Suche:remains

Boggiedown Base has been a producer and remixer since debuting as part of Die Reimbanditen in 1993. His CV includes productions for Die Coolen Säue/DCS, Albino, Chaoze One, and Die Deutsche Reimachse. In 2005 he met the Backspin-Magazine-DJ DJ 12 Finger Dan and the two formed a production duo. As Soulbrotha, the two produced mainly for and with American artists such as Sadat X from Brand Nubian, DJ Premier from Gangstarr, Large Professor, Big Shug, Blaq Poet, Masta Ace, Beneficience, Cella Dwellas, El Da Sensei, Kev Brown, Edo G and much more. The two came into contact with the producer Roccwell from Munich by chance. Through the common love for soul samples, hard drums, the clanking of the E-MU SP-1200, dope raps and spectacular cuts, the idea of a collabo-album came up.

"In Good Company" is a celebration of the classic boom bap sound and comes up with top-class feature guests. Among others, the New York cult rapper J-Live was won for the song "Real Reconize Real". Q Ball & Curt Cazal aka QnC from the legendary D&D Studios in New York show on "Classic Position" why they are still relevant after more than 20 years in the game and the Boston MC M-Dot proves on "Toil" why there is a hype around his person. But there are also other top artists on the guest list, such as DJ Eclipse, DJ Riz or KORE. "In Good Company" is to be understood as a homage to the many rap classics of the last three decades and sees itself in their tradition, but always remains modern thanks to the contributions of many young and talented artists such as Wildelux, Duo Pesci, Resolute or Empulse.

‘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.

If you've been in the club scene for many years like David Dorad, you will one day face the big, essential, serious questions that each of us will ask ourselves sooner or later:

Are marmots pack animals?
Can marmots sign language?
Do marmots plan their lives according to European or Chinese zodiac signs?
Do marmots need a special passport, after all they don't have a thumb to turn the pages?
What happens when a marmot eats Coke and Mentos at the same time?

And with all those questions whistling, hissing and muttering in his head, David grabbed piano, baton and BioBassline to crochet his new EP.
This is called "Marble" and offers 6 different approaches to solve these big questions.
As a source of ideas, he has competent partners at his side in Roman Flügel, Mira, Christopher Schwarzwälder, Canson and Sascha Cawa.


A1 -
Murmeli - original
The marmot tribe awakens. Get up to brush your teeth. Gets your toes tapping. Makes you snap your fingers. Dare to roll your hips. Later rhythmically to turn. To look elegant at the same time. Eyes closed - eyes open.
Murmeli, the regular leader, sits at the piano.
Everyone is dancing, toothpaste in the corners of their mouths and a smile that takes the toothpaste by the hand.
A normal morning in marmot houses.

B1 -
Murmeli - Mira & Christoph Schwarzwald RMX
Mira and Christoph Schwarzwalder take over from Murmeli. They vary, combine and subtract. The first marmots raise their thumbless fists in the air - showing their passports, ready to take off.

B2 -
Murmeli - Canson RMX
Canson also sits next to Murmeli. Caress the theme, tickle the groove.
Murmeli has the best ideas early on: "Boy, let's try Mentos with Cola, we'll definitely take off."
Canon is in!


C1 -
Murmelot - Original
The sun goes down in Murmelhausen too. Then Murmelot is ready. Gives his advanced Pilates class, which the whole tribe takes. The village wants to remain mobile.
Murmelot's motto is "Why not stretch while walking?"
And so shall it be. He sets the rhythm on his wooden Fairtrade 303 and our furry friends shave shaky and obscene messages down each other's backs while impatiently hopping for the drop.

D1 -
Murmelot - Roman Flügel Remix
Roman Flügel and Murmelot are old buddies. Struck while carving the 303.
Roman happily takes over the Pilates class, the dancing crowd. Enchanted until the razor's batteries are empty and only dancing remains, only dancing is important.

D2 -
Murmelot - Sascha Cawa RMX
Sascha Cawa takes his trunk by the hand, wants to motivate her again shortly before the second sunset of the day. Whispers little obscene Pilates positions in their ears. That motivates. Murmelot switched from piano to percussion.
The marmots' sweat feeds the golden orchids in the clearing for the next six months.

SoiSong is the stunning but short-lived partnership of Coil co-founder Peter "Sleazy" Christopherson and veteran Russian electronic experimentalist Ivan Pavlov. Though friends since 1997, the project birthed roughly a decade later in Bangkok, where Christopherson relocated following the death of his Coil collaborator John Balance in 2004. Named after the Thai word for `two' along with a notorious red-light district street nearby, the duo dialed into a cryptic language of lurching synthetics, Eastern minimalism, and interdimensional glitch, oscillating between elegance and mayhem. qXn948s collects some of their earliest recordings, and remains as transgressive and transcendent a listen now as it was upon its release a decade and a half ago. Pavlov characterizes SoiSong as less a musical group than a "utopian, semi-alien platform for collaboration, devoid of pronounced personality or centralized authority_ more like a message from elsewhere that anyone is welcome to participate in and spread." Every facet of the project was disruptive and oblique: self-released CDs packaged in elaborate origami that had to be destroyed to be accessed; a website with password protected sections, where different passwords were provided for different events, objects or releases; performance merchandise of headphones and a Walkman melted shut so the music can only be heard as long as the set of batteries last. Theirs was a muse as unprecedented as it was uncompromising, equal parts pranks and profundity. qXn948s began with samples and software composed intuitively in tandem before a large monitor, then progressively processed and scrambled into bewildering arrangements of digital frequencies, alternately spartan and claustrophobic, uneasy and uncanny. Vignettes of small melody emerge and are obliterated; gamelan-esque tones spiral above cybernetic pulse programming and funereal didgeridoo; skeletal piano meanders in the distance while flickering circuitry pummels patterns of white noise. Pavlov describes his and Christopherson's chemistry as "unspoken and sincere, and very efficient." That music this aggressively disorienting and complex congealed in a smoothly organic fashion is testament to the rare vision of its creators.

Clear Vinyl

SoiSong is the stunning but short-lived partnership of Coil co-founder Peter "Sleazy" Christopherson and veteran Russian electronic experimentalist Ivan Pavlov. Though friends since 1997, the project birthed roughly a decade later in Bangkok, where Christopherson relocated following the death of his Coil collaborator John Balance in 2004. Named after the Thai word for `two' along with a notorious red-light district street nearby, the duo dialed into a cryptic language of lurching synthetics, Eastern minimalism, and interdimensional glitch, oscillating between elegance and mayhem. qXn948s collects some of their earliest recordings, and remains as transgressive and transcendent a listen now as it was upon its release a decade and a half ago. Pavlov characterizes SoiSong as less a musical group than a "utopian, semi-alien platform for collaboration, devoid of pronounced personality or centralized authority_ more like a message from elsewhere that anyone is welcome to participate in and spread." Every facet of the project was disruptive and oblique: self-released CDs packaged in elaborate origami that had to be destroyed to be accessed; a website with password protected sections, where different passwords were provided for different events, objects or releases; performance merchandise of headphones and a Walkman melted shut so the music can only be heard as long as the set of batteries last. Theirs was a muse as unprecedented as it was uncompromising, equal parts pranks and profundity. qXn948s began with samples and software composed intuitively in tandem before a large monitor, then progressively processed and scrambled into bewildering arrangements of digital frequencies, alternately spartan and claustrophobic, uneasy and uncanny. Vignettes of small melody emerge and are obliterated; gamelan-esque tones spiral above cybernetic pulse programming and funereal didgeridoo; skeletal piano meanders in the distance while flickering circuitry pummels patterns of white noise. Pavlov describes his and Christopherson's chemistry as "unspoken and sincere, and very efficient." That music this aggressively disorienting and complex congealed in a smoothly organic fashion is testament to the rare vision of its creators.

Robbie Williams remains one of the most successful British pop stars of his generation many years after he put out his most notable albums. Life Thru a Lens was one of them and it now turns a frankly hard to believe 25 years old. This special anniversary edition comes on limited clear vinyl and takes you right back to the end of the last millennium. The songs are big singalongs with plenty of Williams's swaggering confidence shining through each one as he muses on growing old, love and of course loss with his biggest single of all, 'Angels.'

Comprehensive box of 6 LPs / EPs and the band's first rare 7inch.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986) contributing to the music.

Box Set includes: Gorilla Dans De Samba 7" (1983), Voor De Dood 12" (1984), Koude Oorlog LP (1984), De Sfeer Van Grote Dagen 12" (1985), Zonder Omzien 12" (1986), Harde Feiten LP (1986), Koudvuur LP (1987)

First-time reissue of Aroma Di Amore's debut album, originally released in 1984.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music.

First-time reissue of Aroma Di Amore's 2nd album, originally released in 1986.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music.

First-time reissue of Aroma Di Amore's 3rd album, originally released in 1987.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music.

First-time reissue of Aroma Di Amore's 3rd EP, originally released in 1985.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music

First-time reissue of Aroma Di Amore's 4th EP, originally released in 1986.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music.

16 track compilation of 1980s classics.
Formed in Scotland in 1979, APB were a post-punk trio blending edgy
guitars with funk and new wave sounds
The band had many early 80s alternative radio and rock dance club hits including
‘Shoot You Down’, ‘Rainy Day’ and ‘Palace Filled With Love’.
New York-based Link Records originally issued ‘Something To Believe In’ in 1985,
and the ten- song title was perceived at the time to be APB's debut album
although it was actually a compilation drawn from the band's previous eight
independent singles. The band's 1981 debut single ‘Chain Reaction’ is now added
as a bonus track to the vinyl release, while that song and an additional five tracks
will appear on the expanded edition CD. ‘Danceability’ will appear in its original
mix on the vinyl LP, while the CD will feature the song in its extended ‘Danceability
Parts 1 & 2’ form.
"When I bought the second APB single, 'Shoot You Down'. I was blown away by
the pure energy and sparse funk groove that drove the record." said Matt Pinfield,
former host of MTV's 120 Minutes. "Over the course of the next few years, I saw
the band live about 15 times. They would always pack clubs in New York, New
Jersey, and Long Island -- anywhere they received airplay." In 2018's Beastie Boy
Book, band member Adam "Ad-Rock" Horowitz referred to ‘Shoot You Down’ as a
"punk dance-floor classic."
In 2022, APB remains an active touring band, which includes original members
Slater, Roberts and Cheyne. Over the decades, APB's sparse, rhythmic sound has
influenced everyone from the Red Hot Chili Peppers to Franz Ferdinand. A new
generation is primed to make their acquaintance.

Over the last two years, the Innate and We’re Going Deep labels – run by friends Owain K and Placid respectively – have become must-check imprints for those seeking brand-new, timeless-sounding electro, deep house, acid and techno. Now the pair are joining forces on a new collaborative venture that looks to the past for inspiration: InnDeep.

Focused on unearthing and showcasing slept-on gems from across the deep spectrum, the reissue-focused label will have an emphasis on UK producers and imprints whose work in the ‘90s and 2000s has arguably been criminally overlooked.

To kick things off, they’re taking a deep dive into the back catalogue of Headspace Recordings and Emoticon co-founder Tom Churchill, a Welsh producer whose trademark take on deep house achieved cult status in the late 1990s and early 2000s.

The Personal Interpretation EP was first released on Headspace way back in 1997, and dates back to a time when Tom was the very definition of a bedroom producer. He created the EP’s three tracks while still a teenager and mixed them down using the same pair of headphones he used for DJing.

