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Some Crate-digging Compilations Are Often The Result Of Someone Hand-picking Their Choice Favourites From Another Country's Musical History, Perhaps Unaware Or Uninvolved With Its Cultural Lineage In The Process. On Soundway's Latest Release - A Treasure Trove Of Synth Jams, Pop, Samba Boogie, Balearic And Electro From 1980 & '90s Brazil - The Tracks Are Picked By Millos Kaiser, One Half Of The Brazilian Duo Selvagem, Who Are At The Helm Of Throwing Some Of The Country's Best Dance Parties. It's A Rare Compilation That Offers Brazilian Music Actually Picked By A Brazilian.
Whilst Names Such As Ricardo Bomba, Villa Box, Fogo Baiano, Electric Boogies And Batista Junior May Not Be Household Names, They Tell An Untold, Yet Rich And Important Part Of Musical History In Brazil. The Release Also Covers A Decade That Has Been Intentionally Forgotten And Brushed Aside By Many In The Country.
Onda De Amor Is A Release That Is Loaded With Smooth Grooves, Bubbling Bass, Glistening Synthesisers, Funk Strutting Guitar Lines And Sheen Of Production That Undeniably Marks It Of Its Time. For Kaiser This Compilation Is About Reintroducing Music During A Period Of Reappraisal, Catching A New Wave And Hoping Contemporary Listeners Will Ride It With Him. the Idea Is To Do Justice To These Songs. Songs That Combine All The Right Ingredients That Should Have Put Them On
Radio Playlists When I Was Growing Up Or At Least In The Cases Of More Adventurous Djs'.
Millos Kaiser Is A Dj, Digger, Vinyl Junkie/dealer Born In Rio De
Janeiro And Living In São Paulo For The Past 8 Years. He Launched The Dance Party/club Night Selvagem With Partner Trepanado In 2010, Bringing Thousands Of Dancers One Sunday A Month To A Public Square In The Heart Of São Paulo.

The Equations Collective is an experimental sound project formed by a multi-disciplinary group of artists, active in the fields of music, photography, sound design & software development.

In 2018, the collective set up a temporary outdoor recording studio, 1130 meters above sea level, on the slopes of Mount Helicon in Greece, with the ambition of recording their work in a natural environment. A 'mobile and modular' construction, fully powered by solar panels, the design of the studio showcases the possibilities of a progressive, environmentally sustainable future through renewable energy.

Embodying ecological incentives, and representing an immersive engagement with the landscape, the 'Helicon Sessions' document this extraordinary residency, capturing a profound dialogue with the eponymous mountain region.

Situated in Boeotia, Central Greece, Mount Helicon has a prominent archaic significance. A historic location where stories of sacred springs and the epic origins of the Muses and Narcissus converge. Steeped in the heritage of ancient narratives, Helicon is seen as a principal symbol of poetic inspiration.

On the 'Helicon Sessions' the collective draw upon the inspiring topography and fabled mythological resonances of the area, unfurling an expansive, hypnotic suite of abstract electronics. Liberated by an open-ended, improvisational dynamic, the collective move through a mysterious, elemental cycle that mirrors the imposing scale and dramatic atmospheres of the setting.

Across an entrancing, fluid sequence of five designated 'cuts', the collective traverse the borderlands of drone, techno, dub, and acid, amplifying the acoustic traces of Helicon by integrating field recordings collected at the site into this arresting body of work. With these recordings, the collective delineate an odyssey of subverted 303s, sputtering drum machines and formidable, oscillating low end that drifts and coalesces like an amorphous mirage; a spellbinding sound world of clarity and shadow.

The 'Helicon Sessions' signify a symbiosis (between the terrestrial and the engineered, between wildlife and futurism, between the intrinsic and the synthetic, between the innate and the manmade) And with their conception of a portable, eco-friendly studio The Equations Collective focalize valuable ideas centred on ingenuity and evolution. The outcome of this project illustrates a unique collaborative exchange which acknowledges the deep nuances of environment and the enduring echoes of history.

The Equations Collective is a collaboration between Artefakt, Aroma Pitch, Aphelion and Sphera De Noumenon across Berlin, Amsterdam, Cologne and Hamburg. Together they have established an all night long live event in Berlin, starting at Sameheads and Acud Macht Neu, which eventually lead to their residency at OHM (Tresor).

For this format they have collaborated with the following artists: Alex The Fairy, Anna Z, D-IX, Eliad Wagner, Jón Friđgeir Sigurđsson, Orson Wells, Phillip Jondo, Philipp Matalla, PRSMC, Rabih Beaini, Sabrina Gricourt, Sébastien Robert, and Vida Vojić.

The respective members of The Equations Collective have released a range of output on the likes of Field Records, Delsin, Semantica Records, De Stijl, & Soul People Music.

Since 2018 their visual identity has been shaped by Elias Hanzer.

The 'Helicon Sessions' is their debut release.

Here we are! Back for the second volume of Back from the Canigó ! In the same spirit as Back from the Grave, our goal is to look back at what happened in the South of France near Perpignan at the beginning of the 21st century. As you can hear it in the first volume, the city of Perpignan (and its region, Northern Catalonia) has been a strong place for underground rock'n'roll for many years. In the 90's, there were a lot of garage bands and an important mods community. These guys created a spirit in the city that's still present today. This volume showcases the new bands created by Perpignan's city rockers and the country punks from the nearby villages. Bands like Les Gardiens du Canigou, The Ugly Things, The Likyds, The Toxic Farmers, The Vox Men, The Feedback, heard on the first compilation, spawned plenty of new formations. This time the scene has its own labels - Nasty Products and Profet Record are two of them. It has never been easier to record music and put it on vinyl. There are live venues all over the city. The beginning of the internet also makes life easier, even when you're in a town in the South of France near the Spanish border and the Mediterranean. Myspace is growing fast and local bands make contact with the other side of the Atlantic. The Sonic Chicken 4 are signed by In the Red and Trouble in Mind. Parisian labels are also interested in the work of bands from Perpignan. The Hushpuppies, ex-Likyds, go to the capital and are signed by Diamondtraxx. They're certainly the best known band of that era with their hit "You're Gonna Say Yeah", featured on Guitar Hero and in several commercial ads. Boosted by international touring, Catalan bands make their way into the world. The Fatals go on tour in Italy and Canada. The Sonic Chicken 4 are booked for a US tour while Jack of Heart, signed on Born Bad, play all over Europe. The whole world listens. This is the story told by our compilation. Just put the needle on the record and let the music do the talking...

