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Masters of anthemic rock ‘n’ roll Black Star Riders (The former Thin Lizzy
members) return with their hugely anticipated 5th studio album by
Earache records
Featuring 11 tracks, it was recorded in the Autumn of 2021 at Studio 606 in
Northridge California and Toochtoon Sound in Redmond Oregon with producer
and long time BSR associate, Jay Ruston. With Ricky Warwick on Lead Vocals /
Guitar, Robert Crane on Bass, Christian Martucci on Guitar and drummer Zak St.
About the album Ricky says “I am very proud of this record, Black Star Riders
fifth release and the first with our new and exciting relationship with Earache
Records. As with all BSR albums, ‘Wrong Side Of Paradise’ is an anthemic
statement of intent, driven by ferocious guitars and thundering drums. I can only
write about my own personal experiences, my families, my friends and how I see
a world that is unravelling and changing faster than we can comprehend. I’m a
firm believer however, in the power of positivity, something that echoes
throughout this album”.

On his debut 12" EP, Chicago producer and bike messenger DJ HANK captures the feeling of racing against traffic and, as he puts it, "trying to make it out alive with the chaos of the city going around you."

DJ Hank grew up in North Carolina, Eastern USA. As a teenager, he began making rap beats on pirated music software while also DJing and playing keyboards in experimental punk band Whatever Brains. In 2011, at age 18, Hank moved to Chicago to pursue a career as a bike messenger. In a city dominated by 21+ clubs and venues, Hank gravitated to the famous footwork hub Battlegroundz due to it's all-ages inclusivity and raw energy. DJ Rashad, DJ Spinn and other luminary figures of the footwork community spun weekly, while dancers spanning multiple generations and crews battled it out on the dance floor every Sunday.

Through the underground network of Chicago footwork events, Hank became a close and frequent collaborator with international footwork collective Teklife. He has released music on Teklife's record label but isn't a member of the group itself. In similar fashion, he's loosely affiliated with dance group Take Ova Gang (TOG) founded by DJ Manny. Hank maintains a fluid relationship with the footwork culture from which his sound draws. Beyond collaborating with his friends, Hank has collaborated with Chilean rapper Catana, Berlin-based DJ Paypal, and Floridian DJ Orange Julius.

On "Traffic Control," however, Hank explores a wide range of sounds, from melodic to experimental, influenced by everything from UK Garage and Grime to Ghetto House and Snap music (or Southern Hip hop production in general). Artists like Kode9, MachineDrum, and Sherelle have been supporters of Hank's music, playing his tracks throughout multiple recorded sets. In a live setting, Hank has shared the stage with such influential acts as Loefah, DJ Deeon, Sporting Life, DJ Spinn, Traxman, and pioneering footwork artist Jana Rush, who has been both a friend and mentor to Hank during his formative years in Chicago.

Beirut's Nur Jaber has joined forces with rising producer Luca Eck to rework KUMMER's pop sensation "Bei Dir" into an explosive techno one tracker on her own label, OSF.

Both Berlin based, the techno talents have forged a relationship both in and out of the studio. Luca delivered an accomplished contribution to Nur's 'Planet OSF' compilation back in 2021. The pair have a background in classical music, with Nur studying at Berklee college of music and Luca composing from as young as 11 years old. Combined, they create a smooth combination of robust and textured techno with subtle signature techniques from their unique individual influences, resulting in each production brimming with emotion.

Poolblood, the musical nom-de-plume of Toronto's Maryam Said, is an
ethereal spirit of punk rock, swirling and dancing in the air with a
collection of gorgeously orchestrated bedroom pop music
Raised in a religious household at arm's length from popular music, they
nonetheless found themselves drawn in by the music of Yusuf Islam (Cat
Stevens), who left an indelible imprint on their relationship to music and
songwriting. The results of their upbringing "time spent practicing chords in guitar
class, learning about hardcore from friends after school and honing their
songwriting as an early teen "is a winding path of melody, making stops along the
way to dabble in everything from noise rock to lush and gorgeous pop hooks.
poolblood is a pastiche of genres and styles working in blended harmony.
poolblood understands the tender urgency in crafting stories around deep and
abiding intimacies, romantic and platonic, that run so far below the surface they
become the root of everything that grows on the surface. These stories have
come together to create the ethereal bedroom pop songs on their debut LP
"mole" out on Next Door Records.
It is fitting that on an album so much centered around the connectivity of deep
and abiding friendships that "mole" is awash with collaborators, each bringing
their own unique talent and skill into the mix. Louie Short and Shamir Bailey
worked with Maryam as producers on the project, and played on a number of
tracks in addition to a cadre of musicians filtering in and out of each song.
Not afraid of letting their sly sense of humor bleed through the layers, poolblood's
"mole" is rife with humor and wonder, dancing playfully along. Pressed on Aubade
Blue Color vinyl.

Repress !

Selva Discos returns to the LP reissue game with a bang – by giving a new life to the stunning and very sought-after Memória das Águas album by Fernando Falcão. Originally recorded in 1979 in Paris but only released independently in Brazil in 1981, the album comes complete with genre-hopping explorations that swirl around ambient soundscapes, lively jazz, experimental-leanings, Afro-rhythms and a unique blend of Latin grooves and French pop with a Brazilian accent, but it also comes with a story as deeply unique as the music.

To make a long story short, after participating in the political movements against the military regime in 1968 in Brazil, Fernando Falcão left the country and moved to France, where he lived in exile for 15 years. There, after working in music, acting, and sculpting, he involved himself in Jérôme Savary's legendary Grand Magic Circus, where he met his first wife, Valérie Kling. It was from this relationship that a partnership began between the musician and his father-in-law, the artist François-Xavier Lalanne, who guided Falcão in the process of inventing sound sculptures such as the balauê – a horizontal version of the berimbau string instrument whose sound was influenced by a water stream (since there was a hose soaking parts of the balauê wet during the performances). Much of this exploration and experimentation resulted in the album Memória das Águas.

The album still sounds like little else from the time. As audacious and experimental as it is seamlessly listenable, it takes in immersive textures one moment before breaking out into Fela Kuti-esque brass-soaked grooves the next. It’s ultimately a record that captures the spirit and rhythm of Falcão’s homeland combined with the lush production and art-pop approach associated with his exiled home; It’s a polished, well executed and glistening record. Its fusion of African, Brazilian, jazz, pop, classical and avant-garde collides to create a record that spans as many continents as it does genres.

Remastered from the original master tapes, not only the sound but the artwork of Memória das Águas was completely and faithfully restored. Also, the reissue comes with unprecedented liner notes featuring rare photos of the musician and his sound sculptures plus articles that help to explain who Fernando Falcão was and where Memória das Águas sits among other staples of Brazilian music, including one from DJ and selector John Gómez – who helped to connect Selva Discos' Augusto Olivani with Diana Lion, Fernando Falcão's daughter (since the musician died in 2002), for this project. After Memória das Águas, Selva Discos will also reissue another long lost Fernando Falcão LP album – Barracas Barrocas.

Lous and the Yakuza commence à peine à changer la face de la musique francophone. Elle a débarqué en 2020 avec son premier album Gore, et sa flopée de titres personnels, Dilemme (70 millions de streams), Tout est gore ou encore Solo (6 millions de streams), se voyant nommée dans la catégorie Révélation aux Victoires de la musique l'année suivante. Son deuxième opus, que Lous appelle Iota, va plus loin dans sa volonté de proposer un son singulier. Elle y déploie une musique éclectique sans coquetterie, ni calcul. L'album est un statement sur l'amour dans une forme rare : ce qui reste, une fois que la passion a déserté. Les titres égrènent les effusions, les déceptions comme dans ce jeu enfantin où on arrache les pétales de fleurs pour décrire son état amoureux. (Je t'aime) Un peu, beaucoup, passionnément, à la folie, plus du tout... un Iota. Lous nous refait le film de ses relations dans un projet produit en partie par le fidèle El Guincho (Rosalía) dans toute l'incandescence où la mène les errements de son coeur. D'ores et déjà adoubée par la critique, on a récemment pu la retrouver en Une de Vogue France ou encore en interview dans les Inrocks.

