Suche:rëis n mu

Womack updates his material for the 80s, creating grown-up sensual soul.

The passion for earthy R&B seemed to have dimmed as the 80s began.

Synthesised confections abounded and veteran Bobby Womack, the Midnight Mover, was at a crossroads. His peers were either in the wilderness (Marvin Gaye, James Brown and Isaac Hayes) or otherwise indisposed (Sam Cooke, Jackie Wilson, Sly Stone), so it was left to Womack to fly the flag for down-to-earth, quality soul.

Womack had been a recording artist for best part of two decades when he made The Poet. After making his name with The Valentinos in the 60s, he cut a string of heartfelt, emotional albums for Minit, United Artists and Columbia throughout the 70s. The Poet was written with great optimism; Womack was out of contract and was approached by agent Otis Smith to set up on his new label, Beverly Glen.

Working with Patrick Moten, Womack crafted eight songs that sounded breathlessly contemporary. If this material had been put in the hands of a soul crooner, it could have sounded perfunctory. The Poet works because of the juxtaposition of Womack’s feral growl with the album’s sweet, smooth, urbane soundtrack. This is grown-up, sensual music; from So Many Sides of You to its epic closer Where Do We Go From Here, this is a luscious collision of Womack’s soul mastery and slick musicianship. It rises and falls, with Womack sidestepping cliché thanks to his preaching, heartfelt delivery. For example, when he cries “I wanna dedicate this song to all the lovers tonight / And I expect that might be the whole world,” on If You Think You’re Lonely, it sounds honest, simple and sincere.

The Poet put Womack back on the map, and gave him his first US R&B chart-topper and first mainstream top 30 album. It was adored in the UK, and sent many back to investigate his grittier 70s heyday as an albums artist. The album became the best-selling record of Womack’s career

Womack cut the equally sublime follow-up The Poet II, released in 1984.

Daryl Easlea – BBC

It's only fair - in terms of universal balance - that stratospheric pop success should be countered with some gutter realism.

When you live round the Bitter Ends, a year of enforced curfew is the least of your worries.
That said, it speaks volumes that even the folder marked 'Alternative versions' is light years ahead of most of what passes for dance music in 2021.

Majestic, soaring, sonic sensations.

Dependably unbendable !

As always, limited and LOUD

Following on from the success of ‘Greg Belson’s Divine Disco’ series Greg Belson and Cultures of Soul team up again to explore the world of Gospel Funk. Belson, one of the world's leading collectors and DJs of gospel music, has assembled a collection of some of the rarest Gospel funk records for “Greg Belson’s Devine Funk.”

In addition to the full-length, available on CD and LP, choice selections from the compilation will be released on 7 inch singles in limited quantities. Third in the Devine Funk 7 inch series, includes the laid back breakbeat laced “I Don’t Want to Be Alone" by Allen Gauff Jr.,

New album by jazz pianist & composer Rolf Zielke on Agogo. "Beaches In Your Soul" is a reflection of Contemporary Jazz, Latin, Brazilian Jazz and music of the 'Middle East: The pianist Rolf Zielke has been a constant in the German Jazz scene for many years. The spectrum of his work, bands and projects is huge and he keeps surprising us with new ideas and concepts.

At first glance, Sarah Louise might seem an unlikely candidate
to credit technology as inspiration for her new album, Earth Bow.
After all, she has lived in rural Appalachia for the last decade,
foraging numerous species of wild mushroom, concocting
medicine from plants she gathers, and performing what she
terms “Earth Practices” to deepen her relationship with the
natural world. But it is precisely her ability to find connections
between false binaries that makes this album so novel and richly
immersive.
Louise conceived Earth Bow as an interconnected ecosystem,
meant to evolve, interact and grow. Known for her inventive
guitar playing, vocal harmonies and electronic experiments,
it was her use of the SP-404SX sampler that became a primary
inspiration for the album’s woven nature. “Improvising with the
404 during live shows allows me to collaborate with the music
as a living system, almost the way generative music works,” she
says. “I kept finding more and more samples that worked together
and realized I wanted to connect the entire record—and
that there were many ways it could be connected.”
Through this process, what began as eight core songs
blossomed into two sweeping suites. Samples—denizens of
her electronic forest—move around the record with changing
context like words in a sestina or phrases in the I Ching,
revealing new connections with each listen. Mesmeric sounds
abound on Earth Bow, from analog synth tones, to digitally
manipulated sonics that she stretches and layers with a painterly
touch. These electronic sounds inhabit the same environment as
field recordings, ceremonial percussion, guitars and empathic
vocals, weaving together her vast and borderless influences into
an enveloping world. “I want this record to take people on a
journey through the wonders of our incredible planet, to help
people feel held by the mysteries of nature,” she enthuses. “I
believe music can heal.” After a string of celebrated releases on
Thrill Jockey, Sarah Louise is self-releasing Earth Bow on her
new imprint of the same name.

If some of these titles look familiar, it’s because they’re among the most majestic roots and culture songs ever recorded, and by singers whose credentials are beyond question. All tracks feature the original artists and even the actual seventies’ vocal in some cases, but the rhythms have been recreated with today’s sound-systems in mind and are heard at their very best when roaring out of giant speaker boxes, greeted by a forest of raisedhands and with a deejay at the mic.

Producers Mafia & Fluxy include reggae legends Bunny “Striker” Lee and Fat Man among their mentors, and their mastery both in the studio and on stage is unrivalled outside of Jamaica. The way these two brothers play dub will make the hairs on the back of your neck stand up whilst the messages in songs like Every Tongue Shall Tell, Declaration Of Rights, No Peace and Fittest Of The Fittest are relevant as ever but then the music on this album isn’t dated, and is reggae, roots and culture for the ages.

Can was founded in 1968 by Irmin Schmidt, Holger
Czukay, Michael Karoli and Jaki Liebezeit who
formed a group which would utilise and transcend
all boundaries of ethnic, electronic experimental
and modern classical music.
This classic album of tracks was recorded at the
beginning of Can’s life and features original
vocalist Malcolm Mooney.
‘Thief’ is now a rejuvenated Can classic having
been covered by Radiohead and since then
discovered by a new generation of fans.
Can’s powerful influence has never diminished and
their indelible mark is apparent in the bands who
freely acknowledge their importance - from
Portishead, James Murphy, New Order, Factory
Floor, Public Image Ltd, Mogwai, Kanye West and
Radiohead - as well as across other disciplines
such as visual art and literature.
“Can are impossible to classify and it’s impossible
to ignore their seismic influence on so many
diverse musical paths” - Richard Hawley
“Can are the most revolutionary band ever” -
Stephen Morris (New Order)
Now available on pink vinyl with digital download
code.

Crumb’s second album, Ice Melt, takes its name from the coarse blend of salts that you can buy from your local hardware store for $9.99. When sprinkled on your wintry steps, this mixture absorbs water and gives off heat, transforming the ice into a viscous, briney


slush and, eventually, nothing at all. Beginning with the dynamic chaos of “Up & Down,” and ending with Crumb’s closest thing to a lullaby, Ice Melt’ s ten tracks combine, like ice sculptures melting into a glistening puddle.

From the start, the group knew that cohesion was best achieved through plumbing their individual strengths— frontwoman Lila Ramani’s earliest songwriting, which catalyzed the group’s first two EPs; Bri Aronow’s knack for building (dis)affecting soundscapes; the hypnotic grounding of Jonathan Gilad’s drums, a Crumb mainstay; and Jesse Brotter’s distinctive bass playing, which subtly traces Ramani’s vocal melodies while providing an unrelenting pulse. These collective skills make Crumb a project of independent self-discovery, four creative minds converging around an idea that is always shifting and reforming.

Convening in Los Angeles to work with producer Jonathan Rado, Crumb tapped into atmosphere-creation like never before, building experimental compositions that are at turns head-nodding and surrealist, energetic and euphoric. Ramani characterizes the album as a “return back down to earth,” a deeply felt examination of “real substances and beings that live on this planet.” It is also the cultivation of road-worn musicians exploring brand-new sounds and thematic concepts, pushing themselves into territory they could never have anticipated five years ago.

2x Grammy nominated band Gojira have announced details of their long-awaited new album, FORTITUDE, which will be released April 30th via Roadrunner Records and have released the forthcoming album’s first single, “Born For One Thing”. FORTITUDE stands is Gojira’s first album in five years and the follow-up to 2016’s Grammy nominated LP MAGMA.

Recorded and Produced by Joe Duplantier at Silver Cord Studio - Gojira’s Ridgewood, Queens, headquarters – and mixed by Andy Wallace (Nirvana, Rage Against The Machine), FORTITUDE is a collection of songs urging humanity to imagine a new world—and then make it happen. The band initially laid the foundation for FORTITUDE last year with the surprise release of the 2020 single “Another World.” NPR hailed the track as “an apocalyptic banger,” while STEREOGUM declared, “Gojira are one of this century’s most important underground metal institutions.” Voted by fans as the #1 release on REVOLVER’s “5 Most Anticipated Albums of 2021,” FORTITUDE continues Gojira’s career-long tradition of harnessing their music as a vehicle for environmental activism with songs like “Amazonia” and “The Chant” not only surveying critical cases, but also catalyzing listeners to take action.

On 2016’s MAGMA, Gojira found strength—and crossover success—through a singular commitment to self-reflection. The intensely personal record, penned in memory of the Duplantier brothers' late mother, was a painful significant turning point for the French group. The album earned the band two GRAMMY nominations - ‘Best Metal Performance’ and ‘Best Rock Album,’ and upon release, MAGMA took the #1 spot on BILLBOARD’s ‘Hard Rock Albums’ chart, a first for a French band. MAGMA also asserted itself as one of the most acclaimed albums of 2016, earning METAL HAMMER’s coveted “Album of the Year” title while also landing on ROLLING STONE’s “Top 20 Metal Albums of 2016,”

Still just shy of legal US drinking age, GRAMMY®-winning Atlanta hard rock juggernaut Mastodon turns 20 this year! Celebrating two decades together, the group will unleash a rarities collection, Medium Rarities, which includes among the many rare highlights an unreleased track “Fallen Torches,” recorded in 2019.

The band explains, “‘Fallen Torches’ is an unreleased track from Mastodon that will appear for the first time on Medium Rarities. This classic Mastodon track was recorded in Atlanta in 2019, originally planned to be released in support of a European tour, the track was delayed so the band could focus on the release of Stairway to Nick John, a tribute to their late, long time manager Nick John, with proceeds going to the Hirshberg Foundation for Pancreatic Cancer Research in his honour. ‘Fallen Torches’ is written by Mastodon and features guest vocals by longtime friend and collaborator Scott Kelly from the band Neurosis.”

Medium Rarities presents a bevy of classic covers, soundtrack contributions, instrumentals, B-sides, and live recordings on one complete package for the very first time. Among an eclectic array of covers, the musicians tackle “A Commotion” by Feist, “A Spoonful Weighs A Ton” by The Flaming Lips, and “Orion” by Metallica. It also features soundtrack cuts such as “White Walker” Game of Thrones and “Cut You Up With A Linoleum Knife” [Aqua Teen Hunger Force]. Meanwhile, they get under the hood with instrumental versions of “Asleep in the Deep,” “Toe To Toes,” “Jaguar God,” and “Halloween.”

Another new Mastodon track “Rufus Lives” will be included in the forthcoming Orion Pictures film Bill & Ted Face The Music, expected to be released in September 2020. Written, performed and produced by the band and recorded in their hometown of Atlanta, the track will also appear exclusively on the film’s official soundtrack album. Further details to be revealed shortly.

The anniversary celebration only continues. At the moment, Mastodon are hard at work on their anxiously awaited ninth full-length and first record since the GRAMMY® Award-winning Emperor of Sand in 2017.

Peace Chord is the new project from Daniel Robertson, a Canadian musician and core member of Vancouver-based Crack Cloud. His eponymous debut album is a deeply personal, ethereal collection of songs in which he reflects on the worlds he has been immersed in. From minimalist explorations of gentle voice, upright piano, and vintage syn-thesizers, vulnerable meditations emerge. Through these spacious composi-tions, Robertson makes room for ideas to take hold and evolve gradually, drawing the listener into his world.

Crumb’s second album, Ice Melt, takes its name from the coarse blend of salts that you can buy from your local hardware store for $9.99. When sprinkled on your wintry steps, this mixture absorbs water and gives off heat, transforming the ice into a viscous, briney


slush and, eventually, nothing at all. Beginning with the dynamic chaos of “Up & Down,” and ending with Crumb’s closest thing to a lullaby, Ice Melt’ s ten tracks combine, like ice sculptures melting into a glistening puddle.

