are haunting and evocative and have inspired me endlessly. These melodies will linger with you, year after year, and hopefully keep you company along the way." Ltd red vinyl LP!

Take a trip to Jamaïca with this selection of the finest tunes played by the masters of Reggae. A nice 5 LP vinyl boxsett with Bob Marley, Lee " Scratch " Perry, Max Romeo, Black Uhuru....

Bite Down, the Merge Records debut of Rosali, finds acclaimed songwriter and guitarist Rosali Middleman in the midst of transition. Written after moving to North Carolina from her longtime home of Philadelphia, Bite Down is a searching, hungry record by an artist who is resolved to bite down on life, in all its horror and joy. She is joined here by Mowed Sound_David Nance (bass, guitar), James Schroeder (guitar, synth), Kevin Donahue (drums, percussion)_and in studio by Destroyer collaborator Ted Bois (keys). Bite Down is Rosali's second album working with Mowed Sound, and there is urgency and ambition in their collaboration_a band pushing each other not just to expand on what they've already done together, but to break through into altogether new territory. Among those joining Rosali and her band there is Dan Bejar of Destroyer, who waxes poetically on where she's been, where she's going, and how thrilling Bite Down is to experience: It's hard to talk about Rosali's music. Songs that reach outward like this, but then constantly disarm with their intimacy. What do you call such inner searching that is hellbent on rollicking? Songs that long for a sense of peace and songs that want romance, all on equal footing in the same plot of earth? Performed wild, but always centered around the incredible lyrical calm that is Rosali's voice. Bite Down makes me think about singers and bands that throw themselves hard into the storm, the way the Rosali quartet does. (Jim captures the tone of this perfectly, again!) The calm of her voice over top of the band's raging_it is the emblem of songs that live to put themselves in harm's way. But it's not harm. It's just that you have to play hard to get at these goods. The calm of Rosali's voice, the straight talk of her inner search vs. the wildness of the band, the sonic storm she rides in on. That's their sound. The Mowed Sound. It's hard to talk about these last couple Rosali albums without talking about them. They play free and wild and relentlessly melodious. They rip and create space and fill it up with what seems like reckless abandon, but listen carefully or listen for a while and you'll find them paying real close attention to each other and exactly what the song demands. Maybe Fairport did this, maybe VU. It's a strange telepathic brew. Breezier songs like "On Tonight" and "Rewind" sound like they've fought their way to get to that sense of ease. Maybe that's the Mowed Sound "sound"_hard-won ease. Then add to that Ted Bois' patented Rhodes sleaze (see sinuous title track "Bite Down") steering the record into late-night corners; the incredible "Hills on Fire" (maybe the centerpiece of the album), the guitar-ripping and the singing taking turns in reaching new levels of intimacy. It feels listened-in on, exposed and invented on the spot. It is also simply a staggeringly beautiful song. There are a few of those on the album. In contrast, "My Kind" is a raucous, hand-delivered classic; the band throws tables over. For the most part, this is a moodier record than No Medium. It has the same sound of "I've traveled through fire to deliver you these songs," but it is also quieter, more nocturnal. The quiet dread of staring down an open road, and the excitement of that. By the final track, "May It Be on Offer," it is the prayer uttered as you hand yourself over to the world.

Ponyland are a psychedelic punk, force of nature, a multi-limbed monster of scuzzed-out riffs and thunderous ritualistic grooves. Combining the grinding onslaught of Lightning Bolt, the ecstatic spectacle of Sun Ra and the irreverent spirit of System of a Down, this unhinged, masked menagerie have to be seen to be believed. Intoxicating rhythms meet hook driven waves of riffage, with ecstatic energy that will make your legs rattle uncontrollably.