Most audiophiles know Alan Parsons Project's I Robot by heart. Engineered by Parsons after he performed the same duties on Pink Floyd's Dark Side of the Moon, the 1977 record reigns as a disc whose taut bass, crisp highs, clean production, and seemingly limitless dynamic range are matched only by the sensational prog-rock fare helmed by the keyboardist and his creative partner, Eric Woolfson. Not surprisingly, it's been issued myriad times. Can it be improved? Relish Mobile Fidelity's stupendous UltraDisc One-Step 180g 33RPM box set and the question becomes moot.


Mastered from the original master tapes and pressed at RTI on MoFi SuperVinyl, I Robot comes to life with reference-setting realism on this numbered, limited-edition reissue. Boasting immaculate highs and lows, generous spaciousness, and see-through transparency that takes you into the studio with Parsons and Woolfson at Abbey Road, this definitive edition is designed to demonstrate the full-range capabilities of the world's best stereo systems while offering listeners the convenience of having all the music on one LP.

Featuring a nearly inaudible noise floor, this transcendent UD1S edition functions as a repeat invitation to savor reference-grade soundstages, immersive smoothness, sought-after instrumental separation, three-dimensional imaging, and consummate tonal balances. Able to be played back at high volumes without compromise or fatigue, it is a demonstration record for the ages – the likes of which are no longer being made. This is the very reason you own and invest in high-end audio gear.

The special characteristics of this UD1S version extend to the premium packaging. Housed in an elegant slipcase, the reissue features special foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, it is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves in everything about this conceptual landmark. The Alan Parsons Project's most famous record deserves nothing less.

Inspired by and loosely based around the Isaac Asimov stories of the same name, I Robot delves into themes of artificial intelligence and technological dominance that make the record extremely relevant in the 21st century. Indeed, Parsons and Woolfson's pinnacle creation dovetailed with the ascendency of Star Wars, which itself is experiencing a rebirth in an age of self-driving cars, smart devices, and mindless automation. Lyrically, songs such as "The Voice" call into question human behavior – and their relationship to increasing robotic supremacy – in everyday life. Parsons and Woolfson reflect the associated paranoia, dichotomy, and transformation via shifting sci-fi arrangements steeped in drama and moodiness.

The absorbing tunes on I Robot also continue to fascinate due to their perfectionism and innovation. Borrowing from Pink Floyd's strategies, Parsons and Woolfson utilize a looped sequence on the title track to create new downbeats. "Some Other Time" employs two different lead vocalists and yet gives the illusion that only one is involved. Captivating strings, a piccolo trumpet, and bona fide pipe organ grace "Don't Let It Show." The origins of "Nucleus" stem from a unique analog keyboard concoction dubbed "the Projectron," devised by Parsons and electronic engineer Keith Johnson. Andrew Powell's orchestral and choral arrangements top it all off, with "Total Eclipse" arriving as a frightening track that presages the climactic "Genesis Ch. 1 V. 32."

Does man or machine win in the end? Decide as you get lost in Mobile Fidelity's UltraDisc 180g 33RPM LP pressing. Secure your numbered copy today!

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Gold Vinyl

No binaries, no simple opposition. Either/or is subsumed by infinite relations and dizzying possibilities, by the perpetual crest of and/and. Freedom is the key to bring about all complex and incongruous multiplicities. Embodied, embedded, relational freedom is the key.
Mue is a duo based in Tiohtià:ke/Montréal composed of Catherine Debard and Léon Lo. Formed in the Spring of 2020, the electronic musical project merges two distinct practices and explores the way they interact with each other. Drawing on early-IDM, illbient, minimalism, and natural phenomena, the resulting real-time hardware improvisations weave asymmetric patterns, create spaces, and digest various sounds.

Recorded in 2020, Les vasières explores unsynchronized hardware electronic impro-visations where individual sonic elements come to life by creating new and complex layers and organizational logics — melodically and rhythmically modulating each other.
The French album title translates to “The mudflats.” Sounds from disparate sources form an aural silt that is brought to life by waxing and waning cycles, each improvi-sation presenting a new, different mudflat scenario.
Mue asked visual artist Katherine Melançon to create the album’s artwork, which was the artist’s first dive into compost as source material. The resulting image—an otherworldly organic smear, both intimate and alien — was incorporated into graphic designer Haley Parker’s montage, hard frames recalling the flatbed scanner used by Melançon, and branch-like typography nodding to the organic concerns of all the artists involved.

‘Where the Viaduct Looms’ comprises nine Nick
Cave cover versions with vocals and
instrumentation by 14-year-old Nell Smith and
instrumentation and production by The Flaming
Lips. The album was mastered by Dave Fridmann
at Tarbox Road Studios.
 This inspiring and heart-warming story begin when
Smith, originally from Leeds (UK), moved to
Canada and first met Wayne Coyne at the age of
12 at The Flaming Lips’ headline show at the Sled
Island Festival, Calgary, in 2018 with her family.
Nell had already attended several Lips shows and
was a regular at the front of the stage, dressed in a
parrot costume and screaming out the band’s
songs. Coyne soon began to notice the kid in the
parrot suit and sang a David Bowie cover directly
to her at the show in Calgary, with Nell singing
every word back.
 A musical bond formed with Coyne staying in
contact with Nell and her father Jude as she
learned to play guitar, while their creative
relationship began to flourish when she started to
write her own songs.
 When a planned trip to record with the band in
Oklahoma had to be cancelled due to the
pandemic, Coyne suggested Nell record some
Nick Cave songs and email them to Oklahoma to
be backed by the band. Coyne chose Nick Cave
because Nell didn’t know him and wouldn’t have
preconceived notions as to how to sing the songs.
 LP pressed on blue 140g vinyl in 3mm spined
outer sleeve.

From an aspiring b-boy to working with luminaries Billy Porter, Joss Stone, Kimberly Davis and Teni Tinks, The Shapeshifters, Simon Marlin announces the release of his brand-new studio album “Let Loose”.

Wrapped in a defining optimistic mood and colourful palette, “Let Loose” plays with the friction between musical persona and influence, delivering a masterclass in Simon’s flourishing depth of integrity as a producer and admiration to those that exert their enduring influence upon him.

“I'm a facilitator of talent. I'm blessed that over the years I've managed to put a team of people together - as a producer, that's what I do, very much in the old school sense like a Quincy Jones or Gamble & Huff, they’re the guys I try to emulate - and make something magic out of nothing, but do it in a contemporary way. That’s what really floats my boat, and that's what this whole project is about.” Simon Marlin – The Shapeshifters

Across the latest and long-awaited studio album “Let Loose” The Shapeshifters pledge rhythmic allegiance to the golden era disco records and their spellbinding qualities; embracing the tension often found between tradition and future to craft a euphoric, certifiable body of work presented to the devoted audience he deserves. The Shapeshifters exemplify a scene in rude health one that is now switching on an ever-younger fan base, and with Marlin being the beating heart of it it’s easy to see why The Shapeshifters are more in demand in the clubs than ever.

The twelve-track album is illuminated with vocal collaborations including the recently released and debut collaboration with the Grammy, Tony and Emmy Award-winning Billy Porter.

Layers of rushing strings, flares of brass and hedonistic grooves provide refreshing dancefloor power dynamics and deliver a liberating, triumphant and inherently uplifting record.

Taking an impeccably smooth course through disco-infused house, The Shapeshifters continue the rich relationship with Glitterbox and its record label; one that has yielded instant classics that epitomise the label’s ethos for preserving disco’s mission to uplift and empower.

The official retrospective on one of Somalia's most famous and beloved private bands, Iftin, and a companion compilation to our Grammy-nominated "Sweet As Broken Dates". Digitized from cassettes recorded between 1982 and 1987 at the legendary Al-Uruba hotel's secret studio and the jams for the masses performed in the basement of Somalia's national theater. Banaadiri rhythms from Somalia's south, Mogadishu's finest vocalists, Dhaanto reggae-like guitar licks, and smoldering brass blend seamlessly with the sounds of Asia, the Middle East, and Africa to form one of rawest, most cosmopolitan eras of music anywhere. Iftin's Mogadishu is where the world's sounds begin and end.

Double LP gatefold with a 12" x 12" poster. Hardcover bookcase CD with 12 page booklet.

Clear Vinyl

Originally released in 2020 on cassette and digitally. more eaze is the nom de plume of Austin, TX mainstay m.maurice, a roving experimentalist who’s explored an astoundingly diverse range of sounds, from drone and computer music to avant-pop and beyond. claire rousay is a San Antonio, TX-based percussionist/composer/sound artist who uses physical objects and their potential sounds as a way to explore queerness, human physicality, and self perception. Together—through a suite of deeply personal aural collages—two of Texas’ most vital and vibrant sonic searchers beg the eternal question: If I Don't Let Myself Be Happy Now Then When?