Diego el Cigala is, with any doubt, one of the greatest flamenco geniuses of our times. Not only because of his voice and charisma, but also for recording such vast and wide discography singing with majesty and no complex any style he could be challenged to perform. At Flamencoenvinilo we wanted to re-catch one of his early works back to his flamenco roots: "Entre Vareta y Canasta" (18 Chulos) was originally published in the year 2000 and, as many of his works, this album has proved the test of time and it has become a true classic. This will be the first time this album comes out on 12". Limited to 500 copies. Accompanied by Niño Josele (guitar) and a large group of percussionists, "Entre Vareta y Canasta" the second album by Diego El Cigala made him known among many people outside the traditional nucleus of flamenco for his simplicity, purity and mastery. The unique voice of this artist moves with naturalness and feeling in styles as different as martinete, bulería or fandangos.

Repress

Soul Notes sophomore release ''Snapback Grooves'' by Cologne based house prodigy ''Adryiano'' is a hot one.
Straight up warehouse vibes and stunning vocal cuts emerging throughout this release. Next to 2 well energetic and jacking cuts by Adryiano ''Snapback Grooves'' contains a lush almost sensual remix by Labelowner ''Kastil'' on the A2 and a Typical Kirill Tipo Regroove on the B2.This vinyl is being sold with a free Postcard by Spanish photographer ''Ivan Urarte''.
Adryiano delivers a great vinyl debut it's an honor to have him on Soul Notes.

Etran de L'Aïr (or "stars of the Aïr region") welcomes you to Agadez, the capital city of Saharan rock. Playing for over 25 years, Etran has emerged as stars of the local wedding circuit. Beloved for their dynamic repertoire of hypnotic solos and sun schlazed melodies, Etran stakes out a place for Agadez guitar music. Playing a sound that invokes the desert metropolis, Agadez celebrates the sounds of all the dynamism of a hometown wedding. Etran is a family band composed of brothers and cousins, all born and raised in the small neighborhood of Abalane, just in the shadow of the grand mosque. Sons of nomadic families that settled here in the 1970s fleeing the droughts, they all grew up in Agadez. The band was formed in 1995 when current band leader Moussa "Abindi" Ibra was only 9 years old. "We only had one acoustic guitar," he explains, "and for percussion, we hit a calabash with a sandal." Over the decades, the band painstakingly pieced together gear to form their band and built an audience by playing everywhere, for everyone. "It was difficult. We would walk to gigs by foot, lugging all our equipment, carrying a small PA and guitars on our backs, 25 kilometers into the bush, to play for free_ there's nowhere in Agadez we haven't played." Whereas other Tuareg guitarists look to Western rock, Etran de L'Aïr play in a pan-African style that is emblematic of their hometown, citing a myriad of cultural influences, from Northern Malian blues, Hausa bar bands, to Congolese Soukous. It's perhaps this quality that makes them so beloved in Agadez. "We play for the Tuareg, the Toubou, the Zarma, the Hausa," Abindi explains. "When you invite us, we come and play." Their music is rooted in celebration, and invokes the exuberance of an Agadez wedding, with an overwhelming abundance of guitars, as simultaneous solos playfully pass over one another with a restrained precision, forceful yet never overindulgent.

In the small inland town of São Domingos on Cape Verde's Santiago Island, The Ano Nobo Quartet delivers a fresh take on Koladera, a guitar-driven, subtly rhythmic sound of a lighter spirit. Their sound tells a global story with Cape Verde at its center, a creole melting pot in the middle of the Atlantic attracting the best from four continents: hypnotic, haunting Koladera guitars inflected with twangs of Salsa Cubano, Spanish Flamenco, Brazilian Samba Canção, Jamaican Reggae, Argentine Tango, Mozambican Marrabenta, and finished with a dash of Black American Blues. It's all here. Absent percussion, the quartet's sound still drips with rhythm. Rich, raw acoustic music you can dance to.

This album was recorded in three locations on Santiago Island: at homes, by the sea, and on the volcanic hills of Cape Verde. Each location used a mobile recording studio equipped with different mics placed near and far to capture both the Spanish and Chinese-made guitars and the natural environment that shapes the saudade, a melancholic longing, of Koladera. Each space has its own atmosphere heard in the interludes.

A double LP pressed at 45 RPM for an even silkier listening experience and packaged in a luxurious matte-laminated gatefold with a high quality 12-page booklet along with a hardcover bookcase CD with a 24-page booklet.

Munich quintet Fazer are set to release their third album ‘Plex’ on City Slang in 2022. Moving freely between composition and improvisation, the band’s spacious, organic sound pitches lyrical melodies from guitar and trumpet over double-drummer polyrhythmic grooves and dub-like basslines.

Coming from different musical backgrounds ranging from bebop to electronic, Fazer met while studying jazz at the Academy for Music and Theatre in Munich. The German city has a rich history of improvised music; home to labels ECM (Keith Jarrett, Chick Corea, the Art Ensemble of Chicago, Steve Reich) and Enja (Archie Shepp, Eric Dolphy, Freddie Hubbard, Elvin Jones) and Krautrock icons Embryo. Today much of the scene in Munich revolves around Radio 80000, an online community radio station located in the east of

the city. There, dedicated diggers like Karl Hector (Now-Again) or Marvin & Valentino of Public Possession are doing regular shows and it’s this diversity that drives the band’s DNA

Munich quintet Fazer are set to release their third album ‘Plex’ on City Slang in 2022. Moving freely between composition and improvisation, the band’s spacious, organic sound pitches lyrical melodies from guitar and trumpet over double-drummer polyrhythmic grooves and dub-like basslines.

Coming from different musical backgrounds ranging from bebop to electronic, Fazer met while studying jazz at the Academy for Music and Theatre in Munich. The German city has a rich history of improvised music; home to labels ECM (Keith Jarrett, Chick Corea, the Art Ensemble of Chicago, Steve Reich) and Enja (Archie Shepp, Eric Dolphy, Freddie Hubbard, Elvin Jones) and Krautrock icons Embryo. Today much of the scene in Munich revolves around Radio 80000, an online community radio station located in the east of

the city. There, dedicated diggers like Karl Hector (Now-Again) or Marvin & Valentino of Public Possession are doing regular shows and it’s this diversity that drives the band’s DNA

It’s time for a new Reinhard Voigt EP on Kompakt? It doesn’t feel like it was that long ago since we last heard from him but then again, time is running! His latest release on Kompakt "Was wir spüren" (KOM 402) was released in May 2019. From there we encountered Reinhard's musical work mainly in the form of various digital reissues or in union with his brother Wolfgang together as Voigt & Voigt. Then in August of 2021, a glimmer of musical life from Reinhard reached his loyal fans in the form of a continuation of his RV ultra-minimalist concept series as "RV 05 / RV 06" via our KX imprint.