Now painstakingly remastered, the EP sounds every bit as immersive and intergalactic as it did at the tail end of the last millennium. On the EP-opening title track, Churchill builds a sturdy, chunky groove out of clicking, hissing and metallic percussive elements and a wonderfully deep, tactile bassline, over which gorgeous chords, melodic motifs and eyes-closed vocal snippets stretch out as if reclining in the afternoon sun.

Churchill opts for a deeper, Detroit-influenced sound on ‘First Principles’, with undulating electronics and a raw analogue bassline working in unison with ghostly chords and deep space melodies, while ‘Crossed Wires’ is a tispy, off-kilter epic – all breathless drum machine rhythms, pots-and-pans percussion, woozy chords and weighty sub-bass. It provides a fittingly energetic, out-there end to a long-overlooked EP that remains as fresh now as it did back in 1997.

Goose bumps mental acid music... The A side is totaly crazy... lots of breaks and reprises to kill the progressive spirit of it and enter a new dimension where the story brings lots of sonic surprises... Through it remains mental and deep, avoiding the acidcore shouting trap. Newskool rocks !

"THE BEASTS OF BOURBON were scabby-knuckled, Australian blues-punk motherf*ckers, severely haunted, whiskey-twisted, savage, doomed, old hard-asses, ruined, fat, mean guys in filthy t-shirts... NOT yer local tattoo-shop fonzies singin' 'bout "Sin" and "Hell". These dudes weren't greasy kids, even back then. They were venomous and aching, former members of THE SCIENTISTS and HOODOO GURUS, and the talent pool of this revolving door operation remains astonishing. - Sleazegrinder Magazine Little Animals, the last album in the official canon of the Beasts of Bourbon, was originally released unexpectedly, after 9 years of total silence from the band, in 2007. What could have been a new century renaissance for the group was cut short, however, during the next decade with the death of founding member Spencer B. Jones. Over the Beasts’ decades-long career the Beasts put out six albums and managed to carve their name into the annals of Australian rock’n’roll. Little Animals is a fitting epitaph to a legend, ten tracks of vicious and dirty crash-and-burn rock’n’roll. Svart Records is proud to present an official reissue of this hard-to-find record on vinyl, the original format for rock’n’roll. Wrapped in a gatefold jacket and limited to 500 on black and 500 on red vinyl, this shines in striking hues of blood and gold.Little Animals, the last album in the official canon of the Beasts of Bourbon, was originally released unexpectedly, after 9 years of total silence from the band, in 2007. What could have been a new century renaissance for the group was cut short, however, during the next decade with the death of founding member Spencer B. Jones. Over the Beasts’ decades-long career the Beasts put out six albums and managed to carve their name into the annals of Australian rock’n’roll. Little Animals is a fitting epitaph to a legend, ten tracks of vicious and dirty crash-and-burn rock’n’roll. Svart Records is proud to present an official reissue of this hard-to-find record on vinyl, the original format for rock’n’roll. Wrapped in a gatefold jacket and limited to 500 on black and 500 on red vinyl, this piece of wax shines in striking hues of blood and gold.

"THE BEASTS OF BOURBON were scabby-knuckled, Australian blues-punk motherf*ckers, severely haunted, whiskey-twisted, savage, doomed, old hard-asses, ruined, fat, mean guys in filthy t-shirts... NOT yer local tattoo-shop fonzies singin' 'bout "Sin" and "Hell". These dudes weren't greasy kids, even back then. They were venomous and aching, former members of THE SCIENTISTS and HOODOO GURUS, and the talent pool of this revolving door operation remains astonishing. - Sleazegrinder Magazine Little Animals, the last album in the official canon of the Beasts of Bourbon, was originally released unexpectedly, after 9 years of total silence from the band, in 2007. What could have been a new century renaissance for the group was cut short, however, during the next decade with the death of founding member Spencer B. Jones. Over the Beasts’ decades-long career the Beasts put out six albums and managed to carve their name into the annals of Australian rock’n’roll. Little Animals is a fitting epitaph to a legend, ten tracks of vicious and dirty crash-and-burn rock’n’roll. Svart Records is proud to present an official reissue of this hard-to-find record on vinyl, the original format for rock’n’roll. Wrapped in a gatefold jacket and limited to 500 on black and 500 on red vinyl, this shines in striking hues of blood and gold.Little Animals, the last album in the official canon of the Beasts of Bourbon, was originally released unexpectedly, after 9 years of total silence from the band, in 2007. What could have been a new century renaissance for the group was cut short, however, during the next decade with the death of founding member Spencer B. Jones. Over the Beasts’ decades-long career the Beasts put out six albums and managed to carve their name into the annals of Australian rock’n’roll. Little Animals is a fitting epitaph to a legend, ten tracks of vicious and dirty crash-and-burn rock’n’roll. Svart Records is proud to present an official reissue of this hard-to-find record on vinyl, the original format for rock’n’roll. Wrapped in a gatefold jacket and limited to 500 on black and 500 on red vinyl, this piece of wax shines in striking hues of blood and gold.

Grammy-winning global percussion collective Planet Drum reunite to make their first music in 15 years with In the Groove, out August 5th. Here is an inside look at the creation and inspiration behind In the Groove, featuring renowned global rhythm masters Mickey Hart (USA), Zakir Hussain (India), Giovanni Hidalgo (Puerto Rico) and Sikiru depoju (Nigeria) in the studio. Planet Drum's message of unity is needed now more than ever. In a world rife with conflict and division, Planet Drum leads by example with In the Groove, symbolizing the idea of bringing different cultures together to create one collective rhythm. Planet Drum's groundbreaking self-titled original release, which remains one of the most successful percussion recordings of all time, topped the Billboard Charts for 26 weeks. and won the first-ever Grammy Award for Best World Music Album, completely changing the perception of percussive world music. Their second effort, 2007's Global Drum Project earned their second Grammy Award for Best Contemporary World Music Album in 2008.

Grammy-winning global percussion collective Planet Drum reunite to make their first music in 15 years with In the Groove, out August 5th. Here is an inside look at the creation and inspiration behind In the Groove, featuring renowned global rhythm masters Mickey Hart (USA), Zakir Hussain (India), Giovanni Hidalgo (Puerto Rico) and Sikiru depoju (Nigeria) in the studio. Planet Drum's message of unity is needed now more than ever. In a world rife with conflict and division, Planet Drum leads by example with In the Groove, symbolizing the idea of bringing different cultures together to create one collective rhythm. Planet Drum's groundbreaking self-titled original release, which remains one of the most successful percussion recordings of all time, topped the Billboard Charts for 26 weeks. and won the first-ever Grammy Award for Best World Music Album, completely changing the perception of percussive world music. Their second effort, 2007's Global Drum Project earned their second Grammy Award for Best Contemporary World Music Album in 2008.

For fans this is the perfect genesis of a globally acclaimed guitarist and songwriter. A blend of youthful enthusiasm and innocence that never quite resurfaced again in his work, especially as he developed his jazz-folk fusion and became known for both immense skill on the guitar and his activism in support of social causes. Fans know this album as Bruce Cockburn's happy-go-lucky years, before the weight of his success encouraged him to use his songwriting for a purpose, never again having this much whimsy in the studio. The opening number, "Going to the Country," evokes the era's hippie back- to- the- earth movement, and as all good things come back around again, is just as fresh in today's enviro-movements. His hit song "Musical Friends" remains a fan favorite to this day.

Bruce Cockburn has written more than 400 songs on 35 albums over a career spanning 50 years, of which 23 have received gold or platinum certification. He has sold more than nine-million copies worldwide, is a member of the Canadian Songwriter Hall of Fame, and is the winner of 13 Juno Awards from more than 30 nominations. His world-wide hits include "Wondering Where The Lions Are",
"Lovers In a Dangerous Time", "If A Tree Falls" and "If I Had A Rocket Launcher".

. It's 2021 and Vancouver’s Bootlicker are back with their first full length. Experimenting with various lineups and sounds since 2017, these 14 original tracks flesh out their most realized expression. Following four EP’s and two demos, their self-titled debut stays true to the noise cultivated in the previous offerings. That raw, blown-out production countered with clean guitar sound and Internationally-informed take on a UK82 delivery remains. Everything that made the band what they were on their previous output is polished into a ball of fire that will not be contained. Their mid-tempo, menacing posture of tracks like "Herd The Sheep" and "State Of Fever" give way to the D-beat totality of "Master" or "Two Faced" proving there are still ideas in the tank. There won’t be much left but scorched earth by the time it comes to rest. FFO: Mau Maus, Discharge, SSD. Every copy of this LP comes with 16 page zine-style lyric insert full of illustrations by band member and visual artist Athena.

Felix Laband’s The Soft White Hand is the masterwork of an artist who expresses himself through musical and artistic collage acting together to reinterpret his sources and to express significant elements of his own personal story.

Released by Munich-based Compost Records, the 14-track album is Laband’s first full-length offering since the critically acclaimed Deaf Safari in 2015. It is heralded by the single “Derek and Me”, and is being pressed on vinyl for distribution globally.

In The Soft White Hand Laband works with source materials that will be familiar to those who know his previous four records – Thin Shoes in June (2001), 4/4 Down the Stairs (2002), Dark Days Exit (2005) and especially Deaf Safari which reached deep into the South Africa scene and its political culture to inspire its vocal and music sampling. However, the disengagement he felt from his homeland during his latest album’s creation – an abiding sense of untethered-ness to place and space, exquisitely rendered in tracks like “Death of a Migrant” – is perceptible in Laband’s desire to illuminate instead aspects of his own life.

“For this album, my source material became almost autobiographical as opposed to African statements I’ve worked with previously,” says the artist. “I have sampled a lot from documentaries from the 80s crack epidemic in impoverished African American communities and believe my work speaks unapologetically for the lost and marginalised, for those who are the forgotten casualties of the war on drugs. In the past, I have had my issues with substance abuse, and I know first-hand about the nightmares and fears, what it feels like to be isolated and abandoned.”

Few artists have managed to air these intimate aspects of their life so luminously as Laband does in tracks like “5 Seconds Ago”, “They Call Me Shorty” and in the strange and meditative “Dreams of Loneliness”. “I’ve been building this weird, autobiographical story using other people talking. It’s kind of humorous but it is also sad and beautiful,” says Laband.

Yet, as in all of Laband’s recorded output, the delineations between emotions are never starkly drawn and The Soft White Hand is also shot through with beauty. Nature appears in recordings made in his garden in the intimate early morning hours, whether as in the calls of the Hadada Ibis and other birdsong in “Prelude” or of the vertical-tail-cocking bird in “Derek and Me”. The last is a wonderful track with Derek Gripper, the South African experimental classical guitarist of international renown, whose 2020 song “Fanta and Felix” imagines a meeting between Fanta Sacko and Laband.

Laband’s eloquence in reinterpreting classical composers such as Beethoven in “We Know Major Tom’s a Junkie” is another thrilling aspect of the new record. “I’ve been properly exploring classical music on this album,” explains Laband, “taking melodies from classical compositions and reinterpreting them”. A fresh quality comes to his work through this sonic adventuring: the tender manipulation of the mundaneness of the computer’s AI voice to reimagine and reinvent iconic lyrics and melodies in strange and unexpected configurations.

The Soft White Hand is Laband’s most cohesive body of work to date. Yet it remains, in its sheer artistic scope, impossible to describe fully. Darkness abuts the gossamer light. A song that summons the sunrise and all the hope of a new day could also be about the final dipping down of the sun that portends a troubled night ahead. Interludes are invitations to expand outwards or shift inwards. Mistakes and “weird fuckups” in the sound are cherished as convincing statements against what Laband calls the “grossness” of perfect sound in modern music.