Although only their debut album together, If I Don’t Let Myself… reveals a profound and fruitful relationship between m and claire. But the symphonic symbiosis goes even deeper still. Outside of musical breakthroughs, the pair helped each other conquer intensely personal changes, with m and claire transitioning and coming out as non-binary and trans, respectively.

As m explains, “to me this record is very much about this process of becoming—trying to reach something and getting there but sometimes not being quite where you want to be but at least getting closer. It’s about feeling alternately empowered and insecure socially as you transition and trying to cope with these conflicting emotions.”

Musically, the album showcases startlingly sincere sets of serrated but sedative situational music. A-side epic Drunk is a sprawling but taut rove of aural duality. Passages of exquisite elegance subtly clash with shimmering shards of sound. Pre-op is a poised and pensive piece of solemn reflection, harrowingly honest and delivered with clarity and composure, while Post-op closes out the set in a wholly uplifting and optimistic flair.

If I Don't Let Myself Be Happy Now Then When? is ultimately about coping during the respective transitioning phase in both of their lives, obliquely blissful and fraught with freedom.

London-based leftfield electronic label BleeD makes a worthy return from a lengthy sabbatical, reinvigorated with a diverse collection of tracks from Berlin-based talent, Lårry. Having previously established trusted relationships with leading artists including Daniel Avery, DJ Nobu and Peder Mannerfelt, BleeD ably assists in delivering on the promise of one of the most notable young talents currently working on the fringes of contemporary techno. Thus far showcased on impeccably curated labels such as Uncertainty Principle, Super Hexagon, Fusion Diagnostics and Awkwardly Social, their flair for surgical sound-design and off-kilter arrangements puts them in good company with equally exciting contemporaries such as FFT and Panarorman/Patrick Conway.

The EP covers a lot of ground across 6 tracks, from the gloomy atmospherics of 'Plunicceteh' and 'CMml CoE3", and the peak-hours stomp of 'systems_component' on the A-side, to the warmer and more uplifting B-side tracks, 'Ria Ilso', 'We Are We Are' and 'Over The Why'. It's a fine showcase of an artist with a broad range of influences who with each successive release is carving out a genuinely unique sound.

In hugo, there’s a central question that Loyle Carner keeps coming back to: “I’m young, Black, successful and have a platform - but where do I go next?” The answer is explored in this epic scream of a third album. With urgent delivery and gloriously widescreen production, Carner confronts both the deeply personal (“You can’t hate the roots of a tree, and not hate the tree. So how can I hate my father without hating me?) and the highly political (“I told the black man he didn’t understand I reached the white man he wouldn’t take my hand”). Cinematic in scale and scope, hugo is both a rallying war cry for a generation forged in fire and a study of the personal internal conflict that drives the rest of the album - as a mixed-race Black man, as an artist, as a father and as a son. With Mercury and Brits nominations, NME Awards and appearances in global brand campaigns (Nike, YSL, Timberland), Carner has undoubtedly had a meteoric rise to the top, culminating with his second album Not Waving, But Drowning charting at number 3 in the UK albums chart in 2019. However, hugo sees Carner taking a sharp detour from his previous work, putting it down to lockdown and the “hedonistic side of career being stripped away. There were no shows, no backstage, no festivals, no photoshoots”. By continuing to write in these tumultuous times with a renewed clarity and sense of artistic freedom, Carner reached deeper beneath the surface than he ever had before. The result is his most cathartic and ambitious record yet, a coruscating journey into the heart of what it means to be alive in these tumultuous times, and one which looks set to neatly cement his position as one of the most potent and vital young talents around today. Working alongside renowned producer kwes. (Solange, Kelela, Nao), Carner leaves no stone unturned on this album, in both its sound and its stories. In a 10-track album that moves from gorgeous neo-soul moments to thundering hip hop, with immediate, infectious bangers and sampled interludes from non musicians (mixed-race Guyanese poet John Agard and youth activist and politician Athian Akec) Carner shifts seamlessly from micro to macro, confronting everything from strained relationships with family to the societal tears caused by class stratification. It also lays bare bruises in his personal life that he has never revealed before – often in painful, deeply uncomfortable ways, focusing on Carner's experience of becoming a father in the context of growing up without contact with his biological father. With the song “Polyfilla”, against the backdrop of a warm melodic beat, Carner explores his desire to “break the chains in the cycle” of dysfunctional Black fatherhood, commenting on the narrative of fatherhood in the genre, and saying a key part of the process was realising that his father “grew up in a world where nobody showed him how to love or nurture”. The follow up track “A Lasting Place” is an exploration of the MC’s failure and inability to be perfect in this mission. The album closer is a powerful statement of love and forgiveness; with his signature lyrical dexterity, Carner declares his relentless commitment to his son and sees forgiving his father as a key part of this. The song closes with an emotional ending of Carner telling his dad “still I’m lucky yo that we talk”. There’s a striking duality of hugo’s bold, multilayered tracks and its often starkly intimate and tender lyricism, and that dichotomy is deliberate - it is a message for young Black men, but really, anyone, who is listening. Cognizant of the immense pain and fear and confusion that we are faced with everyday, Carner has thrown down the gauntlet, defying us not to rise above the fray, wake up each day and be ambitious. Ambitious in building strong personal relationships. Ambitious in our pursuit of our goals. Ambitious in never refusing to back down against injustice. Rejecting the title of leader, Loyle Carner sees himself “as holding up a mirror”, and that clearly translates into the album's universal messages.

‘Runner is a calmly luminous orchestral piece with the pulsating, propulsive
rhythms that animate much of Mr. Reich’s music.’ – New York Times

‘Reich interweaves the two groups to create a dense textural tapestry that sounds like his most native orchestral thinking to date. A beautiful and dramatically charged masterpiece.' – San Francisco Chronicle

Nonesuch Records releases the first recordings of Steve Reich’s Runner (2016) and Music for Ensemble and Orchestra (2018), performed by the Los Angeles Philharmonic and conducted by Susanna Mälkki.

Reich says Runner is written “for a large ensemble of winds, percussion, pianos, and strings. While the tempo remains more or less constant, there are five movements, played without pause, that are based on different note durations. First, even sixteenths, then irregularly accented eighths, then a very slowed-down version of the standard bell pattern from Ghana in quarters, fourth a return to the irregularly accented eighths, and finally a return to the sixteenths but now played as pulses by the winds for as long as a breath will comfortably sustain them. The title was suggested by the rapid opening and my awareness that, like a runner, I would have to pace the piece to reach a successful conclusion.”

“Music for Ensemble and Orchestra is an extension of the Baroque concerto grosso where there is more than one soloist,” the composer continues. “Here there are twenty soloists – all regular members of the orchestra, including the first stand strings and winds, as well as two vibraphones and two pianos. The piece is in five movements, though the tempo never changes, only the note value of the constant pulse in the pianos. Thus, an arch form: sixteenths, eighths, quarters, eighths, sixteenths. Music for Ensemble and Orchestra is modeled on my Runner, which has the same five movement form.”

Nonesuch has recorded every new piece of music by Steve Reich since 1985, beginning with The Desert Music and continuing through 2018’s Pulse/Quartet, resulting in 22 albums and the two box sets Phases in 2006 and Works: 1965-1995 in 1997. Most recently, the label released his Reich/Richter, performed by Ensemble intercontemporain and conducted by George Jackson, in June 2022. The Times said, ‘What a delight to be able to focus on the music, delivered here with a clever mix of pinprick precision and reverberant haze by 14 members of Ensemble Intercontemporain. The more intently you listen, the more subtleties emerge among the shifting, criss-crossing textures and phrases, sometimes coloured with gentle melancholy but decisively upbeat by the end. Reich/Richter is an ear-tickling tonic and a happy companion to Reich’s newly published book, Conversations.’ Nonesuch will put out a collection of Reich’s complete works in 2023.

