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Raised somewhere between Ministry Of Sound’s ‘The Annual’ and early music message boards, Kolya’s taste still extends from obscure tape-only releases to turn-of-the-millennium trance anthems.

As a DJ, it’s taken the South Londoner from Bugged Out! to Berlin – at home supporting Demdike Stare with coldwave, spinning runway house alongside MikeQ while a House Of Trax resident, or unleashing noughties fidget at the closing of Camden’s infamous Lock Tavern. All of which is to say, his debut EP for Ecstasy Garage Disco arrives steeped in musical history.

Recorded during lockdown, it draws on perhaps his greatest love, deep (deep, deep) house. A soaring synth work out, opener ‘Stick Together’ is a case in point, standing on the shoulders of giants like Peter Daou, but with a life-affirming exuberance all of its own. ‘Miss Honey Prancin’ In The Twilite’, meanwhile, is a tribute to Moi Rene, as well as a love letter to Project X Records in general, her vocal recast over a groove that alternates between outer space iciness and snare-rolling high drama.

On the flip, ‘Crying Over Spilt Poppers’ blends the flavour of amyl-soaked Gherkin with the emotional nuance of Nu Groove, joyous and reflective in equal measure. And ‘Jamais Vu’ signs off, its bumping kick pattern and intertwining melodic layers connecting glimmering 90s electronica and contemporary, future-facing house.

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Joni Mitchell was at a turning point 50 years ago. After making four acclaimed albums with Reprise Records, including her 1971 masterpiece Blue, she left the label to join the brand-new Asylum Records in 1972. Over the next seven years, Mitchell would record some of the most acclaimed music of her career while changing her musical direction by adding more jazz elements into her song writing. The evolution culminated in 1979 with Mingus, her collaboration with jazz titan Charles Mingus, and her studio last album for Asylum.

The Asylum Albums (1972-1975), the next instalment in the Joni Mitchell archive series, explores the beginning of that prolific era. The collection features newly remastered versions of For The Roses (1972), Court And Spark (1974), the double live album Miles Of Aisles (1974), and The Hissing Of Summer Lawns (1975). All four were recently remastered by Bernie Grundman. The Asylum Albums (1972-1975 will be available on 23rd September on 5-LP 180-gram vinyl (Limited Edition Of 20,000) and as a 4CD set. The cover art for the set features a previously unseen painting by Mitchell. The set also includes an essay by friend and fellow Canadian Neil Young.

The Asylum Albums (1972-1975), follows Mitchell’s musical evolution over four albums as she embraced more jazz-inspired pieces and moved away from the folk and pop of her early years. It includes essential tracks like her first Top 40 hit, “You Turn Me On, I’m A Radio” and her highest-charting (#7) single “Help Me,” plus favourites like “Free Man In Paris,” “Raised On Robbery” and “In France They Kiss On Main Street.” Mitchell has been intimately involved in producing the collection, lending her vision and personal touch to every element.













l b6. Judgement Of The Moon And Stars (Ludwig’s Tune) 2022 Remaster











[x] e1. You Turn Me On I’m A Radio (Live) [2022 Remaster]
[y] e2. Big Yellow Taxi (Live) [2022 Remaster]
[2022 Remaster]
[xa] e4. Woodstock (Live) [2022 Remaster]
[xb] f1. Cactus Tree (Live) [2022 Remaster]
[xc] f2. Cold Blue Steel And Sweet Fire (Live) [2022 Remaster]
[xd] f3. Woman Of Heart And Mind (Live) [2022 Remaster]
[xe] f4. A Case Of You (Live) [2022 Remaster]
[xf] f5. Blue (Live) [2022 Remaster]
[xg] g1. Circle Game (Live) [2022 Remaster]
[xh] g2. People’s Parties (Live) [2022 Remaster]
[xi] g3. All I Want (Live) [2022 Remaster]
[xj] g4. Real Good For Free (Live) [2022 Remaster]
[xk] g5. Both Sides Now (Live) [2022 Remaster]
[xl] h1. Carey (Live) [2022 Remaster]
[xm] h2. The Last Time I Saw Richard (Live) [2022 Remaster]
[xn] h3. Jericho (Live) [2022 Remaster]
[xo] h4. Love Or Money (Live) [2022 Remaster]

Originally released in 1997, this reissue edition is becoming available as
180g Double 12" Black Vinyl LP, along with a Limited Collector's Edition
on Heavyweight Transparent Orange Double Vinyl
Both editions are mastered for vinyl, reissued with the original cover design,
specially enhanced artwork, including a 12-pages LP booklet with extensive liner
notes by Clay Marshall and carry an exclusive, previously unreleased live bonustrack. Exclusive to the Limited Collector's Edition is a Lenticular Cover Card.
LP Tracks: The Ocean / Welcome / Turns To Me / Morning Sun / Another Way /
Blackjack Guillotine / Paragons Of Innocence / Complaint In The System
(Veronica Guerin) / Underture / The Wake Of Magellan / Anymore / The Storm /
The Hourglass / Turns To Me (Live in Neu Isenburg 1997) (Bonus Track)
LP Tracks: The Ocean / Welcome / Turns To Me / Morning Sun / Another Way /
Blackjack Guillotine / Paragons Of Innocence / Complaint In The System
(Veronica Guerin) / Underture / The Wake Of Magellan / Anymore / The Storm /
The Hourglass / Turns To Me (Live in Neu Isenburg 1997) (Bonus Track)

Originally released in 1997, this reissue edition is becoming available as
180g Double 12" Black Vinyl LP, along with a Limited Collector's Edition
on Heavyweight Transparent Orange Double Vinyl
Both editions are mastered for vinyl, reissued with the original cover design,
specially enhanced artwork, including a 12-pages LP booklet with extensive liner
notes by Clay Marshall and carry an exclusive, previously unreleased live bonustrack. Exclusive to the Limited Collector's Edition is a Lenticular Cover Card.
LP Tracks: The Ocean / Welcome / Turns To Me / Morning Sun / Another Way /
Blackjack Guillotine / Paragons Of Innocence / Complaint In The System
(Veronica Guerin) / Underture / The Wake Of Magellan / Anymore / The Storm /
The Hourglass / Turns To Me (Live in Neu Isenburg 1997) (Bonus Track)
LP Tracks: The Ocean / Welcome / Turns To Me / Morning Sun / Another Way /
Blackjack Guillotine / Paragons Of Innocence / Complaint In The System
(Veronica Guerin) / Underture / The Wake Of Magellan / Anymore / The Storm /
The Hourglass / Turns To Me (Live in Neu Isenburg 1997) (Bonus Track)

Marisa Anderson is one of the most eminent guitarists working today. Her lucid, eloquent approach to guitar music and composition has established her as an unparalleled artist and an insightful, coveted collaborator. Anderson"s work draws on a mosaic of folk musics and lives in conversation with myriad musical traditions. Her music is inviting and candid, beckoning the listener into sprawling ecosystems and intimate corners alike, from barren landscapes to verdant thickets, impassioned communal experiences to pensive reclusions. As a master of her instrument, Anderson translates abstractions into undeniably moving music, tracing through traditional folk tunes, imagined Sci-Fi films, and foggy sanctuaries of sound. Still, Here is Anderson at her most direct, laying bare her practice of processing and understanding the world through music and distilling that practice into pieces as expressive as they are transfixing. The pieces of Still, Here center around Anderson"s present. The album is a compendium of living moments captured by her preternatural ability to mold human realities into enduring, lyrical compositions. Away from the road for the longest stretch of her career, the making of Still, Here affirmed for Anderson the role of the guitar as an essential tool in processing external and internal realities. "I don"t get ideas and then turn to the guitar, rather I turn to the guitar to find out what my ideas are. I turn towards it for meaning." The discordance of protest and upheaval emanates from a propulsive acoustic ostinato and mournful dueling pedal steel guitars on "The Fire This Time," pausing only to allow space for the blare of sirens on the Portland street near Anderson"s studio. "The Crack Where the Light Gets In" rapturously revels in the glimmers of hope that peek through a pall of darkness. Across Still, Here, Anderson"s playing transmutes the tributaries of fluctuating emotions into a unified flow, stirring and sublime.