For this world-leading electronic artist, the boundaries are unfixed. He is inspired by the German Dada artist, Hannah Höch, who memorably declared: “I wish to blur the firm boundaries which we self-certain people tend to delineate around all we can achieve.” His music consequently reflects a primal artistic impulse that is also visible in Laband’s considerable visual art output as seen recently in several solo exhibitions such as that held in the No End Gallery in Johannesburg in 2019 and in the works he produced during his 2018 Nirox Foundation Artists Residency. “My music is always about collage, as is my art,’’ he affirms. “Everything I do is collage. It is a medium I find very interesting because you are taking history and distorting it and changing its meaning and turning it upside down and back to front.” In her book Recollections of My Non-Existence, Rebecca Solnit calls collage “literally a border art”; it is “an art of what happens when two things confront each other or spill onto each other”.

With The Soft White Hand, Laband is confirming his singular ability to achieve this in both art and music, melting the divisions between the two creative disciplines until they become one. He is also affirming his belief that an album of music should be more than a collection of unrelated tracks, but should unfold a fully integrated, cohesive story as in the song cycles of the great classical composers. In doing so, he claims his position as one of the most significant artists working today.

Artist Statement – Felix Laband – August 2022

When the Khmer Rouge took their captives for processing, they identified their class enemies by looking at their hands. If they were sunburned, rough and calloused, they were those of a peasant, a proletarian to be spared. But if they were soft and white, then they were those of a city-dweller, an intellectual or bourgeois, an adversary to be liquidated.

In calling this album The Soft White Hand, I was reflecting on the Cambodian genocide and how it resonates in contemporary South Africa. The apartheid era is over, and gone with it is white political domination. Yet economic and social privilege is still held in soft white hands. But those who grasp it know just how tenuous is their hold, how it singles them out, and my music reflects their subconscious fears, the stress and guilt of clinging on to what others envy and desire.

The soft white hand of the title suggests to me a further image, one that relates to all of postcolonial Africa. In my mind’s eye, I see the soft, duplicitous handshake of the smooth representatives of the superpowers making deals and promising gifts that benefit only them, and not their African dupes.
Yet, soaring above the wailing of sirens sampled from the first day of the invasion of Ukraine, my music is also about love gained and passion lost. It is about the tender caress of a soft white hand that conducts you into a place of dreams to be enfolded by nocturnal melodies.

Tape

Welcome to Carsharing Tapes. Welcome to the future.

With "DIURNAL TIDES: First Wave" we're proud to present not only the first release of our new imprint for classic electronic music mixtape culture but also the first ever official gathering of two long standing figures which both have been relentlessly and continuously contributing to the German underground scene for more than two decades now.

And these two are: baze.djunkiii and THE D3VI7.

baze.djunkiii, Hamburg-born and based, officially entered the electronic music scene as a DJ back in 1997 from an angle of being an enthusiastic raver, launched his very own label Intrauterin Recordings in 1999 and - apart from becoming an 24/7 networker, knowledge hub, music blogger etc. - evolved into one of the most versatile underground DJs and purveyor of original DJ culture around whose journey on the decks has taken him all over Germany as well as to Greece and the United States and to countless hours of air time on a plethora of underground radio stations as well.

THE D3VI7, on the other hand, remains an elusive figure. Deeply rooted in electronic music production and the hell'ish jungle of circuit board wiring as well as DAW madness THE D3VI7 is a moniker created by one of the most active, yet probably most underrated figures on the release circuit, a nom de guerre which serves the sole purpose of being able to operate anonymously without any confirmation bias being attached to other musical guises which might, or might have not, been used previously and in earlier stages of a long lasting involvement in music. And btw - this is the first time ever THE D3VI7 agreed to provide an official DJ mix for a mixtape release.

With baze.djunkiii's mix opening the roughly hour long journey of "DIURNAL TIDES: First Wave" on the A-side we're getting a prime example of what original DJ culture is all about as he's taking us on a fascinating journey from deepest underground Electro to screaming, spiralling Acid madness and beyond, digging up most underground vinyl cuts and making proper use of his extensive collection of rare 7" releases - a format that has been criminally overlooked by many DJs but provides a treasure trove of goodness as this mix easily proves.

Turning the tape THE D3VI7 does what THE D3VI7 does best on the flip: Being a force. A dark one. Forging a pounding, most relentless stream of hammering Techno tunes to take out unsuspecting punters on heaving dancefloors one by one THE D3VI7 provides a high octane selection of peak time excess that either thrills or kills - an ode to the power of raw and unpolished Techno madness in its purest form. A power that cannot be contested. Ever.

Seabuckthorn is the alias used by Andy Cartwright for his solo works. Cartwright uses finger picking & bowing techniques combined with various open tunings to form a mixture of approaches, often with layered accompaniments. Generally the songs lean towards to the experimental genre, whilst on the edge of the ambient and folk.

Having grown up in Oxfordshire, Cartwright studied sound engineering in Cornwall and then lived in the cities of London, Paris & Bristol working as a broadcast wireman. He now resides in the French Southern Alps making music.

Cartwright has been actively touring internationally for several years performing in festivals and events throughout Europe.

Various songs have been featured in documentaries, film and contemporary dance. His works has been released since 2009 on labels such as Dead Pilot Records, Bookmaker Records, Lost Tribe Sound, Eilean Rec., IIKKI and Fluid Audio. "Of No Such Place" is his 13th solo releases.

To listen to Sarah Mary Chadwick's music is to be a quiet observer to her
thoughts on love, death and mental health - Sometimes anguish bears
itself in sullen, dreamy vs dreary moments, but more often torment
manifests at the break of Chadwick's voice as she sings painfully
vulnerable, self-aware lyrics
Chadwick is a singer/ songwriter and visual artist, based in Melbourne. After
moving to Australia from New Zealand to pursue a career in music, Chadwick
spent a decade fronting the grunge band Batrider. In 2012 she shifted focus to
her now prolific solo career. Essentially Chadwick's work is basic reportage of
events and observations from her own life, creating something exactly realised
yet completely relateable. Chadwick's performance remains singular and complex
as she simultaneously savors and is repelled by the podium that her creativity
affords her, acknowledging that it's a position of power being on a microphone
and how ..it's a desperate demand to be seen. It's funny and really sad. These
days, I just want to be an entertainer.''
I always write a lot so I love it when songs can find homes in the outside world.
Track one 'Flipped It' was recorded in the "Me and Ennui" session, and I couldn't
find a comfortable place for it on that record. Track Two 'All the things...' was
recorded during the "Please Daddy" sessions, earlier that same year in 2019.
Pressed on 7" White Color vinyl.

German-American pianist Benjamin Lackner makes his ECM debut with a
star-studded quartet of Manu Katché on drums, trumpeter Mathias Eick
and Jérôme Regard on bass
Mathias and Manu share a longstanding association with the label and their
respectively unique instrumental signatures can be traced across this set of
exclusively original material - eight pieces by Benjamin, one by Jérôme. The
bassist and the leader's partnership goes all the way back to 2006, when, Jérôme
joined Lackner's trio, which remains active until today. Two decades of close
collaboration have moulded them into intimate colleagues, who complement
each other's lines intuitively. Mathias Eick and Manu Katché's effortless
musicianship enhances the quartet's fluid interplay.
Last Decade was recorded in Studios La Buissonne, Pernes- Les- Fontaines and
produced by Manfred Eicher.
Benjamin Lackner: piano
Mathias Eick: trumpet, voice
Jérôme Regard: double bass
Manu Katché: drums

On the album Opening, Tord Gustavsen reveals a fresh angle to his
particularly unique trio investigations into Scandinavian folk hymns,
gospel, chorale and jazz, as he introduces a different voice on bass
With a new fellow- traveller on board and its recording premiere in Lugano's
Auditorio Stelio Molo, the trio discovers inspired new ways to interact with each
other, using innovative approaches to sound and technique in the process. Made
up in equal parts of intricately textured improvisations and understated melodic
hooks, the group's conversations bring an enticing unfamiliarity to the language
the Norwegian pianist has developed over almost two decades of collaboration
with ECM.
Tord Gustavsen: piano, electronics
Steinar Raknes: double bass, electronics
Jarle Vespestad: drums
Press:
"Vibrates between the introspective and the dramatic in rich and singular ways.
Scene-setting opener 'The Circle' sees Gustavsen exploring a modal melodic line
of beguiling simplicity, with the trio's sotto voce approach creating an atmosphere
of hushed intimacy." - **** Jazzwise (Editor's Choice)
"The focus of Opening remains the playing from Gustavsen and the rich
accompaniment from his fellow musicians, creating an atmosphere perfect for a
walk by a cabin at dawn, with the sun peeking in through the trees." - Pitchfork
"Norwegian piano star Tord Gustavsen's long-honed recipe of low-key folk songs,
gospel, classical music and jazz gets a graceful makeover on Opening - with new
bassist Steinar Raknes, a player of uncannily responsive precision alongside
regular percussionist Jarle Vespestad, while subtle electronics sometimes create
ghostly horn-player effects." - The Guardian
"For Gustavsen, pieces such as Floytelat and Vaer Sterk, Min Sjel are routes into
the sort of cerebral mysteries that the former church pianist has made his own.
The first is a funereal theme where the notes he sprinkles like raindrops build into
a fatalistic flood. The second, from the Norwegian Hymnal, is played with an
innocent simplicity. Both are equally powerful...Remarkable music, Norwegian
blues." - The Times
"Quietly beguiling release...With lesser artists the uniformity of mood and
reluctance to turn up the volume would pall. But there's an artistry to Gustavsen's
compositions, a skill in their execution, and a warmth to their spirit that keeps the
listener engaged." - LondonJazz News

The East Coast of England is a land living on borrowed time. Time we borrowed from the North Sea, reclaimed a thousand years ago. But now it seems that sea has come to claim it all back. Michael C Coldwell spent three years travelling up and down this rapidly disappearing shoreline, collecting ghost stories, photographing the roads to nowhere, the monumental sound mirrors and pillboxes teetering on the edges of cliffs, making field recordings of the waves and fog signals, and writing mournful electronic music from static caravans. This hauntological project finally culminated in a short essay film entitled Views from Sunk Island - and this new Conflux Coldwell album. More than just a film score, The Phantomatic Coast stretches beyond the original aims of the documentary, to evoke something deeper about our troubled relationship with the sea – the many towns and ships lost beneath the waves, and ancient forgotten lands lying out beyond the windfarms like some Yorkshire Atlantis. Memory and mythology became obvious themes in the work, as did the ruins and remains of the world wars, now slipping beneath shifting sands forever. The Phantomatic Coast will be released via digital platforms and limited edition pressed vinyl in a deluxe gatefold sleeve.

Since its formation in 2010, the Melt Trio has become one of the world's most innovative guitar trios in contemporary jazz. And way beyond. Stylistically speaking: If you like Tortoise, Khruangbin, but also Philip Catherine, Bad Plus or Marc Ribot, you can already look forward to one of the outstanding albums in November of this crisis-ridden year.

On their countless concerts and tours all over the world, the three Berliners have refined their special style more and more and show an even stronger will to create in details. Their combination of acoustic and electronic sounds seems more subtle and at the same time more powerful than ever, specific influences from jazz and classical modernism to post- and prog rock can at best be made out dimly, because the music simply sounds like Melt Trio. It is and remains a guitar trio that does without any comparison. "Melt is neither Nirvana on jazz, nor Bill Frisell Trio in rock, nor Massacre in ambient. Melt is Melt, unique, individual, gripping and moving," it was once said elsewhere.