Reich released a book earlier this year, Conversations, that includes dialogues with past collaborators, fellow composers, musicians, and visual artists who have been influenced by his work, including: David Lang, Brian Eno, Richard Serra, Michael Gordon, Michael Tilson Thomas, Russell Hartenberger, Robert Hurwitz, Stephen Sondheim, Jonny Greenwood, David Harrington, Elizabeth Lim-Dutton, David Robertson, Micaela Haslam, Anne Teresa de Keersmaeker, Julia Wolfe, Nico Muhly, Beryl Korot, Colin Currie, and Brad Lubman. The Wall Street Journal called the book ‘a testament to the influence of an idea – one that triggered a cultural turning point,’ and the New York Times said, ‘The joy of the book is to hear artists from a variety of disciplines and backgrounds rhapsodizing about their relationship to Reich’s music and how it influenced their own creative processes.’

Steve Reich has been called ‘America’s greatest living composer’ (Village Voice), ‘the most original musical thinker of our time’ (New Yorker), and ‘among the great composers of the century’ (New York Times). His music has influenced composers and mainstream musicians all over the world. Music for 18 Musicians and Different Trains have earned him two Grammy Awards, and in 2009, his Double Sextet won the Pulitzer Prize. Reich’s documentary video opera works – The Cave and Three Tales, done in collaboration with video artist Beryl Korot – have been performed on four continents. His recent work Quartet, for percussionist Colin Currie, sold out two consecutive concerts at Queen Elizabeth Hall in London shortly after tens of thousands at the Glastonbury Festival heard Jonny Greenwood (of Radiohead) perform Electric Counterpoint followed by the London Sinfonietta performing his Music for 18 Musicians.

In 2012, Reich was awarded the Gold Medal in Music by the American Academy of Arts and Letters. He has additionally received the Praemium Imperiale in Tokyo, the Polar Music Prize in Stockholm, the BBVA Award in Madrid, and the Golden Lion at the Venice Biennale. He has been named Commandeur de l’Ordre des Arts et des Lettres and has been awarded honorary doctorates by the Royal College of Music in London, The Juilliard School, and the Liszt Academy in Budapest, among others. ‘There’s just a handful of living composers who can legitimately claim to have altered the direction of musical history and Steve Reich is one of them,’ states the Guardian.

Redefining what an orchestra can be, the Los Angeles Philharmonic (LA Phil) is as vibrant as Los Angeles, one of the world's most open and dynamic cities. Led by Music & Artistic Director Gustavo Dudamel, this internationally renowned orchestra harnesses the transformative power of live music to build community, foster intellectual and artistic growth, and nurture the creative spirit. This is the third recent recording by the orchestra on the label; the others were the Louis Andriessen pieces The only one and Theatre of the World. Additionally, the Los Angeles Philharmonic’s recordings of The Gospel According to the Other Mary and Must the Devil Have All the Good Tunes?, with Yuja Wang, released on Deutsche Grammophon, are included in this year’s John Adams Collected Works boxed set. Nonesuch also released an LA Phil recording of Adams‘ Naïve and Sentimental Music in 2002.

Susanna Mälkki is sought-after at the highest level by symphony orchestras and opera houses worldwide. About to embark on her final season as Chief Conductor of the Helsinki Philharmonic Orchestra, she concludes a seven-year tenure with a distinctive dynamism and imaginative flair to her programming. In addition to a full season in Finland, she will lead the Helsinki orchestra on tour to the prestigious Lucerne and Edinburgh festivals, New York’s Carnegie Hall, and Washington’s Kennedy Centre this season.

Originally released on Axis records. Moonlight Serenade Year 3036, the Third Empire of Human spans hundreds of star systems, only accessible by a faster-than-light spaceship. No other intelligent beings have ever been encountered, not until a light sail probe enters a human system carrying a dead alien. The probe is traced to the Ursea, an isolated star system in a thick dust cloud, and an expedition is dispatched. After a search that lasted thousands of years, humans stand on the verge of first contact with an alien race. The mission's objective: learn everything there is to know about the extraterrestrial intelligence. DJ Surgeles has a longstanding professional relationship with Detroit legend Jeff Mills. Connected through music, DJ Surgeles learned the insides and tricks of Jeff. Many conversations and meetings over the years led to this new concept, The Escape Velocity. DJ Surgeles has also collaborated exclusively with Jeff Mills on the concepts Something in The Sky and STRMRKD, and produced a special Axis Records 10 year anniversary release, The Bells: DJ Mix back in 2007. I wanna thank Jeff Mills for making this album happen.

Berlin-based producer Rampue has not released an album in 14 (in words: fourteen) years. Between 2008 and 2020 he toured the world and worked mainly on his live sets in the meantime. So now only a worldwide pandemic had the power to prevent the traveling musician from continuing this hustle and bustle and eventually share a new record with the public. Corona was what brought this standstill and the otherwise well- traveled individual experiences cabin-fever during lockdown. Hence, the new Rampue album "Tragweite" came into existence in February 2021, which portrays the artist's desire for experimentation.
Inspired by a modular synthesizer (Buchla), Rampue has seemingly put himself into a kind of trance, in which he lets the machines work and combines randomly created sounds with airy structures such as low drums or simple grooves. Rampue accomplished to break free by using random sounds as a new impulse and a way out of a creative crisis, which stemmed both from the enforced home isolation and from the self-perceived paralysis. The result is literally unique, as many of the sound products cannot be reconstructed and are preserved in album form for the general public.
Listening to "Tragweite" one gets the impression that the dialectical relationship between chaos and order, further supported by its production, is the defining theme of the album. After an initially perceived chaos, a delicate order, which is determined by structuring drum patterns and basslines, takes over throughout the course of the album.
Later, it frays and loses itself again in sounds and tones created mechanically However, it never seems arbitrary, but willful and skillfully staged. For instance, "Furo?" begins with apparent arrhythmia. The combination of bass and subtle percussion, however, gives this arrhythmia a shape, guiding the track which gradually becomes more and more driving without losing its original playfulness.
Although one might be inclined to think of genres such as Downtempo or Ambient at the beginning in the further course of the album results in such a diverse sound and rhythmic landscape that one willingly questions one's own perception of music while listening and finally throws every type of categorization overboard joyfully. The listening experience is too intoxicating and enlightening to stick to simple genre boundaries. The musical spectrum ranges from straight arrangements that live entirely without a drum foundation ("Fu?r Dich") to almost meditative sound collages ("Regengesicht") to the four-to-the-floor banger "Kembang" which adds a grimmer note with a certain industrial appeal to the overall rather melancholic-progressive curation. "Direct Faden" on the other hand, surprises with its simple guitar-based foundation on which the omnipresent synth snippets and pads are allowed to let off steam towards the end of the record. The track that most closely combines the progressive production style with a danceable club atmosphere is probably "Phobia". Wafting, partly breaking away synthesizer sounds rise higher and higher, while the driving mixture of bass and drums consistently march forward.
Rampue breaks with his old, musical habits as "Tragweite" creates the impression of improvisation and jam character without getting lost. Rampue takes his listeners on a journey that is stirring and moving, sometimes demanding or even a bit disturbing, yet always one thing: incredibly exciting.

Art Of Primitive Sound is a sensational journey to the origin of Music. In his crucial research chapter on the Paleolithic, Walter Maioli between 1986 and 1991 investigates the soundscape of different geographical, climatic and botanical environments, in which the mystery of the ancient human-nature relationship resides. What emerges is an expanded and unprecedented Paleorganology, with a range of acoustic and natural instruments from all over the World. Rubbing of fossils, animal artefacts, plant elements of all sorts, everything becomes sound and each object opens up forms of imaginary communication, psychic effect and unexplored languages. Whistles, flutes, leaf and shell rattles, rhombuses, horns, bone pipes, slate slabs, bamboo arches, stones, vertebrae, seeds, stalagtites etc...how great can be the Natural Orchestra inherent in the spirit of forests, rivers, caves, seas, swamps or Amazon jungles? Thanks to an interdisciplinary partnership (Anthropology, Archaeology, Botany, Ethnomusicology) of collaborating friends, Maioli directs an Opera of universal character inspired by the archaic essence of sound and infrasonic dimension.

2022 Repress

Originally released in 2005, 'Insen' is the second collaboration album between Alva Noto and Ryuichi Sakamoto and the second installment of V.I.R.U.S.'s five albums series.