Marisa Anderson is one of the most eminent guitarists working today. Her lucid, eloquent approach to guitar music and composition has established her as an unparalleled artist and an insightful, coveted collaborator. Anderson"s work draws on a mosaic of folk musics and lives in conversation with myriad musical traditions. Her music is inviting and candid, beckoning the listener into sprawling ecosystems and intimate corners alike, from barren landscapes to verdant thickets, impassioned communal experiences to pensive reclusions. As a master of her instrument, Anderson translates abstractions into undeniably moving music, tracing through traditional folk tunes, imagined Sci-Fi films, and foggy sanctuaries of sound. Still, Here is Anderson at her most direct, laying bare her practice of processing and understanding the world through music and distilling that practice into pieces as expressive as they are transfixing. The pieces of Still, Here center around Anderson"s present. The album is a compendium of living moments captured by her preternatural ability to mold human realities into enduring, lyrical compositions. Away from the road for the longest stretch of her career, the making of Still, Here affirmed for Anderson the role of the guitar as an essential tool in processing external and internal realities. "I don"t get ideas and then turn to the guitar, rather I turn to the guitar to find out what my ideas are. I turn towards it for meaning." The discordance of protest and upheaval emanates from a propulsive acoustic ostinato and mournful dueling pedal steel guitars on "The Fire This Time," pausing only to allow space for the blare of sirens on the Portland street near Anderson"s studio. "The Crack Where the Light Gets In" rapturously revels in the glimmers of hope that peek through a pall of darkness. Across Still, Here, Anderson"s playing transmutes the tributaries of fluctuating emotions into a unified flow, stirring and sublime.

‘Amorpha’, a side-long shower of synthetic bells and bass, as
patterns interlock and repeat and the beat within the bar lines
shifts constantly, forms a new, latest miniature of infinity. You flip
it, and ‘Geomancy’ resets you, starting anew, with heavy drift and
drone leading into a space of shorter broken lines and Middle
Eastern tonalities, that roll back into ether again - new spaces, but
mysteriously consonant with the vibe.
 ‘Bajascillators’ arrives almost five years since their last official fulllength, 2017’s ‘Bajas Fresh’. In the eight years prior to ‘Bajas
Fresh’, Bitchin Bajas issued seven albums, plus cassettes, EPs,
singles… wave after wave of analogue synth tones and zones
extending into a stratospheric arc. Each release its own
headspace, shape and timbre, each one sliding naturally into their
implacable, eternal gene pool.
 Following the flow, always, the Bajas went ever-deeper-and-higher
on these records, whether making soundtracks or collaborating
with Bonnie ‘Prince’ Billy, using only fortune cookie fortunes as a
libretto. Plus engagement, with a steady stream of shows and
tours around the world; live re-airings and expansions of the space
captured in their records as they continued to grow and flow - all
the way through, really, to the present moment.
 Plus, there have been releases since 2017 - a split 12”, a 7”
single, digital track release and two ‘Cuts’ cassettes, plus the allcovers cassette release ‘Switched On Ra’. But the overall number
of releases, plus the five years between long players, implies a
potential distance between phases, a new line in the sand. The
sound of Bajascillators bear this out. How couldn’t it? Compared to
2017, this is a different world.
 Mastered directly from half-inch analogue tape, ‘Bajascillators’
floats transparently from the speakers, its expansive grooves
gathering resonance and building momentum over the four sides,
from genesis to re-conclusion, cascading ecstatically. The elastic
magic of time at its brightest. As the world keeps turning, so too do
Bitchin Bajas, in the same unknowable way. You can’t explain it -
just keep turning.

This compilation presents for the first time various underground techno groups and projects that emerged in Lima in the mid-1980s. Projects such as Disidentes, Paisaje Electrónico, T de Cobre, Meine Katze Und Ich, El Sueño de Alí, Cuerpos del Deseo, Círculo Interior, Ensamble and Reacción. Disidentes and T de Cobre brought extreme sounds to local electronics, and which has made them an unavoidable reference for any historical account of techno and industrial music in Latin America. This compilation presents for the first time various underground techno groups and projects that emerged in Lima in the mid-1980s. Projects such as Disidentes, Paisaje Electrónico, T de Cobre, Meine Katze Und Ich, El Sueño de Alí, Cuerpos del Deseo, Círculo Interior, Ensamble and Reacción were responsible for introducing styles such as techno-pop, EBM, industrial and minimal synth in Peru. Coinciding with the explosion of punk in Lima and the appearance of the so-called Rock Subterráneo underground rock, these techno groups shared the same DIY spirit, performing in many punk concerts and even creating their own fanzines, and, above all, opening a space for other types of sonic experiences. Meine Katze Und Ich, El Sueño de Alí and Paisaje Electrónico were also the parallel projects of the members of Narcosis, the iconic punk band, one of the founders of Rock Subterráneo. Disidentes and T de Cobre brought extreme sounds to local electronics: viscerality, mechanical rhythms and the use of Casiotones or synthesizers, which resulted in an atypical sound that, in turn, portrayed a critical time in Peru, and which has made them an unavoidable reference for any historical account of techno and industrial music in Latin America. The title of this compilation is inspired by the name of a concert held in Lima in 1991, considered to be the first techno concert to have taken place in Peru. Even though not all intervening groups were doing techno at that time, they did share the fact that they all used keyboards. Four of them, however (Cuerpos del Deseo, Ensamble, Círculo Interior and Reacción), were in fact affiliated to an electronic sound (techno-pop, EBM). The concert was a sign of the diversification of musical styles in Lima's alternative scene, and in particular of the emergence of a micro scene, for which the concert Síntomas de techno [Symptoms of Techno] represented an important step towards the development of a local culture of electronic music during the 90s. Many of the recordings included here are extracted from demos with limited circulation, practically impossible to find. Other tracks are unpublished pieces which come from the private archives of the artists themselves. The compilation has been made by Luis Alvarado and is part of the Essential Sounds Collection, with which Buh Records is making available a vast archive of avant-garde Peruvian music. This compilation is published in vinyl format in a limited edition of 300 copies, with extensive information and visual documentation. Mastered by Alberto Cendra. Art by René Sánchez. Cover photography by Rogelio Martell. This project was awarded with funding from the Economic Stimuli program of the Peruvian Ministry of Culture.