So that brings us to the present. Two new tracks that preach and spin on the classic Reinhard Voigt sound. Tracks that are as relentless as they are consistent to his signature stoic, radical, minimal techno. "Cha Cha Club" creaks and stomps along so mercilessly that they leave us impatient for the reopening of a dark, foggy club room and to have the bitter taste of gin and chemicals on our palates. Bass drum in, bass drum out - sometimes that's all it takes to be happy.

With "Die Frau, die nach Deutz ging" Reinhard discloses a small tale in the title...that this is the continuation of "Der Mann, der nie nach Deutz kam", a track from “Was wir spüren”. Elements recall Reinhard Voigt's SPEICHER tracks; sovereign, modern techno, monotonous in principle, but here and there interrupted and structured by unexpected signals and sounds in such a way that the track will also work on larger dance floors.

Eine reguläre, brandneue Reinhard Voigt 12inch? Das ist nicht nur gefühlt schon eine ganze Weile her. Time ist ja bekanntlich running. Seit “Was wir spüren” (KOM 402), erschienen im Mai 2019, begegnete uns Reinhards musikalisches Schaffen vor allem in Form diverser digitaler Wiederveröffentlichungen oder im Duett mit seinem Bruder Wolfgang als Voigt & Voigt. Im August letzten Jahres erreichte die treue Fangemeinde dann wenigstens ein kleines Lebenszeichen in Form der “RV 05 / RV 06”, der Fortsetzung seiner ultra-minimalistischen Konzeptreihe auf KX.

Nun also zwei neue Tracks, die so unerbittlich wie konsequent den klassischen Reinhard Voigt-Sound predigen und weiterspinnen – stoisch, radikal, minimal. “Cha Cha Club” knarzt und stampft dabei so gnadenlos voran, dass wir die Wiedereröffnung von geschlossenen Räumen voller Nebel und Dunkelheit und mit dem bitteren Geschmack von Gin und Chemikalien an unseren Gaumen kaum erwarten können. Bassdrum rein, Bassdrum raus, mehr braucht es manchmal nicht zum glücklich sein.

Mit “Die Frau, die nach Deutz ging” erzählt uns Reinhard zumindest im Titel die Fortsetzung von “Der Mann, der nie nach Deutz kam”, einem Track von “Was wir spüren”. Hier erinnert manches an Voigts SPEICHER-Tracks, souveräner, moderner Techno, vom Grundsatz her monoton, aber hier und da von unerwarteten Signalen und Tönen so unterbrochen und strukturiert, dass er auch auf größeren Tanzflächen funktioniert.

‘Free World’ is the first full-length issue from an
ongoing collaboration between Behavior (Bedros
Yeretzian, Evan Burrows, Justin Tenney, Robbie
Cody) and Mayako XO (Sara Gernsbacher). It was
tracked between 2019 and 2020 and assembled
over the course of the last year in Los Angeles.
 The album reflects its creation under open-ended
yet intent circumstances. What’s recorded is a
tangled pas de deux between discredited and
demonstrative characters, singing through shifting
voices over a living, melancholic music rendered
legible by surveillance.
 Mastered by Sarah Register.
 For fans of Sonic Youth, Velvet Underground,
Dead C, Blonde Redhead.

"Whether it's the last hour you were allowed to play outside as a child before you had to go home, a reference to the fight against time in regard to the climate crisis or the last minutes of a person's life - ""An Hour Before It's Dark"" certainly doesn't lack interpretations. Be it ""Seasons End"" on the 1989 album of the same name or the much discussed track ""Gaza"" on the 2012 album ""Sounds That Can't Be Made"" - Marillion have never minced their words and don't do so on this album either. ""An Hour Before It's Dark"" is not only the title of the album, but also the overarching theme that creates a connection between all the songs on the album.
Recorded in Peter Gabriel’s Real World Studios, Marillion remain musically true to themselves and continue swimming against the path of adjusting to norms and limitations.
DVD and Blu-ray come with a Hi-Res stereo mix and HD video content including a documentary on the making of the album and a performance of Murder Machines from Real World Studios."

"Whether it's the last hour you were allowed to play outside as a child before you had to go home, a reference to the fight against time in regard to the climate crisis or the last minutes of a person's life - ""An Hour Before It's Dark"" certainly doesn't lack interpretations. Be it ""Seasons End"" on the 1989 album of the same name or the much discussed track ""Gaza"" on the 2012 album ""Sounds That Can't Be Made"" - Marillion have never minced their words and don't do so on this album either. ""An Hour Before It's Dark"" is not only the title of the album, but also the overarching theme that creates a connection between all the songs on the album.
Recorded in Peter Gabriel’s Real World Studios, Marillion remain musically true to themselves and continue swimming against the path of adjusting to norms and limitations.
DVD and Blu-ray come with a Hi-Res stereo mix and HD video content including a documentary on the making of the album and a performance of Murder Machines from Real World Studios."

With songs that run the gamut from heart-breaking to satirical and a host of unforgettable film scores, Randy Newman has used his many talents to create musical masterpieces widely recognized by generations of audiences. After starting his song writing career as a teenager, Newman launched into recording as a singer and pianist in 1968 with his self-titled album Randy Newman. Throughout the 1970s, 80s, and 90s he released several acclaimed albums: 12 Songs, Sail Away, Good Old Boys, Little Criminals, Born Again, Trouble in Paradise, Land of Dreams, and Bad Love.
Good Old Boys is the fourth studio album by Randy Newman, released September 10, 1974 on Reprise Records. It was Newman’s first album to obtain major commercial success, peaking at #36 on the Billboard 200. Good Old Boys was initially envisioned as a concept album about a character named Johnny Cutler, an everyman of the Deep South. Newman made a demo of these songs on February 1, 1973; they were released as the bonus disc for the 2002 CD reissue, titled Johnny Cutler’s Birthday and are now being included on vinyl for the first time in this Run Out Groove deluxe edition.
In addition to his solo recordings and regular international touring, Newman began composing and scoring for films in the 1980s. The list of movies he has worked on since then includes The Natural, Awakenings, Ragtime, all four Toy Story pictures, Monsters Inc. and Monsters University, Seabiscuit, James and the Giant Peach, A Bug’s Life, and Meyerowitz Stories. Randy Newman’s many honors include 7 Grammys,® 3 Emmys,® and 2 Oscars,® as well as a star on the Hollywood Walk of Fame. He was inducted into the Songwriters Hall of Fame in 2002 and the Rock and Roll Hall of Fame in 2013—the same year he was given an Ivor Novello PRS for Music Special International Award. Newman was presented with a PEN New England Song Lyrics of Literary Excellence Award in 2014.