Following on from their debut album Mora Mora, this new full length LP HARE BRAINS sees Ponyland embrace a new edge to their visionary sound world. Keeping the trademark, pulverising double drum kit engine and fuzz-drenched psychedelic soundscapes, the band have supercharged their songwriting with focused riff-based hooks and driving punk-edged vigour. Prominent female vocals channel Bikini Kill and Warpaint, whilst gritty, melted electronics flow around a classic thrashing guitar sound. Hare Brains is a celebration of dysfunction, a call to arms against human apathy, a psychotropic odyssey of eroded power structures, post-apocalyptic landscapes and mutant pigeons.

The anarchic pagan ecology of Ponyland’s vision grabs the listener and catapults them into a visceral NOW, full of defiant life, movement, and human connection.

Meaning ‘Hi’ in Uruguayan slang, Opa are a South American jazz-funk phenomenon. Fusing Uruguay’s native Candombe rhythms with North American jazz and pop music, Opa’s space-age synthesizers, boisterous grooves and compositional magic expressed a distinctive Afro-Uruguayan voice within the global jazz vernacular: a voice which remains as vital and unique today as when it was recorded, almost half a century ago.

Having migrated to New York from Montevideo in the early seventies, Opa were heard playing in a nightclub by renowned producer and label owner Larry Rosen. At Holly Place Studios between July and August 1975, Rosen oversaw Opa’s first recordings using a four track TEAC 3340. The album would become home to some of Opa’s hardest hitting funk jams, with moments of songwriting wonderment and soulful pop and rock progressions combining with the jazz-funk fusion Opa would become known for.

Mysteriously (for reasons unknown to the band), Opa’s debut was shelved and remained so until the mid-1990s. But the Back Home recordings were used as demos, gaining Opa a record deal with Milestone Records and the subsequent release of two cult-favourite albums: Goldenwings (1976) and Magic Time (1977).

Opa would also collaborate with North American titans including bassist Ron Carter, producer Creed Taylor and Brazilian icons Airto Moreira, Flora Purim, Hermeto Pascoal and Milton Nascimento. In more recent years Opa’s music has found new audiences after being sampled by Captain Murphy (aka Flying Lotus) and Madlib.

For fans of Azymuth, Weather Report, Cortex and The Headhunters, Opa’s Back Home will be released on Vinyl LP and CD on the 8th March 2024 via Far Out Recordings

Soul Jazz of the First Order from Robert Dubwise Browne with two epic takes on tunes that should be in every DJ's grab bag of goodies. Sun Goddess originally by Ramsey Lewis and written by Earth, Wind and Fire's Maurice White together with a Ruff and Tuff version of the Grover Washington Jazz Funk classic "Mister Magic" featuring Jamaican Sax Man Dean Fraser. Guitarist Browne's appearance credits include the likes of his father Dennis Brown, as well as Gregory Isaacs, Beres Hammond and Toots Hibbert.. Produced by Japanese Reggae Legend Hayassen for his label Vortex and signed up on first hearing by Jazz Room Supremo Paul Murphy. If you've got a dancefloor you need these tunes!

4 track 7” on green vinyl . Individual hand painted sleeves. Limited to 500 copies
worldwide. Includes poster.
Part of the Optic Sevens 5.0 Reissue Series.
Originally released in 1986 on Australian label Voyeur Records.
This is the first time that the single has been released in the UK.
Even As We Speak is an indie band from Sydney, Australia. Formed in the mid 1980s, founding members Matthew Love (guitar, banjo, vocals) and Mary Wyer (vocals, guitar) were later joined by Rob Irwin (bass) Anita Rayner (drums, banjo, mandolin), Julian Knowles (guitar, keyboards, production), and Paul Clarke (guitar, vocals.)
After a series of vinyl releases on Australian independent labels including Phantom Records, and success on the Australian indie scene, they came to the attention of BBC Radio 1 DJ John Peel who started to play the band’s ‘Goes So Slow’ Phantom Records release on his show. This brought them to the attention of UK audiences and began a relationship with UK indie label Sarah Records.
The band released several singles and an album on Sarah Records, three of which reached the Top 5 of the Melody Maker and New Musical Express UK independent music charts in 1992 and 1993.

Don't judge a book by its cover. Judge a record by its cover.

And, perhaps, its title.