Unstoppable Ukrainian metalcore unit SPACE OF VARIATIONS ascend to the next level of mind-bending modern metal on their upcoming, in-your-face full-length, IMAGO, out March 18, 2022. Following their 2019 Napalm Records debut, the XXXXX EP, the unbridled outfit breaks new ground and transcends all expectations with their exciting and undeniably fresh second studio album. IMAGO’s multifaceted, cathartic delivery seamlessly mixes gut-punching hardcore riffs and catastrophic breakdowns with colorful electronics, brutalizing vocals and, at times, trance-like synth – exploring elements of djent, hip-hop and even hyperpop influence along the way. The album’s addictively erratic, emotive atmosphere echoes their spontaneous live performance; having previously toured with modern metal giants JINJER, the four-piece relentlessly smashed European stages while captivating each listener with futuristic stylings reverberating the likes of Bring Me The Horizon, Architects, Norma Jean and LANDMVRKS. Furiously crashing opener “SOMEONE ELSE” sets free the uncompromising spirit of SPACE OF VARIATIONS – instantly breaking down genres and placing a forceful exclamation mark at the start with smashing instrumentation and a feverish vocal and lyrical assault by Dmytro Kozhukhar and Olexii Zatserkovnyi. Devastatingly heavy “1M followers” takes no prisoners from the first second and features a hefty appearance from former Asking Alexandria vocalist Denis Stoff, resulting in a fearless, addictive metalcore banger. Tracks like eponymous “IMAGO” and intense mid-tempo “Serial Killer” emphasize the multifaceted nature of SPACE OF VARIATIONS with sporadically scaled-back instrumentation and emotion turned to 10. On the contrary, previously released penultimate post-hardcore dystopia “Ultrabeat” delivers bone-crushing beats and is by far no stranger to the band’s devotees. Closing with an insane verse from Ukrainian rap sensation ALYONA ALYONA, the track undeniably marks a milestone in the unit’s soon-to-be revered history while representing the seething desire to expand all limits of songwriting and creativity. This mindset embodies SPACE OF VARIATIONS and their sonically boggling ode to the future, IMAGO. 1. SINGLE - EN Unstoppable Ukrainian metalcore unit SPACE OF VARIATIONS steps up its game with hard-hitting opener “SOMEONE ELSE” from the upcoming full-length album IMAGO. Previously touring with modern metal giants JINJER, the five-piece already smashed numerous stages across Europe. “SOMEONE ELSE” promises aggressive screams, charging transitions and deadly synth parts straight to your face. Stay tuned for this futuristic metal monster called SPACE OF VARIATIONS! 2. SINGLE - EN Unstoppable Ukrainian metalcore unit SPACE OF VARIATIONS drifts off into distant universes with their second single “vein.mp3” from the upcoming full-length IMAGO. Previously touring with modern metal giants JINJER, the five-piece already smashed numerous stages across Europe. Like a bestial alien, "vein.mp3" goes wild with its shattering drums, thudding bass, heavily distorted guitars and evil screams. Beware of this musical demon called SPACE OF VARIATIONS! 3. SINGLE - EN Unstoppable Ukrainian metalcore unit SPACE OF VARIATIONS reveals its album title track “IMAGO” from the upcoming full-length IMAGO. Previously touring with modern metal giants JINJER, the five-piece already smashed numerous stages across Europe. With melodic, yet distorted and heavy riffing, booming drums and deep growls, "IMAGO" proves itself as SPACE OF VARIATIONS’ anthem! 

Jackie Cohen decided the only way forward was to succumb to crisis, to
relax into it instead of fighting, to find beauty even in the flame an
approach that fuels her sublime new album, Pratfall
Because of the record's pandemic origins, Cohen was only aided in studio by two
collaborators: her husband, Foxygen's Jonathan Rado, and engineer Rias Reed.
"We were a tight pod," she laughs. The three musicians holed up at Sonora
Recorders in Los Angeles, tapping into the studio's vaulted ceilings and haunted
feeling to amplify Cohen's widescreen songwriting. "Elliott Smith recorded some
stuff there, and it always seemed like there was a ghost banging around in there,
turning lights on and off," she says, before adding a cheery followup: "Shakira
recorded there too, can't forget another 5'2" icon." On Pratfall, Cohen renders both
extremes of that range of experience in warm, inviting indie pop. "I didn't want to
write a dirge inspired by the darkest moments of my life, I wanted a cathartic
moment, to experience the emotion and build from it," Cohen says. "This record is
a climax where everything becomes explosive and you can just close your eyes,
give in, and dance it off."
LP Tracks: Two Days / Coup De Grace / The Valley / Pratfall / Ghost Story /
Moonstruck / Dire Love / Lost Without Fear / Some Days / Extra Credit / Scraps
Of Love

turntable warrior Paul Sitter is back with another bout of cut-up grooves to give the nimble-fingered plenty to get busy with. This is all about bad-ass 45s to rock the party by pasting together all manner of iconic licks. 'Paul's Mood' is a midtempo strutter which revolves around the 'Funky Drummer' break and slips plenty more samples into every bar. 'How You Feeling?' pulls up a rave MC call-out you might well have heard from the likes of The Prodigy in the early days, although here the sample gets planted into some classic funk. Given the spectrum of sounds across each track, this 7" feels built for those who like to pick their favourite bits and juggle them to kingdom come.

Tape
"Samples, movies and beats. That's the essence of Dead End's brand new LP titled Kino Vol.1. The Portuguese producer takes the chair and delivers a masterful performance that combines music and cinema. Kino Vol.1 is a multidisciplinary album built around samples picked from some of his most loved blockbusters and inspired by iconic movie clips. For the occasion, Saturate's Instagram profile has turned into a video gallery, featuring footage from cult movies and series such as The Office, Sicario, A Fistful Of Dollars, perfectly synched with Dead End's productions.
The album experience itself resembles that of a mini-series like Netflix's Love Death Robot or Oat Studios, where every episode is a story on its own, written and shot in a different way. The fourteen tracks, or episodes as I like to call them, range from heavy club to hip hop and halftime. Some are more colorful and atmospheric like the ending tripled composed by 'Cocoon,' 'Voyage' (feat Dj Ride) and 'Flowers Bloom'. These cuts seem to come off reflective and introspective movies. Others are way heavier, as they were made straight for fighting and chase scenes. In this group, you can count 'Melee Attack,' 'Though Break,' 'Stealth', 'Thin Ice'. My favorite instead are those which set up an ambiguous and sinister mood. 'Bullit Drift,' 'The Fog,' 'Shindeiru,' 'The Road,' all these episodes could fit very well in both mental thrillers (a la Nolan) and unconventional psycho/horror movies. They build a palpable tension that successfully keeps me on my toes as I expect a jump scare or a sudden plot twist to come in at every second given.
In conclusion, Dead Ends' Kino Vol.1 has the virtue of creating a listening experience that, thanks to its references to the world of cinema, becomes interactive and involves the listener in first person. It's impossible not to try to figure out from which films the samples are taken or to try to imagine which scene would be perfect for a specific track."

The Brussels based power trio Don Kapot has gained a lot of attention on the national and international music scene in recent years. Their raw and energetic in your face mix of punk, free jazz, afrobeat and other global sounds took them to stages all over Europe.

Their first two records were based on the unique combined sound of Viktor Perdieus' baritone saxophone, the raw and pumping electric bass of Giotis Damianidis and the powerful and creative drumming of Jakob Warmenbol. Recently, the band has been experimenting with incorporating other sounds and instruments into their repertoire. In anticipation of their new full album, they invited a number of musical friends to their rehearsal room at various times at the end of 2021 and recorded an improvised repertoire with them on the spot. One of those musicians is the multi-talented all-round musician and singer Fulco Ottervanger (known from FULCO, De Beren Gieren, BeraadGeslagen). The recording they made turned out to be so successful that they couldn't just let it pass.