Her Shadow offers dreamy pop music with moonlight melodies, heavenly hooks and Lynchian twists. The ethereal soundscapes come to life in a dream noir universe oozing with catchy choruses, Morricone motifs and vintage sounds interweave with state of the art production. The birth of Her Shadow was inevitable. Old friends, guitarist-songwriter Tomi Henttunen (Royal Lips) and keyboardist-lyricist (Kuolemanlaakso) had a versatile but very different background in making music but a shared obsession with Twin Peaks and Lana Del Rey. The original idea in 2016 was to combine the best of both worlds, and spice up the mix with film noir and dream-like elements – to make music that they love, but had never done before. They recruited the enigmatic singer Anna Carolina (Royal Lips), drummer extraordinaire Toni Ronkainen (Kuolemanlaakso) and producer-engineer Jaani Peuhu (Swallow the Sun, Lord of the Lost etc.), and recorded a four-song demo. They instantly got signed to Svart Records, and started working on their debut album. After five long years of hard work, it is finally ready to be released upon the world. As they say, good things come to those who wait: The Ghost Love Chronicles will be released on November 11, 2022. The album was produced by musical and visual mastermind Henttunen, mixed by Sampsa Väätäinen (Ismo Alanko, Neøv etc.) and mastered by Jaime Gomez Arellano (Ghost, Paradise Lost, Opeth etc.). The songs range from the mellow Motown mood of Fifth Season to the modern pop banger Kinda Love You, from the Morricone-inspired Vigilante to the nightmarish haunted house thriller What Hides in the Dark and from eerie playfulness of White Lane to ghoulishly beautiful Devil Inside. It remains to see, if The Ghost Love Chronicles will grow into a hit album or a cult classic, but it sure has the potential for both. Slip into something comfortable, open the doors of your perception and enter realm of Her Shadow. HER SHADOW Anna Carolina – lead vocals Tomi Henttunen – guitar, bass, keyboards Markus Laakso – keyboards, backing vocals Toni Ronkainen – drums and percussion Harri Hyvönen – live bass Otto Daavitsainen – live guitar

Her Shadow offers dreamy pop music with moonlight melodies, heavenly hooks and Lynchian twists. The ethereal soundscapes come to life in a dream noir universe oozing with catchy choruses, Morricone motifs and vintage sounds interweave with state of the art production. The birth of Her Shadow was inevitable. Old friends, guitarist-songwriter Tomi Henttunen (Royal Lips) and keyboardist-lyricist (Kuolemanlaakso) had a versatile but very different background in making music but a shared obsession with Twin Peaks and Lana Del Rey. The original idea in 2016 was to combine the best of both worlds, and spice up the mix with film noir and dream-like elements – to make music that they love, but had never done before. They recruited the enigmatic singer Anna Carolina (Royal Lips), drummer extraordinaire Toni Ronkainen (Kuolemanlaakso) and producer-engineer Jaani Peuhu (Swallow the Sun, Lord of the Lost etc.), and recorded a four-song demo. They instantly got signed to Svart Records, and started working on their debut album. After five long years of hard work, it is finally ready to be released upon the world. As they say, good things come to those who wait: The Ghost Love Chronicles will be released on November 11, 2022. The album was produced by musical and visual mastermind Henttunen, mixed by Sampsa Väätäinen (Ismo Alanko, Neøv etc.) and mastered by Jaime Gomez Arellano (Ghost, Paradise Lost, Opeth etc.). The songs range from the mellow Motown mood of Fifth Season to the modern pop banger Kinda Love You, from the Morricone-inspired Vigilante to the nightmarish haunted house thriller What Hides in the Dark and from eerie playfulness of White Lane to ghoulishly beautiful Devil Inside. It remains to see, if The Ghost Love Chronicles will grow into a hit album or a cult classic, but it sure has the potential for both. Slip into something comfortable, open the doors of your perception and enter realm of Her Shadow. HER SHADOW Anna Carolina – lead vocals Tomi Henttunen – guitar, bass, keyboards Markus Laakso – keyboards, backing vocals Toni Ronkainen – drums and percussion Harri Hyvönen – live bass Otto Daavitsainen – live guitar

Issued by Leo Fegin's visionary record label in 1993, this refreshed and revised reissue collection of Hungarian composer Tibor Szemző's chamber pieces with spoken text – composed at 1980s for the legendary GROUP 180 – is unlike anything else of its kind.

No one has survived life. Everyone has died from it so far. Man must realize that He is responsible for His own life and fate and must insist upon this responsibility beyond all limits. And since Man has dissociated Himself from the sphere of irrationality, He has no way of getting in touch with death, or of establishing control over it. How we achieve the final result is merely of secondary importance. If the vision is clear to everyone, there is no need at all to look back. In a time of complete mental disturbance, only one chance remains to us: crystal-clear thinking. This leads us back to total mental disturbance, which everyone has died from so far. (Pavel Havliček – Miklós Erdély – Tibor Hajas)

Text and Music | Language and Speech | Sound and Music

The common basis of the three works by Tibor Szemző heard on this album is the inalienable relationship to text – as an a priori principle. Text and music: the formal attributes of significance, intentions, and levels of meaning inherent in verbal communication as it is transformed into audible code. Language and speech: the structural level of communication, where it becomes purposeful expression, acoustic statements of variable modality. Vocalization as sublimation. Sound and music: By becoming an auditory signal, communication is deprived of its sense and reduced to musical articulation and abstraction.

Skullbase Fracture: Shards of reality – senseless, disconnected fragments of recorded “living speech” – simultaneously disintegrate and merge to create meaning through the musical process, while it is degraded and stylized to represent a single layer of the ambient noise one would hear in a hospitality setting.

Optimistic Lecture: The theses – like a practical, everyday user’s manual to cognitive tendencies and aims as they apply to the entirety of existence – convey their meaning through simplified rhythmic speech, galvanized into commands. As a counterpoint to recited prayers, they comprise a uniform soundscape.

The Sex Appeal of Death: The head-on simplicity of communication creates such extremely reductive musical interrelations that they cannibalize themselves in a necessary and inevitable fashion. And, in this manner, the text as well

Iris DeMent released Infamous Angel in 1992 - Nearly 30 years later, the
album remains among the most singular and fully realized singersongwriter debuts since the invention of that category in the early '70s
The abiding strengths of the album are especially impressive ' even a bit startling '
because 1992 is not a moment usually associated with her intimate brand of
acoustic country music. In country history, the year 1992 is most immediately
affiliated with Garth Brooks, whose album, The Chase, topped both the country
and pop album charts that year, and with Billy Ray Cyrus' 'Achy Breaky Heart,'
which fueled a line dance craze. Squeezed into a playlist alongside such hits,
DeMent's doleful, hushed 'Our Town' would've sounded as if it were being
broadcast from another planet. 'People call me country,' she told journalist Ben
Thompson while on tour in Britain a couple years later. 'But country doesn't call
me country.' Let's call her country. The genre is always more expansive than what
radio stations program. It happened Infamous Angel is close kin to a different
sort of country music that was just then having a moment: specifically, country
singer- songwriters, focusing on personal, but universal, loss and hope and
favoring small acoustic combos. It may have been out of step with the
mainstream, but Infamous Angel arrived right on time

Ron Carter and Richard Galliano decided to risk intercontinental
collaboration for the second time after 1990, when they recorded their
acclaimed album "Panamanhattan" in Paris
Here the French accordion master, whose fingers fly over the keyboard with
acrobatic ease and can make the instrument weep in melancholy or rejoice with
joy. There the American bass wonder, whose deeply tuned strings enhance more
than 2,500 (!) recordings and are among the cornerstones of the complete artistic
works of Miles Davis, Eric Dolphy, Archie Shepp, Herbie Hancock, Aretha Franklin,
Roberta Flack and Antonio Carlos Jobim. Two who have already gained hero
status in their own worlds and can actually only lose when they transgress into
each other's terrain. "Believe me, there is nothing more real than to go on stage
with a gambler," Carter raved about the refreshed liaison with his Gallic buddy.
The two rediscovered the once lost central thread in March 2016 at Jazz Week in
Burghausen as a short intermezzo during a joint appearance with the WDR Big
Band. The provisional climax was then the recording made in Theaterstu?bchen
in Kassel on October 29. Galliano recalled: "Before we got going, I said to him:
"Can you believe it? Twenty- seven years have passed, we are still the same and
I'm still playing the same accordion. To which Ron just responded: "And we have
still same fingers!" With these 20 nimble tools, the two protagonists of the
musical joint venture interact without fear of contact. Neither remains in his
accustomed position. Like two intrepid mountaineers, they balance over a
yawning abyss, perform daring maneuvers and clear the way for each other time
and again. The longer the intimate wanderings of subtle nuances and sensitive,
dancing elegance last, the greater the familiarity seems to be. "Richard really
seizes every rhythmic and harmonic chance," the American marveled about his
French partner. And he replies gallantly: "Ron still looks so young, fresh and
elegant like three decades ago. And he is still enthusiastic, straightforward and
comes straight to the point." An often thoughtlessly used image rarely fits better
than on this very special evening: Ron Carter and Richard Galliano create a
universal musical language, whose vocabulary consists of notes. Risk- free
enjoyment

Heavy-duty Colombian salsa group The Latin Brothers were formed in 1974 by the Discos Fuentes A&R team as a sibling band of Fruko Y Sus Tesos in order to provide the local market with a trombone-heavy ensemble in the mode of the popular Nuyorican Willie Colón orchestra. The band was led by Julio "Fruko" Estrada on bass, featuring basically the same musicians as Los Tesos, minus the trumpets and highlighting the cutthroat trombone work of Gustavo "La Pantera" García. At the time Fruko's Tesos were going through a transition and his talented former lead vocalist, Píper Pimienta, left to sing lead in The Latin Brothers while Joe Arroyo and Wilson "Saoko" Manyoma took over vocal duties in Los Tesos. "El Picotero" was The Latin Brothers' debut album and remains to this day a favorite of salsa dura fans the world over. The album established The Latin Brothers as a bona fide contender in the crowded field of trombone-centric salsa bands taking over the airwaves and dance floors around Latin America. With this bold and brassy record The Latin Brothers would inspire future Colombian salsa orchestras as well as helping establish Medellín as a center of salsa almost as famous as Cali.

Forget your search for a holy grail, THIS is The Lost Ark Of The Covenant.

Walter Gibbons presents 'The Ten Commandments Are The Law Of The Land'
It will melt your face and make you clap yo' hands!
Mythical disco foundations from Sunshine Sound.




Label Info:
Take a journey to the dawn of DJ culture with Sunshine Sound, the NY imprint that through a series of genre defining Disco Edits became recognised as the 'Birthplace of the Edit'.

These 'Disco Adjustments' would become the hottest tracks in a DJ's crate, spawning countless bootlegs & imitations since they first appeared so many years ago.
As influential as these recordings were, most only appeared as acetate discs individually cut in mono & sold direct to DJs.
Some of these were cut in such small quantities it could be debated as to whether they ever really existed at all.
40 years later and all that remains are remakes & rumours...

...or so it was thought.



Sunshine Sound rises again to bring you a series of classic, legendary & mythical Edits.
Travel back with us to re-discover monumental works that helped shape the sound of dance music as we deepen the textures of history with a series of exclusive Digital & limited Vinyl releases selected from the vault.
Sunshine Sound releases are distributed by Moonshine Sound, bringing you antiquities of historical Disconificance.