Cedar Walton's Mobius is as outrageously, disorientatingly brilliant as the stunning jacket design, featuring the legendary jazz pianist morphing into a mobius strip, set against a beautiful sky filled with cumulus clouds. A proper jazz-funk fusion slapfest, Mobius is a stellar electric set from - essentially - one *hell* of a SUPERBAND.

Yes, in addition to Walton's Fender Rhodes wizardry, Mobius is elevated by Ryo Kawasaki's stinging electric guitar, pristinely clear vocals by Adrienne Albert and Lani Groves, rootsy percussion by Ray Mantilla and Omar Clay, alto and baritone from Charles Davis, trumpet from Roy Burrowes, Gordon Edwards on bass and Frank Foster's tenor sax. Oh and did we mention STEVE GADD ON DRUMS?!?!

Gem after gem of looping, bliss-inducing gold, it's an incredibly revelatory album. It presents a thrilling synthesis of R&B, funk, blues and hard bop (with a hint of rock), all driven by an idiosyncratic electronic keyboard. Walton, a giant in the jazz world, got quite the workout every time he played, from piano to arp synthesizer to clarinet to electric piano to mini-moog and back again.

Mobius was Cedar Walton's debut for RCA in 1975. The versatile artist confirmed his abilities as a player, composer, interpreter and arranger with this stunning record, and his own bright compositions offered a springboard for the improvisations of the different soloists. Coltrane's "Blue Trane" is the first classic to be given the funkafied Mobius treatment, Ryo Kawasaki let loose all over neck-snapping Gadd-drum gold before the horns take a fiery turn and subsequently give way to Cedar's virtuosity. A sparkling b-boy break version of Thelonious Monk's "Off Minor" (featuring an absolutely *fire* solo from Walton) really sets proceedings alight. Of the three original pieces, the shuffling, percussive power of "Soho" is just absolutely mind bending Latin-influenced jazzy soul whilst the mellow vibes of "The Maestro" bring elegant, sumptuous soul. And then there's the effortlessly funky "Road Island Red". Just too, too good.

Cedar Walton was born in Dallas, Texas, on January 17, 1934 and began his professional career in 1959 when he began touring for several years with the J.J. Johnson Quintet. He later joined the Art Farmer-Benny Golson Jazztet and then Art Blakey's Jazz Messengers. Pretty solid credentials, right? While based in New York City, Cedar played with such luminaries as Donald Byrd, Eddie Harris, Blue Mitchell, Kenny Dorham, Lee Morgan, Freddie Hubbard, Jimmy Heath and Milt Jackson. Without question, he was one of the most complete and gifted musicians of his time and Mobius provides proof of that. The fresh, danceable tracks, all firmly rooted in the living tradition of blues and gospel, are skilfully presented by a master who enjoyed keeping abreast of contemporary tastes and was always keen to renew his language.

As the album notes state: “Mobius, which is the theoretical shape of the infinite universe, makes use of the most modern recording techniques and synthesizers. We mastered and mixed so that it’s hotter than the competition, which should help radio play and in-store demonstration.” Indeed. Mobius is really gorgeous mid-70s fusion, ranging from the funky to the ecstatic. It's an absolute MONSTER that will completely blow you away; and, yes, it's as wild and hypnotic as the cover. The audio for Mobius has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Remixes JID020 is the twentieth installment in the Jazz Is Dead catalog. This remix album features London based artists Shabaka Hutchings and Theon Cross, New York tastemaker Melanie Charles, LA based producer Bei Ru, Brazil's Dj Nyack, Detroit based producer Tall Black Guy, Bay Area producer Mophono and the LA based house duo LO & Disko. Remixers sampled the previously released Jazz Is Dead records created by Adrian Younge, Ali Shaheed Muhammad and icons including the following: Lonnie Liston Smith, Jean Carne, Tony Allen, Henry Franklin, Phil Ranelin, Wendell Harrison, Garrett Saracho, and Katalyst.