In two twenty-minute suites, Don Kapot & Fulco Ottervanger take the listener on a haunting musical trip, in which numerous influences and genres are reviewed: Classical Indian music, blues, krautrock, free jazz, synth-pop, post-punk, ambient, ... you name it. The musical brilliance of these four extraordinary musicians reaches unprecedented heights.

The record, simply titled 'un peu live', will be officially released on the Belgian jazz not jazz label WERF records on September 23.

Released in 1989, La Mosca was the last album of the mythical Eduardo Mateo (1940-1990), one of the most influential artists in Uruguayan music. Produced for the multi-instrumentalist and sound engineer Hugo Jasa. Reissued for the first time with Obi and liner notes of specialist Guilherme de Alencar Pinto. Released towards the end of 1989, La Mosca was the last job by the mythical Eduardo Mateo (1940-1990), one of the most influential artists in Uruguayan music. Although Mateo was a remarkable percussionist and was very well known for his short songs, with simple lyrics, where Uruguayan roots are mixed with Brazilian, African, Indian and Arabic influences, on his last album, his work took a turn on a brand-new direction. Alongside the multi-instrumentalist and sound engineer Hugo Jasa, weaved together a futuristic sound, based on drum machine beats, keyboards, electronically processed both guitars and vocals to create an atmosphere through sturdy texts with references to machines, to the future, to time and the cosmos. At first received with confusion, today La Mosca continues to cause a mysterious fascination that persists and deepens through the passing of time.

Breezy and carefree, Dragatto reminisces on a day spent exploring the streets of Madrid with only a camera, a few rolls of film and the shoes on his feet. Heavily inspired by the European adaptation of Bossa nova in the 1960's, Salvator creates his own unique mood that's equal parts sunny and joyful using simple melodic themes opposite lush string arrangements. A surefire companion for the next road trip down the coast or excursion through a foreign city. On the B side, as if delivered from the future, the sweet and punchy Return to Normal is a message of hope and optimism letting us know that things will indeed get better. Dreamy harp arpeggios float effortlessly atop a crushing rhythm section tip-toeing the line between calmness and urgency. Turn this one up loud, light one up and let go.

“I had to write myself back into existence,” says Jessie Baylin. “I’d been feeling lost, empty, unsure if I’d ever make music again, and I think this album came along to remind me of who I really am, of who I could still become.” Indeed, Jersey Girl is more than just another record for Baylin; it’s a radical act of self-actualization, a moving work of reflection and rebirth from an artist who’s spent the better part of her adult life running from her roots. Written and recorded with GRAMMY-winning producers Daniel Tashian and Ian Fitchuk (Kacey Musgraves, Birdy), the collection marks Baylin’s first release since the passing of her longtime collaborator Richard Swift, whose influence looms large here even in his absence, and it signals the start of a profound new chapter, one marked by love and empathy for the face staring back in the mirror. The songs are lush and dreamy here, drawing on a hazy palette of warm guitars and vintage keyboard tones, and Baylin’s performances are nothing short of mesmerizing, her tender voice front-and-center in the mix as she grapples with guilt and shame, pain and healing, purpose and identity. Baylin’s the first to tell you this wasn’t an easy record to make—in fact, it wasn’t a record she intended to make at all—but sometimes the biggest breakthroughs come from the most unexpected places. “I had to be tricked into writing these songs,” Baylin confesses, “but it was a good kind of trick. I didn’t realize what was happening until I was already in the midst of it, and that turned out to be exactly what I needed.”

"Do you know SUCK?" "Yup, had to see them live!" That's about how the conversations go when you ask around in the punk-informed part of the circle of friends. At least in Berlin and the surrounding area, where for some the first musical contact took place in the Berghain Kantine in the support of Amyl and The Sniffers, for whose 2019 tour SUCK gave the support. No easy stand actually - and because they convinced there, the punk band from Kassel left a lasting impression. Which, in a text like this, inevitably leads to the question: Is it actually a curse or a blessing for the promotion of a debut album to be a fantastic live band? Instead of a far-reaching, finely chiseled, cultural journalistic answer, it is recommended at this point to simply turn up the opener "Rip It"

"Do you know SUCK?" "Yup, had to see them live!" That's about how the conversations go when you ask around in the punk-informed part of the circle of friends. At least in Berlin and the surrounding area, where for some the first musical contact took place in the Berghain Kantine in the support of Amyl and The Sniffers, for whose 2019 tour SUCK gave the support. No easy stand actually - and because they convinced there, the punk band from Kassel left a lasting impression. Which, in a text like this, inevitably leads to the question: Is it actually a curse or a blessing for the promotion of a debut album to be a fantastic live band? Instead of a far-reaching, finely chiseled, cultural journalistic answer, it is recommended at this point to simply turn up the opener "Rip It"

Live in Stockholm has Trouble riffing through a fantastic greatest hits setlist that will leave no fan untouched! Finally availble on vinyl for the first time! Remastered and cut in DMM! Trouble were invited by Leif Edling and Candlemass as special guests. The vinyl release (on CD it is available as a bonus disc that we added to the remastered deluxe CD edition of “Simple Mind Condition” covers all 14 tracks the legendary Doom Metal pioneers played that evening, and by hearing Trouble in action you can hear where the band leader of Candlemass, Leif Edling, was inspired. The whole gig is 75 minutes, and the guys serve us the best (lets call it a “Greatest Hits” set) from their long career on a fantastic 2-LP. Everything is played with an incredible passion and love for the music, and it’s really fun to hear the old Doom Metal icons on stage. Eric Wagner didn’t move too so much, he mostly hung over his mic with shades and a cigarette, but that turned out great, because of his amazing voice that was still intact. The tracklist should speak for itself with classics like R.I.P., Fear, Psalm 9, Run to the Light, The Skull and more!

Keith Fullerton Whitman brings his 3-part Generators series for Japan’s NAKID label to a close with a third and final instalment that ravishes the senses with hybrid analogue/digital systems tekkerz.

Hazing into a solemn start of floating organ and slurred drums, the first part fizzes into action with pranging irregularities, tentatively allowing the system to voice varying pitches and nimble rhythms that resemble balletic footwork plies as much as classically-trained instrumentalist flurries. It’s deeply trance-inducing, meditative gear that over the course of 25 minutes slowly gains momentium and complexity, first adding robust arps to complicate the structure, treading the finest line of chaos and discipline. In time, those arps turn themselves into a rhythm track, landing somewhere between Whitman's earliest junglist works as Hrvatski and a sort of plucked rhythmic minimalism that reminds us of Mark Fell’s Sensate Focus, gliding on natural, brownian motion and flux of texture, punctuated by what sound likes a plucking of a drum machine from the inside-out.

In part 2 the mood pools and diffracts in slow-fast meter, bristling ruptures of atonality that send limbs flailing one way and then another, adding subs for a dimensional shift that’s rhythmically fractured but always grounded at the low registers. The wavy embroidery of Whitman's machines trigger each other in endlessly fascinating forms of gyring workshop ballistics and dub reverberations.

A special bonus piece ‘Meakusma (Generators, Soundcheck)’ is the most curious of the lot, with a lone clarinet heard in the air, perhaps a serendipitous inclusion form someone else’s soundcheck, lending an enchanting depth perception to his frolicking bleeps.