We would like to present Paloma's seventh release: Tom feat. Rose - Lose Yourself EP
Throughout club music history, the combination of vocals and groove remains a vital element. Countless anthems have prompted singing on the floor, and have raised arms in the air. There might have been times where vocals mattered less, but right now they are probably more needed than ever.
Tom & Rose are well aware of all that, and they were willing to place themselves and their music in a tradition of dancefloor euphoria, universal messages and also a bit of bittersweetness.
Tom is a DJ, producer and mix engineer, and also a booker and resident at Paloma. Rose is an Irish singer and producer. Together they created these tunes, a testament to better times gone and ahead."How Wrong" is the sound of heartbreak, albeit locked in a UKG tinged sureshot that swings back and forth with ease between jubilant piano bliss and monolithic bass weight, and it kicks like a mule. "Lose Yourself" is both an ageless acid slam and a joyful paean dedicated to all nights that should never end. There is a pumping dub too,
equally designed to be the soundtrack to blowing a nocturnal kiss to everyday sorrows.
Also included: complementary remixes by Eluize and Massimiliano Pagliara that come up with a different take, but a similar vision.
Enjoy the music, and stay safe!

No Way Out is the classic rap album helmed by Puff Daddy and featuring his Family of labelmates and trusted collaborators from across the Bad Boy universe and the music industry at large. Debuting in the Summer of 1997, the Grammy Award winning album sold well over half a million copies in its first week of release—securing the Number One spot on the Billboard 200 chart. It also spawned several Billboard Hot 100 singles, including the international chart-topping Biggie tribute “I’ll Be Missing You” which sat in the top spot for 11 consecutive weeks and has the distinction of being the first ever rap song to debut at Number One on the Hot 100 chart.

Originally conceived as an ode to Harlem and a nod to the mob narratives of Scorsese and Puzzo, Puff changed course (and album titles!) following the death of his friend and fellow Bad Boy artist The Notorious BIG. Assembling a powerhouse production team of rotating talent known collectively as “The Hitmen” and stowing away to Trinidad, they spent weeks expanding on the project. What came of those sessions were not only major hit records for No Way Out, but also tracks that appear on Life After Death and various other Bad Boy releases throughout the late 90’s.

Since his debut 25 years ago as a bona fide solo artist, Diddy has gone on to develop countless other talented performers and produce a myriad of projects that reach beyond music into fashion, film and television. Yet and still, No Way Out—which has been RIAA certified 7x Platinum—remains one of Puffy’s most successful, highest grossing albums to date.

Black & Opaque Silver vinyl. ZZK Records Presents Uji's TIMEBEING. A prehistoric tribe dances around the fire. Young revelers lose themselves on a packed dancefloor. Explorers fly a rocket toward another galaxy. In the TIMEBEING universe, these things are all connected. From the earliest days of humanity, people have strived to expand their reality beyond the limitations of the here and now and have used technology to make it happen. Their methods and machines may have changed across the centuries, but the drive remains constant, vibrating through history and occupying a space where time loses all meaning. "The art of making music is the art of manipulating time," says Uji. "I have had experiences where time shifts dramatically; sometimes it slows down to a halt, while moments seemingly become infinite. This is where the magic happens. This is when the fabric of what we call reality begins to show its seams." An Argentinian electronic producer and ethnomusicologist, Uji has been navigating those seams for more than two decades, initially as one half of the pioneering duo Lulacruza, but more recently with his own solo work. TIMEBEING continues that lineage, but also elevates it, taking shape as a interdisciplinary multimedia journey that includes a new album, an accompanying short film, an immersive live show and the birth of a new decentralized community of like-minded artists, creators, seekers, and dreamers. Mesmerizing and deeply psychedelic, the TIMEBEING LP certainly reflects the rich sound palette of Latin America and its intersection with various strains of electronic music but Uji taps into traditions both musical and spiritual that can't be hemmed in by borders and boundaries. Transcendence is the goal, and the album moves through fantastical spaces that may or may not exist: a metallic jungle, a Balkan spaceship, a cloud that morphs into a tumultuous whirlpool. All the while, Uji criss-crosses history, consulting elders and futurists alike as he throws open the doors of perception and pens a new mythology about what it means to be human. Some of that mythology takes shape in the TIMEBEING film. Written by Uji himself, the eight-part opus has been brought to life by Jazmin Calcarami, who makes her directorial debut following years of working as an experimental make-up artist with the likes of Björk and Cirque de Soleil. On stage, the transportive TIMEBEING live show is set to premiere at the Artlab Cultural Center in Buenos Aires, where it will be debuted as a part of a weekly residency this spring. More than just a concert, it's a dazzling theatrical experience, complete with dancers, costume changes, arresting visuals and even an on-stage "ship" (shaped like mollusk) where Uji himself will perform. "What we see on the surface, is only that the surface," says Uji. "There is so much more. Music is the bridge and the possibilities are limitless." Track listing: 1. Mito 2. Oropo 3. Truenatruena 4. QuemaQuema (feat. Nyaruach) 5. Kinto 6. Lunay (feat. Zola Dubnikova) 7. Flechas 8. Sirios (feat. Kristine Barrett)

Futurismo are proud to present a deluxe remastered vinyl package of the classic 1980 album: Red Exposure by the uncompromising Chrome.

Arguably considered the San Francisco bands greatest work, Red Exposure, the fourth album to feature core members Damon Edge

and Helios Creed, was the definitive version of Chrome’s idiosyncratic approach to sound: a projected vision of near future dystopia via an undefinable guise of experimental space rock and punk-tinged alien soundscapes. Here, the band simultaneously draw from the otherworldly noises of their past records, whilst pushing their synthesizers forward into, albeit oblique, pop song structures.


Edge’s vocals are structured more like an instrument than a voice, lyrics painting images of humanities future on the edge of total destruction. As Creed’s guitar work multilayersit’s way into a completely different aural spectrum, beautiful yet violent, slashing against rhythmic pulsations, loops and experimentations, to create a sound that even today feels beyond the here and now. This distillation of the bands repertoire seemed to envision a deconstruction of rock ‘n’ roll, aimed to break past the shell of cliché that it would of course eventually come to inhabit. Which is why despite it’s age Red Exposure remains a record that still sounds like the sonic product of a far off civilisation, making this disk of new wave nihilism vital for fans of Space rock, Krautrock, Throbbing Gristle, Cabaret Voltaire and Suicide.

The deluxe remastered version of this out of print 1980 LP is presented here in ltd edition coloured vinyl. It comes packaged in a chromed mirrorboard sleeve, contains a large screen printed poster printed with neon ink featuring unseen photographs of the band, and a bonus track.

Aggressive Blackened Death Metal with hooks and technical finesse that invokes the Ancient Gods! Aurora Borealis has been around for years (going back to as far as 1994! and it has mostly self-released their albums. Underground fanatics might remember the band reaching out to promote its music on forums back in the day and tracking its progress, each album was a large improvement over the earlier ones. And through time Aurora Borealis had great drummers ranked in its line-ups: Tony Laureano, Derek Roddy and Tim Yeung, which indicates the quality and level we talk about here. Aurora Borealis plays Black/Death Metal, remaining gritty not unlike Angelcorpse, but being more dynamic comparatively. It has got unique themes and the album artworks represent that. As the band name suggests, they are indicative of the Aurora Borealis phenomenon although the band has progressed to involve sci-fi imagery not far removed from Nocturnus, where artworks are concerned. Musically, the band remains true to its original Black/Death sound but it’s doing it with far more potential and competency than the others. The band’s definitely got a solid US death metal sense, it is not flirting too much with the European style of melody-infused death metal as it may appear. One will be surprised to find it so hard-hitting and gravelly and yet be rife with some of the most driven and enthusiastic activity. It is not solely focused on being technical (which in a way it is) but it is varied and it is catchy. Floridian Death Metal bands have much in common with the way Aurora Borealis structures its songs and there is the ever-present Morbid Angel influence, infected with some early Malevolent Creation rabidity. This is what makes death metal so good, few could contest with that. It’s got Death Metal in its genes, but Aurora Borealis takes the vitriol from Black Metal especially in the vocal department and gives the music an edge that is hard to miss. Here there is that special spice, that sizzling quality that comes from the rasps, adding a certain Thrashiness to it as well. The hooks make this album special, because writing good songs can be safely left in the hands of founding member Ron Vento.

The Microphones, Bon Iver, Lomelda, Vegyn, Hovvdy, Dijon. “Lemon Cream” vinyl is for Indies Only. Follow up to 2019’s critically acclaimed ‘bunny’. Sam Hall’s new album as ghost orchard, ‘rainbow music’, is a collage of patience and meditation. It’s filled with nuances as quietly imperceptible as the seasons, or the profound movement of time, where one day looking back you realize your whole spirit has shifted. Where 2019’s critically revered ‘bunny’ was a love letter to a romantic relationship, ‘rainbow music’ documents the culmination of Hall’s first personal experience with loss in several forms. At the end of 2020, his longterm childhood pet passed away, and with it the last continuing threads of familiarity between being a kid and adulthood. Still based in the Grand Rapids, Michigan town he’d grown up in, the static ease of familiar living seemed to be coming apart at the seams, as friends moved on to bigger cities, relationships shapeshifted and in a short period of time, another kitten he’d adopted passed away prematurely, leaving Hall to question the trajectory in which he himself was headed. Like “songs in the key of life,” the title ‘rainbow music’ refers to the myriad of colors and qualities within Hall that are refracted throughout. It’s a symbolization of hope and the aftermath, the flickering light at the end of the tunnel (or “when a rainbow shows up after a big storm”). “Wish I could have fun anymore,” Hall ruminates on “dancing”, as well as confessing he “wish he made more upbeat bangers.” But reality packs more of a punch, and this collection of songs sees him finally be at peace with the current state of affairs. Relatable to anyone who has contemplated what it means to settle down, or even just catch your breath in an era where anguish is commonplace, the release of ‘rainbow music’ is a happy ending in its own right, a marker of survival that remains close to the bone. // Ghost Orchard’s “bunny” is a blushing, beatific beat. - The FADER // Fluttering and transportive, a swirl of beats and plucky guitar and strings that feels like a cocoon. - Stereogum // Hip-hop inflected, stream-of-consciousness confessionals that’ll have you swooning in the lazy summer sunlight. – Paste // Track listing: 01. Rest 02. Jessamine 03. Cursive 04. Maisy 05. Cut 06. soot 07. memory storage 08. Dancing 09. bruise 10. sweet song 11. comfort (rainbow)

The Microphones, Bon Iver, Lomelda, Vegyn, Hovvdy, Dijon. “Lemon Cream” vinyl is for Indies Only. Follow up to 2019’s critically acclaimed ‘bunny’. Sam Hall’s new album as ghost orchard, ‘rainbow music’, is a collage of patience and meditation. It’s filled with nuances as quietly imperceptible as the seasons, or the profound movement of time, where one day looking back you realize your whole spirit has shifted. Where 2019’s critically revered ‘bunny’ was a love letter to a romantic relationship, ‘rainbow music’ documents the culmination of Hall’s first personal experience with loss in several forms. At the end of 2020, his longterm childhood pet passed away, and with it the last continuing threads of familiarity between being a kid and adulthood. Still based in the Grand Rapids, Michigan town he’d grown up in, the static ease of familiar living seemed to be coming apart at the seams, as friends moved on to bigger cities, relationships shapeshifted and in a short period of time, another kitten he’d adopted passed away prematurely, leaving Hall to question the trajectory in which he himself was headed. Like “songs in the key of life,” the title ‘rainbow music’ refers to the myriad of colors and qualities within Hall that are refracted throughout. It’s a symbolization of hope and the aftermath, the flickering light at the end of the tunnel (or “when a rainbow shows up after a big storm”). “Wish I could have fun anymore,” Hall ruminates on “dancing”, as well as confessing he “wish he made more upbeat bangers.” But reality packs more of a punch, and this collection of songs sees him finally be at peace with the current state of affairs. Relatable to anyone who has contemplated what it means to settle down, or even just catch your breath in an era where anguish is commonplace, the release of ‘rainbow music’ is a happy ending in its own right, a marker of survival that remains close to the bone. // Ghost Orchard’s “bunny” is a blushing, beatific beat. - The FADER // Fluttering and transportive, a swirl of beats and plucky guitar and strings that feels like a cocoon. - Stereogum // Hip-hop inflected, stream-of-consciousness confessionals that’ll have you swooning in the lazy summer sunlight. – Paste // Track listing: 01. Rest 02. Jessamine 03. Cursive 04. Maisy 05. Cut 06. soot 07. memory storage 08. Dancing 09. bruise 10. sweet song 11. comfort (rainbow)