From the start, the group knew that cohesion was best achieved through plumbing their individual strengths— frontwoman Lila Ramani’s earliest songwriting, which catalyzed the group’s first two EPs; Bri Aronow’s knack for building (dis)affecting soundscapes; the hypnotic grounding of Jonathan Gilad’s drums, a Crumb mainstay; and Jesse Brotter’s distinctive bass playing, which subtly traces Ramani’s vocal melodies while providing an unrelenting pulse. These collective skills make Crumb a project of independent self-discovery, four creative minds converging around an idea that is always shifting and reforming.

Convening in Los Angeles to work with producer Jonathan Rado, Crumb tapped into atmosphere-creation like never before, building experimental compositions that are at turns head-nodding and surrealist, energetic and euphoric. Ramani characterizes the album as a “return back down to earth,” a deeply felt examination of “real substances and beings that live on this planet.” It is also the cultivation of road-worn musicians exploring brand-new sounds and thematic concepts, pushing themselves into territory they could never have anticipated five years ago.

La Fricativa Sonora is the new instrumental project with Jamaican roots formed by members of The Shake It Up’s, The Golden Singles, Begoña Bang-Matu, Mamvt, Ki Sap, Dirty Soul Riders … In November 2020 they release their first LP entitled «Yawina Bobongo». A first album as a presentation letter formed by 10 instrumental themes, where we will find different styles like reggae, ska, dub… with which we will travel to the Jamaica of the 60s and dance like crazy while enjoying the improvisations of Valencian musicians dedicated to the Jamaican-Valencian scene

Great Jamaican sound record that you have to have in your discography.

Limited edition of 250 copies

Re-press of the 2018 LP on green vinyl
In many ways Insecure Men - the band led by the fiercely talented songwriter and musician Saul Adamczewski and his schoolmate and stabilising influence, Ben Romans-Hopcraft - are the polar opposite of the Fat White Family. Whereas sleaze-mired, country-influenced, drug-crazed garage punks the Fat Whites are a “celebration of everything that is wrong in life”, Insecure Men, who blend together exotica, easy listening, lounge and timeless pop music, are, by comparison at least, the last word in wholesomeness. The band originally formed in 2015 in the cramped confines of The Queens Head pub, Stockwell, in the Fat White Family’s notorious South London ‘practice space’. Saul recorded all of the songs he wrote at The Queens Head onto tape at Sean Lennon’s studio in upstate New York. This tape, recorded on his own in a corridor onto an ancient Tascam while in a foul mood with his mates, essentially became Insecure Men’s self-titled debut album as more layers were dubbed over the top until nothing of the original demos remained. Saul lists some of the influences on their sound, mentioning the exotica of Arthur Lyman, the early electronic pop of Perrey and Kingsley, the supreme smoothness of The Carpenters, the songwriting chops of Harry Nilsson and the hypnagogic uncanniness conjured up by David Lynch, describing what they do as “pretty music with a dark underbelly to it”.

CLAMM could not have come from anywhere other than Melbourne, Australia. Theirs is a city that bleeds music. Iconic bands such as Eddy Current Suppression Ring and Total Control have built on the city's history of open-hearted, fist-in-throat, fiercely independent music. Scenes centring around labels like Antifade, Flightless and Cool Death have held the torch for countless groups as good as any in the world. However, CLAMM arrived completely apart from any established scene or sound. They began playing shows in 2019, sharing bills with virtually anyone who would have them. Jack Summers (vocals/guitar) and Miles Harding (drums) had been friends and musical collaborators since early childhood. Under various banners, they performed for years with friends and siblings across Melbourne's underground landscape. It wasn't until they found Maisie Everett (vocals/bass) that the CLAMM picture was complete. Debut album Beseech Me was recorded with Nao Anzai (Rolling Blackouts, Floodlights, NO ZU) and mixed and mastered by Total Control's Mikey Young.

searching for freedom is the forthcoming fifth studio album from the Australian singer-songwriter, free-surfer, and environmentalist Ziggy Alberts. This release follows his acoustic EP 'Truly Acoustic', "the perfect blend of relaxing, soulful guitar and wistful lyrics" - Culture Collide, and collaborative EP with Sydney rap duo, Horrorshow, 'I Won't Give You Up' which was described as one of "the most exciting new music releases to listen to in August 2020" by L'Officiel. Ziggy’s platinum-certified third album, Laps Around The Sun 2018 peaked at #9 on the ARIA Charts and included the platinum-certified single Love Me Now, “a raw, pained plea to love” Atwood Magazine. Released independently via his own label imprint, Commonfolk Records.

While the Swedish progressive metal / rock pioneers and innovators Pain of Salvation continue to challenge and bend stylistic boundaries with their frontline albums (Most recently: PANTHER, 2020), InsideOutMusic continues to re-work the group’s comprehensive and ground-breaking back-catalogue: The classic 2004 concept album “BE” and the exceptional 2004 acoustic live album 12:5 are consequently now made available for the first time ever on vinyl. Both releases come as Gatefold Double-LP’s on 180g. vinyl with insert sheet and full album on bonus CD, making them essential items for any Pain of Salvation fan and collector, as well as a special discovery for open-minded progressive music fans looking for the true gems within the genre. And watch out for even more Pain of Salvation output coming soon…

While the Swedish progressive metal / rock pioneers and innovators Pain of Salvation continue to challenge and bend stylistic boundaries with their frontline albums (Most recently: PANTHER, 2020), InsideOutMusic continues to re-work the group’s comprehensive and ground-breaking back-catalogue: The classic 2004 concept album “BE” and the exceptional 2004 acoustic live album 12:5 are consequently now made available for the first time ever on vinyl. Both releases come as Gatefold Double-LP’s on 180g. vinyl with insert sheet and full album on bonus CD, making them essential items for any Pain of Salvation fan and collector, as well as a special discovery for open-minded progressive music fans looking for the true gems within the genre. And watch out for even more Pain of Salvation output coming soon…

500 DOUBLE LPS ON YELLOW NEON VINYL!

Live at L'Olympia, Paris, France, October 14, 2019.

Recorded by our sound crew:
Sam Joseph, Stacey Wilson, Gaspard De Meulemeester

Drums: Michael Cavanagh
Guitar / Keys: Cook Craig
Harmonica / Vocals / Keys / Percussion: Ambrose Kenny-Smith
Vocals / Guitar / Keys: Stu Mackenzie
Drums: Eric Moore
Bass: Lucas Harwood
Guitar / Vocals: Joey Walker

Mixed by Stu Mackenzie
Cover design by Jason Galea

Erster Release der Light In The Attic Re-Issue Serie zu Ehren von LEE HAZLEWOOD mit Stücken von so essentiellen Alben wie ,Cowboy In Sweden". Mit Duetts mit Suzi Jane Hokom, Ann Margret und Nina Lizell. Extensive Linernotes und bisher ungesehene Photos. Mit seinem Schnurrbart und dem klingenden Bariton war LEE HAZLEWOOD einer der Stars der späten 60er Jahre. Obwohl er wahrscheinlich am bekanntesten wegen seiner Arbeit mit NANCY SINATRA ist (er schrieb ihren Megahit ,These Boots Are Made For Walking"), leistete HAZLEWOOD auch fernab dieser besonderen Glamourkönigin beachtliche Arbeit und fand später große Fans in BECK, SONIC YOUTH und JARVIS COCKER. Für den Record Store Day 2012 präsentiert Light In The Attic den Startpunkt einer Anthologie mit ,Singles, Nudes&Backsides", die LEEs beste Solosongs und Duetts seines Lee Hazlewood Industries Sublabels (LHI) versammelt. Die Serie wird sich Material von LHI widmen (das hier zum ersten Mal von den analogen Originaltapes neu gemastert wurde), zusammen mit LEEs Output bei anderen Labels, Raritäten, unveröffentlichten Schätzen und den Filmen von Torbjörn Axelman. Man muss nur das Cover anschauen: umringt von nackten Mädchen, die alle einen unechten Schnurrbart tragen, spielt HAZLEWOOD im Anzug leicht unsouverän den Playboy. Exakt wie dieses Photo zeigen auch die Songs einen gespaltenen Mann: er ist der zärtliche Romantiker, der gebrochene Loser und der zerfurchte Cowboy zugleich.

Recorded in 1959 at the height of the Latin Jazz Era, This is Mongo Santamaria's second album for Fantasy Records. A deep and fascinating investigation of Afro-Cuban roots run by the great percussionist and a
quite large group featuring Paul Horn on flute, Emil Richards on vibraphone, Al McKibbons on bass and of course lots of multicolored percussion and vocals split by a bunch of masters players including
Armando Peraza and Willie Bobo.The album opens with the redolent melody of "Afro-Blue" one of his most beautiful compositions which later became a classic Jazz standards with historical renditions by
the likes of John Coltrane, Abbey Lincoln and Oscar Brown Jr.

Julien Sénélas, Jérôme Vassereau and Soia present a new version of In C, Terry Riley's seminal work : a musical interpretation with two modular synthesizers (11 oscillators) and a graphic interpretation of the original score (53 shapes). Composed in 1964 by Terry Riley, In C is considered as the founding work of the minimalist movement. Like the 11 acoustic instruments that can be heard on the most famous version recorded in 1968, 11 oscillators from two modular synthesizers are used here. The illustrator and visual artist Soia has created an alphabet of shapes, which represents each of the 53 musical cells that make up In C. A visual and electronic reinterpretation of this evolving composition, among the most accessible and generous of contemporary music.

Die 7-fache Grammy Gewinnerin Carrie Underwood veröffentlicht ihr neues Album „My Savior“ Seit ihrem Gewinn der amerikanischen TV-Show „American Idol“ 2005 geht es für die 37-Jährige steil Bergauf: Mit mehr als 64 Millionen verkauften Platten weltweit, 27 Nummer eins Hits (14 davon als CoAutor) und sieben Alben die mit dem RIAA Platin Award ausgezeichnet wurden zählt Carrie Underwood
zweifelsohne zu den Ausnahmetalenten im Pop-Olymp.
Mit „My Savior“ erscheint nun das nächste Werk der Amerikanerin. Das Album enthält eine intime Sammlung traditioneller Gospel-Hymnen und ist das spirituelle Gegenstück zum Weihnachtsalbum „My Gift“: ”Diese beiden Alben stehen seit Beginn meiner Karriere auf meiner musikalischen Bucket List und waren
lange vor den Ereignissen des vergangenen Jahres geplant, aber irgendwie fühlt es sich wie der perfekte
Zeitpunkt an, diese Songs mit der Welt zu teilen.”, so Underwood.
Der Grammy Preisträger David Garcia ist als Co-Produzent beteiligt und wirkte bereits an Carrie Underwood‘s mit Platin ausgezeichnetem Album „Cry Pretty“ mit.

Strapping Young Lad was a Canadian extreme metal band formed by Devin Townsend in Vancouver in 1994. The band started as a one-man studio project; Devin Townsend played most of the instruments on the 1995 debut album, Heavy as a Really Heavy Thing. By 1997, he had recruited permanent members; this line-up, which consisted of Townsend on vocals and guitar, Jed Simon on guitar, Byron Stroud on bass, and Gene Hoglan on drums, lasted until the band's dissolution. Strapping Young Lad's music was characterized by the use of polyrhythmic guitar riffing and drumming, blast beats and wall of sound production. band leader Devin Townsend was also noted for his eccentric appearance and on-stage behaviour, which greatly contributed to the band's intense live performances. The band gained critical success and a growing underground fan base from their 1997 album City. After a hiatus between 1999 and 2002, the band released three more albums, reaching their commercial peak with the 2006 effort, The New Black. Townsend disbanded Strapping Young Lad in May 2007, announcing his decision to retreat from public view while continuing to record solo albums. Listenable is now extremely delighted to be releasing All Strapping Young Lad beyond Legendary studio albums on De Luxe Limited Edition Vinyls. A brand new vinyl master has been made for each album. All albums include bonus tracks . Grab them now !.