[a] 1 | MEAKUSMA [Generators] (190606) Part 1
[b] 2 | MEAKUSMA [Generators, Redactions] (190606) Part 2
[c] 3 | MEAKUSMA [Generators, Soundcheck] (190606)

For the first time, super drummer Steve Gadd reunites with his friends
from the "Gadd Gang" days, Eddie Gomez and Ronnie Cuber for a
production with the multiple Grammy Award-winning WDR Big Band
Under the direction of Michael Abene, a deeply grooving album was created,
centered around Steve Gadd and his friends. They are joined by Bobby Sparks II
and Simon Oslender as special guest musicians. The recordings took place in
Studio 4 of the WDR in January and February 2022. Classics from the Gadd Gang
repertoire can be found on Center Stage: "I Can't Turn You Loose," "Che Ore So',"
"Them Changes," "Way Back Home," "Lucky 13," "Honky Tonk/I Can't Stop Loving
You" and "My Little Brother."
A perfect mixture of groovy songs and an excellent ensemble around Steve Gadd
guarantee highest entertainment value.

This is a limited edition pressing of 500, 140-gram, black vinyl records in deluxe tip-on “old style” jackets. Exquisitely printed on textured, water color paper. Digital download included. Be Earth Now comprises forty minutes of potent poetic recitation by Joanna Macy and Anita Barrows from their seminal translation of Rainer Maria Rilke’s The Book of Hours. Channeled in a spiritual fervor in 1899, The Books of Hours remains a profound and highly prescient body of work. Rilke’s poems illuminate paths of embodied mysticism, passionately express ecological grief, and reveal the exquisite expanses of the human heart. The Book of Hours, and now Be Earth Now, offer a poetic map for navigating the heartbreak, rage, and soaring love that so many of us feel in these ecologically urgent and socially emergent times. Rilke’s poems surge with passion and pain for a world that was already teetering toward peril at the turn of the last century, due to the rapid industrialization of Europe, and humankind’s increasing alienation from nature. This work flowed through Rilke in a torrent with sometimes as many as five or six poems arriving in a single day, each self-complete and with no need for later revision. While truly mystical poetry, Rilke’s musings on spirituality overtly critique fundamentalism and organized religion. Instead, Rilke extolls what he finds sacred in the mundane and conjures a sense of wonder for both the more-than-human-world and simply for existence itself. So, who better to give voice to these mystic treasures than Joanna Macy and Anita Barrows? Not only because of their enchanted translations, but also because these women are unquestionably two of our righteous elders. Macy and Barrows have worked diligently for many decades, through art, activism, education, psychology, and spiritual practice, to bring some balance back to this world. The same world that Rilke pleaded with his God to sustain for “just a few more hours,” so that we might have time to mend our relationship with the natural world, to cherish and connect with what is good and real, and to possibly even learn to “be earth now.” A1 Anita Barrows Recites Selections from Rainer Maria Rilke's 'The Book of Hours' B1 Joanna Macy Recites Selections from Rainer Maria Rilke's 'The Book of Hours'

DJ Swamp brings you Wearing My Mask EP!

Alongside Decadent Records and Ruined Vibes - with a hologram sleeve cover!

Limited edition BLACK 7inch vinyl.

4 tracks
Skip proof scratch tool section
5 lock-groove beats
Lock-groove tone
Lenticular hologram cover

Decadent Records recording artist, USA DMC Champion 1996, also known for his work with Beck, Death Grips, Ministry and The Crystal Method, DJ Swamp is the inventor of the highly imitated skip-proof scratch tool.

He was also in the DJ documentary “Scratch” ,The movie “CLOCK STOPPERS”, and 2017 movie “Banger.” Swamp began mastering his DJ skills more than 25 years ago. In 1996, his rookie year, he took the title of USA DMC Champion. Being true to his nature in an arena that was predominantly influenced by a very hip hop-esque culture, Swamp stepped up to the decks looking like some kind of junky punk. He was well received by the audience despite his counter-culture appearance because he exhibited skills that defied perception and already possessed a stage presence that many of his contemporaries still lacked. The finale came when he closed his set by freakin’ Deep Purple’s ‘Smoke on the Water’ and then smashing his records.
Notorious for mischief, while he’s on the turntables his shows are highly anticipated by those who know that they can expect to see something spectacular.

Space is the place - at least, it's the place uppermost in the mind of midwest US label Past Inside The Present founder zake and his sonic partner Ossa - location given as the north pole according to his Twitter - as they embark on collaborative 10 tracks. The fact that that the National Aeronautics and Space Administration - NASA to you and me - has supplied them with celestial sound emissions for the tracks is a bonus. But ultimately, the real headline factor once it's actually on your turntable is the vivid atmosopheres and gorgeous textures that the pair are capable of generating. The album's closer, 'Metric Expansion', is a tremulous glory, peaking and slipping away like rays of sunlight. 'Space & Time', meanwhile, is a simple, gliding analogue delight, and 'Drifting' proves you can carve imperceptible beauty from a couple of well crafted chords.

David Lovato’s first outing as LOVA, the superb Gypsophilia EP, was one of NuNorthern Soul’s most lauded and cherished releases of 2021 – a gorgeous collection of emotive, sun-soaked sounds from the mind of a producer who got his chance on the imprint after handing a USB of tracks to Phil Cooper at Hostal La Torre in the summer of 2020.

Now, the EP returns for 2022 in expanded form, with a trio of fresh, mood-enhancing remixes joining the three original tracks featured on last year’s release. It’s those – ‘Cecilia’, Lovato’s glistening, emotionally resonant musical tribute to his baby daughter, mid-tempo nu-disco gem ‘Echoes of Memories’ and the stunning, sunset-inspired ‘Esperanza’ - that form the first half of the EP, with a trio of reworks following in hot pursuit.

Long-time friends of the label Leo Mas and Fabrice, an Italian duo famed for their brilliant Balearic reworks whose individual and collective histories stretch right back to the late 1980s (Mas, for example, was one of the resident DJs at legendary White Isle venue Amnesia at the back end of that decade). Given this shared Balearic history, it’s fitting that they step up first and give their spin on ‘Cecilia’. Making the most of Lovato’s stunning, reverb-drenched guitar licks, dreamy chords and atmospheric pads, the pair delivers a shuffling, club-ready interpretation underpinned by a locked-in dub disco groove. It’s a fine take on a track brimming with positivity and joy.

Hear & Now, an Italian duo best known for delivering a trio of brilliant albums on Claremont 56, give their interpretation of ‘Echoes of Memories’. Beginning with a mixture of quietly colourful chords, enveloping sonic textures and hazy guitar motifs, the mix gently builds as it progresses, with the pair introducing a pitched-down house groove, chiming electronic melodies and alluring elements from Lovato’s original version. Like much of Hear & Now’s work, it sits somewhere be-tween Balearica, slow-motion electronic disco and the Rimini-friendly dream house sound that marked out Italian club cuts at the turn of the ‘90s.

To close out the EP, rising star Danilo Braca – an Italian producer based in New York City who began DJing in his home country way back in 1996 – gently leads ‘Esperanza’ towards the dancefloor. Braca is a member of production duo Synth & Soda, whose 2020 remix of DJ Harvey presents Locussolus track ‘Berghain’ was selected by the man himself as the winner of an online competition. On this solo revision, Braca wraps a punchy, Latin-tinged house beat in cascading melodic motifs, bubbly synthesizer arpeggio lines, rising and falling electronics and pads so sumptuous you might want to marry them. Simultaneously morning fresh and sunset-ready, Braca has delivered a classic-sounding chunk of Balearic nu-disco/deep house fu-sion.