THE 10TH ANNIVERSARY EXPANDED EDITION OF TIM BOWNESS &
GIANCARLO ERRA'S 2011 ALBUM 'WARM WINTER' - NOW ISSUED AS
MEMORIES OF MACHINES
An expanded & remixed 10th Anniversary version of Tim Bowness & Giancarlo
Erra's 2011 album 'Warm Winter' (now issued as 'Memories Of Machines', the
original project name).
Featuring contributions from Robert Fripp, Peter Hammill, Julianne Regan, Jim
Matheos, Colin Edwin, Huxflux Nettermalm, Peter Chilvers, Aleksei Saks &
members of Nosound & Tim Bowness's live bands, the album contains 10
sweeping & majestic songs (culminating in the epic "At The Centre Of It All").
The 2 disc - CD/DVD-A/V version includes hi-res stereo & 5.1 Surround mixes in
addition to two 2020 recordings - an album outtake & a new version of the
Nosound piece "Someone Starts To Fade Away" - created especially for this
release.
Featuring a 2021 remix from the original tapes by Giancarlo Erra, this new edition
emphasises the textural nature of the music & restores the pieces to their original
arrangements & track lengths (resulting in a different listening experience).
The artwork has also been overhauled for this release by Giancarlo Erra &
Caroline Traitler.

The new record by Eric Chenaux is his most immaculate and pristine. Say Laura perfectly incarnates the counter-intuitive interplay of instrument and voice that Chenaux has been revealing and revelling in throughout the past decade: his gently unhinged juxtaposition of resplendently smooth, seductively assured singing and puckish, frazzled, thoroughly destabilized guitar could come from no other musician. The five wandering, wondering ballads on Say Laura bring Chenaux's semi-improvised but keenly intentional songwriting to its fullest, clearest, warmest and coolest articulation; uncompromising and generous, hyper-specific and loose, spartan and luxurious, elemental and ornate. Say Laura might as well be a jazz record_certainly as much as his previously acclaimed albums Slowly Paradise and Skullsplitter tread that genre-adjacent territory_though it also features moments and melodies that come as close to pop flirtation as Chenaux is likely to get. But above all, Say Laura breathes like no other Chenaux album. Voice and guitar are inscribed with elemental clarity in a wondrously open, symbiotic sonic space. His pure tenor croon glides through a crisp, reverberant ether while his fried guitar careens dizzily and giddily, every gesture and timbre captured in unflinching detail by engineer Cyril Harrison. Chenaux has also made his most minimal, controlled, regulated and rhythmic record.

On a balmy Brazilian night in February, 1981, a crowd gathered in Rio de Janeiro's Gávea neighbourhood under the iconic dome of the city's Planetário (Planetarium). Alongside musicians like Helio Delmiro and Milton Nascimento (who were in the audience that night), they were there to see the great "Bruxo" (sorcerer) Hermeto Pascoal live in concert, with his new band formation which would become known simply as "O Grupo" (The Group).

Growing up on a farm in Brazil's northeastern state of Alagoas, Hermeto has always been deeply in tune with, and inspired by nature. In his youth he would make his own flutes to play call and response with the birds and frogs. He would build scrap-metal instruments in his blacksmith grandfather's forge, and sit for hours by the lake listening to the sounds of nature. On the Planetário Da Gávea recordings though, Hermeto is cast as the "sorcerer" or the "cosmic emissary" (as the great Brazilian guitarist Guinga once called him), exhibiting an intuitive sense of harmony and melody beyond that of our own world.

"Tudo e Som" (All is Sound). It's a phrase Hermeto regularly returns to, and it points to the fact that not only can music be made from anything, but also alludes to something much more profound. It's an understanding of the universe as being in a state of constant movement, forever vibrating at the quantum level, like the string of a guitar, or a saxophone's reed. "Tudo e Som" is a declaration of the mystical and spiritual power of sound, as a fundamentally vibrational force.

The series of concerts at the Planetário marked the birth of "O Grupo" which would last with the same line-up (apart from Zé Eduardo Nazário) for the next eleven years. Every member of O Grupo was a phenomenal musician in their own right. It was one of saxophonist/flautist Carlos Malta's first gigs with the group, and the concert unusually featured two drummers, Zé Eduardo Nazário and Marcio Bahia. Nazário, from São Paulo, had played with Hermeto during the mid-70s (as well as with Milton Nascimento, Egberto Gismonti and Toninho Horta, to name a few). Bahia though had just joined the group. Acclaimed keyboard player Jovino Santos Neto was on keyboards, piano and organ, and the great Itiberê Zwarg (who remains in Hermeto's band to this day), played bass. Rounding the group off was the percussionist Pernambuco. During this period (up until the early 90s) the group would rehearse for hours on end, virtually seven days a week, with a total dedication to music and Hermeto's musical vision.

Most of the compositions performed that night at the Planetário had never been recorded before, and many are unique to this album, including the wild 'Homônimo Sintróvio', the exaltant 'Samba Do Belaqua', 'Vou Pra Lá e Pra Cá' and 'Bombardino', which features Hermeto's wonderfully absurd call and response mouthpiece soliloquy. Then there's the stunning 7/4 Samba 'Jegue' which builds with inventive dissonance, before releasing yet another celestially colourful, celebratory refrain. The show also features the first recorded performances of 'Era Pra Ser e Não Foi' and 'Ilza na Feijoada' (inspired by Hermetos' wife Ilza's famed black bean and meat stew), which Hermeto later recorded on his 1984 studio album "Lagoa Da Canoa Município De Arapiraca".

Dubbed by Miles Davis as "one of the most important musicians on the planet", a Hermeto Pascoal live show was (and still is) an experience like no other. Across the recording of the Planetário concert, wild improvisation meets groovy, virtuosic vamping on progressive, extended psychedelic jams. The tracks are generally built around a beautiful, transcendent melody; instantly recognisable as being Hermeto's, and for the most part, the musicians then solo over extended two chord vamps. There's a plethora of powerfully delivered rhythms, wild solos and the performances are punctuated by Hermeto's unpredictable, at times comical sonic antics.