Remastered in 2021 in collaboration with Calyx Studio, the album's recordings are accompanied by an unreleased composition titled 'Barco.' Initially composed for Alva Noto and Ryuichi Sakamoto's 2005 'Insen' tour, the audio material used in this piece is based on the subtle sounds of Barco projectors, whose tonalities served as a ground for the artists' live improvisation. ?
In 'Insen', Alva Noto and Ryuichi Sakamoto explore the potential for interaction and tension between electronic and acoustic instrumentation. Across eight compositions, the echoes of the cascading piano combine, collide, and dissolve with the tapestry of digital breakages in sheer vibrancy. This relationship lies at the album's core. It subtly continues Vrioon's calm melancholia, becoming a vessel for all the emotions and memories nourished by the listener. As you hear the opening, lonesome notes of 'Aurora,' you realize that the pair have once again conceded an ambition to embed elaborate disciplines into an archetypal sound of soul-searching beauty.

Bristolian power-improv duo Run Logan Run continue their link-up with Worm Discs and producer Riaan Vosloo on Nature Will Take Care Of You – a monumental slab of contemporary energy music that draws on the heavy soul of David Axelrod and the fiery commitment of Archie Shepp. Working with an expanded line-up that includes singer Annie Gardiner (daughter of the late guitarist Ricky Gardiner, who played and collaborated with Iggy Pop and David Bowie) plus a string quartet and a brass section, saxophonist Andrew Neil Hayes and drummer Matt Brown have once again steered Run Logan Run in a dramatic new direction. Churning, future-forwards and emotionally tuned in, Nature Will Take Care Of You reaches out towards propulsive rock and psychedelic soul, while keeping one foot in the radical jazz-not-jazz of Bristol’s ever fertile improv scene.

The core of Run Logan Run’s sound is the dynamic conjunction of Matt Brown’s agile and powerful drums with Andrew Hayes’ looping, pedal-treated sax motifs. No matter how the duo augment and enhance their music, the kernel of their art has always been the spiralling energies generated by this essential musical relationship. Explorations of repetition, dissolution and dervish-like disorientation remain a central part of their project, with Brown weaving a tight rhythmic armature for Hayes’ unshackled journeys into sound. But though they began within Bristol’s improvised music scene, their vision has been increasingly structured and expansive, and the arrival of producer and bassist Riaan Vosloo (Nostalgia 77) for 2021’s For a Brief Moment We Could Smell The Flowers allowed to them move outwards to explore pulsing, cinematic synth-scapes. Vosloo is behind the boards again on Nature Will Take Care of You – and the duo’s vision has broadened a step further.

The story about the lost recordings of Ghia continues: Following the recently released "At The Hilton" single, our label is extremely proud to present "Curaçao Blue", the band's first full-length album. And it is simply mind-blowing, to say the least! The LP features 10 unreleased tracks in a similar Balearic vein as featured on the single.

Incredibly, it was only just a few months ago that these tracks were rediscovered on some old tapes by band members Lutz Boberg and Frank Simon. Could anyone imagine that two physics students from a small German town could create such beautiful, thrilling music in their home studio? Although the technical aspects in the creation of the band's earliest tracks may have been straightforward, the outcome is high-quality, creative, modern jazz-funk, with one step in the electro-funk genre due to the use of a drum machine and synthesizer basslines. The album features mostly 4-track recordings, based mainly on the musicians' weapons of choice: a DX21 keyboard (later updated to the legendary DX7) and a guitar. Many things had to be done live in just one take, though the artists were unafraid of using overdubbing techniques to weave their instrumental journeys. The DIY aesthetics just add more beauty and uniqueness to the songs and compositions, and the result is an extremely harmonic work of undeniable musicality. Ghia delivers Balearic jazz-funk at its finest.

Though the music was recorded in Germany, Ghia had a true relationship with the Balearic region and effortlessly applied the vibes to their compositions. As a side note, one track on their earliest demo tapes was called "3 AM at Moëf Gaga" and we did not know what it meant. The band explained that Moëf Gaga is a nightclub on the Spanish coast that is actually still active today. Boberg and Simon, the two original band members of Ghia, visited the club in the early 80s and spent their holiday close to the sea. With their music, they intended to create a summery vibe, capturing a relaxed and soulful view of the seashore, likely with a drink in hand... Perhaps a Blue Curaçao?

The album starts with a revised version of the title track. The drums in this take are much punchier, and we thought that it would fit just perfectly as an introduction. We continue with the already classic "Down At The Hilton" that was featured on the single, but like us, we are sure you could happily listen to this track on repeat. Next up, "Jump In The Water" opens with a catchy delayed melody, which develops into another perfect jazz-funk piece with an extended guitar solo. Another remarkable song might be "In The Fast Lane". As the name suggests, an uptempo number, now with an electro-funk beat combined with speedy keyboard solos that almost sounds like a marimba. On side B, the album keeps the relaxed seaside vibes flowing. To round out the album, we are treated to two pieces that originated after the return home, with memories of the Spanish coast fading but still lingering, likely recorded between 1986 and 1988. Both are instrumental versions of songs to be used later for studio sessions with their new band member, singer Lisa Ohm (who you will hear on Ghia's next album!). On "Crystal Silence In Dub" we get a perfect downtempo groove, positively reminding us of the sound of the 1980s UK funk scene. The album ends with "Keep Your House In Disorder", here as an earlier, rougher, and funkier take than on the final vocal version, which could be found on the B-side of the "What's Your Voodoo" single.

We hope you love this album as much as we do! Nothing like this has yet been released out of Germany. We hardly can recall any privately produced, home recorded jazz-funk/fusion from the 1980s as free, creative, and uninhibited as Ghia's Curaçao Blue. The playful and creative approach, coupled with those nostalgic tones should make this LP an essential pick for any record collection, whether you are a DJ, a home listener, a music lover, or a modern jazz-funk/synth-funk aficionado.

The album is out now on The Outer Edge, the new label by record collector DJ Scientist, aka John Raincoatman. We also want to thank Frederic Stader for his awesome work mastering and sound restoration of the material on this LP.

Debut single for NEW label set up by Savage Pencil (Art), Al From Hell (Printer) and Agitated Records.. primarily to release tasty limited 7” records by awesome new musics.. first release is by Pensylvanian guitar manglers Laurel Canyon, evoking strains of the Stooges via a distinct Pacific Northwest pop filter.. Fluid, Tad, Screaming Trees, Mudhoney etc..are easy points of reference.. but these songs have fire and melody in equal measure and burn their own path, recorded earlier this year with Steve Albini. Punk rock band Laurel Canyon – Nicholas Gillespie, Serg Cereja, and Dylan Loccarini – formed in 2019 when Nick and Serg met through a mutual friend in their hometown of Allentown, Pennsylvania. After connecting over a shared interest in both Arthur Rimbaud and The Stooges, the two began to rehearse together in Serg’s garage. By October 2020, Serg and Nick began composing original songs together as Laurel Canyon. Following their first release, “Two Times Emptiness” b/w “Enemy Lines,” in May 2021, Nick and Serg traded in their characteristic jangle for fuzz pedals and established a relationship with veteran producer Bryce Goggin (Pavement, The Lemonheads) at Trout Recording in Brooklyn. They released their 5-track EP “Victim” digitally on January 14, 2022, rounding out the line-up with bassist Dylan Loccarini. The artist Savage Pencil, who has created artwork for Big Black and Sonic Youth, drew the EP cover. Singles “Daddy’s Honey” and “Eczema” created a buzz online and were featured in Spotify playlists “All New Rock” and “Smells Like Stream Spirit.” Their debut LP, recorded by Bryce Goggin and Steve Albini, will be released in early 2023. More news on that real soon!

Before Southside Johnny and the Asbury Jukes even had an album on the shelves, they were being played on the radio in Cleveland. That’s how far back the New Jersey band’s relationship goes with the city. As the “Jukes” part of their name would suggest, Southside Johnny and his group were spiritually a band from another time. They had a big sound (and a full horn section, courtesy of The Miami Horns) that conjured a vision of a large band, jammed together on the bandstand. Which was hardly far from the truth on a number of nights. Mixing carefully chosen blues and soul covers with their own originals (and some choice songwriting contributions from Bruce Springsteen), they had a live show that was even more potent than w hat had been laid to tape in the studio. This 1977 performance at the Cleveland Agora was the group’s second outing at the legendary venue in less than a year. Live in Cleveland ‘77, the recorded evidence of that night, presented here for the first time by Cleveland International Records, shows exactly why they would become frequent visitors and really, honorary Clevelanders. Songs like “I Don’t Want to Go Home,” Springsteen’s “The Fever,” “Havin’ a Party” and “Without Love” were already well-loved favorites with the local audience, thanks to frequent airplay on WMMS long before they even had an album. Cleveland got a special bonus round that other cities would have killed for. Ronnie Spector had joined the group in the studio as they recorded that debut and came to Cleveland to share the stage with the Jukes, sharing her soon-to-be-legendary take on Billy Joel’s “Say Goodbye to Hollywood” with the Agora crowd. As she did with so many songs, Spector made it her own. Southside Johnny and the Jukes continue to thrill audiences with their live performances worldwide to this day. Now, thanks to the release of Live in Cleveland ‘77, you can be in the audience to hear a bit of the early magic as they were on their way to the top.