Gypsophilia Remixed is the latest volume in NuNorthern Soul’s Myths of Ibiza series of EPs, which all feature specially commissioned artwork from illustrator Emily McGuinness. This time round, McGuinness’s distinctive artwork depicts Tanit, the ‘protector goddess’ of Ibiza. A warrior deity of dance, fertility, creation and destruction, her spirit is said to watch over the island’s West Coast, particularly the area around Atlantic and the mysterious Es Vedra rock.

Perpetual Doom is proud to present a special double-LP from Mountain Brews. Spearheaded by Jake Longstreth, Los Angeles-based painter and co-host of Apple Music’s Time Crisis with Ezra Koenig, Mountain Brews was founded around a vital American tradition: sippin’ cold ones to the “tasteful palette of seventies rock.” Full of warm melodies and guitars that evoke a Mojave glow, Mountain Brews occupy the sunny spot right between the studio-slick hits of early Eagles and the laidback jams of the Grateful Dead. And now that their four previous EPS are available in a single package, there’s nothing left to do but grab a seat, turn up the music, and crack one open.

Mountain Brews are pros at keeping things loose and light. Recorded by the same group of old pals that make up a LA based Grateful Dead cover band, Richard Pictures—including Longstreth, Aaron Olson, Ryan Adlaf, and John Nixon—these seventeen tracks celebrate the early seventies’ spirit of easy-going collaboration. You can hear it when a guitar slide greets the opening strum on the title track, an assuming ode to the pleasures of drinking and hiking: “As we get to the top of the mountain, there’s a view,” Longstreth sings. “Take a load off and crack a few mountain brews.” And while the song boasts virtuoso playing worthy of Desperado, the vibe is less barstool machismo than six-pack camaraderie.

It’s a self-aware R&R mindset that pulses through tracks like “You Eagled,” which ponders both a great golf score and the trials of becoming “classic,” and “It’s My Masterpiece,” with its tightly coiled licks and breezy nonchalance with regards to inevitable civilizational demise. Sure, the Brews know there’s a down for every up. “Raised in a Place” and “Big Bummer Hotel” acknowledge that even the chillest California cowboys get the middle-aged blues, resurrecting the heartland synthesizers of late eighties Don Henley and Bruce Hornsby to find a little meaning in the madness. And Ezra Koenig and Danielle Haim contribute vocals to help “The Worst Margarita of My Life” go down just a little easier.

These four EPs were recorded between 2019 and 2021 in various bedrooms and studios across California. “Uphill From Here” brings it all back around as guitarist Aaron “Bobby” Olson sings about meeting Jake on the trail once again: “And it’s all uphill from here,” he sings. “We may have to stop and down these beers.” But whether it’s uphill or down, Mountain Brews makes it clear—the journey is better with company.

Noodles Groove chronicle has releases going back to the 90's and is recongised as one of UK garage music most influential producers, his recent works is a collaboration with follower producer Dubchild. The duo also work under the alias"nu agenda"creating their own style of hybrid house, and have support from various stations such as Rinse fm, 1xtra, SWU, NTS, Mode, Worldwide radio and Reprezent. Lets now get to "selector selection vol.1" out on DPR recordings label owned by Noodles Groove chronicles we have three tracks "helikopter" "your turn" "my thing" all individual but weighty. The volume series is all about what you may have missed or slighty over looked.Talior made so you'll never miss a good track and it's been selected for your listening pleasure.

Deux Filles was not, in fact, two girls despite what the group name and its elaborate hoax of a backstory suggest. No, they were not Gemini Forque and Claudine Coule, French women who met as teenagers under tragic circumstances and became fast friends, recording two albums together before disappearing into the ether. In reality, Deux Filles was Simon Fisher Turner and Colin Lloyd Tucker, a UK duo who first worked together in an early incarnation of The The.

Straddling the line between experimental and pop, Turner was an actor and teen singing star who later composed soundtracks for the iconic queer filmmaker Derek Jarman while Tucker’s career began as an engineer for the famed UK library music studio, De Wolfe, before forming experimental wave group The Gadgets. In Deux Filles, the duo found an outlet for their least commercial tendencies, combining lo-fi proto-dream-pop instrumentals with samples, tape experiments, ambient textures, and drum machines. Even in the vibrant, seemingly endless well of UK DIY, Deux Filles stand out.

Silence & Wisdom – the duo’s 1982 debut – is a series of musical vignettes, like the score of an unrealized arthouse film. Blending processed guitars, sheets of synthesizers, echoey pianos, and washed-out vocal snippets to surprisingly varied effect, the album is recommended for fans of Durutti Column and Virginia Astley’s From Gardens Where We Feel Secure.

Born in Juazeiro, Bahia, Brazil on June 10, 1931 (and 87 years .old at this writing), singer/song writer Joao Gilberto is a living legend of bossa nova. While Antonio Carlos Jobim set the standard for the creation of bossa nova in the mid-’50s (with songs like “The Girl from Ipanema” and “Desafinado”), it was Gilberto who brilliantly reimagined (and, arguably, defined) the genre. The first bossa nova song, titled “Bim-Bom”, was written as Gilberto watched passing
laundresses on the banks of the Sao Francisco River balance loads of clothes on their heads. In 1956 he went to Rio de Janeiro and struck up old acquaintances, most significantly Antonio Carlos Jobim, who was by then working as a composer, producer and arranger with Odeon Records. Jobim was impressed with Gilberto’s new style of guitar playing, and set about finding a suitable song to pitch the style to Odeon management. In 1959 Gilberto presented his first LP, Chega de Saudade. The title song turned into a hit, launching Gilberto’s career and the bossa nova craze. Besides a number of Jobim compositions, the album featured older sambas and popular songs from the 1940s and 1950s, all performed in Gilberto’s distinctive style. This album was followed by two more in 1960 and 1961, by which time the singer featured new songs by a younger generation of performer/composers such as Carlos Lyra and Roberto Menescal.
By 1962, bossa nova had been embraced by North American jazz musicians such as Herbie Mann, Charlie Byrd, and Stan Getz, who invited Gilberto and Jobim to collaborate on what became one of the best-selling jazz albums of all time, Getz/Gilberto. Chega de Saudade was issued in the United States as The Warm World of Jo o Gilberto.

Leaving Records presents Under the Lilac Sky, the debut LP by Arushi Jain, an India-born, US-residing composer, modular synthesist, vocalist, technologist, and engineer. At six songs spanning 48 minutes of ambient synth ragas intended to be heard during the sunset hours, Under the Lilac Sky invites the listener to transport themselves through intentional listening. Jain states, “You know that moment when the sun is bidding farewell to the sky, and the colors turn into beautiful hues of purple and pink and everything in between? That is the moment that this album will shine the most. The deeper you listen, the more shades you’ll see.”

Jain’s work focuses on reinterpreting traditional Indian classical music through the lens of electronic instrumentation. She re-contextualizes ancient sounds in a modern framework, carrying the torch of electronic luminaries such as Suzanne Ciani and Terry Riley while pursuing personal explorations of her musical heritage and upbringing. Under the Lilac Sky is a cinematic statement of intent, an album that reverently nods to Jain’s musical history while presenting a bold sonic point of view. Jain states, “This album is the coming together of two distinct cultures of Hindustani classical and modular synthesizers representing the two parts of me that evolved into one whole in between my time in India and California”

Voice is emphasized as an essential element of the album, not just for the lyrics or the melodies but also as a source of texture. It is most recognizable when Jain sings aalaaps or sargam of the different ragas the songs are composed in, however her voice is deeply embedded in other, sometimes quieter layers of the record. Jain, who spent her childhood studying indian classical as a vocalist says, “At any given point, there is at least one layer in the record that carries my voice. The human voice is powerful and unique to every individual. My voice is unique to me, so I decided it should be present at all times even if it’s unrecognizable.”