Strapping Young Lad was a Canadian extreme metal band formed by Devin Townsend in Vancouver in 1994. The band started as a one-man studio project; Devin Townsend played most of the instruments on the 1995 debut album, Heavy as a Really Heavy Thing. By 1997, he had recruited permanent members; this line-up, which consisted of Townsend on vocals and guitar, Jed Simon on guitar, Byron Stroud on bass, and Gene Hoglan on drums, lasted until the band's dissolution. Strapping Young Lad's music was characterized by the use of polyrhythmic guitar riffing and drumming, blast beats and wall of sound production. band leader Devin Townsend was also noted for his eccentric appearance and on-stage behaviour, which greatly contributed to the band's intense live performances. The band gained critical success and a growing underground fan base from their 1997 album City. After a hiatus between 1999 and 2002, the band released three more albums, reaching their commercial peak with the 2006 effort, The New Black. Townsend disbanded Strapping Young Lad in May 2007, announcing his decision to retreat from public view while continuing to record solo albums. Listenable is now extremely delighted to be releasing All Strapping Young Lad beyond Legendary studio albums on De Luxe Limited Edition Vinyls. A brand new vinyl master has been made for each album. All albums include bonus tracks . Grab them now !.
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A. Smyth debut album, Last Animals, will be released early next year on 19th February. The album was produced by Darragh Nolan (Asta Kalapa) and mastered by JJ Golden. “…we made Last Animals in January of this year, moments before the world was to change forever. Throughout the record I reflect on the effect we as humans are having on our home, little did I know what was to come.... Last Animals is made up of 10 songs, some big, some small, but all with something to say”.

The forthcoming album’s first taster ’Hero’ (Oct 2019) racked up 338k streams with inclusion on Easy, Your Coffee Break and Breath of Fresh Eire Spotify playlists. It followed a series of equally well-received early singles released by A. Smyth over the last two years, including ‘Second Moon’, another add to Your Coffee Break playlist (alongside many other discovery playlists) with 642k Spotify streams to date, ‘Coming Back To You’ and ‘Fever’, both of which featured in ‘Made In Chelsea.’ With the singles gaining early support by major Irish radio stations RTE Radio 1 and Today FM.

A. Smyth has sold out Whelans in his hometown Dublin, and performed at Ireland Music Week and Other Voices festivals - with an appearance also on Other Voices TV show which aired this Spring. As well as performing UK/international showcases at Primavera Pro, Eastbound Festival and All Together Now (among others).

On April 30, Mascot Label Group/Provogue will release "How Blue Can You Get", a collection of previously unreleased songs from Gary's substantial body of outstanding work in his back catalogue. The album contains 4 originals, and 4 songs previously recorded and made famous by classic bluesmen like Elmore James, Sonny Thompson, Memphis Slim and BB King.
Venturing deep into the Moore family archives, some previously unheard and unreleased deep cuts and alternative versions surfaced to accentuate the beguiling mastery of one of blues' finest modern exponents. Amongst the songs are unheard and unreleased Moore originals - "In My Dreams," a lusciously glorious slow-moving ballad with every note and bend weeping as Moore pours out his heart along with the stunningly melancholic "Looking At Your Picture".

The album kicks off a rip-roaring take on Freddie King's "I'm Tore Down," a Moore live favourite before he slips into a previously unreleased virtuosic version on Memphis Slim's "Steppin' Out." Elmore James' "Done Somebody Wrong," is another that showcases his blues chops, as does the enormous 7-minute never been released before scorching take on BB King's 1964 hit "How Blue Can You Get." An alternative version of "Love Can Make A Fool Of You," makes itself at home deep into the blues-rock heart of Moore, in a way that his most loved songs do, whilst the finale soars into the stratosphere with the beautifully aching "Living With The Blues."

It's our hope that current and future generations of music fans discover and re-discover Gary Moore, revelling in the artistry of not just a great guitarist, but a supremely talented musician. Back to the future with Gary Moore.

How would Roc Marciano and MF Doom sound if they were born in Athens to immigrant parents?
MC Yinka & DJ Booker provide an answer by teaming up to bring us their first LP “Night Lights”.
MC Yinka finds inspiration in blighted areas, urban struggles and multicultural subcultures. With a unique and characteristic voice, he touches on various social and spiritual matters and concerns.
Night Lights is fully produced by DJ Booker who surprises with his sample selection and the overall approach on the production. He balances between trippy and minimal sounds with dark and abstract samples. The beats vary from broken to “J Dilla – inspired” rhythms to discreet patterns that trigger the imagination and the expectations of the audience.
Not to mention the scratching skills of DJ Booker which spice up the music production and established him as one of the best scratch DJs in Europe according to British magazine “Undercover Hip-Hop”.

The album features one of the most “conscious” MCs, Mr. Lif, well known for his collaboration with the Thievery Corporation, and the hip-hop street performers Twinsanity who call our attention to the raw reality from Athens to Boston.

Night Lights will be released on vinyl by the label Mind The Wax in February 26th, 2021 and includes 10 tracks.

Crammed's legendary MADE TO MEASURE Series of New Music was described at the time as the aural equivalent of a collection of art books. Charting a map of some of the most interesting instrumental music of the era, thirty-five albums came out between 1983 and 1995, including works by artists such as Hector Zazou, John Lurie (his soundtracks for the Jim Jarmusch films), Fred Frith, Arto Lindsay, Zelwer, Steven Brown, Peter Principle, Harold Budd, Brion Gysin, David Cunningham, Benjamin Lew, Ramuntcho Matta, Karl Biscuit, Daniel Schell, Aksak Maboul, Minimal Compact and more. The loose idea behind the title of the series was: this is music which has been or could have been "made to measure" as a soundtrack for other media (film, theatre, dance, video). We'll also be rolling out selected vinyl reissues of some of the series' classic early releases, starting with the inaugural volume, MADE TO MEASURE VOL. 1, the multi-artist album from 1984, containing music created by Minimal Compact, Benjamin Lew, Aksak Maboul and Tuxedomoon for films, theatre plays and dance performances.

Band of Brothers is a 2001 American war drama HBO miniseries based on historian Stephen E. Ambrose’s 1992 non-fiction book of the same name. Produced by Steven Spielberg and Tom Hanks, the series tells the story of “Easy” Company, 2nd Battalion, 506th Parachute Infantry Regiment, of the 101st Airborne Division, from their first jump training in the United States through their participation in major actions in Europe during World War II. The series received universal acclaim and went on to win many awards, including multiple Emmy and Golden Globe Awards.

Released in 1983, Sandra Sá's 'Vale Tudo' is one of the essential Brazilian-boogie-funk records of the era. Pure class throughout, with a dream team of incredible musicians and producers behind the scenes. For some, this album is regarded as Sandra's magnum opus.

It is drenched in the essence of the Brazilian 80s boogie and funk sound. A driving force behind this is the writing, arrangement, and musicianship of Lincoln Olivetti, who was instrumental in forging this unique sound within Brazilian production at the time. It is heightened even further by the astonishing team that feature on the record. Brazilian icon and heavyweight Tim Maia, Robson Jorge, Serginho Trombone, Oberdan Magalhães, Claudio Stevenson and Jamil Joanes (of Banda Black Rio fame), Junior Mendes, the list goes on. This crew of musicians synergised perfectly with Sandra's vocal style, all complementing each other to create a classic.

One of our favourites from the album is the opening track 'Trem Da Central', an infectious groove that when paired with Sandra's cool and relaxed swaggering vocal resulted in an essential dancefloor jam! Equally delightful and dancefloor summoners are the catchy boogie funk of ‘Candura’, and the Earth, Wind & Fire sounding 'Pela Cidade'. Tim Maia features on the fast-paced duet 'Vale Tudo', which was written especially for Sandra to sing with Tim, who at the time was one of the biggest stars in Brazilian music. These boogie and funk compositions are balanced by fine slow jams giving the album a satisfyingly well-rounded feel.

Sandra had been working in music since the 70s and continues to do so to this day, but this period of the early 80s was a rich and prolific time for her. If you are a fan of Robson Jorge & Lincoln Olivetti's self-titled album from 1982 or Marcos Valle's 1983 album featuring the song 'Estrelar', then this one is definitely for you. 'Vale Tudo' is a must-have record from a talented artist at the top of her game and Sandra makes it all sound so effortless.

Optimo Music presents “Janara” the new album from Italy’s José Manuel. We always have our ears open for music that is unique, powerful and that can conjure up a ritualistic atmosphere, and this meistrerwerk did all that, and then some. We knew we had to release it after the first listen.

We’ll let José tell you about it….

This album is a result of the necessity of exploring and opening my mind to new musical horizons, by testing the main traditional instrument of the Italian region Campania, whose name is “Tammorra”. It is a big drum, which must not be confused with the typical tambourine, made from a wrap of wood shaped in a circle and covered with dried skin (almost always goatskin or sheepskin). This instrument was used during playful events, especially during rituals and ceremonies, such as the frequent devotional pilgrimages in honour of the Virgin Mary. By using this instrument, the sound, the rite and the magic could take possession of the mind and the body creating a perfect union. Also, the dancers, as if they were bitten by a tarantula and possessed by a strange evil, launched themselves to an uncontrolled dance by moving every part of their body.

In addition to the Tammorra, I also inserted some texts, which have been written by some Neapolitan friends and interpreted with Neapolitans voices, in honour of the “JANARA”. The Janara represents a popular belief of the Southern Italian regions, particularly of the Benevento area. The Janara is one of the many types of witches represented by folktales belonging to the rural tradition.

The Janara was expert in medical herbs, which were also be used for her magical practices, such as the manufacturing of ointment. The ointment gave her the power to become incorporeal with the same nature as the wind. According to the tradition, in order to snatch the Janara it was necessary to grab her by the hair. It was also said that if anyone was able to capture the Janara during her incorporeal moment then Janara herself would offer protection to them and their family for seven generations, in exchange for her freedom.

With this work I hope that the listener might get carried away by the spirit of this pagan and popular legend that can be still be considered as current. As a matter of fact, the folk tales speak of a probable comeback of the Janara, who after being burned at the stake seems to be thirsting for revenge for the evil suffered.

La grande vallée (1993/95), 20'41

Musical composition, design and sound production carried out at the INA grm Studios (Paris) in 1993/95

Original audio recordings in the Drôme and the Mont Ventoux areas

Voice: Hélène Bettencourt

Vocal occurrences: Frédéric Malenfer, Bruno Roche, Lionel Marchetti

Bass clarinet (for processing): Jean Andréo

Micro-climat (1989/90), 21'33

Micro-climat is the first movement of the Sirrus cycle (Micro-climat, Passerelle, Sirrus) composed in 1989/90

Musical composition, sound design and production, audio recordings in 1989/90 at the CFMI studios in Lyon (Lumière University, Lyon 2)

"I wonder if my fascination for clouds (without being an obsession) may have risen at the end of the 80s as, whilst composing Micro-climat, I would regularly wander between the Vercors mountains and the high plateaus of the Monts du Forez discovering, through my eyes, body, breath, active observation and walk, that natural forms when constantly changing and yet swollen with a unity of matter (in this instance, water) open one up to a deep, fundamental breath and a clear field for the mind. The sky and its forces: our ally.

A model for a natural music which, although fixed, as in musique concrète (a rule of the genre), moreover on a recording tape, will remain charged with such a poetic quality that (isn't it its role or rather its reality?) it will ensure a perpetual renewal for our senses, so as to reach another idea of the world, far more open and richer than what we could have imagined."

Lionel Marchetti, 2011

Lionel Marchetti is a major figure of the "third generation" of concrète musicians, a term he values. Listening to these works, imbued with poetry and traversed by micro-narratives, one can indeed retrieve the original concrète spirit, the one that draws from the sonic world, with ears wide open, so as to extract a fertile, rich and multiple substance then shaped and conveyed towards a formal and musical abstraction. Lionel Marchetti has mastered this process, but his real distinctive feature is a truly unique talent for setting climates (as one sets traps) and keeping us on constant alert. The two pieces in this record perfectly illustrate the entrancing dimension of Lionel Marchetti's music, whose charm leads us, through each successive listening, to become voluntary captives so as to better liberate ourselves.

François Bonnet, Paris, 2020

The 'Abroad EP' catalogues a period of time spent travelling Japan in the spring of 2019. Throughout the course of the month-long trip, Rudy carried around a portable recorder, capturing various sounds that caught his ear. That collection of found sounds would eventually become the foundation for the EP, each track utilizing a handful of different recordings ranging from bird calls in Tokyo's Yoyogi Park, to windchimes in the coastal town of Kawazu. The EP took a full year of patient, daily work to complete, during which time Rudy invited a diverse group of collaborators in to help finish the songs. Throughout the recording process, harp, saxophone, and violin parts were added to create a unique blend of organic and electronic sounds.