The Microphones, Bon Iver, Lomelda, Vegyn, Hovvdy, Dijon. “Lemon Cream” vinyl is for Indies Only. Follow up to 2019’s critically acclaimed ‘bunny’. Sam Hall’s new album as ghost orchard, ‘rainbow music’, is a collage of patience and meditation. It’s filled with nuances as quietly imperceptible as the seasons, or the profound movement of time, where one day looking back you realize your whole spirit has shifted. Where 2019’s critically revered ‘bunny’ was a love letter to a romantic relationship, ‘rainbow music’ documents the culmination of Hall’s first personal experience with loss in several forms. At the end of 2020, his longterm childhood pet passed away, and with it the last continuing threads of familiarity between being a kid and adulthood. Still based in the Grand Rapids, Michigan town he’d grown up in, the static ease of familiar living seemed to be coming apart at the seams, as friends moved on to bigger cities, relationships shapeshifted and in a short period of time, another kitten he’d adopted passed away prematurely, leaving Hall to question the trajectory in which he himself was headed. Like “songs in the key of life,” the title ‘rainbow music’ refers to the myriad of colors and qualities within Hall that are refracted throughout. It’s a symbolization of hope and the aftermath, the flickering light at the end of the tunnel (or “when a rainbow shows up after a big storm”). “Wish I could have fun anymore,” Hall ruminates on “dancing”, as well as confessing he “wish he made more upbeat bangers.” But reality packs more of a punch, and this collection of songs sees him finally be at peace with the current state of affairs. Relatable to anyone who has contemplated what it means to settle down, or even just catch your breath in an era where anguish is commonplace, the release of ‘rainbow music’ is a happy ending in its own right, a marker of survival that remains close to the bone. // Ghost Orchard’s “bunny” is a blushing, beatific beat. - The FADER // Fluttering and transportive, a swirl of beats and plucky guitar and strings that feels like a cocoon. - Stereogum // Hip-hop inflected, stream-of-consciousness confessionals that’ll have you swooning in the lazy summer sunlight. – Paste // Track listing: 01. Rest 02. Jessamine 03. Cursive 04. Maisy 05. Cut 06. soot 07. memory storage 08. Dancing 09. bruise 10. sweet song 11. comfort (rainbow)

repress

Levon Vincent returns with his fourth full-length studio album Silent Cities a striking departure from his previous records. This, his first release experimenting with the cassette format, Silent Cities is a kind of mixtape through more private moods and personal pitches (literally given Levon’s non-standard tunings).

While Levon has always pro
duced dance floor jams with the intention of raising people’s heart rates, Silent Cities began with 72 bpm: his average resting heart rate, and the concept of tuning the music he was making to his own body rather than increasing anything. This brought the tempos down to 72 bpm or even half of that, at 36bpm. Programming the record during the empty cityscape of Berlin lockdowns, this is the first time Levon’s created an album for the home stereo or for headphone listening whilst navigating through a city. A mixtape specialist in his youth; he was always wanted to play with the cassette format. The results are sure to delight any listener, with the ever-present ambient, krautrock, shoegaze, hip-hop and electro influences coming to the foreground on this work.

“I was expanding further along the lines of a surprise favourite from my previous LP, a song called She Likes To Wave To Passing Boats which was not a 4 on-the-floor piece to play in clubs but a more impressionistic piece of music that I wrote to expound some emotions one day” says Levon. “It was a song written using just intonation. I really love how warm the pure 4ths sound, so when working on the new LP Silent Cities I decided to use my own tunings”.

Historically, the use of just intonation has meant that such instruments could sound "in tune" in one key but at the expense of more dissonance in the other keys. None of the songs on Silent Cities use standard Western equal temperament, Levon created his own scale designs coupled with the ancient ratios found in just intonation.

Born in Houston in 1975, Levon’s life changed dramatically when his parents moved their family to New York in 1981, uprooted from what he knew, the shock, the change from Houston to New York at 6 years old, is referred to constantly in Levon’s Musical output over the years. Levon's family moved houses in and around NYC from 1981 -2010, never more than a mile or two from the WTC. He lived on the Lower East Side during his teenage years and early 20s. This time period and this locale are also a big theme recurrent in his music as he tries to convey how the "downtown" lifestyle and culture-melding affected him so much at a tender age. He cut his teeth working in record shops around lower Manhattan, and while working at the Halcyon Record shop in Brooklyn he (alongside DJ Jus-Ed) was instrumental in creating the wave that came to be known as the "NYC House Renaissance" circa 2010. During the Y2K years he studied 20th C post-minimalism at Purchase college of New York under James McElwaine (who tangentially produced Man Parrish’s Self-Titled proto-hip-hop debt LP). Levon was fortunate to study theory with avant-garde composer Dary John Mizelle and orchestration under conductor Joel Thome. He undertook masterclasses with Philip Glass and also served as intern for John Kilgore, engineer for Steve Reich, where he was present for notable mix sessions such as “Violin Phase.”

Post-minimalism clearly remains an influence not to mention the early sampler stars of 80s freestyle and synth pop. Mixing such far-reaching influences is something Levon executes tremendously well. The first track Everlasting Joy moves at a head nodding 96 BPM tempo, reflecting formative influences like Paul Hardcastle’s Rainforest or Art Of Noise’s Moments in Love. “Those types of songs were a big eye opener for me as a youth, because it was where I realised songs in popular culture didn’t have to be kept to just 3 minutes, and they didn’t require vocals either. So, Everlasting Joy is a song with that intention, one that might be radio-friendly, despite the long arrangement and without vocals. You could say it was inspired by 107.5 in NY because that was a station I listened to a lot in the 1980’s.”

The majority of demos on Silent Cities were recorded before Covid-19 hit the world - when Levon had found a studio space outside of home in his adopted city of Berlin. It was a career first - working on music outside the bedroom. This riding the train or bicycling ‘going to work’ in Berlin opened up a new mood in his music, using the time back and forth to be inspired - commuting as an NYC transplant who still feels as a tourist in Berlin, with a pair of headphones, looking out the window on the train, or stopping on bridges and parking his bike to enjoy Berlin's skyline and horizon. Then, the pandemic struck and “work” came to a halt. Levon had recorded so much material during that year in the studio out of house it seemed like an inflection point for him to lighten the burden of the possessions he was carrying.

“People close to me have watched me give away synths and hardware regularly and I have given away my record collection every few years for my whole life. As a struggling artist in my 20s who had worked in record stores that whole time, I learned that moving constantly with 12k records just wasn't the way to live. So, in light of the pandemic, I set up a shop online, and sold all my music equipment. I also created a separate shop for all my sneakers and clothes. Easy come, Easy go. This provided me with a slow drip type of income that carried me quite well through the pandemic and it allowed me to focus on my own art and music. Getting rid of all my possessions felt like a weight being lifted from my shoulders and I was able to stay the course and remain committed to the music. I needed a further 2 years to mix and arrange the LP. If it weren’t for the pandemic, I would not been able to make this type of LP, so in light of everything, I was able to turn a depressing time in to something lasting and musically very positive.”

You can hear how his approach to a cassette release retains the "Medium is the Message." ethos. Silent Cities is a spooling, warm piece about life memories and embodiment.

Anyone who's cast even the most casual eye over their ever expanding catalogue will have realised that one thing Past Inside The Present do best is bring artists together for unexpected and inspired collaborations. Departing in Descent is the first collaboration between James Bernard and Bvdub but their creative conversation effectively started as far back as 1994 when the latter bought Bernard's Atmospherics album in 1994 when it was "mistakenly stocked" in his local house music store. He says it was and remains his favourite ambient album, so when the pair found themselves crossing paths for one night in LA years later, a collaboration was the only logical conclusion. The results are more organic and friendly on the ear than some ambient offerings, with real instrumentation meshed with walls of woozy synths and delays, but no less fantastical and ambitious for it.

A NEW, STELLAR & ECLECTIC JOURNEY OF OLD METAL IN THE
DARKTHRONE ODYSSEY
From their formation back in 1986, to becoming one of Norway's finest musical
exports (with a number of highly revered black metal masterpieces released in
the early 90's helping to solidify their legacy), Darkthrone has continued to evolve
& challenge in equal measure, throughout their illustrious recording career
spanning over three decades. And now, the ever- productive duo of Nocturno &
Fenriz continue their own metallic saga with a new selection of fine, vintage
sounding headbanging classics in the making. 'Astral Fortress' is itself a swift
follow- up to 2021's 'Eternal Hails' opus, because of Darkthrone's consistent &
ongoing writing process, which has been in force for some years now. For
Darkthrone does not sleep - it only waits.
Carried on the brisk wind of eager rock, with foundations in black, thrash, doom &
heavy metal, 'Astral Fortress' is the latest album of stellar, eclectic old metal in the
Darkthrone odyssey. With a seemingly endless dungeon full of heavy metal
influences channelled through Darkthrone's dynamic riff-machine, plus also with
many increasing inspirations taken from their own past catalogue, Darkthrone
has truly become its own beast within the metal world. Even though sprinkled
with atmospheric touches such as synthesizers & mellotron on 'Astral Fortress' to
great effect, the Darkthrone sound remains stripped down to the core; always
primitive & organic.
'Astral Fortress' was recorded at Chaka Khan Studios in Oslo, the same location
used for the 'Eternal Hails' album, with Ole Øvstedal & Silje Høgevold.

10” black vinyl + DL card.