Another core theme of Under the Lilac Sky is the time of day, and the role it plays in influencing how one interacts with the music. “Intrinsic to Indian classical music is the concept of Time and Seasonality. For each raga, there is a specific time of the day when it is meant to be heard for it to shine in it’s authenticity. It harkens to the question of when the environment around you is most in tune with your own sound and breath, and how it supports you in realizing your vision of the moment. This album is meant to be an ode to those timely rituals, and is best heard while you take a moment to do what you love.”

Jain’s exploratory musical ethos finds a like-minded home within Leaving Records’ “All Genre” philosophy. Jain is acutely aware of her role as a composer and modular synthesist reinterpreting a historical art form. “For Indian classical music, this is atypical. The music I compose is inspired by a centuries old tradition, yet aestheticized in a novel way, using the tools and technical innovations of analog synth movements. My art is crafted using machines that I’ve slowly fallen in love with and made my own.”

Having established himself as one of the most sought-after young jazz guitarists in London, Jamie Leeming has steadily carved out his own musical niche, during his extensive work for the likes of Alfa Mist, Tom Misch and Jas Kayser. His debut EP ‘Heartsong’ gained support from Jazz London Radio as one of the “Best Jazz Releases of 2015” and his follow-up collaborative album ‘Flow’ (with pianist Maria Chiara Argirò) received critical acclaim for The Guardian’s “Jazz Album of the Month”. Leeming now unveils his debut solo long-player ‘Resynthesis’ via Alfa Mist’s Sekito imprint.

Jamie’scuriosity has always been a key part of his ever-evolving relationship with music. Whether that be as a teenager and being captivated by the cover of Miles Davis’ Bitches Brew in a local HMV, or his fascination with how we experience memories. ‘Resynthesis’ sees the guitarist creatively hitting his stride and exploring new sonic territories as he takes on the role of producer.

‘Resynthesis’ was created with the help of a handful of close friends, regular collaborators and some of the tightest young players around, many of whom met at an improvised music night hosted by Hugo Piper (who also plays on Resynthesis) called Champion Sounds. It was at one of these nights that the basis for ‘Champion’ was formed, plucked from a twenty second snippet recorded on a phone of one of the legendary jams, which has in turn been reimagined on ‘Resynthesis’ by some of the musicians that were present on the night itself. In addition to the trio instrumentation, Quinn Oulton and Nathaniel Facey lend their skills on saxophone. The album is tied together by artwork from painter and musician Kaya Thomas-Dyke, which includes reference to a number of the memories the album is inspired by.

Chicago-meets-Philly when Vic Spencer and Small Professor connect on Mudslide, the incredible new album from this pairing of raw talents. Coalmine Records is proud to share this project with the world, and it marks Small Pro’s third collaborative release on the label after he previously linked with Guilty Simpson and the late Sean Price. For the producer, it was an exciting new opportunity to team up with an emcee who’s gruff-voiced, hilarious, and can out-rap anyone on the planet. “Plus, my past Coalmine projects have their own neo/prog-boom-bap vibe, and ‘Mudslide’ continues that particular sonic blueprint,” Small Pro said. And for fans of that sound, you’re not going to find a better example of that sound than this album. It’s just as experimental as it is steeped in the traditions of rap thanks to Vic’s boundary-pushing rhymes and Small Pro’s immensely satisfying instrumentals. Tracks like “Lil Jon’s Weed Stash,” “Ew McNasty’s Revenge,” and “Selfcare Welfare” marry psychedelic vibes with grounded and clever lyricism. Another immediate standout is the lead focus track “Pitfall Music,” which features a mean-mugging guest verse from Flee Lord with cuts supplied by acclaimed turntablist, DJ Revolution.

US talent Serge Devant makes a welcome return to Crosstown Rebels in July with the three-track Hush Hush EP. Damian Lazarus’ flagship label is familiar territory for the NYC talent, where he’s made several acclaimed appearances since 2015.

Flashback feat. Forrest gets the show underway, as soft kicks live beside pulsing synth tones and Forrest’s echoing vocals throughout. There’s a soothing feel to the piece, making it well-built for both sunrise and sunset moments, whilst still retaining enough oomph to make it perfect dancefloor material. Hot Circuit comes next, taking the form of an out-and-out club-cut packed full of low-slung, Ibiza-ready groove, whilst Hush Hush continues in a similarly punchy vein to round off the EP on a techy note.

Serge Devant has an esteemed reputation in today’s dance music industry, from playing at DC-10 to his music turning the heads of Jamie Jones and Damian Lazarus, his talent speaks for itself. Emerald City, Knee Deep In Sound and Circus Recordings are just a few of the labels he’s released on, whilst performances for international brands such as Day Zero, Music On, Get Lost and Paradise prove his standing as a globally-revered DJ and producer.

Space is the place - at least, it's the place uppermost in the mind of midwest US label Past Inside The Present founder zake and his sonic partner Ossa - location given as the north pole according to his Twitter - as they embark on collaborative 10 tracks. The fact that that the National Aeronautics and Space Administration - NASA to you and me - has supplied them with celestial sound emissions for the tracks is a bonus. But ultimately, the real headline factor once it's actually on your turntable is the vivid atmosopheres and gorgeous textures that the pair are capable of generating. The album's closer, 'Metric Expansion', is a tremulous glory, peaking and slipping away like rays of sunlight. 'Space & Time', meanwhile, is a simple, gliding analogue delight, and 'Drifting' proves you can carve imperceptible beauty from a couple of well crafted chords.

Taken from Dilla's 2001 BBE Music debut solo album Welcome 2 Detroit, 'Big Booty Express' gets the remix treatment from German duo Âme, Parisian Pépé Bradock and London's Coda Deep. Alongside the OG version these new productions add up to a six track exploration of Dilla's tribute to Detroit's melding of the Motor City's Black music heritage with Kraftwerk's experimental Euroelectro. Contributing two mixes to the EP, Parisian producer Pépé Bradock AKA Julien Auger first forays into music were after learning guitar as a 14 year old and playing with various Jazz-Funk bands. At this time he also started DJing with Hip-Hop bands and turning his hand to producing their tracks. As the 90s progressed he also discovered Techno and House music. His musical influences range from Jazz to Dub Reggae and he has remixed for Blaze, Cassius and Alex Gopher among others. Also providing a remix of Big Booty Express is the German production duo of Frank Wiedemann and Kristian Beyer who work together under the name of Âme. After first meeting in Kristian's record shop in their home town of Karlsruhe and bonding over a shared love of Chicago House and Detroit Techno the pair started working together and producing records for Sonar Kollektiv in 2003. The final two remixes on the Big Booty Express EP and only included on the digital package come from the Londoner Coda Deep. Influenced by avant-garde Electronica, Nu Wave and African Tribal sounds, he is a DJ and producer playing deep and melodic Tech and Techno and will also be known to music fans for his 2019 BBE release 'The Running of the Bulls'. This EP of remixes sits very well alongside the catalogue of J Dilla releases on BBE Music and adds to the rich heritage of innovative beat making and music production that we can associate with Dilla and those he worked with.