Here is the sound of momentum: Sarah Lee Langford and Will Stewart
roving together through the oldest tropes of country music and every
other genre
Here find rugged landscapes, whiskey barrooms, the same old bad luck and love.
And yet the nine-song romp delivers a hundred fresh takes.Langford and Stewart
are frequent collaborators. They perform here with friends Keelan Parrish (Vulture
Whale), Brian Gosdin (Dexateens), and Ford Boswell (Early James), as well as on
Langford's previous LP Two- Hearted Rounder (Cornelius Chapel Records). But
that album came out in 2019, back when we all lived on another planet. Their
latest full-length release together Bad Luck & Love resonates with all that we've
survived.
These are Birmingham, Alabama's hymns to the hard work of getting by, in
relationship and on stage. If exploration is a theme of Bad Luck & Love, the pedal
steel that makes the record so red-dirt earthy ends by taking us to outer space. "I
thank my lucky stars 'cause I think stars are lucky / Plus we're spinning around in
space, no place to lay our heads."

Hailing out of Marl, Germany, this four piece Post-Hardcore group really
hits you deep in your emotions
From the ambient music to the emotional lyrics that really strike a nerve, Our
Mirage offers a vast variety of elements that many of us can relate to. This young
group is becoming known for the emotion that they pour into their music and
their latest release Unseen Relations takes that line even deeper. The group
largely focuses on the problems that our youth deal with internally but their music
doesn't just speak to them, it is very intuitive of the problems and struggles that
we all deal with on a common basis.

Three-time Grammy nominees, the San Antonio, Texas-based quartet NOTHING MORE return with their highly awaited seventh album, 'SPIRITS'. It features thirteen focused, adventurous and intense songs, uniting introspective philosophical lyrics with unapologetically massive anthems, including the in-your-face 'TURN IT UP LIKE (Stand In The Fire)', their most recent Top 10 Billboard Active Rock radio single 'TIRED OF WINNING'. Since emerging in 2003, NOTHING MORE has made rock radio chart history with no. 1 singles for both 'This is the Time (Ballast)' and 'Go To War', while they also have seven Active Rock Radio Top 10 singles in their repertoire. 'SPIRITS' further proves their expertise in the rock genre and beyond. It documents the tumultuous time the world experienced over the past two years capturing the desperation and isolation of lockdown, the spiral of substance abuse, the pain of broken relationships and survival in self-reliance while summarizing the overall story and mission of NOTHING MORE: Reflect, Provoke, Inspire.

Special 10th Anniversary Edition In Brown Card Artboard Sleeve With Additional Lyric Print Insert

Slowdive singer and songwriter’s third solo album, which was originally released in November 2012. It is a stunning record and one which, upon its release, underlined the claims that Neil was one of the finest and most underrated British songwriters of recent times. It’s also a very special release in the Sonic Cathedral catalogue; the shoegaze label licensed the record from Jack Johnson’s Brushfire imprint for the UK and Europe and it was the start of a relationship that also gave us the Black Hearted Brother album in 2013 and, ultimately, brought about the reformation of Slowdive in 2014. But Palindrome Hunches is a very different beast. Both stately and understated, this moody and mesmerising collection of peculiarly British folk songs was made with the Band of Hope, a Wallingford, Oxfordshire based collective consisting of Ben Smith (violin), Drew Milloy (double bass), Paul Whitty (piano) and Tom Crook (guitar). Together with producer Nick Holton, banjo player Kevin Wells and backing singer Aimee Craddock, they recorded the album to tape over a few weekends in the music room of their local junior school. “At first we were going to record in a studio, but everything seemed too clean,” said Neil at the time. “We just went through the songs and recorded them live without very much rehearsal. We wanted to be spontaneous and simple and to keep the little mistakes that sneaked in.” This goes a long way to explaining the album’s humanity and intimacy, and also why it has had a quiet life of its own over the past decade, gradually growing in stature alongside Neil’s more high-profile activities with Slowdive; copies of the 2012 original and even the 2017 repress currently fetch up to triple figures on Discogs. The stunning opener ‘Digging Shelters’ was used to devastating effect in the posthumously released James Gandolfini movie Enough Said – a fitting home for a song that rubs shoulders here with ruminations about love and loss such as ‘Tied To You’ and ‘Spin The Bottle’ and, on ‘Wittgenstein’s Arm’, an Austrian pianist who had his right arm amputated in World War I and lost three of his brothers to suicide. The wordplay of the title track is almost light-hearted in comparison; “I wanted to write a song that was the same forwards and backwards, but it didn’t quite work out,” explained Neil, adding that he also chose ‘Palindrome Hunches’ for the album’s title because “I like the idea of things being reversible”. A couple years later, by reforming his old band, he proved that. And now, ten years on, it’s the perfect time to rewind to this understated, underrated classic. Side A 1 Digging Shelters 2 Bad Drugs and Minor Chords 3 Wittgenstein’s Arm 4 Spin The Bottle 5 Tied to You Side B 1 Love Is a Beast 2 Palindrome Hunches 3 Full Moon Rising 4 Sandy 5 Hey Daydreamer 6 Loose Change. Praise for Palindrome Hunches on its original release: ““Nope, it ain’t shoegaze as it's been codified and re-codified. But why be disappointed in someone following his muse to a logical conclusion when that path was always the one he walked on?” – Pitchfork An exquisite set of dark folk music” – The Times “Draws from the same understated, reflective well as John Martyn” – MOJO “‘Tied To You’ doesn’t merely evoke Nick Drake but withstands the comparison – evidence of the songs’ quality” – Financial Times “Halstead’s songs breathe the sort of honesty and goodness that’s harder and harder to find in the iTunes age” – The Independent “Given the chance, they could be songs that continue to enchant for many years to come” – The Line Of Best Fit

‘Happiness, Guaranteed’ is about the cyclical nature of our modern dissatisfaction. It’s a brief dive into the frustrations our desires bring in our attempts to reach a level of contentment. Each song explores the pursuit of happiness within our relationships, our work, and our wealth all whilst finding ways to be content with what you have whilst balancing a desire to grow. Having come off the back of touring our first record Shadowboxer we were keen to get back in the room together and start writing new material. Traditionally we had taken the approach of writing sketches alone and sharing them with each other in the studio. We wanted to shake this process up and decided to rent a house, set up our instruments, and play freely together with no expectations, we did this over a couple of months. A lot of the music we made during those sessions felt like new territory for us and a move in the right direction. One of the first songs we landed on was MORE, which is based around a character disillusioned by their desire for consuming possessions. It’s a tongue-in-cheek exploration into how we’re sold happiness with what we can buy, something which we all really resonated with at the time -filling our apartments with furniture, buying gear, and settling back down into a post-tour life. Don’t Wait was another important piece of the puzzle. It’s a song that reckons with a break up and greeting the great unknown. It was a more joyous moment in the record, touching on the freedoms of growing up and having a better understanding of who you are and what you want in a relationship. The Trouble with Us was a similar exploration but focused more on the pain and frustration of a relationship ending. Throughout the record there’s this desire to arrive, to reach what we’ve been promised in life, a sense of completion and happiness.