POSY is the recording name of Rudy Klobas, Portland-based producer and multi-instrumentalist with a unique sound that intersects jazz, R&B, and electronic music. Originally trained on classical guitar, POSY gradually taught himself piano, bass, and drums and began writing and recording his first songs on a four-track cassette recorder. POSY's music is lush and densely layered, but maintains an element of simplicity that ultimately leaves one feeling relaxed, nostalgic, and hopeful all at the same time.

In the early 1970s, the journalist and composer Walter Bachauer played with experimental fusion group Between, and after founding the Meta Music Festival, began working for RIAS
Berlin. 1981’s Luna Africana was the first electronic album he issued as Clara Mondshine; produced by early Tangerine Dreamer, Klaus Schulze, it’s delightfully lo-fi analogue with a very Berlin feel, the ‘motorik’ style most evident on tracks like ‘Landung Bei Vollmond
(Landing On The Moon),’ while ‘Raga Des Aufgehenden Planeten (Raga Of The Rising Planet)’ and ‘Amazonenharfe (Harp Of The Amazons)’ add world music elements to the skeletal electronics. Fans of Kraftwerk, Cluster and the Eno/Harmonia collaborations need to
get stuck into this obscure gem, a killer piece of Krautrock’s emerging electronic puzzle.

Minimal Wave presents ‘Recordings 1980-1982’ (MW077), a triple 7” box set by pioneering south Florida synth-punk band Futurisk, in honor of their 40th anniversary. Founded by Jeremy Kolosine in 1978, Futurisk recorded many songs and performed live throughout the early 1980s. Though they had released two 7”s that sold out, had a legendary live show, and even some videos, by 1984 Futurisk was history. Eventually, the main core of Futurisk would be the Jeremy Kolosine, Richard Hess, and Jack Howard line-up though much happened leading up to this point.

In 1979, the teenage Jeremy Kolosine won studio time and money in a competition with his drum-machine-triggered guitar-synth act called ‘Clark Humphrey & Futurisk’. He decided to form a band around the name to record a more punk release titled The Sound of Futurism 1980 / Army Now. It was an ambivalent anti-war anthem with Jack Howard on drums, Frank Lardino on synth, and Kolosine on vocals and guitar synth. Many live shows ensued with the line-up which included Jeff Marcus on bass and Vinnie Scrimenti on drums but in 1981 a rift between the band caused them to part ways. They continued for a bit as ‘Radio Berlin’ (no relation to the Vancouver act) and Kolosine, who had gotten absorbed in a new analog synthesizer with sequencer continued as Futurisk.

He recruited synthesist and recording engineer Richard Hess who had a myriad collection of Moogs, Oberhieims, and CATs. Jack Howard returned on drums and syn-drums and the lineup for the Player Piano EP was cast. The EP, like the live show, was a strange blend of punk, minimalist, and disco-influenced electro-pop, with drum machine triggered synths and often frantic real drums all led by Kolosine’s schizophrenic Bowie / Ferry / Foxx adulations. It was recorded by Richard Hess and the band in the rooms of a friend’s house. The drum sound, recorded in a bathroom, rocks, even today. Reportedly, Futurisk may have been the first synth-punk band in the American South, and their 1981 track ‘Push Me Pull You (Pt. 2)’ was an early pre- ‘Rockit’ excursion into electro-funk.

The ‘Recordings 1980-1982’ box set includes three 7”s, an Army Now (1982) Flexi 5” x 7” postcard, and a 16-page full-color booklet featuring unpublished photographs of the band, the history of the band, and an interview with founder Jeremy Kolosine. The three 7”s are The Sound of Futurism 1980 / Army Now which includes an unreleased track from the same session, the Player Piano five-song 7” EP from 1982, and the Ocean Sound 7”, which has not been released in this format until now. All three 7”s are remastered, pressed on heavyweight 70-gram vinyl, and housed in heavy color printed matte sleeves featuring the band’s original artwork. The box is case wrapped and depicts an early illustration of the band printed in black on white with a spot gloss. Limited edition of 600 copies.

Pera Sta Ori is the pseudonym of greek sound artist and producer, George Kontogiannidis. Professing a futuristic style, his music blends senses from DnB, IDM and bleep. Bursting into the general consciousness back in 2017, time has only seen this promising artist grow with releases on brokntoys, Furthur Electronix and Yellow Machines. He now readies his next EP with us at MUSAR, titled 'IMMI'.
Short for 'Immigrant', 'IMMI' EP is dedicated to uprooted people. Within, Pera Sta Ori explores an imaginary world in which misery is erased from memory. Projecting into vast expanses, each track forms an echo chamber. From the urgent and frenetic vocals of 'SCATTER 0^', layered with crunching percussion and swarming bass, to the ambience of 'Bouncing/Lassitude' and downtempo quirks of 'CIN1', Pera Sta Ori provides a variance of headscapes to slip into.
Chilean celestial spark Kamila Govorcin creates her own world on the remix of 'CIN1'. Jagged percussion ripple and ricochet with near-industrial inflections. Peppered with openings of etherealism, the samples of the original glide whilst Govorcin keeps things driving with four-to-thefloor punches.

eon Vynehall veröffentlicht den Nachfolger seines von der Kritik gefeierten Debütalbums auf Ninja Tune!

Auf „Rare, Forever“ erforscht Vynehall zum ersten Mal, wer er als Mensch und Künstler im einzelnen, jeweiligen Moment ist, anstatt in die Vergangenheit zu schauen, um herauszufinden, was und wer ihn geprägt hat. Das Ergebnis enthält dann zwar mehrere Seiten von ihm, aber Abwechslung ist etwas, an das Vynehall in seiner Kunst gewöhnt ist, so beschrieb er in seinem Resident Advisor Podcast 2018, dass er den Dancefloor „links und rechts, oben und unten“ mitnimmt. Auf „Rare, Forever“ begibt er sich auf eine Sieger-Runde. Das Album ist eine wunderbare Mischung aus allem, was er bisher gemacht hat, und bleibt dabei wirklich progressiv; das Endergebnis klingt wie „Nothing Is Still“, nur, dass die Erzählung abgeschwächt und der Dancefloor aufgedreht wurde. „Rare, Forever“ wird sich für Fans von Vynehalls DJ-Kicks-Mix oder seinen eklektischen Ausflügen beim weltbekannten Community-Radio NTS vertraut anfühlen, während es gleichzeitig anders klingt als alles, was er bisher gemacht hat. Auch wenn es viele Dancefloor-Erinnerungen und -Momente gibt, ist es keineswegs eine reine Dance-Platte - stattdessen ist „Rare, Forever“ die klarste Repräsentation des breiten Spektrums an Musik, die er bisher gemacht hat. Zuletzt hat Vynehall mit dem „Studio Ooze“ einen neuen Aufnahmeraum eingerichtet, um seine Kollaborationen zu erweitern und hat für Leute wie Kam-Bu, Wesley Joseph, Kenzie TTH und Jeshi geschrieben und produziert, die in naher Zukunft ihre jeweiligen Tracks veröffentlichen werden.

Über zwei Jahre nach der Veröffentlichung von "Who Else" meldet sich das Berliner Duo Modeselektor mit einem ausschließlich aus eigenen Stücken bestehenden Mixtape "Extended" aus 27 neuen Tracks mit einer Gesamtlauflänge von rund 66 Minuten zurück. Angesiedelt im Spannungsfeld von Future Bass, Electro, Techno und Hip-Hop, widmen sich Gernot Bronsert und Sebastian Szary der Dekonstruktion von Musik-Genres, zerlegen diese in ihre atomaren Einzelteile und fügen sie nach Lust und Laune wieder neu zusammen. Als Gäste wirken Jackson & His Computerband sowie der legendäre Dub-Sänger Paul St Hilaire auf zwei Stücken mit. "Extended“ erscheint als CD und Tape. Darüber hinaus werden drei EPs ab Ende April im monatlichen Rhythmus veröffentlicht, die sich jeweils einem Track des Mixtapes mit Gesangsbeiträgen, Neuinterpretationen und Remixen widmen. Zudem hat der Tänzer Corey Scott-Gilbert eine choreografierte Interpretation von "Extended" kreiert, die in Zusammenarbeit mit Krsn Brasko und Tobias Staab in dem 60-minütigen Tanz-Video "Work" mündete, das begleitend zum Release des Mixtapes veröffentlicht wird.

Some fresh material from Olivier Romero is always welcome here . Two new tracks with his special vibe between minimal and house’s micro voices .This time , the collaboration for the remix is coming from Paul Walter with 2 different versions.Sure that every one will find a preference in these 4 differents tracks that made an eclectic release!.

Liam Bailey follows up his 'Ekundayo' album with this heavy hitting remix 7" featuring two absolute legends. The A side is a remix of Champion featuring Black Thought of The Roots. Black Thought kills the first verse finding the pocket over the Leon Michels produced reggae banger designed to bust up woofers and blow out dance floors. Liam and Thought combine to sing praises to a woman worthy of all the admiration they can muster, and in doing so, they take what was already a classic to another level. The B side is straight from the far flung corners of outer space. Producer Leon Michels strips down and revamps the album cut Ugly Truth, making room for the most special of guests, the one and only, Mr. Lee "Scratch" Perry. The Upsetter switches between singing and talking, one minute proclaiming his powers and the next playing with the title of the original tune. Some proper Lee Perry business alongside the already unstoppable chemistry of Liam Bailey and Leon Michels...An absolute Big Crown Surehot.

Deap Lips is Wayne & Steven from THE FLAMING LIPS with Julie & Lindsey from DEAP VALLY. This special collaboration came together after a friendship formed between the bands.- - The seeds of Deap Lips were first planted years ago, when Troy and Edwards each fell in love with the music of the Flaming Lips. The Lips' 1999 classic The Soft Bulletin is one of Edwards' top ten of all time. "You can listen to their entire catalogue and the experience is so intact, full of experiments, philosophy, hooks, and the sublime," says Edwards. "There are very few artists who can offer the same experience on a decades-spanning deep dive."

Flash forward to 2016 as Deap Vally were touring with Wolfmother and Coyne turned up at a show in Raleigh (Edwards was on maternity leave at the time). Wayne, in town scouting the best edible giant gummy props, came for the show and Troy and Coyne were introduced after the set.

After that chance meeting Coyne started following Deap Vally on Instagram and would tag them in random posts of the Lips in the studio, much to their delight and amusement. Deap Vally wondered:
is Wayne hinting at a collaboration? They had this theme on the brain as Edwards and Troy had recently embarked on a series of yet to be released collaborations with the likes of KT Tunstall, Peaches, Jamie Hince (The Kills), Soko, Jenny Lee (Warpaint), Jennie Vee (EODM), Zach Dawes (Queens of the Stone Age, Mini Mansions), and Ayse Hassan (Savages).

With their 25th anniversary celebrations well underway, Hospital Records are bringing their esteemed ‘Classic Symptoms’ series into 2021 with four stellar selections.
The fifteenth edition will be the first to celebrate the label’s milestone achievement by shining the spotlight on some of the original versions of tracks from the highly anticipated ‘H25PITAL’ compilation set to be released on 26th March 2021. Expect an eclectic mix of sound supplied by Netsky, SKC & Bratwa, Hugh Hardie and Q-Project pressed to an extremely exclusive vinyl run.
An undeniable anthem which has cemented itself in the hearts of countless drum & bass lovers, Netsky’s ‘Memory Lane’ marked his first release on Hospital Records and is the perfect starter for ‘Classic Symptoms 15’. Opening the ‘Sick Music 2’ compilation which originally came out in 2010, ‘Memory Lane’ is now approaching its 11th year in circulation.
“It was an exciting time, I had been sending demos through AIM to Hospital for some time, hoping something would get picked up.” - Netsky
Hailing from Hungary, SKC & Bratwa’s nostalgic ‘Heart Of Love’ follows. First seeing the light of day as part of the ‘Weapons Of Mass Creation’ compilation in 2004, this one will take you on a funk-infused liquid trip back to the days of the original Hospital loungecore sound.
Bringing things back to the future, Hugh Hardie’s soulful slammer ‘Tearing Me Apart (feat. Kyan)’ provides ‘Classic Symptoms 15’ with alluring groove and, of course, that infamous double bass melody. Initially released on the ‘Hospital: We Are 18’ compilation back in 2013, it’s safe to say this one is timeless.
Sending it way back to 2006, Q-Project steps up with the title track of his 2006 ‘Computer Love’ electro-infused smasher. Rugged breaks and future-retro synthesis, this one sounds just as good now as it did back then.
Don’t sleep on securing your extremely limited press of four Hospital classics.
This one is for the serious collectors - once they’re gone, they’re gone.