Over forty years since this historic happening, Far Out Recordings is overjoyed to release this magical recording of Hermeto Pascoal e Grupo Live at Planetário Da Gávea, on double vinyl LP, CD and digitally for a February 4th 2022 release.

It's a little known fact that in 1969, Motown Records boss Berry Gordy organised a holiday trip to Jamaica for his label's stars. It's even less well known that while they were there, a number of those same stars worked with an up-and-coming local producer to record versions of established hits over instrumental riddims from the newly emergent reggae genre. Unfortunately, perhaps due to the plentiful supply of herbal entertainment during the recording sessions, the masters were believed lost. Until now. Happily, their recent re-discovery means you finally get to hear Uptight Boss and Beg For A Dollar - the massively crowd-pleasing consequences of giving a brace of mid-sixties Motown classics the boss reggae treatment!

Alright, maybe it didn't go down like that. Maybe the sound of this release was born instead out of people occasionally mishearing the name of Mako & Mr Bristow's 'Stank Soul Edits' series as 'Skank' Soul Edits. Which got them thinking. What would 'skank soul' sound like? Hello Trojan – meet Motown. Mojan? Trotown? Either way - reggae most definitely got soul!

Limited Edition Vinyl LP – 1971 album cover, thick tip-on sleeve, 700 copies only

Finally putting an end to a long wait for library music lovers, Four Flies Records is proud to present the first reissue of Piero Umiliani's Paesaggi – a record that, despite remaining for many years pretty obscure compared to other titles in the maestro's discography, is now regarded by collectors and experts as the gold standard in Italian library music.

Originally released in two versions with different sleeves, the first on Liuto Records in 1971 and the second on Ciak Record in 1980, the album features tracks composed by the maestro himself (under his alias Zalla) and performed by the legendary super-group of Italian session players I Marc 4, this time with Angelo Baroncini instead of Carlo Pes on guitars (which probably explains the name being spelled with a 'k' instead of a 'c' on the album cover).

The Italian word paesaggi means "landscapes", and that is exactly what the music in the album has been designed to evoke – a journey of moods and emotions, through exotic and pastoral scenery, with loungey sounds that caress your ears like the song of an enchanted nightingale. Mysterious yet captivating soundscapes transport you to a faraway and peaceful place, possibly somewhere in rural Asia. While listening to the record, you'll feel as if you are sitting under a pavilion, right in the middle of a tea plantation, enjoying a freshly brewed green tea and watching the calm sunset.

In addition, Paesaggi is paradigmatic of Italian library music and its genre-defying nature. By using a multitude of instruments, such as flute, vibraphone, harpsichord, sitar, gong and others, it brings together a variety of arrangements, styles, and genres spanning from bossa nova to jazz, easy listening to psychedelic, Latin, exotica, and many more.

Under Umiliani's brilliant direction, the pianos and keyboard instruments of Antonello Vannucchi, the guitars of Angelo Baroncini, the bass of Maurizio Majorana, and the drums of Roberto Podio dance together and – enriched by other instruments played by top session musicians like Bruno Battisti D'Amario (sitar), Franco De Gemini (harmonica), or Franco Chiari (vibraphone) – create the sound that makes Paesaggi so unique.

With the honour of reissuing this masterpiece so many decades since its release comes a responsibility to do full justice to one of the greatest Italian composers of the 20th century and his now celebrated legacy. Four Flies have done their best to put out a record that replicates as closely as possible the value of the original as a cultural artefact, providing Italian library connoisseurs and novices alike with an exquisite sonic, and tactile, experience.

Originally released in 1983, this 12’’ from French-Haitian saxophone player Ulysse became cult – and extremely rare – within the French boogie niche. Both tracks wonderfully succeed in mixing political statements with dance-floor delights.
Boogie-pop track “Naïma” seems to be a love song at first, but actually says the impossible resilience of a woman who has grown up in war.
The heavy digital reggae song “Tiers Monde” warns us about the abandonment of Third World children.
This maxi single, where each track is instantly followed by its instrumental version for greater DJ use, is an authentic snapshot of the Paris mixed club scene of the 1980s. Really hard to find for a very long time, it’s a great pleasure for Stima Records to make this music
available again, in order to reach a well deserved new audience nearly 40 years later!

Not to add to the deluge of artistic clichés brought on by the Global Event Which Shall Not Be Named, but spending more or less a year in the house offers plenty of time for reflection, reevaluation, and revision. Though there was a lot to process already in those months, it was an opportune time to try and get your shit together, whatever that may mean for you. For Jakob Armstrong—in addition to many other things like the rest of us—part of it meant fine- tuning a collection of songs first recorded in late 2019. A prolonged process leading to five of the seven songs on Get Yourself a Friend retooled into their better-than-even final form. Jakob Armstrong—youngest son of Green Day frontman Billie Joe—began playing guitar at seven years old and honed his craft privately until about sixteen, playing in bands in and around Oakland after meeting friends with like-minded tastes in music. Soon enough, with the memories of Ultraman action figures fighting in his mind, he and a group of friends he cultivated from those years playing around and pouring over records, formed Ultra Q (its name inspired by an Ultraman prequel series). Opening double-shot “Pupkin” and “It’s Permanent” soar to the heights of Ultra Q’s powers in much different ways; the former a black-clad romp through a rainy graveyard, the former pushing straight to the clouds with its soaring chorus. “Straight Jacket” veers pleasantly close to the jangle-pop of the Go-Betweens. “Bowman” features guitars like cats getting into a scratch-fight while an astoundingly metronomic drumbeat is played live rather than punched out on a beat pad. Closing the EP is its title track, an affecting end credits anthem full of nostalgia and a twinge of regret. As a whole, Get Yourself a Friend marks the synthesis of a songwriter’s vision and his band’s ability, forged through an invisible existential threat and an ever-changing world, eager to show what they’ve found while we were all inside

Jamie Paton, something of a veteran on the label, is once again exploring the inner realms of electronic music. This 7” is not a step in the wrong direction from his earlier high-quality standard; Paton’s crystal-clear sound cuts like surgical laser through a block of ice.

“Parabolas” and “Fleshed Out” are in all their static cold beauty, quite advanced compositions in regards to cooperating rhythm patterns; Paton knows his machines like his own children, giving them a proper playmate in his synthesiser-day care – a man-machine playground!

This release manifests Paton as a master of leftfield-half tempo house oriented-kosmische music.