MATTERS UNKNOWN is the new project led by multi-instrumentalist and
composer Jonny Enser.We Aren't Just is the debut album from MATTERS
UNKNOWN – Jonny Enser from Nubiyan Twist's solo project
Over 14 tracks, it travels through Afro- jazz, celestial blues, soulful funk,
electronica, hip hop referencing influences such as Mulatu Astatke, Pat Thomas
and Tony Allen all of whom he has worked with via Nubiyan Twist.This album
features some of the UK's finest young players including members of Nerija, Noya
Rao, Golden Mean and COLECTIVA. For fans ofJazz is Dead and Emma- Jean
Thackray. Every track on the album is inspired by a facet of Jonny's personal
development; drawing from his relationship to the city, whether in the delta
regions of the Mississippi river or along London's arterial Thames. The album is a
material testament to the flexibility inherent to MATTERS UNKNOWN; it can be
orchestrated to accommodate a 15-strong orchestra, replete with a string section
to move you to the dancefloor as Jazz originally intended, or stripped down to the
bare bones of a trumpet and tuba- led quartet whose intentions remain all the
same; to pierce into the audience's soul.
Jonny is honest, often laying bare his personal plights with his physical disability
and mental health, and the steep – yet rewarding – uphill climb as a musician and
Jazz instrumentalist. We Aren't Just is a multi- faceted study of the self, one's
relationship with the external world; the material, and the living within the inert.

Rastafarianism came to prominence in the late 1960's/ 1970's and had a huge influence on the musical culture in Jamaica. The sentiments of the songs reflected the struggles of life, as reggae music always did but now with an added spiritual/conscious element to the lyrics. By the mid 1970's most, if not all the top flight singers were following the doctrine and growing their har to dreadlocks.
Everything was truly 'Dread'.
At the heart of this musical explosion was again Bunny 'Striker' Lee a man who was always at the heart of the action and many times in his career ahead of the musical game. As Bunny Lee's stable of singers were at this time nearly all Rasta's and with the worldwide acceptance of Bob Marley, in especially the foreign territories, this musical style was the way forward for reggae music in the mid 1970's. The visual focal point of this new turn in reggae music would be a call to all things 'Dread'. Add to the mix Bunny Lee's close working relationship with studio wizard King Tubby, again not a Rasta himself, but someone who could sonically bring what was needed to the table and enable the whole musical chemistry to fall into place.
Heavy rhythms were created to match the heavy and serious lyrics and 'Versions Galore' as they say were coming out fast and furious.
We have compiled a set of conscious tunes that not only match the 'Dread' criteria, but also are just great tunes. The great Jacob Miller's 'Zion Gates', Cornell Campbells 'Two Faced Rasta', Horace Andy's 'It's Gonna Be Dread' alongside Linval Thompson's 'Never Conquer Jah'. Two timeless cuts from the 'The Abyssinians' get a fresh outing by two great singers, firstly Don Carlos' cut to 'Satta Massaganna' and the prince of reggae himself, Dennis Brown works 'Declaration of Rights' in fine style. Johnny Clarke's 'Man like Me' and 'Dem Say Rasta' still sound as fresh today as when they were first laid down and Wayne Jarrett's 'Live On Jah' and Frankie Jones 'Satta and Praise Jah' add to this great selection. All great 'Dread' tunes that were cut or voiced at King Tubby's giving them that extra shine.
So if you are Rasta or not this is a great set of tunes to make you move and also like all of the best things in life, make you think.........

















Track 14 WICKED BABYLON - LINVAL THOMPSON

Berlin electronic duo Donna Regina recorded two songs for the 10th edition of the Snowflakes Christmas Singles Club. In ‘Weihnachten Woanders’ (‘Christmas Somewhere Else’), singer Regina Janssen reflects on how it feels to spend Christmas away from home. Somewhere else, in a strange town where nobody knows your name and no one is waiting for you. You miss the familiar sounds of Christmas, like the child that sings ‘Stille Nacht’ and you dream of being home again. It’s a feeling many people can relate to. Especially this year, a year in which so many people were forced to flee from their homes. Günter Janssen, the other half of Donna Regina and Regina’s husband, lays down a minimalistic tapestry of synths and drum rolls. A loop of street sounds, a sample taken from sound artist Paula Schopf’s 2021 album ‘Especios En Soledad’, forces its way into the song, and in the end overpowers voice and other instruments. ‘Weihnachten Woanders’ very much captures the year 2022 and the worrying times we are living in, in both lyrics and music.

‘Christmas With You’, the B-side of the single, was originally written and recorded by Polish indie band Old Time Radio for their 2009 Christmas album 'Sketches For Another Christmas Songbook'. Donna Regina again goes for a minimalistic electronic sound, but also adds a certain melancholy to the song. Partly due to the synths that in places resemble the sound of an organ, an instrument that appeared on so many Christmas recordings from the 1950s and early 1960s. The love-hate relationship many people have with Christmas is perfectly laid down in the lyrics: “We watch the cartoons / We sing out of tune / Kiss by the fireplace / Listen to those horrible songs / Do we know / It’s Christmas time at all?”.

Regina and Donna Janssen debuted as Donna Regina in 1990 with the single 'Avec Le Temps' and released their debut album 'Lazing Away' in 1992 on Our Choice, a German sublabel of Rough Trade. In 1999, after four albums on Strange Ways Records, they signed to their current label Karaoke Kalk. Since then, they have released eight albums for the label. In 2015, Karaoke Kalk also released 'Dis Cover', a compilation of Donna Regina songs recorded by other artists like Dean & Britta, Bernard Burgalat, Mouse On Mars and many others. Donna Regina’s songs have been featured on compilations of labels like Rough Trade, Sonar Kollektiv, Klant Elektronik, Milan and Rolling Stone. Donna Regina was not Günther’s first band. In the early 1980s he was part of a Neue Deutsche Welle act with a very Christmas-related name: Heilige 3 Köninge ('Holy 3 Kings'). Their sole album, 1982's 'Zum Teufel Met Dem Kamel' has become very collectable. Günther was also featured as songwriter and musician on German singer Romie Singh's 1986 CBS album 'Masters' and later ventured into writing music for television and film. Regina Janssen also recorded as a vocalist with French musician Bertrand Burgalat, and sang several songs on his 2005 album ‘Portrait-Robot”.

Angis Music invites you to listen to "Selva" the second release from the Padova duo composed of Stefano Cosi and Alberto Lincetto. The three songs featured represent the deep desire to communicate an evolution of sound and to tell a story that goes beyond traditional paradigms and genre labels. The “chiaroscuro”, lights and shadows, that characterize HUMA's music are once again the result of compositional and sound explorations that travel from jazz to 70’s funk, from deep house to electronic, with echoes of Brazil and film soundtracks. Side A opens with the misty and romantic landscape of "Free and Lost”, in which acoustic, electronic and deep bass sounds blend in a dark and spiritual atmosphere. The journey develops further into "An Ordinary Life” which sees the participation of Yeofi Andoh, aka A Race Of Angels, Los Angeles-based vocalist and co-author of the track, and of Amilcar Soto Rodriguez on classical guitar. It slowly emerges from the initial psychedelic sphere, landing on luminous harmonies and funk rhythms to reiterate a contrast that speaks of life cycles and the relationship between man and nature. This path ends with the title track "Selva" in which the synthetic percussive tangle keeps the listener in a meditative state of disorientation guided by the melodic lines of a dusty Fender Rhodes. It is the temporary epilogue of a story that has just begun..

Repress in soon, note new price. RIYL Steve Gunn, Hiss Golden Messenger, Ryley Walker, Itasca, Bill Callahan, Kurt Vile, Angel Olsen. “Timeless ... Measured, perceptive storytelling. A singer with an unmistakable and communicative voice, able to convey hope and hurt with equal clarity.” Pitchfork / “She writes literate songs with unusual precision and sings them in an understated, open-hearted way that lends good poetry the directness of conversation.” Uncut / On her fourth album as The Weather Station, Tamara Lindeman reinvents, and more deeply roots, her extraordinary, acclaimed songcraft, framing her precisely detailed, exquisitely wrought prose-poem narratives in bolder and more cinematic musical settings. The result is her most sonically direct and emotionally candid statement to date. The Weather Station is her most direct and candid record, and the first one to include tracks one might characterize as pop songs. Throughout, the record grapples with some of the darkest material Lindeman has yet approached: it is, according to her, the first album on which she touches on her personal experiences of mental illness. And yet the gesture inherent to the record is one of unflinching embrace. Despite it all, the characters “fall down laughing, effervescent, and all over nothing, all over nothing.” “Well, I guess I got the hang of it” she sings wryly, “the impossible.” By saying more than ever before, The Weather Station seeks to reveal the unnamable, the unsayable void that lies beneath language and relationships. It’s willfully messy and ardent and hungry. Tracks : A1 Free A2 Thirty A3 You and I (on the Other Side of the World) A4 Kept It All to Myself A5 Impossible B1 Power B2 Complicit B3 Black Flies B4 I Don’t Know What to Say B5 In an Hour B6 The Most Dangerous Thing About You