This little beauty comes from Greymatter and Black Fan, two long-term friends and ex-studio partners.
Greymatter aka Graham Luckhurst continues to steadily release his unique blend of dance & electronics on labels including Toolroom, Future Disco, WOLF Music, Brownswood and more. His track “Tesla” treated by Black Fan (Local Talk, WOLF Music) in a Soundfactory way: powerful and reduced House music! Black Fan’s “Cuttlefish” on the flipside is this groovy, dreamy electronic music – was that once called “intelligent techno”? Anyway, just a pure bliss! More to come from Black Fan on Quintessentials soon! Ah yeah, this 7” is limited to 111 copies, so better be fast.

Hailing from Georgia’s capital Tbilisi, Gacha Bakradze is one of the national scene’s leading electronic music exponents. He returns to Lapsus Records with his new album 'Obscure Languages', his second release for the Barcelona label.

Following the superb LP 'Word Color' Lapsus Records, 2018, which appeared in several ‘album of the year’ lists for publications such as Pitchfork and XLR8R, the prolific producer now presents 'Obscure Languages'. This new piece of work could well be described as a sound continuation from his previous album and maintains a powerful narrative at its core.

‘Obscure Languages' delves into the world of cinematic soundscapes, replete with microscopic details and fragments that showcase a luscious IDM style audio palette, laced with ambient, avant-techno, bass and sound design.

The imaginative talents of writer Neil Gaiman come to vinyl with this collection of three full-cast radio dramas based on his bestselling works. This highly collectible box set presents 5 x 140g gold
vinyl, in three individual sleeves (two gatefolds plus one single LP). Each one features an exclusive sleeve note by Neil Gaiman plus full cast, credits and broadcast details.
A frameable, full-colour print of Neil Gaiman, signed by the author himself, is also included. These are strictly limited to 750 copies.
Stardust, adapted by Dirk Maggs (Sandman, Good Omens) tells the story of Tristran who goes in search of a fallen star and enters the world of Faerie.
Norse Mythology is Gaiman’s retelling of myths populated by gods and monsters, all featuring tricks and trust, fiery endings and new beginnings. Chivalry tells the tale of Mrs Whitaker, who discovers the Holy Grail in a charity shop… The cast for these three productions features the crème de la crème of acting talent: Eleanor
Bron, Diana Rigg, Glenda Jackson, Matthew Beard, Sophie Rundle, Frances Barber, Maggie Steed, Derek Jacobi, Natalie Dormer, Colin Morgan, Nathaniel Martello-White, Kit Harington and many more, plus cameo appearances by Tori Amos and Neil Gaiman. A superb soundscape of music and effects accompanies each one.

We are in 1987 and 2 years have passed since Vinicio Adames debut album "El Comienzo Del Camino" when Venezuelan painter Ernesto Leon asks Vinicio to compose music for his New York Art Exhibition at Lincoln Centre. The result is an exceptional composition and modern sound interpretation of their national heritage the Amazonas. Both Amazonia I + II, each version in its own way, honor the majesty and mystery of one of worlds greatest nature reservoirs. Both compositions were never intended for commercial release, and were only given out by hand in Flexidisc format during the exhibition. We at TrueClass Record felt, that the time has come to present this gem to all musiclovers worldwide.
Short Info:
Venezuelan Electronic Music Pioneer Vinicio Adames Synth-Pop Masterpiece from 1987.

Negativland’s mirror image sequel to last year’s True False, The World Will Decide turns the focus away from the very human inability to accurately define reality, and towards the technologies being built to do a better job at it. But if sorting true from false seemed like a full time job back when all one had to keep track of was one’s own mind, life alongside the machines built to connect everyone only seems to multiply the uncertainties. On The World Will Decide, those uncertainties are made almost deliriously danceable: a netweb of densely sampled voices melting speech back down into music and back again, into what everyone can agree are the real questions—did that firefly really land on your finger? Would you like to be arrested? Does this app connect you to people, or replace them? Is this post an example of inauthentic behavior? Do people have to die? Or, as one of the many sampled voices on this work assures the listener: we can really feel like we’re here.

This reissue features 20 tracks, including two bonus tracks, by the virtuoso gypsy guitarist Django Reinhardt. Included are recordings with violinist Stephane Grappelli, co-founder of the Quintette Du Hot Club De France, Bill Coleman, Rex Stewart, Barney Bigard and Dicky Wells.
The 20-page booklet contains complete information with specially prepared liner notes by Penguin Guide to Jazz’s writer Brian Morton and by France’s prestigious Jazz Magazine. “Django’s virtuosity continues to astonish guitar masters and young musicians today. He passed away at the zenith of a short career, leaving behind a body of recordings that give indisputable proof of his authentic creative genius.” Jazz Magazine
















p Solid Old Man Solid Rock
q Finesse Night Wind

REPRESS!!

These tracks were recorded by Kevin Low and Fiona Carlin in Kevin’s bedroom in Gayfield Square, Edinburgh, in 1986. Me and my dad, Kevin, dug out a huge bunch of his tapes over the lockdown (about 80 of the them at first). Some were…better than others, however, the Gayfield Square demos were the pick of the lot. Previously Kevin and Fiona were part of the Post Punk / indie band ‘Wild Indians’, whose first release “Stolen Courage” had come out in 1983 – released on Flexi Disc via the Edinburgh fanzine Deadbeat. Throughout the mid-1980s they performed across Edinburgh’s clubs, including at the Hoochie Coochie Club (name checked on track 7), where they played alongside bands and close friends Pop Wallpaper and Visitors. The band went on to release two 12” singles, “Love of My Life” in 1984 and “Penniless” in 1986.

After the band broke up Kevin sold his guitar amp and 7inch collection, Fiona her saxophone and they went out and got themselves a Yamaha RX-5 drum machine, Yamaha QX7 sequencer and a Yamaha DX-100. These bedroom tracks are the fruits of their first venture with this hardware, combining their experimentation with synthetic sounds (mostly the DX-100’s famous pre-sets) with a post-punk vocal style.

These eight tracks are also, in part, the fruit of the “Enterprise Allowance scheme” - a policy venture of Margaret Thatcher’s UK government that gave unemployment claimants access to an extra £40 to top up the basic dole money. Following Thatcher’s election victories in 1979 and 1983, the policy sought to reduce the figures of mass unemployment which hung over Britain well into the 1980s. This policy, according to Kevin, helped to keep up the credit payments. He notes that, “when Fiona and I turned up at the DHSS office with the sure-fire money-making plan of making a business as a ‘song-writing’ duo they signed us up. However, I still think they thought we said, sign writing as they were filling out the form.”

Kevin and Fiona stopped making music together shortly after these tracks were recorded so unfortunately, they never saw the light of day…until now!

Fiona went on to work in Film and Television sound. Kevin became a photographer, working mostly in theatre. He is now an artist/painter working in Glasgow.

"For their fourth release, East London based label want? welcome seminal Frankfurt artist Frost to the fold. It’s a special happening and the first time that label owner Matteo Manzini has invited a guest artist other than his studio partner Fabrizio Maurizi to contribute to the label. The collaboration comes from a place of both personal and professional respect for the Pressure Traxx founder following many meetings in the sacred halls of Robert Johnson. Frost has been an influence on many levels to want? and his spirit of education and music sharing is the backbone of this EP.".

One off album by an all-star ensemble of musicians and singers, many of whom had played with Fruko y sus Tesos and other Colombian orchestras previously. There is cumbia, salsa, bolero, son montuno, descarga and even calypso, including 'Cumbia y tambó (En la lluvia)' which has been an international dance floor staple for many years. One of the best tropical records released by Codiscos that receives its first-time reissue here in glorious remastered sound.

Rich in musical associations yet utterly singular in its voice, joyous with an inner tranquility, the music of Natural Information Society is unlike any other being made today. Their sixth album in eleven years for eremite records, descension (Out of Our Constrictions) is the first to be recorded live, featuring a set from London’s Cafe OTO with veteran English free-improv great Evan Parker, & the first to feature just one extended composition. The 75-minute performance, inspired by the galvanizing presence of Parker, is a sustained bacchanalia of collective ecstasy. You could call it their party album.

This was the second time Parker played with NIS. Joshua Abrams: “Both times we played compositions with Evan in mind. I don’t tell Evan anything. He’s a free agent.”

The music is focused & malleable, energized & even-keeled, drawing on concepts of ensemble playing common to musics from many locations & eras without any one specific aesthetic realization completely defining it.

“The rhythms that Mikel plays are not an exact reference to Chicago house, but that’s in there,” Abrams says. “I like to take a cyclic view of music history, can we take that four-on-the-floor, & consider how it connects to swing-era music? Can we articulate a through line? I dee-jayed for years in Chicago & lessons I learned from playing records for dancing inform how I think about the group’s music. The listener can make connections to aspects of soul music, electronic music, minimalism, traditional folk musics, & other musics of the diaspora as well. It’s about these aspects coming together. I don’t need to mimic something, I need to embody it to get to the spirit, to get to the living thing.”

For jazz fans, the sound of Parker’s soprano & Jason Stein’s bass clarinet might evoke Coltrane & Dolphy, even though they didn’t necessarily set out to do that & they play with complete individuality. Abrams sees a bridge to the historical precedent, too. “Since we first met in the 1990s, one of the things that Evan and I connected on was Coltrane’s music,” he says. “I hoped that we would tap into that sound world intuitively. In this case, I think that level of evocation adds another layer of depth, versus a layer of reference.”

Indeed, this is a performance in which the connections among the ensemble & the creative tension between improvisation and composition build into a complex mesh of associations & interactions. While the band confines itself to the territory mapped out by Abrams’ composition, they are remarkably attentive & responsive, making adjustments to Parker’s improvisations. When Parker’s intricate patterns of notes interweave with the band, the parts reinforce one another & the music rockets upward. Sometimes, Parker’s lines are cradled by the group’s gentle pulse & an unearthly lyrical balance is struck.

Drummer Mikel Patrick Avery is locked-in, playing with hellacious long-form discipline, feel & responsiveness. Jason Stein’s animated, vocalized bass clarinet weaves in & out with Lisa Alvarado’s harmonium to state the piece’s thematic material; the pulsing tremolo on the harmonium brings a Spacemen 3 vibe to the party. Abrams ties together melody & rhythm on guimbri, a presence that leads without seeming to. Like his bandmates, he shifts modes of playing frequently, improvising & then returning to the composed structure.

“As specific as the composition is, the goal is to internalize it & mix it up,” Abrams says. “The idea is to get so comfortable that we can make spontaneous changes, find new routes of activity, stasis & byways every gig. It’s like a web we’re spinning. If someone makes a move, we all aim to be aware of it, make room for it. Experiencing & listening is what it’s about, & Evan supercharges that.”

& “supercharged” is the word for this album. With Parker further opening up their music, descension (Out of Our Constrictions) is the sound of Natural Information Society growing both more disciplined and freer, one of the great bands of its time on a deep run.

Aguirre edition: Mastered by Helge Sten, Audio Virus, Oslo. Lacquers by Dubplates & Mastering. Liner Notes by Theaster Gates. LPs pressed on premium audiophile-quality vinyl at Pallas Records. US 2xLP edition available thru Eremite records.

Scottish producer Gavin Sutherland revives his Other Lands alias with a collection of tracks that were crafted between 1997 and 2012, and were transferred straight from the original cassette.

"What Year Is It? Who Is The President?", is Sutherlands' first full offering with PULP. After multiple remixes for the label (under his Fudge Fingas alias), the release schedule for the Other Lands guise has picked up in the last few months. This resurgence of previously unreleased material will add to Sutherland's elaborate catalog, and confirm that even bits that never saw a release at the time, are sounding relevant and superbly produced.

"What Year Is It? Who Is The President?" (PULP13) starts with "The Caged Bird", which is a synth laden, lush sounding cut that is built around a playful bass sound and beautifully orchestrated chords. The drums are swinging as ever, and the hypnotic character of the lead is present throughout.

"Kaleidoscope" is a venture into the otherworldly. Deep splashes of synth and fx come together effortlessly to create an almost meditative state. The musicality of it all is remarkable, and hard to capture in a few words. The rhythm section is always the backbone, but the fx are equally as important. Fans of Sutherland's work will surely recognize and appreciate the ambiance that is set in Kaleidoscope.

The flipside starts with "It's Something Else". The main lead is indeed something refreshing. In a sense, it's reminiscent of a guitar, but it's clearly not that. The dance floor nature of everything else is supporting the wildness of the lead. Altogether this is something to space out to. On a dance floor, at home or perhaps even during a run.