I Man A The Stal-A-Watt highlighting the singer’s prominence in the golden era of reggae from the early 70s to early 80s. The title is a boast from the early soundclash era when many of Campbell’s tracks, here produced primarily by Bunny Lee, would play first on King Tubby’s Home Town Hi-Fi in Jamaica. The songs run the range from clash-ready standards like Mash You Down and The Gorgon to cultural commentaries like Jah Jah Me Horn Yah and Bandulu to a lover’s masterpiece, The Investigator, which leads off the set. Stretching into the early 80s, the collection includes two originals that would spawn countless reinterpretations, Rope In and Boxing Around.

FFO Comets on Fire / VU / 60s garage / early Flaming Lips, new band from Leeds/Glasgow - you'll know some of the people involved, we couldn't help but fall in love with it. Here's some words from T House (Sweet Williams/Charlottefield): “Ostrich tuned and chronically distressed, The Web Of Lies is Neil Robinson (Buffet Lunch) and Edwin Stevens (Irma Vep, Yerba Mansa). Having played together years back in Robert Sotelo’s band and forged a singular connection, the pair have been biding their time, waiting for the perfect moment Nude With Demon, their first LP, lurches from the incendiary to the world-weary, like a drunk alternately haranguing and commiserating on the rush hour tube. Drafted quickly in a handful of hungover early morning sessions, fleshed out with a few carefully chosen collaborators - Kathryn Gray (Mia La Metta, Nape Neck), Dylan Hughes (The Birth Marks), Ruari Maclean and Jess Higgins (Vital Idles), Neil Campbell (Astral Social Club) and Dan Bridgewood Hill (d bh) - it’s one long dribbling lunge at the grab strap, regret seeping from the pores, mitigated by wry humour and, when the rage momentarily subsides, the suggestion of humanity"

New limited pressing on 180g Electric Blue Vinyl. L.A. Witch’s self-titled debut album unfurled like hazy memories of late-night revelries in the city center creeping back in on a hungover Sunday morning. Guitarist/vocalist Sade Sanchez purred and crooned over jangling guitar chords, painting pictures of urban exploits, old American haunts, and private escapades with a master’s austerity. Bassist Irita Pai and drummer Ellie English polished the patina of the band’s vintage sound, adding a full-bodied thump and intoxicating swing to the album’s dusty ballads, ominous invitations, and sultry rock songs. The album had an air of effortlessness like these songs were written into the fabric of the Western landscape by some past generation and conjured into our modern world by three powerful conduits. The band readily admits that L.A. Witch was a casual affair and that the songs came together over the course of several years. That natural flow hit a snag when the band’s popularity grew and they began touring regularly, so a new strategy became necessary for their sophomore album, the swaggering and beguiling Play With Fire

Regal shares the final remix EP of his debut album, "RWYS Remixes Pt.03". With reworks from Alignment, Thomas P.Heckmann, _asstnt & Roll Dann, Sita Abellan & the Involve Records head himself.

Regal's "Remember Why You Started" LP faces its final rework. The last package welcomes Regal and Sita Abellan, Thomas P.Heckmann, _asstnt & Roll Dann and Alignment to shine their production skills to the Spanish techno luminaries first album.

Regal & multi-faceted Spanish artist Sita Abellan collaborated for the rework of "Cult Of Personality". Their rendering leans heavily into the realm of electro, with heavily distorted synth lines marching through like a freight train. Darting keys rush and reverberate back upon themselves before a powerful female vocal sample takes over from the male voice that commanded the original. Germany's Thomas P Heckmann takes on "Before I Die". Heavier and beefier than the original, the kick drum and baseline of Heckmann's remix take control and dominate the landscape. He retains Pau's distinct vocals, leaving a familiar dash of the original in this bolder rework. Percussion takes a front seat in this version, with snare drums and cymbals combating the bitter main synth melody.

Straight from Madrid's underground scene are producers _asstnt & Roll Dann, who team up for the remix of "Respect". A cut up, distorted rework that grows darker and more robust throughout. Bottomless kick drums ring out, while a heavily distorted electric guitar sample brings grime and a sonic haze to the track. The American male vocal sample is kept on from the original and remains even more powerful in it's reworked state than before. Italian producer Alignment wraps up with the accurately placed track "The Last Dance". In this final remix of the series the kick drum received a complete overhaul, instantly pivoting the track into a darker place. Only the curious melodic key sequence pours light into the track and brings with it an overwhelming sense of positivity to the closer. The baseline backs up the melody before percussion breakdowns take centre stage and the two fight for dominance until the final beat.

Regal drops the first remix package from his debut album featuring Slam, PTU and Boston 168.

Involve Records boss Regal presents "RWYS Remixes Pt.01" - the first installment of three immense remix packages from the Spanish techno giant's debut album, "Remember Why You Started". Recruiting international powerhouse duo's Slam, PTU & Boston 168 to rework the earth-shattering originals.

Scotland's luminary duo Slam kicks off with their edit of "She Dances Alone". The pair's distinctive tweak is the alchemization of the kick drum, pivoting into a thunderous force. The kick is paired with claps that ricochet above a determined synth line, while the low-slung baseline mists under twinkling keys and sprinklings of hoover noise, giving the rework an old school feel. Uplifting major notes inject brightness & contrast to the track, with the cunning acid line lingering 'til close.

Next, enigmatic Russian twosome PTU transform "Dealing With My Pain", a once low tempo mid-point track, into a primary dancefloor weapon. This heavily industrialised rendition utilises an incessantly deep bass drum while maintaining the commanding male vocal sample. Blistering hi-hats, and a wildly distorted synth breakdown build a brash and dubious mood. The thumping kick drum drives the track forward, looping electrical elements that ring out from ear to ear, surrounding you with wild noise and energy.

Italy's acid techno aficionado's Boston 168 step up to close with their interpretation of "Fearful Nights". In true style, the duo mould the very start of the track to blend with their signature sound. A bumping kick drum and quintessential 303 manipulate the melody, resulting in a far more venomous composition than the original. Sinister synth stabs slice through the chaos with a hi-hat and snare drum combination for extra effect.