Self-recorded indie experimentalist from the Pacific Northwest. For fans of Grouper, The Microphones, Unwound’s Leaves Turn Inside You. Features Madeline Johnston (Midwife), Alex Kent (Sprain), Lula Asplund, a chamber ensemble and more. In 2019, Drowse’s Kyle Bates set out to produce a self-recorded new album. Marked by moving across state lines, long-distance relationships, and deaths in the family, the following years proved to be metamorphic. Now, three years later, he’s emerged with Wane Into It, continuing a distinctly Pacific Northwestern tradition of self-recording indie experimentalists (Grouper, The Microphones, Unwound’s Leaves Turn Inside You). One of the most impactful moments came during the looming passing of a family member. With death expected, the choice was made to conduct a bizarre “living-wake” gathering—with the soon-to-be1deceased in attendance. Shortly after, Bates found himself disturbed, preoccupied with the abstraction of memory. The experience led him to reassess the tool one uses to curate our selective memories: the internet. The internet, which creeped into even more aspects of life during the pandemic, serves as our self-made digital link to the past. Its uncaring presence layered over humbling thoughts of death and his own childhood memories of the Oregon Coast as he worked on Wane Into It; life’s hyperreal texture sank into the recordings as he felt his body age and wane. Big sounds were captured in bedrooms, hallways, practice spaces, forests, and on highways throughout West Coast vibraphones chime over black metal guitars, a mellotron drones under degraded samples, violins splinter against granular field recordings. In the process of documenting these aural moments Bates completed an MFA at Mills College, coloring the album with shades of avant electronic and minimalist composition (Pauline Oliveros, Terry Riley, Maryanne Amacher, Sarah Davachi etc…). To realize this scope Drowse collaborated with Madeline Johnston (Midwife), Alex Kent (Sprain), Lula Asplund, a chamber ensemble and more. Bates’s songwriting and production have never been more lucid; sounds flicker as he sings with fragile intensity. The record, Drowse’s third for The Flenser, impressionistically distills loss, distance, mystery, prescription drugs, the preservation of memory via recording, and ambient anxiety through its titular act: to Wane Into It, to disappear awaiting the next moon phase, water returning to sea before reemerging as a wave. Track Listing: 1. Untrue In Headphones 2. Mystery Pt. 2 3. (Ashes Over The Pacific Northwest) 4. Wane Into It 5. Telepresence 6. Gabapentin 7. Blue Light Glow 8. Three Faces (Cyanoacrylate) 9. Ten Year Hangover / Deconstructed Mystery

Self-recorded indie experimentalist from the Pacific Northwest. For fans of Grouper, The Microphones, Unwound’s Leaves Turn Inside You. Features Madeline Johnston (Midwife), Alex Kent (Sprain), Lula Asplund, a chamber ensemble and more. In 2019, Drowse’s Kyle Bates set out to produce a self-recorded new album. Marked by moving across state lines, long-distance relationships, and deaths in the family, the following years proved to be metamorphic. Now, three years later, he’s emerged with Wane Into It, continuing a distinctly Pacific Northwestern tradition of self-recording indie experimentalists (Grouper, The Microphones, Unwound’s Leaves Turn Inside You). One of the most impactful moments came during the looming passing of a family member. With death expected, the choice was made to conduct a bizarre “living-wake” gathering—with the soon-to-be1deceased in attendance. Shortly after, Bates found himself disturbed, preoccupied with the abstraction of memory. The experience led him to reassess the tool one uses to curate our selective memories: the internet. The internet, which creeped into even more aspects of life during the pandemic, serves as our self-made digital link to the past. Its uncaring presence layered over humbling thoughts of death and his own childhood memories of the Oregon Coast as he worked on Wane Into It; life’s hyperreal texture sank into the recordings as he felt his body age and wane. Big sounds were captured in bedrooms, hallways, practice spaces, forests, and on highways throughout West Coast vibraphones chime over black metal guitars, a mellotron drones under degraded samples, violins splinter against granular field recordings. In the process of documenting these aural moments Bates completed an MFA at Mills College, coloring the album with shades of avant electronic and minimalist composition (Pauline Oliveros, Terry Riley, Maryanne Amacher, Sarah Davachi etc…). To realize this scope Drowse collaborated with Madeline Johnston (Midwife), Alex Kent (Sprain), Lula Asplund, a chamber ensemble and more. Bates’s songwriting and production have never been more lucid; sounds flicker as he sings with fragile intensity. The record, Drowse’s third for The Flenser, impressionistically distills loss, distance, mystery, prescription drugs, the preservation of memory via recording, and ambient anxiety through its titular act: to Wane Into It, to disappear awaiting the next moon phase, water returning to sea before reemerging as a wave. Track Listing: 1. Untrue In Headphones 2. Mystery Pt. 2 3. (Ashes Over The Pacific Northwest) 4. Wane Into It 5. Telepresence 6. Gabapentin 7. Blue Light Glow 8. Three Faces (Cyanoacrylate) 9. Ten Year Hangover / Deconstructed Mystery

Anchor and Adjust is the debut album from, Australian synth-pop duo
Syzygy; Rebecca Maher and Gus Kenny both formerly of beloved
Melbourne synth-punk band Spotting
This new project explores a more unadulterated electronic aesthetic combined
with an unabashed pop sensibility.Gus was listening to a lot of 80s synth music
and minimal wave, while Bec was deep into mainstream 80s pop divas and new
wave. The resultant album sits at a crossroads of genre. The melodies of new
wave pop meet the synth tones of 80's coldwave, the vocal dynamics of postpunk and the DIY ethos and raw edges of punk. Layered synths twist and weave.
Featuring celestial, emotive vocals, the album is often bright and upbeat,
danceable, but also moody, thoughtful and clever. It is sparkling and edgy
electronic pop.
The album's lyrics explore the power dynamics in relationships, including the
relationship with yourself. It is about control and being controlled. Attempts to
unravel years of ingrained behaviour and decision making to try and see the world
another way. It yearns for clarity, asking questions and searching for definitions to
try to understand what is perception, what is manipulation and what is truth.
I was speaking to myself, through myself. Both aware of having these feelings
and disconnected from how they were making me feel. Making this record
allowed me to create order and meaning. It was both my wake up call and my pep
talk for changes I desperately needed in my life. Rebecca Maher. Pressed on
Transparent Purple Color vinyl.
GENRE : Synth-pop, Electronic, Darkwave

Three-time Grammy nominees, the San Antonio, Texas-based quartet NOTHING MORE return with their highly awaited seventh album, 'SPIRITS'. It features thirteen focused, adventurous and intense songs, uniting introspective philosophical lyrics with unapologetically massive anthems, including the in-your-face 'TURN IT UP LIKE (Stand In The Fire)', their most recent Top 10 Billboard Active Rock radio single 'TIRED OF WINNING'. Since emerging in 2003, NOTHING MORE has made rock radio chart history with no. 1 singles for both 'This is the Time (Ballast)' and 'Go To War', while they also have seven Active Rock Radio Top 10 singles in their repertoire. 'SPIRITS' further proves their expertise in the rock genre and beyond. It documents the tumultuous time the world experienced over the past two years capturing the desperation and isolation of lockdown, the spiral of substance abuse, the pain of broken relationships and survival in self-reliance while summarizing the overall story and mission of NOTHING MORE: Reflect, Provoke, Inspire.

Three-time Grammy nominees, the San Antonio, Texas-based quartet NOTHING MORE return with their highly awaited seventh album, 'SPIRITS'. It features thirteen focused, adventurous and intense songs, uniting introspective philosophical lyrics with unapologetically massive anthems, including the in-your-face 'TURN IT UP LIKE (Stand In The Fire)', their most recent Top 10 Billboard Active Rock radio single 'TIRED OF WINNING'. Since emerging in 2003, NOTHING MORE has made rock radio chart history with no. 1 singles for both 'This is the Time (Ballast)' and 'Go To War', while they also have seven Active Rock Radio Top 10 singles in their repertoire. 'SPIRITS' further proves their expertise in the rock genre and beyond. It documents the tumultuous time the world experienced over the past two years capturing the desperation and isolation of lockdown, the spiral of substance abuse, the pain of broken relationships and survival in self-reliance while summarizing the overall story and mission of NOTHING MORE: Reflect, Provoke, Inspire.