The final track on the B-side is called "Mind Like A Steel Trap". This sample heavy, hazy sounding piece of beauty is blending soulful flutes, drums and the catchphrase of the song - no more mind games - together with an astonishing ease

"Flowers Bloom, Butterflies Come" is the result of a dialog between the stunning Japanese photographer and artist Miho Kajioka and the wonderful UK musicians and composers Ian Hawgood and Craig Tattersall (The Humble Bee), initiated by IIKKI, between August 2019 and January 2021.

Born in the United Kingdom, Ian Hawgood spent most of his adult life living in Japan, Italy and Poland. Currently he calls Peacehaven (on the south coast, near Brighton) his home. Since 2009, he’s well-known with his work as the curator of the Home Normal label. He makes music using an array of reel-to-reel and tape machines in his studio by the sea, where he also master works for many labels and artists alike. You could often catch him on the coast with his faithful Nagra recorder, hydrophone and field microphones. These days his focus of music is on decayed ambient works using old synths and reels mostly, alongside his childhood piano. (site)

Craig Tattersall is a former member of The Remote Viewer and Famous Boyfriend bandmate Andrew Johnson. Tattersall's music can be found these days more often under his alias The Humble Bee; as a founder member of The Boats; and in his collaborative works with the likes of Bill Seaman in The Seaman And The Tattered Sail. He has run the wonderful label Cotton Goods from 2008 to 2015 and since 2009 he has recorded 12 albums on his moniker The Humble Bee.

Miho Kajioka (b. 1973, Japan, lives in Kyoto) is an artist and a photographer since 2011. Kajioka’s work has been exhibited in Spain, Italy, France, the Netherlands, the USA, Germany, Belgium, Portugal and the United Kingdom. Kajioka’s latest book ‘so it goes’ won Prix Nadar in October 2019. "Kajioka's artistic practice is in principal snapshot based; she carries her camera everywhere and intuitively takes photos of whatever she finds interesting. These collected images serve as the basic material for her work in the darkroom where she creates her poetic and suggestive image-objects through elaborate, alternative printing methods. Kajioka regards herself more as a painter/drawer than as a photographer. She feels that photographic techniques help her to create works that fully express her artistic vision. Her images evoke a sense of mystery in her constant search for beauty. The focused, creative and respectful way in which she uses the medium of photography to creating her works seems to fit in the tradition of Japanese art that is characterized by the specifically Japanese sense of beauty, wabi sabi. (…) According to her, photography captures moments and freezes them; printing impressions is like playing with the sense of time and getting lost in its timeline." (Ibasho Gallery)

Alan Vega’s name is synonymous with unfettered, tireless creativity. Beginning in the late 1950s, when he was a fine art student at Brooklyn College, through his years playing in Suicide, and all the way up until his death in 2016, Vega was constantly creating. That

process naturally led to a wealth of material that didn’t see the light of day immediately when it was recorded, which came to be known as the Vega Vault. Mutator is the first in a series of archival releases from the Vault that will come out on Sacred Bones Records.

Mutator was recorded alongside Vega’s longtime collaborator Liz Lamere at his NYC studio from 1995-1996, and it serves as a document of a particularly fertile time in his creative life. He had 11 full-length solo albums come out during the ’80s, ’90s and ’00s - plus numerous collaborations, and Suicide records A Way of Life and Why Be Blue. Mutator wasn’t shelved intentionally, but Vega’s back-to-thegrindstone M.O. meant that he had moved on to making his next record before this one was finished. Lamere and Vega’s friend and confidante Jared Artaud (The Vacant Lots) rediscovered the raw, unmixed recordings from the Mutator sessions in the Vault in 2019. Soon after, they mixed and produced them into the visionary album that was lurking within those tapes.

“Our primary purpose for going into the studio was to experiment with sound, not to ‘make records,’” Lamere recalls. “I was playing the machines with Alan manipulating sounds. I played riffs while Alan morphed the sounds being channeled through the machines.”

At the time of the Mutator sessions, Vega was massively inspired by what was happening in the streets of New York - not only the hip hop scenes that were exploding throughout the outer boroughs, but also the literal sounds of the streets, the traffic noise and industrial ambience of city living. That influence trickled into the sounds he and Lamere captured in those sessions. That sensibility, paired with Vega’s unmistakable voice and force of personality, is what made it the great album it is now. The final piece was the production job, completed by Lamere and Artaud 25 years after the songs were first captured.

Alan Vega’s name is synonymous with unfettered, tireless creativity. Beginning in the late 1950s, when he was a fine art student at Brooklyn College, through his years playing in Suicide, and all the way up until his death in 2016, Vega was constantly creating. That

process naturally led to a wealth of material that didn’t see the light of day immediately when it was recorded, which came to be known as the Vega Vault. Mutator is the first in a series of archival releases from the Vault that will come out on Sacred Bones Records.

Mutator was recorded alongside Vega’s longtime collaborator Liz Lamere at his NYC studio from 1995-1996, and it serves as a document of a particularly fertile time in his creative life. He had 11 full-length solo albums come out during the ’80s, ’90s and ’00s - plus numerous collaborations, and Suicide records A Way of Life and Why Be Blue. Mutator wasn’t shelved intentionally, but Vega’s back-to-thegrindstone M.O. meant that he had moved on to making his next record before this one was finished. Lamere and Vega’s friend and confidante Jared Artaud (The Vacant Lots) rediscovered the raw, unmixed recordings from the Mutator sessions in the Vault in 2019. Soon after, they mixed and produced them into the visionary album that was lurking within those tapes.

“Our primary purpose for going into the studio was to experiment with sound, not to ‘make records,’” Lamere recalls. “I was playing the machines with Alan manipulating sounds. I played riffs while Alan morphed the sounds being channeled through the machines.”

At the time of the Mutator sessions, Vega was massively inspired by what was happening in the streets of New York - not only the hip hop scenes that were exploding throughout the outer boroughs, but also the literal sounds of the streets, the traffic noise and industrial ambience of city living. That influence trickled into the sounds he and Lamere captured in those sessions. That sensibility, paired with Vega’s unmistakable voice and force of personality, is what made it the great album it is now. The final piece was the production job, completed by Lamere and Artaud 25 years after the songs were first captured.

2LP on crystal clear vinyl. In these trying times, where intimacy and closeness are fraught with danger, Dans Dans (Dance Dance) brings you the sound of connection, communication, passion and togetherness.

In these trying times, where intimacy and closeness are fraught with danger, Dans Dans (Dance Dance) brings you the sound of connection, communication, passion and togetherness.

Dans Dans unites the talents of three of Belgium's most prolific music makers in Bert Dockx (Flying Horseman), Fred 'Lyenn' Jacques (Lyenn, Lanegan band) and Steven Cassiers (Dez Mona, DAAU). An utterly unique musical collective, the trio are set to release new album 'Zink' on the 23rd April via Ghent based independent, Unday Records.
From jazz, psychedelic blues and ecstatic noir soundtracks to spacey rock 'n' roll, Dans Dans cut their teeth on the cool jazz cafe scene in Flanders, Brussels with their sensational live performances and have since gone on to become a mainstay on the flourishing Belgian musical landscape.

Releasing their self-produced, eponymous debut album back in 2012, their highly distinctive, intuitive mix of musical styles and their ever-imaginative live shows caught the attention of discerning music lovers, journalists and promoters. A relatively unknown tour de force outside the Benelux region, Dans Dans have built a solid fan base since their inception with limited edition runs of early releases becoming collector's items among vinyl enthusiasts.

Well-received appearances at Cactus Festival, North Sea Jazz and Pukkelpop, as well as Gent Jazz, Ljubljana Jazz and Jazz Middelheim have confirmed their reputation as one of the most unique and exciting bands to come out of Belgium. In recent years, the group has been touring throughout Europe, garnering enthusiastic reactions beyond the Belgian borders as well. There's a case to be made that Dans Dans even played a key role in breaking down the wall between the Belgian jazz scene and the pop/rock circuit (years before pop journalists began referring to a New Wave of Belgian Jazz).

Opening with the moody noir rhythms of 'Cinder Bay', Dans Dans look to construct their own musical universe across 'Zink'. 'Naiad' unfolds into a devastating explosion of heavy feedback and wild, crashing drums before subtle electronica and baroque art-rock collide on 'Anemone' giving a good indication of Dans Dans' eclecticism. There's unquestionably a deep, underlying filmic beauty to the music, an evolving darkness and a perpetual sense of dread and paranoia. Elsewhere, 'Ravine' is intoxicating, provocative and uncompromising while the beatific 'Shell Star' is an infectious exploration of hypnotic grooves, atmospheric sounds and mind-bending melodies.

Producer Christine Verschorren (Philippe Catherine, Ivan Paduart) accentuates the music's wondrous fluidity throughout 'Zink'; the intriguing interplay; the subtle ties; the deep layering. Musical styles and influences are being blended organically and sublimated into what can only be called Dans Dans-music. "This is no fusion, no rock or jazz or ambient. This is the sound of the searching, intuitive human; of a timeless, mysterious dream; of the heart, the gut and the soul," says Dockx.

On February 27, 2018, Chris Forsyth & The Solar Motel Band (comprised, in this iteration, of long-time SMB bassist Peter Kerlin and Kerlin’s Sunwatchers battery mate Jason Robira on drums) were close to wrapping up an 18-date tour of the EU and UK with a two-set, one hour and 45 minute show at Cafe OTO, London’s premier venue for adventurous music. Highlights of that show are included in this live release, RARE DREAMS: SOLAR LIVE 2.27.18, recorded before a packed house seated mere feet from the band’s amplifiers. These recordings reveal a band that is clearly in high spirits and high gear, operating with an expansive, improvisatory fleetness that allows them to stretch the material to almost ludicrous extremes and then let it to snap back to some semblance of form while somehow seemingly never wasting a note, a beat, a gesture. The four tracks included here comprise material culled from (at the time) the two most recent Solar Motel Band records DREAMING IN THE NON-DREAM (No Quarter, 2017) and THE RARITY OF EXPERIENCE (No Quarter, 2016) plus covers of two Neil Young songs - the autobiographical plaint “Don’t Be Denied,” lyrically relocated by Forsyth from Young's Canada and Hollywood to the more personally relevant geography of New Jersey and Philadelphia, and encore “Barstool Blues” (they’d run out of material to play, so another Neil Young tune it was). While the covers establish Forsyth’s basis, serving as an homage to Young and the quest for self-realization, the long tracks’ jams showcase the trance-inducing power of the Solar Motel Band as a performing entity. Kerlin’s gymnastically propulsive bass playing locks in with Robira’s relentless thud, each serving as counterpoint to some of the most blistering guitar work of Forsyth’s career. The telepathically dynamic interplay of the trio explodes with whiplash intensity across the 15-plus minute takes of “Dreaming In The Non-Dream” and “The First 10 Minutes of Cocksucker Blues,” each song’s structure serving as a framework for extended lava flows of energy. At one point late in the “Dreaming” jam, Forsyth unplugs the jack from his guitar, dragging it across the strings and lashing the body of his single-pickup “parts" Esquire, producing a desiccated barrage of percussive static. This is music beyond the notes; it is an expression of pure electric ecstasy, a simultaneous negation and celebration of rock music’s (indeed all musics’) essential energy. In contrast to the expansive but meticulously detailed guitar arrangements of his recordings, here Forsyth’s unhinged live guitar sound positively roars with a barely restrained vocal intensity, from liquid melodic lines to gnarled blasts of free jazz scree, to pulsating lead/rhythm vamping. I’ve had the pleasure of witnessing this band up close for a number of years now and I can authoritatively attest that while every show is different, when the SMB is running down a steep hill at full speed (as on these takes), they become a single leaderless vibrating sonic tornado, possibly beyond the control and logic of the players themselves, picking up listeners along the way and taking them along for the ride straight into a solar furnace of sound. - Jerome Onfront, Philadelphia

Inspired from Romanian cultural heritage, be it film, dance or musical instruments, Folclor Abstract is a glance back to the roots in search of a meaningful future.

The first track is inspired from the soundtrack composed by Cornelia Tăutu for the Romanian historical adventure film “Buzduganul cu trei peceți” (1977). The film presents a politicized version of the events that led in 1600 to the unification of the three Romanian countries, in the aftermath of a victorious battle against the Ottoman invasion (Călugăreni, 1595). Dance your way through as the story unfolds.

Dans cu balans is the result of a personal fascination for the cimbalom, an instrument of high versatility, frequently used in the Romanian fiddle music. In contrast to orchestral performances, which adhere to the composer’s notes to reproduce a work faithfully, fiddling is also open to improvisation and tends to produce rhythms that focus on dancing, with associated quick note changes.