(JKS, Ellen Allien, Clouds & Lady Starlight remixes) Involve Records boss Regal presents "RWYS Remixes Pt.02" - the second installment of three immense remix packages from the Spanish techno giant's debut album, "Remember Why You Started"

Dead Head wurde 1989 in der Region Zwolle/Kampen in den Niederlanden gegründet. Von Anfang an zeigte die Band eine harte Arbeitsmoral
und veröffentlichte mehrere Demos und gab eine Menge Live-Shows. Die Band veröffentlichte außerdem drei Alben in voller Länge und eine EP,
bevor sie mit der Arbeit an ihrem vierten Album „Haatland“ begannen. Mit sechs Jahren zwischen „Kill Division“ und „Haatland“ perfektionierte
die Band ihren rohen, aggressiven Thrash Metal-Sound noch mehr. Die Produktion verbesserte sich erneut und die Band zeigte, dass ihr Potenzial
dem vieler etablierter Namen im Thrash Metal-Genre ebenbürtig war. Glücklicherweise wird „Haatland“ 2021 von Petrichor auf 2-CD und LP neu
aufgelegt, damit die Welt dieses Meisterwerk schierer Brutalität und raffinierter, eindringlicher Melodien wiedererkennen kann. Petrichor hat
der CD-Version dieser Neuauflage wieder eine Menge Bonusmaterial hinzugefügt. Dead Head ist keineswegs ein Knaller aus der Vergangenheit,
denn 2022 wird die Band ein neues Album veröffentlichen. Ein rasendes Stück Thrash vom Feinsten. Großartige Produktion, wahnsinnige Riffs
und wahnsinnige Vocals kombiniert, um dir den Schädel zu zerschmettern.

Demon Records is proud to reissue this album as part of the Gary Crowley’s Lost 80s project. This Classic LP
reissue is presented on 140g translucent green vinyl.
The Kane Gang’s 1985 debut album was originally released on Kitchenware Records, where their label-mates
included Prefab Sprout, Hurrah! and The Daintees. ‘The Bad And Lowdown World Of The Kane Gang’
reached #21 in the UK albums chart, and features 4 singles, including #12 charting ‘Closest Thing To Heaven’
and ‘Respect Yourself’ (#21).
Hailing from the North East, The Kane Gang consisted of vocalists Martin Brammer and Paul Woods, plus
multi-instrumentalist Dave Brewis. They made their recording album debut in 1985 with this, their poised,
stylish collection 'The Bad And Lowdown World Of The Kane Gang'.
“I am absolutely cock-a-hoop that it's being given a vinyl re-release under our GC Lost 80s umbrella because
it's an album that I return to regularly. Signed to the uber-cool Kitchenware label, they were an under-rated
band in my opinion whose distinctive sound saw them taking their cue from a raft of Soul Funk greats, and
you can clearly hear that love right across the album. Produced and crafted lovingly by Pete Wingfield and
featuring the likes of P. P. Arnold and Sam Brown on backing vocals, the album is chock-a-block with singles
including the impressive ‘Small Town Creed’ (chart placing No. 60), the sublime ‘Closest Thing To Heaven’
(No. 21), the moody ‘Gun Law’ (No. 53), as well as a delicious cover of the Staple Singers’ ‘Respect Yourself’
(No. 21). I love the entire album but there are also other songs that also stand out for me. The Chic guitar
driven joy of 'How Much Longer' and the dreamy, shimmering 'Crease In His Hat' being two cases in point.
The band would later go on to enjoy success on the American Black R&B chart (which must have thrilled
them personally to bits) and release an equally grand second album in 1987 in 'Miracle’.”

Each LP sleeve is delivered as a bespoke limited edition, hand-printed and customised by the man himself. Features Jehst, Taja, Jaz Kahina, Vandal Savage, Junior Disprol and Cappo. The return of the “Zack de la Rocha of Ashby de la Zouch”, back in tandem with Chicago producer Spectacular Diagnostics World status 2020-21; a write-off, one to be struck from the record, ‘NULL AND VOID’ if you will. This hasn’t stopped Kid Acne kicking on and bringing what he calls “the difficult fifth album” to the Lewis Recordings megaplex. Full of Yorkshire say-so, his inimitable strain of hip-hop delivers the mind-bending with everyman knowhow, fearlessly “taking out pop chart sucker rappers with a blow dart”. Spectacular Diagnostics (Westside Gunn, Vic Spencer, Conway the Machine, Nolan the Ninja) is back on the boards for Kid Acne’s latest magical mystery tour, strengthening regional alliances with UK heavyweights Cappo, Jehst and Vandal Savage as well as introducing one-to-watch Taja. Driven by the wise man’s testament that thou shalt never use the internet again, Acne shakes off screen burn and heads back to the great (socially distanced) outdoors with a fresh batch of wavy, chaos theorising boom-bap.

The Ring Orchestra is an eight-person effort, a collective coming together to tackle opera and one of the genre’s controversial poster boys. 18 compositions, the artists Born in Flamez, Gil Schneider, Simonne Jones, Leo Luchini, Legion Seven, P.A. Hülsenbeck, Isa GT, and Ixa create a collaborative musical score that uses Richard Wagner’s Der Ring des Nibelungen as the point of departure. Originally, the music was cre-ated for a staging of Der Ring des Nibelungen at Schauspielhaus Zürich, directed by Christopher Rüping and written by Necati Öziri. Far from being an affirmative tribute, the orchestra sets out to decon-struct and break down what Wagner and his opus magnum represent: collaboration over singularity and openness instead of conservative rigidity. The resulting score doesn’t shy away from ambivalence by de-centralizing authorship and encompassing everything from ambient to pop, reggaeton, and a wider vari-ety of non-western musical influences.

Our fascination with Adriaen Willaert's almost infinitely radiant oeuvre led us to
this beautiful, polyphonic monument of a Mass. The combination with the other
works on this LP is no coincidence: it illustrates how the composer was acutely
aware of what was going on musically in Venice, even outside the church walls of
St. Mark's Basilica. He turned folk songs, called Canzone Villanesche, into fourvoice musical gems that to this day leave no one unmoved. It is striking how
Willaert takes different approaches to turning spiritual texts, on the one hand, and
secular songs, on the other, into gripping compositions. For example, the Mass
has a polyphonic structure: one voice begins, the second voice imitates,
embellishes, and passes the torch to a third, fourth, and fifth voice. A braid of
melodies arises; a wall of vocal sounds that seems to never end is erected.
The text is difficult to understand, but here and there you recognize a snippet of
the main melody, the Gregorian melody "Benedicta es," on which all movements
of this Missa Benedicta es are based. It is different with the chansons: they
sound polyphonic, but homorhythmic. Everyone sings the same text at the same
time, so you can hear and understand the lyrics of the different verses very
clearly. Musicologists still debate to this day whether or not it was com- posed by
Willaert. Some say that it could have come from the pen of Nicolle de Celliers de
Hesdin... In any case, the fact that the mystery surrounding this music may never
be solved is no reason for us not to enjoy it to the fullest in the meantime!