Josephine Foster's peculiar 2000 home recorded debut There Are Eyes Above is an essential introduction to her music that’s unfolded now for over two decades. Released for the first time on vinyl, this limited edition 10-inch pressing comes packaged with brand new artwork and is adorned by one of Josephine’s illustrations. Lo-fi and unaffected by tradition or commercialism these initial recordings are sepia-tinted, folk-art music with powered by uke minimalism; it’s outsider music that still doesn't fit in. Just 30-minutes caught in time before her 2001 follow up Little Life - this humble first incarnation includes here for posterity super personal lullabies and a glimpse into her songwriting evolution. It’s music from an era that only exists in your mind, with a bow to Tin Pan Alley for good measure. This super rare collection, originally only released on CDR and sold at shows, remains an essential part of the curious oeuvre of this unique songwriter and singer. “A dissonant soprano and lyrics about benevolence and old-time faith, Foster expertly weaves ancient and modern” The Guardian. Track listing: Side A 1 One Hundred Songs I Sing 2 Emily Told Me 3 Teeter Totter 4 Little Life 5 I Am A Guest In Here. Side B 6 Robber Song 7 Hey Matthew 8 There Are Eyes Above 9 Godcake 10 Yippee I'm Leaving 11Two Not One

Following the recently released and highly praised Trees 50th Anniversary box set on Earth Recordings, Trees reissue their second album as a standalone release. “A beautiful hybrid, Trees found a unique space between intimate folk and freewheeling psychedelia. Musically ambitious yet brilliantly balanced, they have left an enduring legacy for those lucky enough to be in on the secret” Edd Gibson, Friendly Fires. It’s now over fifty years since Trees’ formation, a band who helped define ‘Acid Folk’, creating a sub-category in the lexicon of record dealers and music critics alike. Released just months after their debut second album, ‘On The Shore’ sees a shift from the first record into something darker and more ambivalent with an arcane Englishness. The product of an era characterised by clunky polemic, arcadian sentimentality or English fuzzy-felt surrealism, the album, like all classic records, is so much greater than the sum of its parts. Opening with ‘Soldiers Three’, learned from Dave Swarbrick, the album includes another traditional tune and one of the definitive moments in English folk rock ‘Polly On The Shore’ alongside ’Sally Free and Easy’ and ‘Streets of Derry’. // “The music’s arcane power remains intact” Mojo // “A fantastic band” Record Collector. // “Spectacular” Uncut. // “Sublime” Shindig. // “Timeless” Prog. // “It’s these two original albums that stand as pinnacles of form” The Wire. // Track listing: A1. Soldiers Three A2. Murdoch A3. Streets Of Derry A4. Sally Free And Easy B1. Fool B2. Adam's Toon B3. Geordie B4. While The Iron Is Hot B5. Little Sadie B6. Polly On The Shore

One of the most distinctive recordings of the early 2000s, Jon Brion's one
and only solo album Meaningless is a master course in power popinspired art rock songwriting and production
Uniting psychedelic rock, classic songwriters, tape loop soundscapes, and
chiming folk jangle, the record offers a vivid backdrop for Brion's wry
observations on love, reality, and the elusive quality of meaning €"all that plus a
mind-bending Cheap Trick cover. More than two decades later, its emotional core
remains undiminished by year's spent in the major label wringer, both before and
after its creation. Like his work with artists including Aimee Mann, Fiona Apple,
and Elliott Smith, Brion's songs offer depth and resonance, and like his
soundtrack work on films like Magnolia, Punch Drunk Love, I Heart Huckabees,
and Eternal Sunshine of the Spotless Mind, its scope is widescreen. Remastered
and artist approved, Meaningless can finally be heard the way Brion intended.

Sasu Ripatti, now sporting the new "Ripatti Deluxe" moniker, presents his very own abstract take on early rave and happy hardcore. "Speed Demon" marks the first release on Ripatti's newly launched label "Rajaton".

The Finnish word ”raja” has multiple meanings. It could refer to a ”border”, ”limit”, ”boundary”, or even ”capacity” if understood broadly. It feels that ”border” is the first interpretation that comes to mind when the word is met in isolation of additional context. It often includes political energy of some sort. Or perhaps it’s just this particular point in time that leads the mind into such field of thought.

As the Dutch author Rutger Bregman notes in his book Human Kind – A Hopeful History, the real trouble with people began when the first person had the idea of drawing a line on sand and claiming ownership of the area on their side. The concept of physical borders was born.

Naturally, there are mental borders, as well. Think about all the things you shut out because they’re ”not for you”. They are numerous and we do it all the time. The issue is not to stop that, but to recognize when to let new things in, even if they’re not commonplace. Mental borders might often be easier to rewrite than physical ones, but the challenge remains a real one.

That’s where the derivative form ”rajaton” comes to play. By simply adding the ”-ton”, all borders, limits, boundaries and capacities are lifted in an instant. We have something ”borderless” instead, and are thus free to expand our thinking.

One could argue that the word ”rajaton” implies not the removal of borders but instead their very non-existence at large. How will our mind work when the concept of borders doesn’t even enter the conscious thought?

Mental borderlessness is a truly fascinating concept. A maximalist array of opportunities and potential ideas enters the picture – one which is also limitless, unlimited, sans boundaries, and also without a danger of being depleted. It’s an all-existence of multitudes where hierarchy also starts to deteriorate, giving way to a new form of full understanding without judgement.

Music is one fine place for such thinking, especially when thinking about the role of the listener. Occupying a much more active position than is generally recognized, the listener can greatly benefit from borderless thinking, and thus help to enhance the collective perceived significance of any given body of work. When there are no boundaries, the interpretation remains unchained and honest.

Basically it was all already said by the late revolutionary jazz pianist Burton Greene: ”Borders are boring!”

Simon Crab's Invisible Cities album explores the outer edges of ambient, electronic, soundscapes, industrial, dub, and beyond.
This was recorded at his Hastings studio in 2021.

Additional percussion from Fritz Catlin & David J Smith, vocals by Ksenia Sadovski.

Artwork Simon Crab

Mastering Justin Drake

A prehistoric tribe dances around the fire. Young revelers lose themselves on a packed dancefloor. Explorers fly a rocket toward another galaxy. In the TIMEBEING universe, these things are all connected. From the earliest days of humanity, people have strived to expand their reality beyond the limitations of the here and now_and have used technology to make it happen. Their methods and machines may have changed across the centuries, but the drive remains constant, vibrating through history and occupying a space where time loses all meaning. "The art of making music is the art of manipulating time," says Uji. "I have had experiences where time shifts dramatically; sometimes it slows down to a halt, while moments seemingly become infinite. This is where the magic happens. This is when the fabric of what we call reality begins to show its seams." An Argentintian electronic producer and ethnomusicologist, Uji has been navigating those seams for more than two decades, initially as one half of the pioneering duo Lulacruza, but more recently with his own solo work. TIMEBEING continues that lineage, but also elevates it, taking shape as a interdisciplinary multimedia journey that includes a new album, an accompanying short film, an immersive live show and the birth of a new decentralized community of like-minded artists, creators, seekers, and dreamers. Mesmerizing and deeply psychedelic, the TIMEBEING LP certainly reflects the rich sound palette of Latin America_and its intersection with various strains of electronic music_but Uji taps into traditions_both musical and spiritual_that can't be hemmed in by borders and boundaries. Transcendence is the goal, and the album moves through fantastical spaces that may or may not exist: a metallic jungle, a Balkan spaceship, a cloud that morphs into a tumultuous whirlpool. All the while, Uji criss-crosses history, consulting elders and futurists alike as he throws open the doors of perception and pens a new mythology about what it means to be human. FOR FANS OF: Floating Points, Four Tet, Oneohtrix Point Never, Actress, Nicola Cruz, Dengue Dengue Dengue, Nicolas Jaar, Mount Kimbie, Mucho Indio.

After a crush at the Brussels World Fair in 1900, King Leopold II decided, for his own personal pleasure, to have the Japanese Tower and Japanese Gardens built. In order to create this little relocated Asian paradise, he had the wood, sculptures, paintings, ornaments, trees, workers, and their know-how imported. For a few years, he invited his entourage to enjoy it during large banquets and private receptions. He then had the idea of transforming the Japanese Tower into a luxury restaurant, but he died. This magnificent place remains closed to the public except during an annual opening.

"A Story of a Global Disease" is a short tale about artificial paradises of globalization, a melancholic walk through the exotic relics of free trade, where whim, appropriation, and appearances take precedence over otherness. Here, geishas eat chips, Europeans confuse Tokyo and Beijing, and tribal ceremonies begin with samples and drumkits.

These tracks have been initially recorded for the “ON THE GO” Beursschouwburg’s project in Oct. 2020. It has been originally and properly released on shiny pinky tape by the fantastic Bamboo Shows imprint and includes an unreleased track (Walk With Your Romance).

Naomie Klaus is a young artist from Marseille based in Brussels. In love with performance, constantly flirting with cinema and acting, Naomie seems to conceive her music as a big playground, a free zone of mischief in which she likes to experiment and interpret different identities, different characters. The result is funambulistic, a hybrid and synthetic form of a thousand influences that we can't really characterize: 90' Techno, loud Trip-hop, languid Pop, nonchalant Post-punk, dracular mass... Naomie Klaus doesn't know on which foot to dance and invites us to join a zone of in-between, has fun to plunge us in her strange tales for adults, where the princesses we meet are armed, hysterical, nymphos and badly dressed.

Following a B.F.E proposal to release on a limited vinyl edition, Teenage Menopause from France & Moli Del Tro from Brussels joined the project. Rude66 remastered these gems and Harrisson made the artwork.

REPRESS

“Sketches of Spain since its release in 1960 has been one of the most widely distributed and popular of all jazz records. Even people who don’t collect jazz records tend to have a copy tucked away somewhere.” - Penguin Guide To Jazz

“Sketches of Spain remains, and rightly so, one of the jewels of Miles Davis’ discography.” - Jazz Magazine (France)

“This recording is one of the most important musical triumphs that this century has yet produced. It brings together under the same aegis two realms that in the past have often worked against one another - the world of the heart and the world of the mind. To Davis and Evans goes not the distinction of five or 10 or a zillion stars in a review rating, but the burden of continuing to show us the way.” - Bill Mathieu, DownBeat

Following on from last year’s acclaimed Sylva Sylvarum, the epic double LP from Ora Clementi (her collaborative project with James Rushford), crys cole returns to Black Truffle with Other Meetings. Originally commissioned and released on cassette by Boomkat Editions in 2021, Other Meetings is a major addition to the body of carefully hewn solo work cole has released over the last decade, offering up two side-long suites of her radically intimate approach to sound. After many years dominated by touring and travel, cole found herself in lockdown in her Berlin apartment, working in a limited space with minimal equipment. Digging through archives of recordings taken overseas and exploring the sonic potential hidden in the objects surrounding her (including a coffee pot and a vase of dying flowers), she crafted what in her liner notes she calls ‘an internal dérive, a journey that drifted through many places without a defining compass’. Totalling over 50 minutes, the two pieces unfold at an unhurried pace, each containing four individually titled subsections. Beginning with a sequence of the highly amplified small sounds characteristic of much of cole’s work, the opening moments of ‘The time between two durations of sleep’ are underpinned by a gentle rocking motion, weaving together contact mic crunch, metallic resonance, glimpses of bird song, and isolated drum machine hits, the sonic space expanding and contracting as focus moves between elements. Briefly side-lined by a tactile but unplaceable sizzling, this complex weave of voices then returns in a kind of dubbed-out ‘version’, the percussive accents echoing around the stereo space. In one of the record’s most beautiful and unexpected moments, these sounds are joined by a sparse melodic line performed on a broken 1980s digital synth, the vaguely New Age timbres being taken on a long, tonally ambiguous wander. Cole’s immersion in memories of travel comes to the fore in the final section of the first side, titled ‘Wat Paknam’ after a royal temple in Bangkok, where snatches of voices, ringing bells and distant waves of chanting blur together with synth tones into an increasingly abstracted wave of sound. The second side, ‘Slices of cake’, opens in a similarly hallucinatory outdoor space of echoing bird song and liquified traffic before abruptly zooming in on a microscopic world of subtly processed and highly amplified objects, explored with a starkness and quiet insistence that calls to mind the fringe not-quite-concrète of outsiders like Paul A.R. Timmermans or Knud Viktor, whose obsessive interrogation of dripping water might also serve as a point of reference for the following sub-section, the aptly titled ‘magischer Abfluss’ (magic drain).