From the folk punk roots of Carry Me, through the anthemic One Way, Fifteen Years and Top 20 hits Hope Street, Just The One and Beautiful Day - more recent tracks such as Truth Is, The Cholera Well and The Recruiting Sgt show the Levellers' mix of scathing political comment and positive DIY attitude to life hasn't dissipated over the years.

Most exciting of all, there are brand new recordings of the Levellers collaborating with contemporary artists re-working some of their classic material. Imelda May is the Queen of all time on Beautiful Day, while Bellowhead and the legendary Billy Bragg help out on Just The One and Hope Street respectively.

Finally, lifelong Levellers fan Frank Turner joined the band in the studio - breathing new life into Julie - bringing us back full circle for another generation of the disenfranchised to discover the Levellers for the first time.

Ben Auld writes songs whose heartbreak and wonder reveal themselves
moments after the warmth of their beauty sinks in, like slipping into the
ocean on a bronzy morning
Whether he's singing about bookstores and porches or ghosts and space
stations, the Bristol, UK-based singer-songwriter imbues his straight-to-tape gems
with a radiant AM pop warmth. And on Lemongrass, due ia Earth Libraries, that
comfy songwriting crackles and pops somewhere between Roger McGuinn and
Gram Parsons. Auld's debut record brims with homespun charm, dazzling
melodies, and lyrics that burrow deep into the heart.
Throughout the album, the immaculately arranged compositions provide the
perfect frame for smooth and rosiny vocals. Utilizing a series of reel-to-reel tape
machines, Auld chose to meticulously stack his instrumentation rather than
simplify; some songs have dozens of instrumental tracks, all assembled on tape.
"I'd record three tracks, bounce that over, and then record another three. I did it
alone and it took a long time to figure out what was possible," he says. "I went
through two four- track recorders, an 8- track 1/2" reel- to- reel, and finished the
album on a TASCAM 388. One of the biggest challenges of the album was fixing
all the broken old gear."
With each new listen, Lemongrass becomes a fonder friend, Auld's heart-on-hissleeve lyricism and intimate songwriting building a deeper nest. "The time is
ours/ Our time is now," he insists on the psychedelic wonder of "Our Time Is
Now", more certain and wide-eyed than urgent. Through first love and heartbreak,
dawns and apocalypses, Lemongrass keeps turning, collecting flickers of astral
bliss with each rotation, Auld's thumping heartbeat at the core.

Vessels promise an escape from responsibilities towards the landscape, they facilitate our avoidance of conscientiously feeling our attachment to the mainland. The visual nothingness of deep water and clean horizons fools the brain and delivers a treacherous feeling of independence.

We ignore the truths expressed by landscapes, so we mould them into urban projects for our strange desires. We clean up the irrationalities by which nature constructs itself. Then we look up to the skies, where the abstractions we have to draw in our minds should reside and inspire us.

We peer into the various shades of blue above the waters, the emptiness guarantees possibilities of our abstractions becoming realities. The apathetic stare into neat, straight horizons transforms our ancestral landscape into dirt and danger, when looking back to it.

To be on a ship under quarantine, is an upside down experience, for the promised escape has turned into a forced paralysis. The Lima flag (? - ? ?, in morse code), presented on the outer sleeve of this record, indirectly demands of all passengers to stay aboard and contemplate their escape from the land they now desire to return to.

These four piano pieces could be considered as a classical sonata (allegroadagio-scherzo-rondo). In a recital they are accompanied by four video pieces by artist Karl Van Welden. We picked the videos out of his extensive archive, choosing images intuitively while listening to the piano music. The theme of ships relating to quarantine thus came unannounced but of course, we were in the middle of the pandemic at the time.

Solastalgia was already waiting as a title for the new album before march 2020. I first came across the word in Underland, a book by Robert Macfarlane (2019). He defines the word as "The unhappiness of people whose landscapes are being transformed about them by forces beyond their control". These forces and this unhappiness are, I believe, what constitutes the modern human. Solastalgia, about the music We haven't found them yet, the words to talk to each other about the worrying signs of climate change. Feeling worried when walking on autumn leaves in the beginning of August should be completely normal. But how do we communicate about it? We don't want to be just the next hysterical doomer.

With this music I try to focus on the climate pain itself, gently inviting the listener to investigate their latent feelings of unease and growing concerns about the environment. As in real life, we circumvent the real issues because they are just too big, there are no words, no expressions yet.

This album tries, in four different attempts, to carve out a path towards communicating about a deeper pain that eventually will connect us all. My general method is to start with a comforting melody, full of fake nostalgia, which, after changing gear to autodestruct mode, morphs into a painful question mark.

The first part sets off with an idyllic melody, accompanied by repeated notes, as a far, muted echo of an alarm. The melody starts to explain itself painfully into a dissonant whirlwind in the high register, sounding not unlike Ravel's Gaspard de la Nuit bravura. In the second piece a warm Beatles like melody (And I love her) gets confronted with the weird hippie mantra of a later Lennon song War is over, if you want it. Sentences get reduced to syllables and result in lonely notes that crash and shiver under the burden of too much meaning. Like Shostakovich's latest work, the Sonata for viola and piano.

The descending melody of Bach's Erbarme dich, Mein Gott is echoed in the upper and lower voicings of the third piece, juxtaposed to a typical, threatening Ennio Morricone Western dotted rhythm accompaniment. This rhythm eventually evolves into citing the 1972 Captain Beefheart early ecological warning song Blabber and Smoke (there's a big pane/pain in your window, it's gonna hang you all,... dangle you all). Towards the middle of the piece, the music explodes and the three layers get dispersed all over the keyboard in a virtuosic maelstrom towards another painful question mark. The bitter answer is going back to business with a barely noticeable citation of the first notes of the RZA's Liquid Swords album.

The final piece is some kind of mantra, the same 7/4 pulse all throughout the piece. The dampers of all A's and B's on the keyboard are released by the middle pedal, thus sustaining an ever present resonance. Melodic cells alternate in shifting quantifications with small, bell like percussive cluster playing. While composing this piece an image crept up: walking out of the church on Sunday morning, tolling bells enthusiastically moderating the churchgoers' small talk in the local dialect. Apparently I have tried to evoke this kind of conversation, but injecting it with fictitious alarming conversation topics, the contemporary.

Frederik Croene (August '22)

(incl. Franco Cinelli & Dorian Paic remixes)


The first record from keepitgoing. is finally here, a panorama from Switzerland all the way to Chile in our world with no borders. An EP from Camilo Gil & ONE+1 with 2 originals backed up by two contrasting interpretations from Dorian Paic and Franco Cinelli, is how we kick off our labels musical journey in our vinyl only series.

The opening original track "Can Soleietes" offers a minimal, dubby twist with sweeping chords and atmospheric pad work with hints of skippy percussion layered throughout. On the second original "Opera House" this is where things begin to turn around a darker, acidic corner consisting of rolling acid baselines and spooky pad-work. It features various chords and stabs working in the background, while the prominent acid bass moves around creating some dark, trippy vibes on the listener.

Franco Cinelli reworks "Can Soleietes" perfectly with a minimalist approach to the track, offering a more mellow and groovy interpretation of the original. One that will get you lost in the cosmos with an immediate listen. The second remix from Dorian Paic is a more stripped back affair than it's original. It is another minimalist one that represents his sound truly, as a classy remixer for the EP alongside fellow family member Franco.

Join us as we begin our journey from every corner of the world, all connected without any borders between us. Like this, anyone can express themselves freely, and really create the way they want to without any judgement or limitations. We are a forever growing family who share the goal of loving and living music together.