Searching for inspiration within Romanian folklore, I found Ivan Braga who was on his own pursuit of cultural heritage, experimenting with a variety of traditional instruments and rhythms from different regions of the country. Doba lu’ Braga is Ivan’s modern take on Romanian drum patterns performed on a traditional Moldavian drum (dobă) with an uplifting twist and arrangement for the dancefloor experience.

Reverie is an expression of the creator’s state of mind. Lost in thought, stolen by imagination, haunted by memories, liberated by dreams

• Although no longer part of the current Band line-up, Hamish Stuart remains integral to the continuing Average
White Band catalogue reissues, a band that is widely regarded as one of the best ever soul and funk bands.
• For the last 40 years, Hamish Stuart has been an in-demand songwriter, producer and studio/live performer,
working with Paul McCartney, Chaka Khan and Aretha Franklin, being part of the Ringo Starr & His All-Starr Band,
or the occasional meet-up of the 360 Band, which also featured former band mates Steve Ferrone and the lateMalcolm ‘Molly’ Duncan.
• Hamish has also written for Smokey Robinson, George Benson, Diana Ross Jeffrey Osborne and Atlantic Starr,.
• ‘Sooner Or Later’ was his first solo album, released worldwide between 1999 and 2000, so although celebrating
it’s Coming-of-Age, 21 years later, it’s the album’s debut release on vinyl.
• ‘Sooner Or Later’ has been edited and reconfigured by Hamish to give it a tighter sound and includes the single
‘Midnight Rush’, co-writer with Incognito’s Jean-Paul ‘Bluey’ Maunick.
• Other song writing collaborations include ‘It Is What It Is’, with Richard Darbyshire and Frank Musker and ‘I Don’t
Wanna Be A Rock’, with Graham Lyle.

Wicca Phase Springs Eternal is the creative persona of Scranton, PA singer, songwriter, producer, and multi-instrumentalist Adam McIlwee. Since 2010, he has simultaneously established himself as a singular voice, adeptly combining his natural songwriting instincts with the digital culture enveloping his world. Through an extensive catalog of collaborations, singles, EPs and 2016’s Secret Boy LP, McIlwee has become a celebrated pioneer in this vital new direction of underground music. Along the way, he assembled

what would become his 2019 Run For Cover Records debut, Suffer On, with the sonic bedrock evolving yet again as he re-embraces an initial vision.

Suffer On is an exploration of familiar forms through the lens of something new and extraordinary. It is the first Wicca Phase record fully written by McIlwee, utilizing guitars and keyboards to create each song’s core and building upwards from there. Themes of longing, entrapment and sacrifice permeate the album - the notion of wanting more and not getting it. Production and lyrics are both intentionally sparse and bleak, reinforcing such feelings and allowing room for the weighty moods to fill the sonic void.

“It’s about making a deal with the devil,” he says. “It’s saying I can pursue this artistic thing as a career, but the consequence is I’m going to put myself out there in an emotional state for everybody to consume.” But it was never really a choice which path to follow - like all great songwriters, McIlwee is driven by the innate urge to express himself through song. And in the end, Suffer On emanates its own magic stemming from its creator.

Run For Cover & Wicca Phase Springs Eternal have partnerted to celebrate the anniversary of this release with a Deluxe Collectors Edition double album of Suffer On. The completely redesigned new version features a companion disc of each song performed acoustically, a new gatefold jacket, updated poster and a photo zine with over 40 photos and Suffer on Lyrics from Adam Mcilwee.

Although considered a singles-band, Shocking Blue released a couple of high quality albums. One of the best is Scorpio’s Dance, and not just in a musical way: its cover has been chosen as one of the most legendary LP covers in Dutch pop history. The album continues the band’s exploration into country music and Americana with tracks like “Alaska Country” and “Sally Was a Good Old Girl”. However, the band still stays true to its rock roots as well.

Scorpio’s Dance is rereleased as a limited edition on pink coloured vinyl. This edition contains four bonus tracks that were not available on the original LP.

"We want to make people feel good about things that we feel terrible about." says David Brewis, who has co-led the band Field Music with his brother Peter since 2004. It's a statement which seems particularly fitting to their latest album, Flat White Moon released on 23 April via Memphis Industries. Sporadic sessions for the album began in late 2019 at the pair's studio in Sunderland, slotted between rehearsals and touring. The initial recordings pushed a looser performance aspect to the fore, inspired by some of their very first musical loves; Free, Fleetwood Mac, Led Zeppelin and The Beatles; old tapes and LPs pilfered from their parents' shelves. But a balance between performance and construction has always been an essential part of Field Music. By March 2020, recording had already begun for most of the album's tracks and, with touring for Making A New World winding down, Peter and David were ready to plough on and finish the record. The playfulness that's evident in much of Flat White Moon's music became a way to offset the darkness and the sadness of many of the lyrics. Much of the album is plainly about loss and grief, and also about the guilt and isolation which comes with that. Those personal upheavals are apparent on songs like Out of the Frame, where the loss of a loved one is felt more deeply because they can't be found in photographs and compounded by the suspicion that you caused their absence, or on When You Last Heard From a Linda, which details the confusion of being unable to penetrate a best friend's loneliness in the darkest of circumstances. Some songs are more impressionistic. Orion From The Streets combines Studio Ghibli, a documentary about Cary Grant and an excess of wine to become a hallucinogenic treatise on memory and guilt.. Others, such as Not When You're In Love, are more descriptive. Here, the narrator guides us through slide-projected scenes, questioning the ideas and semantics of 'love' as well the reliability of his own memory. The result is a generous record of bounteous musical ideas, in many ways Field Music's most immediately gratifying to date.

LTD EDITION TRANSPARENT VINYL

"We want to make people feel good about things that we feel terrible about." says David Brewis, who has co-led the band Field Music with his brother Peter since 2004. It's a statement which seems particularly fitting to their latest album, Flat White Moon released on 23 April via Memphis Industries. Sporadic sessions for the album began in late 2019 at the pair's studio in Sunderland, slotted between rehearsals and touring. The initial recordings pushed a looser performance aspect to the fore, inspired by some of their very first musical loves; Free, Fleetwood Mac, Led Zeppelin and The Beatles; old tapes and LPs pilfered from their parents' shelves. But a balance between performance and construction has always been an essential part of Field Music. By March 2020, recording had already begun for most of the album's tracks and, with touring for Making A New World winding down, Peter and David were ready to plough on and finish the record. The playfulness that's evident in much of Flat White Moon's music became a way to offset the darkness and the sadness of many of the lyrics. Much of the album is plainly about loss and grief, and also about the guilt and isolation which comes with that. Those personal upheavals are apparent on songs like Out of the Frame, where the loss of a loved one is felt more deeply because they can't be found in photographs and compounded by the suspicion that you caused their absence, or on When You Last Heard From a Linda, which details the confusion of being unable to penetrate a best friend's loneliness in the darkest of circumstances. Some songs are more impressionistic. Orion From The Streets combines Studio Ghibli, a documentary about Cary Grant and an excess of wine to become a hallucinogenic treatise on memory and guilt.. Others, such as Not When You're In Love, are more descriptive. Here, the narrator guides us through slide-projected scenes, questioning the ideas and semantics of 'love' as well the reliability of his own memory. The result is a generous record of bounteous musical ideas, in many ways Field Music's most immediately gratifying to date.

On October 12, 1929, Kathryn Culp and Sammie Lee Brown had the idea to name their first-born baby Napoleon. With such a vital beginning, little Nappy was already predestined to hit the mark, so from a very young age he stood out for his vocal qualities, well cultivated in gospel, which he practiced assiduously in The First Mount Zion Baptist Church run by his father.

To Mr. Brown's chagrin, after his first forays into religious music participating in vocal gospel groups such as The Golden Crowns, Golden Bell Quintet and The Heavenly Lights, with whom he recorded his first single for Savoy in 1954, the young Napoleon decided to try his hand at secular music, convinced by Herman Lubinsky, the big boss man of the New Jersey label.

In this way, between 1954 and 1962, Napoleon recorded a total of 28 singles at Savoy, clearly marking the transition from Rhythm & Blues to Rock’n’Roll, and also his subsequent jump to Soul, being the natural link between the late 40s southerners like Wynonie Harris or Big Joe Turner and artists like Jackie Wilson or James Brown, who cemented the black sounds of the 60s.

This LP includes a compilation of some of his best songs at Savoy, high class rock'n'roll, with a lot of dancefloor favourites like DON'T BE ANGRY, compiled in its two versions, or JUST A LITTLE LOVIN ', but also his more Bluesy sides, with songs like the fabulous DOWN IN THE ALLEY, which would be recorded years later by that certain singer born in Tupelo, Mississippi, that many times declared how much he dug Nappy Brown’s Rhythm & Blues.

In the same bluesy way Nappy wrote the iconic THE RIGHT TIME, one of the first stones of the Soul cathedral, originally recorded by Nappy on 1957, and revised one year before by Ray Charles. Ray’s version, renamed Night Time Is The Right Time, would be included as the main theme of the award-winning film IN THE HEAT OF THE NIGHT. We´ve also included Nappy’s own answer to this song, recorded in 1961 and titled as ANY TIME IS THE RIGHT TIME.

Finally can´t avoid to name some of the backing musicians you´ll hear in these tracks, Sam ‘The Man’ Taylor, Mickey Baker, Panama Francis… have a look on notes bellow, oh boy! the A-Team of the mid-century New York Rhythm & Blues!

Nappy disappeared from the music scene in 1962, remaining anonymous until 1969, when he would return to Rhythm & Blues on Elephant Records with an LP whose title could not be more eloquent: THANK YOU FOR NOTHING.

Since then, Nappy was very active until his death in 2008, alternating his love for gospel and Rhythm & Blues, touring the United States and Europe and releasing no less than a dozen LPs.

Following recent super-deluxe editions and multi-format releases of classic Who albums – ‘My Generation’, ‘Tommy’ and ‘Quadrophenia’, and the success of ‘Live at Fillmore’, we follow with The Who Sell Out – this set shaping up to be the most superlative of all…!!
Released in December 1967 – the album reflected a remarkable year in popular culture. As well as being forever immortalised as the moment when the counterculture and the ‘Love Generation’ went global, 1967 produced tremendous musical upheavals as “pop” metamorphosed to “rock”.

Originally planned by Pete Townshend and the band’s managers, as a loose concept album including jingles and commercials linking the songs styled as a Radio London broadcast – born out of necessity as the band’s managers wanted a new album and there weren’t enough songs.

The original plan was to sell advertising space on the album – Jaguar cars, Coca-Cola etc. The jingles pay tribute to the pirate radio stations and expose the myths of ‘pop-culture’ and mock consumer society – way ahead of their time…

The homage to pop-art is evident in both the advertising jingles and the iconic sleeve design – created by David King (art director at the Sunday Times) and Roger Law (who invented Spitting Image) producing four giant images for each band member – Odorono deodorant, Medac spot cream, Charles Atlas and Heinz baked beans (Roger apparently caught pneumonia from sitting in the cold beans for too long).

Photography by renowned portrait photographer David Montgomery (rare out-takes included)

The album is a bold depiction of the period in which it was made – the tail-end of the ‘swinging-60s’ meets pop-art mixed with psychedelia and straight-ahead pop craft. It’s glorious blend of classic powerful Who instrumentation, melodic harmonies, satirical lyrical imagery crystallised for what was only the group’s third album – the ambition and scope is unrivalled by the Who, or any others from that period.

Within the bold concept, were a batch of fabulous and diverse songs – I Can See for Miles (a Top Ten hit) is a Who classic, Rael, a Townshend ‘mini-opera’ with musical motifs that reappeared in Tommy and the psychedelic blast of Armenia City in the Sky and Relax are among the very best material of the 1960s.

One of the most extraordinary albums of any era – it’s The Who’s last ‘pop’ album. Two years later came Tommy – a double concept album about a deaf, dumb and blind kid…

“We were hoping to get free Jaguars. We got fifty tins of free Baked Beans”

Pete Townshend

This self-titled work is Tim Buckley’s debut album, originally released in 1966. Most of the songs were co-written by Buckley and Larry Beckett while still in high school. It also features lifelong friend and collaborator Lee Underwood as well as Van Dyke Parks. This mostly folk oriented album was the start of an incredibly versatile career in which he later incorporated jazz, psychedelia, funk, soul and avant- garde. The album is released as a limited edition of 1000 individually numbered copies on gold coloured vinyl.