In 2020, L'Osmose began its artistic collaboration by combining 70's psychedelia with catchy rhythms.

Blending auto-tune, electric guitars, percussion, and analog synthesizers, their music is a reflection of their incessant experimentation and their desire to explore new sonic avenues.

After several radio appearances (couleur3, Worldwide FM, Radiovostok), and opening acts for international artists (Chilla, Yin-yin, OBF, old Farka Touré, Arp Frique), the Geneva sextet has built a certain reputation within the Swiss cultural scene.

Spotted by L'Éclair in 2022, the group continues its rise by recording, with their help, a promising first album which they will sign on the Stone Pixels Records label.

While waiting for the release of this project, immerse yourself in the raw, sincere and captivating energy that their performances emit.

This batch of releases is what Deeper Knowledge Records is really all about - showcasing and making available fantastic music that has been rarefied, but with no correlation to its quality. That is to say, music that we feel is every bit as great as well known, much-loved and canonized classics, but just never reached the ears of as many folks, only due to its unavailability. And the music made by the close-knit foursome of Trevor Byfield and Clive Matthews as artists, and Norman "Fox Fire" Vassell and the late Clinton "Percival" Williams as producers, is just that. Starting in the late '70s and into the early '80s, this foursome cut some of the best and heaviest roots reggae tunes of the era. We will be issuing eight great singles from these folks. Trevor Byfield's "Burning Bush", a classic ode to herb smoking. Originally issued on the Fox Fire imprint, re-presented using the same Fox Fire design as used on the original, which is one of our favorite label designs of all time!

Music is a form of world building. I love to develop sonic characters and set them into fictional ecosystems with unique textures, acoustics and atmospheres. Each song forms a different landscape, through which a vocal character guides us and tries to tell us its stories." — Ludwig Berger

Ludwig Berger's 'fictional' debut album "Garden Ediacara" unfolds as a musical eco-fiction, guiding listeners through a speculative ecosystem with synthesized vocals. Infused with storytelling techniques from sci-fi and fantasy, the album intertwines melodic songwriting with electroacoustic sound design. Inspired by hydrofeminism and eco-fiction novels, such as "A Door Into Ocean" by Joan Slonczewski, the album delves into the geological period of Ediacara around 600 million years ago — an era so remote it resonates as a glimpse into a possible future. The Ediacaran period was characterised by a peaceful and thriving ecosystem inhabited by soft-bodied creatures without eyes and bones, which were completely wiped out through the appearance of a new species. "Garden of Ediacara" alludes to this period, celebrating both the pleasures of biodiversity as well as mourning its inevitable loss. The narrative unfolds as an exploration of growth and interconnection in the shadow of a coming extinction. The track titles, written by Daisy Lafarge, reveal themselves as a cohesive poem and contribute to the album's narrative.

Informed by his practice of field recording that focusses on intimate encounters with plants, animals and geological phenomena, as well as his studies in electroacoustic composition, Berger expands his palette for his debut in 'fictional' music. The album prominently features a post-human, non-binary death metal voice synthesizer, physical modeling instruments, and microscopic field recordings of plants, insects, as well as aquatic and geological life. With impressionistic strokes, Ludwig Berger crafts vibrant worlds using glassy timbres and more-than-human voices, guiding listeners through emotionally ambiguous terrain, seamlessly oscillating between moments of intimacy and irritation, melancholy and playfulness.

Ludwig Berger is a landscape sound artist, educator and musician. In his compositions, installations and performances, he enables intimate and playful sonic encounters with plants, animals, buildings and geological entities. He is founder and curator of the label Vertical Music, which releases field recordings and experimental music. Berger holds degrees in electroacoustic composition, as well as musicology, art history and literature. As a sound researcher and teacher at the Institute for Landscape Architecture at ETH Zurich from 2015-2022, he studied the sonic dimension of Japanese gardens, alpine glaciers and urban landscapes, which among other things led to the release of the acclaimed album trilogy 'Melting Landscapes', 'Dammed Landscapes' and 'Buried Landscapes'.