With her very own musical language, pianist Julia Kadel has become a
regular talking point in jazz circles, releasing her first two records on Blue
Note/Universal she and her trio were nominated in 2015 for the
prestigious German Music Award Echo Jazz as "Newcomer of the year"
and Julia Kadel as "Female instrumentalist of the year"
Julia Kadel's variable competitions, her imaginative playing and the band's
striking improvisations became more courageous over time. On 'Kaskaden' they
have now reached a new dimension of detail and intensity. More determined than
ever, the trio balances the fine line between harmony and atonality, intuition and
reflection, poetry and austerity.The live qualities of the trio, which was founded in
2011, its subtle interaction and intuitive understanding encouraged the trio to
produce the new album under live conditions - especially as it took place in the
legendary MPS studio in Villingen (Black Forest, Germany). Its history dates back
to 1958, great jazz pianists such as Oscar Peterson, George Shearing, Monty
Alexander and Bill Evans once recorded here. With the Bösendorfer Grand
Imperial grand piano - once acquired for Friedrich Gulda - in the center
surrounded by classic analogue technology, Kaskaden was captured to tape oneto- one. This influenced not only the charismatic sound but also the special
atmosphere that characterises the album.
Furthermore, the location of the recording not only came as a surprise but
probably also as a small sensation to every fan of MPS as the Julia Kadel Trio is
the first MPS act after over 35 years recording again in the historic studios; the
popular German magazine Der Spiegel reported about it.

"The beauty of Jiha's work lies in the spaces she leaves" - The Guardian
The highly acclaimed Korean multi-instrumentalist and composer Park
Jiha, returns with a luminous third album
A deep meditation on the intersection of music and light, The Gleam further
extends Jiha's reputation for uncompromising sonic explorations. Pop Matters
called her musical art "a near flawless fusion of folk tradition and new
composition."
How often do we consider light? We revel in the soft wonder of a sunrise or the
majesty of a glorious sunset, but all through the day its quality and texture is
continually changing, second by second, in ways we rarely register. That beauty is
the inspiration for The Gleam.
"The Gleam continues Park Jiha's solo expedition into experimental Korean
neoclassical braindance. Once again, she plays all the instruments herself – piri
(an oboe), saenghwang (a multi-pipe mouth organ), yanggeum (a dulcimer) and
glockenspiel – overdubbing multiple parts to build songs that shimmer with
levels and degrees of light." - The Wire: Adventures In Modern Music Upcoming
live shows

Er hat Alben von Paul McCartney, Jesus & The Mary Chain oder Reggae-Legenden wie Toots und The Maytals produziert. War Gründungsmitglied von Killing Joke, jonglierte mit Ambient und Acid House wechselte zum Mainstream von Crowded House oder Britpop von The Verve. Er war auch Mitglied von The Orb, Brilliant und Blue Pearl, spielte Bass für Kate Bush und remixte U2, Siouxsie & The Banshees, De La Soul, A Guy Called Gerald, Malcolm McLaren oder Marc Almond. Er beeinflusst bis heute Generationen von Produzenten und Musikern und ist ohne Zweifel eine der anpassungsfähigsten und vielfältigsten Musikfiguren der Moderne.

Youths mit Spannung erwartetes Debüt-Soloalbum 'Spinning Wheel', geschrieben, aufgenommen und selbst produziert in Spanien und London, enthält elf brandneue Songs, darunter die gleichnamige Lead-Single, auf der auch Simon Tong (Gitarre) und Samantha Marais (Backing Vocals) zu hören sind. Nachdem er den größten Teil der letzten vierzig Jahre damit verbracht hatte, für andere Künstler zu schreiben und zu produzieren, war es an der Zeit, sich auf seine eigene Soloarbeit zu konzentrieren.

Back in stock! Repress of RSD20 release. DOUBLE LP HOUSED IN A GATEFOLD JACKET 2ND LP CONTAINS TRACKS NEVER BEFORE RELEASED ON VINYL!

Mingus Ah Um, the artist’s 1959 debut for Columbia is one of the most consequential albums in jazz or any other genre. The release is part of the Library of Congress National Recording Registry and has been inducted into the Grammy Hall of Fame. “Goodbye Pork Pie Hat”, “Boogie Stomp Shuffle”, “Open Letter To The Duke”…the release is packed with classics and is a best-selling release to this day. For Record Store Day 2020 Get On Down presents Ah Um Redux, the full Ah Um record as you know and love it with a second LP featuring alternate takes from the session previously unreleased on vinyl.

Ilmiliekki Quartet from Helsinki return with their new self-titled album on We Jazz Records on 11 February 2022. The group, including Verneri Pohjola (trumpet), Tuomo Prättälä (piano), Antti Lötjönen (bass) and Olavi Louhivuori (drums) is a mainstay in the Finnish scene and the band has been steadily developing their sound for nearly two decades now. It could be said that the group's musicians, each also a solo artist of note these days, has grown with and through performing together with this regularly working quartet. Ilmiliekki Quartet's music has a song-like melodic quality, which pairs naturally with their often freeform search for new musical landscapes.

As testament of Ilmiliekki Quartet being a Band with a capital B, the songs on the new album come from each of the four members. As before, the band also takes a borrowed tune in for a loving rendition, this time tackling "Aila" by the Finnish dream pop group Karina. All in all, there's a deep, moody element to the music, yet at the same time, their sound flows with remarkable ease and lightness of touch. This brings out a wide range of color in their music, which is easy to fall in love with.

Ilmiliekki Quartet from Helsinki return with their new self-titled album on We Jazz Records on 11 February 2022. The group, including Verneri Pohjola (trumpet), Tuomo Prättälä (piano), Antti Lötjönen (bass) and Olavi Louhivuori (drums) is a mainstay in the Finnish scene and the band has been steadily developing their sound for nearly two decades now. It could be said that the group's musicians, each also a solo artist of note these days, has grown with and through performing together with this regularly working quartet. Ilmiliekki Quartet's music has a song-like melodic quality, which pairs naturally with their often freeform search for new musical landscapes.

As testament of Ilmiliekki Quartet being a Band with a capital B, the songs on the new album come from each of the four members. As before, the band also takes a borrowed tune in for a loving rendition, this time tackling "Aila" by the Finnish dream pop group Karina. All in all, there's a deep, moody element to the music, yet at the same time, their sound flows with remarkable ease and lightness of touch. This brings out a wide range of color in their music, which is easy to fall in love with.