‘Crestone’ is the debut feature written and directed by
Marnie Ellen Hertzler in partnership with Memory.
Hertzler enlisted the pioneering experimental act
Animal Collective to compose the film’s score, a first
for the band.
Marnie Ellen Hertzler on the score: “The town of
Crestone is not only the location of the film, but also
an important character. I wanted a score that was able
to highlight and elevate its importance. There are no
musicians I’d rather work with more on this film, and
no band that can sonically describe a landscape better
than Animal Collective can.”
Set in the desert of Crestone, CO over the course of
eight days, ‘Crestone’ follows a group of SoundCloud
rappers who live in solitude, growing weed and
making music for the internet. When an old friend
arrives to make a movie, reality and fiction begin to
blur.
Animal Collective previously created the audiovisual
album ‘Tangerine Reef’ (2018) in collaboration with
Coral Morphologic, released ‘Transverse Temporal
Gyrus’ (2012) as the music for an installation at the
Guggenheim Museum alongside the visual work of
artist Danny Perez and released the visual album
‘ODDSAC’ (2010), also in collaboration with Danny
Perez. ‘Crestone (Original Score)’ is the band's first
film score.
140g black vinyl LP with colour labels and standard
3mm spined jacket plus digital download card.

What's the equation that reveals your love? On the latest single from Alba & The Mighty Lions, the question is posed and answered in the form of a beautiful soul slow-roller. Alba Ponce de León's charming word play, both mathematically-minded and straight from the heart, is calculated as a sum of English and Español, and multiplied by the suave accompaniment of a Mighty Lions' backing track that cruises the border of lowrider soul and enchanted exotica. Adding it all up, you may find an answer to this magical schoolyard test, depending on how the numbers align for you. A witty and passionate take on a classic formula, "Matemática" is a deep and sweet flow, a slow dance mood for the heads and lovers alike.

"Where Do We Go From Here" is Dumpstaphunk's first album in seven years. It will be released on April 23, 2021 on The Funk Garage, an imprint of Mascot Label Group.
Over its past 17 years, Dumpstaphunk has earned its reputation as the most well-regarded next-generation New Orleans live powerhouse, the type of band whose live shows attract sit-ins from legends like Carlos Santana, Bob Weir and Trombone Shorty. Alongside Hall, Daniels, Alex Wasily, Ryan Nyther and drummer Devin Trusclair, cousins Ivan and Ian Neville have built upon their family’s iconic NOLA legacy as they’ve transformed Dumpstaphunk into the city’s pre-eminent 21st-century funk-fusion export.
The band’s mix of classic and modern influences can be heard throughout the party-friendly mix of R&B, funk, rock, swamp-pop and blues of "Where Do We Go From Here," from the slap-bass rave "Make It After All" to the band's contemporary renderings of NOLA R&B rarities (the 1975 Blackmail gem "Let’s Get At It") and early Seventies classics (Sly and the Family Stone's "In Time”).
‘Where Do We Go From Here’ is perhaps the best evidence yet of Dumpstaphunk’s ability to strengthen and transform their singular NOLA roots in combination with the deeper outside musical and philosophical influences on which the band is founded.

A ground-breaking new collaboration for fans of African music (Ali Farka Touré, Oumou Sangaré) as well as contemporary orchestral music (Max Richter, Olafur Arnalds, the London Symphony Orchestra)

Kôrôlén is a very special collaboration between two titans in music: Toumani Diabaté, the Grammy-winning Malian kora virtuoso, and the London Symphony Orchestra, renowned worldwide for their performances of orchestral music on record, film and stage.

Diabaté, a griot whose musical lineage stretches back generations, is well known as one of the most creative musicians on the African continent, and is almost single-handedly responsible for bringing the iconic sound of the kora to worldwide audiences. No stranger to a genre-defying collaboration, he has recorded two Grammy-winning albums alongside desert blues pioneer Ali Farka Touré, as well as projects with Taj Mahal, Björk, Béla Fleck, Damon Albarn and Afrocubism.

Commissioned as a special project by the Barbican Centre in London and produced by World Circuit, these recordings feature Diabaté and his group of eminent Malian musicians (including Kasse Mady Diabaté and Lassana Diabaté), accompanied by the soaring presence of the LSO, in dedicated arrangements by Nico Muhly and Ian Gardiner and conducted by Clark Rundell.

The title bestowed by Diabaté on this unique and groundbreaking release, ‘Kôrôlén’, translates from the Mandinka language as ‘ancestral’ - a fitting theme for an album that brings together ancient griot melodies and Western orchestral arrangements, resulting in an achingly beautiful and fresh Afro-neo-classical sound that will appeal to admirers of African, traditional and new classical, and ambient music.

Hans Dulfer is an internationally acclaimed Dutch jazz musician, known for playing the tenor saxophone. His debut album The Morning After the Third was released in 1970. Its title track features the renowned Dutch guitarist Jan Akkerman, who was known for being a member of Focus at the time.

This rare, sought after jazz album is now available on coloured vinyl for the first time. It’s a limited edition of 1000 individually numbered copies on transparent yellow vinyl.

"It's Only Us" is the sound of Monophonics continuing to grow as songwriters, musicians, performers and people _ reflecting on where they've been, and pushing the boundaries of what's possible in the years to come. The title track from their most recent album is arguably the song that epitomizes the album's sonic palette best: soulful, psychedelic, and looking forward. It is now available as a 7-inch single. Including a bonus B-side titled "Get The Gold".

New York Hip Hop revolutionaries Ced-Gee, Kool Keith, Moe Luv and T.R. Love, known as Ultramagnetic Mc’s dropped their seminal debut album Critical Beatdown in 1988. Immediately grabbing the attention and pushing the boundaries of hip hop into new horizons, it was hailed as a masterpiece by the underground. Influential hip hop magazines The Source and Hip Hop Connection both listed Critical Beatdown in their Top 100 charts, naming it one of the best 100 hip hop albums ever. The 1986 single “Ego Trippin” is one of the first tracks to use the SP1200 drum machine (programmed by producer Ced-Gee), and the SP1200 would later become the golden standard for many hip hop producers. This expanded edition features not only the original album with the 15 tracks, it also includes 6 bonus tracks: the original 12” versions of “Funky”, “Bait”, “A Chorus Line” featuring Tim Dog, “Mentally Mad” plus “Traveling At The Speed Of Thought (Hip House Club Mix)” and “Ego Trippin (Bonus Beats)” coupled for the first time ever on vinyl. It also contains a 4 page booklet with interviews, rare photos and liner notes written by Angus Batey, the author of Rhyming and Stealing: A History Of The Beastie Boys and a writer for Hip Hop Connection and Mojo magazine.
This first pressing also comes with an exclusive photograph of Ultramagnetic Mc’s on thick cardboard. The timeless classic Critical Beatdown is available as a limited edition of 2000 individually numbered copies on yellow vinyl.

Behind the finest and most moving pieces of contemporary-classical music lie deeply personal and poignant stories, and Simon Goff's new album Vale is no exception. The British violinist and composer's dazzling exploration of the interface between violin and technology and between the poles of intimacy and grandeur, as rich and deep and wide as the landscape that lies its heart, named after the Vale of York where Goff grew up. The album encapsulates not just a landscape but a place in time and an identity forged through youth and adulthood, all viewed from his current base in Berlin. Goff's artistic project is one which has been informed by his previous collaborations as both a performer and recording engineer, performing with artists such as Thor Harris (Swans, Amanda Palmer) and Federico Albanese, playing in concert halls across Europe. On his very first day working at the legendary Vox-Ton studios, Goff was introduced to Adam Wiltzie (half of the venerated post-classical/ ambient duo Stars Of The Lid/A Winged Victory for the Sullen), and over the next two years, he worked with post-classical and post-rock visionaries such as the late Jóhann Jóhannsson, Hildur Gudnadóttir (notably on the film soundtracks for Chernobyl and Joker), Dustin O'Halloran and Yair Elazar Glotman.

Tolle News für Fans von Suicide: Das New Yorker-Label Sacred Bones fördert das verschollene Album "Mutator" von Alan Vega zu Tage. Vegas Name ist ein Synonym für ungebremste Kreativität. Von den späten 1950er-Jahren über seine Zeit als Musiker beim legendären Protopunk-Duo Suicide bis zu seinem Tod im Jahr 2016 war Vega ständig am Schaffen (u.a. auch als Maler und Bildhauer). Dieser Prozess führte zwangsläufig zu einer Fülle von Material, das nicht sofort das Licht der Welt erblickte, als es aufgenommen wurde und bis heute im Vega Vault schlummert. Das Mitte der neunziger Jahre in Vegas NYC-Studio aufgenommene Album "Mutator" ist die erste in einer Reihe von anstehenden Veröffentlichungen aus seinem Privatarchiv. "Mutator" wurde mit Vegas langjähriger Partnerin Liz Lamere aufgenommen, die seit Beginn der 1990er-Jahre Keyboards und Gesang zu vielen seiner Aufnahmen beigesteuert hat und heute zusammen mit ihrem gemeinsamen Sohn Dante Vega Lamere den musikalischen Nachlass von Vega verwaltet. 2019 wurde das Album von ihr und Vegas engem Freund und Vertrauten Jared Artaud von The Vacant Lots im Vault entdeckt. Beide erkannten schnell das visionäre Potenzial, das in diesen Bändern steckte. Sie mischten und produzierten das Material, das jetzt erstmals als "Mutator" in Albumlänge vorliegt.

‘Any Other City’ by Life Without Buildings, the only
album recorded in their brief existence, is
repressed and available again. Originally released
on Tugboat Records (a Rough Trade affiliated
label) in February 2001, ‘Any Other City’ has slowly
become a widely admired cult album.
Life Without Buildings formed in Glasgow in 1999,
they existed for three years and then split in 2002,
having released just one album and three double A
side singles, yet they’ve continued to build a
strong underground following in the years since,
which has culminated in copies of the original
album on vinyl changing hands for exorbitant
figures and numerous musicians citing it as a
major influence and inspiration.
Frontwoman Sue Tomkins’ unique vocal delivery
which is somewhere between talking and singing,
a kind of narrative, combined with the often spiky,
course backing that the rest of the band provide,
tends to prove magnetic after a few listens.
Life Without Buildings managed to be utterly
unique in the sound they made and ultimately
that’s what has made this album’s reputation grow
over time to be deemed absorbing, timeless and
utterly essential listening.

Best Of 50 Cent is a career-spanning chronicle of one of music's most compelling and influential artists. The compilation will be packaged as a 2LP, including classic cuts from his 2003-2009 albums, Get Rich or Die Tryin', The Massacre, Curtis, Before I Self Destruct, and the bonus cut 'How to Rob'. Release is Black vinyl, 180 gram, 2LP, Gatefold and comes with a Download Card

Mit .Maidan?g vero.ffentlicht die da.nische Post-Rock-Band BOUNDARIES am 23.04.2021 ihr Debu.talbum auf Vinyl. Der Longplayer ist ein hemmungsloses Rockalbum u.ber all die Ungestu.mheiten, die wir in uns und um uns herum aktuell erleben. Oder, um es mit den Worten der VISIONS zu sagen: BOUNDARIES sind .Weltschmerz zum Ho.ren?g. Dabei kombinieren die Da.nen das was sie am besten ko.nnen: Post-Rock mit neuen Einflu.ssen. Der Albumtitel .Maidan?g (gesprochen: /m...d..n/) beschreibt dabei eine Fla.che in oder bei einer Stadt, die fu.r o.ffentliche Versammlungen und Proteste genutzt wird, und soll auch musikalisch und inhaltlich genau diese Funktion u.bernehmen. Von aufreibenden Implosionen im Song "Harness" bis hin zur klaustrophobischen Einsamkeit im Track "Indefinite Hours", vermitteln BOUNDARIES eine breite Gefu.hlswelt, die in jedem von uns zu finden ist.

Vomito Negro is the mythical EBM-industrial act formed in Belgium in 1983. The band has a vast discography that started with a self-titled EP in 1985 and continued with diverse releases on renowned labels like KK Records, Antler-Subway and more recently on Out of Line and Scanner.

Vomito Negro’s musical approach, essentially based on the European “Industrialist” tradition, takes a different angle on every record with synthesized psychodramas that range from danceable to contemplative, from instrumental and ambient to voice-ridden and brutal.

The new album “Entitled” was created with unreleased tracks from the early 80’s. All songs were re-arranged and re-recorded by Gin Devo at his own studio, “The Lab”, with the use of original vintage hardware synthesizers, sequencers and drum machines.