While Other Meetings develops many aspects of cole’s previous work – the hyper-magnification of small gestures, the unsettling edits and fades partly inspired by hypnagogic states, the location recordings smeared into oneiric haze – it is almost as if these pieces are somehow songs, the remnants of an evaporated music of which nothing remains except isolated hits from a synthetic drum, a handful of notes, or simply a duration of emptied atmosphere. Radically reductive yet deeply musical, Other Meetings is a major work from an artist driven by an uncompromising and idiosyncratic vision.

Presented with an inner sleeve with photos and liner notes from the composer and remastered audio.

Unavailable on vinyl for over 20 years, ‘Sings Reign
Rebuilder’ was the stunning 2001 debut LP from Set Fire To
Flames - a sprawling, adventurous 13-piece Montreal
collective, including seven members of Godspeed you black
emperor! plus others from bands like A Silver Mt Zion, Fly
Pan Am, etc.
The sole reason FatCat’s 130701 imprint was founded, the
LP remains an incredible and unique document. Recorded
over a five-day period in a rickety old house in a communal
atmosphere of long-duration improvised creative activity,
operating on no sleep / confinement / intoxication, it was
brilliantly edited to mix post-rock guitar-scapes; extended
passages of scratchy, freeform improv and concrete
clatterings; atmospheric location recordings; stirring,
chamber string arrangements; deep/sparse drones; and
Kraut-like, heavily rhythmic workouts.
Described on its release by TimeOut as “one of the most
broodingly beautiful, dramatically emotional, hauntingly
evocative albums likely to ever scrape at your soul… This
record will kill you”; and by Pitchfork as “a gripping testament
to the power of emotional expression in music... a
marvelously inventive and powerful album.”
Perhaps the most dynamic and adventurous record to come
out of the early 2000s Montreal scene around Godspeed you
black emperor!.
Long-awaited first ever reissue of a classic album, which sold
out of its original (only) pressing within weeks of its release
on 15th October 2001 and has been unavailable since.
Remastered at Dubplates & Mastering and issued in a
heavyweight black vinyl double LP edition, including lavish
gatefold packaging, 20th Anniversary-branded OBI strip and
original 24-page 7” x 7” booklet with full colour print and eight
tracing-paper pages plus full digital download coupon.

CELEBRATING SUN RECORDS - THE LABEL WHERE ROCK 'N' ROLL WAS BORN! The Rock 'n' Roll Collection features 40-songs from the most important record label in the history of music, with everyone newly remastered from the original Sun Records master tapes. A comprehensive introduction to some of the most iconic and influential music ever recorded. These are the list remaining copies of the strictly limited edition pressed on orange vinyl exclusive to UK retailer Sainsbury’s. Elvis Presley introduced the rockabilly sound to the world in 1954 with the recordings he made at Sun Records. These epitomised the famous “Sun sound” and set the scene for the rock ‘n’ roll explosion to follow. This raw and exciting new sound was a remarkable fusion of white country music and black R&B and quickly found an eager audience with the youth of the day. Presley’s extraordinary success at Sun Records led to the tiny Memphis-based label becoming a magnet for aspiring rockabilly singers from all over America’s South. Despite a relatively short heyday, that “Sun sound” has endured the test of time and remains as popular as ever with listeners of all age groups. As well as featuring Elvis and such other household names as Jerry Lee Lewis, Johnny Cash, Carl Perkins, Charlie Rich and Roy Orbison, the gatefold-sleeved double-album also includes significant contributions from the label’s other important artists such as: Billy Lee Riley, Sonny Burgess, The Miller Sisters, Warren Smith, Malcolm Yelvington, Jimmy Wages, and Earl Hooker. Includes such all-time rock ‘n’ roll classics as: Mystery Train, That’s All Right, Blue Suede Shoes, Great Balls Of Fire, I Walk The Line, Yakety Yak, Rock Island Line, Good Rockin’ Tonight, Red Hot, Ooby Dooby, Whole Lotta Shakin’ Goin’ On …and many more!

CELEBRATING SUN RECORDS - THE LABEL WHERE ROCK 'N' ROLL WAS BORN! The Rock 'n' Roll Collection features 40-songs from the most important record label in the history of music, with everyone newly remastered from the original Sun Records master tapes. A comprehensive introduction to some of the most iconic and influential music ever recorded. These are the list remaining copies of the strictly limited edition pressed on orange vinyl exclusive to UK retailer Sainsbury’s. Elvis Presley introduced the rockabilly sound to the world in 1954 with the recordings he made at Sun Records. These epitomised the famous “Sun sound” and set the scene for the rock ‘n’ roll explosion to follow. This raw and exciting new sound was a remarkable fusion of white country music and black R&B and quickly found an eager audience with the youth of the day. Presley’s extraordinary success at Sun Records led to the tiny Memphis-based label becoming a magnet for aspiring rockabilly singers from all over America’s South. Despite a relatively short heyday, that “Sun sound” has endured the test of time and remains as popular as ever with listeners of all age groups. As well as featuring Elvis and such other household names as Jerry Lee Lewis, Johnny Cash, Carl Perkins, Charlie Rich and Roy Orbison, the gatefold-sleeved double-album also includes significant contributions from the label’s other important artists such as: Billy Lee Riley, Sonny Burgess, The Miller Sisters, Warren Smith, Malcolm Yelvington, Jimmy Wages, and Earl Hooker. Includes such all-time rock ‘n’ roll classics as: Mystery Train, That’s All Right, Blue Suede Shoes, Great Balls Of Fire, I Walk The Line, Yakety Yak, Rock Island Line, Good Rockin’ Tonight, Red Hot, Ooby Dooby, Whole Lotta Shakin’ Goin’ On …and many more!

The FIXX has been heralded as one of the most innovative bands to come out of the “MTV” era. For four decades, the style and substance of the band has always created a special connection with its audience. The FIXX’s themes are often complex, introspective and thought-provoking, but not without widespread mass appeal. The band has garnered three #1 hits, five more in the Top 5 and a dozen which reached the Top 10. With millions of albums sold worldwide, songs such as “One Thing Leads To Another,” “Red Skies” and “Saved By Zero” remain everyday staples on the playlists of the Rock, AAA and Alternative radio stations that continue to break new acts inspired by the era that The FIXX helped to define. The FIXX’s classic lineup remains intact, Cy Curnin (vocals), Jamie West-Oram (guitar), Rupert Greenall (keyboards), Dan K. Brown (bass guitar) and Adam Woods (drums). The alt rock pioneers return with their new studio album EVERY FIVE SECONDS,their first in nearly a decade, on June 3, 2022!

The most beautiful themes of the famous science fiction universe Star Wars created by the American director George Lucas are now gathered in this exclusive vinyl record! First conceived as a cinematic trilogy in 1977, the franchise now counts films, series, novels and other goodies taking place «a long time ago in a galaxy far far away» in which a conflict between Jedi knights and Sith warriors remains.

The award-winning Star Wars soundtrack composed by John Williams and inspired by Wagner’s operas has influenced the greatest film musics. They are performed by The City of Prague Philharmonic Orchestra.

Criminal Heart is not just another album from another Singer-Songwriter
According to Beth Nielsen-Chapman, "This is what killer songwriting sounds like"
Legendary guitarist Robben Ford describes it as "Absolutely beautiful."And Chris
Difford reckons it's the work of a "Fantastic and special singer-songwriter."This is
a 'coming of age' album from Hollie Rogers, who remains, by choice, completely
independent. Known already for the candid, confessional nature of her songs and
for live performances that make audiences laugh and cry, Hollie refers to the
album, which has been 5 years in the making, as her "baby." She says, "I'm not
having a human one. I'm proud to have nurtured this one instead; it's got a great
personality and there's absolutely no poop."
The album is the most impressive showcase to date of Hollie's songwriting
prowess, with each song framing insight into a cohesive story; one that reveals
itself more and more with each and every line of lyric. Love, lust and selfdiscovery are some of the key themes tightly bound together throughout, as an
added maturity reveals itself in the record's strong melodies, satisfying harmonic
structures, and hooky choruses. (Try listening to 'Sinner' or 'Love' without them
becoming earworms.)
Criminal Heart was produced at Masterlink Studios, Surrey - with a cast list of A
Grade players in the shape of Masterlink's House Band. Their CV's run like a
'who's who of music' - think Elton John to Herbie Hancock - and, much to Hollie's
particular delight… The Spice Girls. She admits, "Much as I may profess my
influences to be exclusively the likes of Joan Armatrading and Joni Mitchell, I
can't deny there's probably a smidge of Spicefluence hidden in there somewhere.
Girl Power!"
But spice aside; this is no 90s pop record. Indeed, US guitar legend Robben Ford
and UK chart- topper Jamie Lawson make guest appearances, as does a track
produced by 4- time Grammy- Nominated James McMillan. All serving to add
some particularly tasteful icing to a not- inconsiderable cake. (Or more likely, a
pasty - since Hollie is from Penzance, Cornwall. It's no coincidence that her name
rhymes with a famous Pirate Ship.)

In the kitchen of the Byron Bay home of Winston McCall stands a
refrigerator, adorned on one side by a quote from Tom Waits: "I want
beautiful melodies telling me terrible things."This, the PARKWAY DRIVE
vocalist says, is a pretty good summation of himself
It holds true, too, as one of the guiding principles behind Darker Still, the seventh
full- length album to be born of this picturesque and serene corner of northeastern NSW, Australia, and the defining musical statement to date from one of
modern metal's most revered bands.Darker Still, McCall says, is the vision he and
his bandmates – guitarists Jeff Ling and Luke Kilpatrick, bassist Jia O'Connor
and drummer Ben Gordon – have held in their mind's eye since a misfit group of
friends first convened in their parents' basements and backyards in 2003. The
journey to reach this moment has seen Parkway evolve from metal underdogs to
festival- headlining behemoth, off the back of close to 20 gruelling years, six
critically and commercially acclaimed studio albums (all of which achieving Gold
status in their home nation), three documentaries, one live album, and many,
many thousands of shows.
While Darker Still remains irrefutably PARKWAY DRIVE, it finds the band sonically
standing shoulder to shoulder with rock and metal's greats – Metallica, Pantera,
Machine Head, Guns N' Roses – as much as it does their metalcore
contemporaries. "I wanted a classic guitar tone for this record," explains Ling, who
credits much of his inspiration to the connection his riffs have with a crowd in a
live setting.
Emerging from the darkness of the past few years, this is the true face of
PARKWAY DRIVE: redefined and resolute, focused in mind and defiant in spirit.

Re-pressed at last!! Limited purple vinyl. The cultural phenomenon that is the Wu-Tang cannot accurately be described without referencing one of the pillars in the Clan's discography, Chef Raekwon's Only Built 4 Cuban Linx remains firmly planted as one of the defining triumphs in their artistic legacy. The oft referred "Purple Tape", has been cited and debated by many as the greatest Wu-Tang solo project to date and a remains a bullet point in any discussion involving the greatest "Cocaine Rap" or "Street Hop" albums of all time. Raekwon's narrative, plays out like a movie script from the violent, drug fueled, underbelly of New York City's criminal landscape, intricately woven over instrumentals from the legendary mastermind behind the Wu-Tang Clan, The RZA. Even the album's main feature "Tony Starks aka Ghostface Killer", referred to as such rather described as a "guest star" appearing on 12 of the albums 18 tracks. It should be noted that while the Only Built 4 Cuban Linx did produce a string of successful singles, such as "Ice Cream", "Incarcerated Scarfaces", and "Criminology", like all classic cinema, the album was intentionally engineered to be appreciated in one sitting, played from beginning to end. In continuing with it's proud tradition of honoring historically significant hip hop albums, Get On Down is honored to present Raekwon's "Only Built 4 Cuban Linx" for the first time ever on double translucent purple vinyl housed in a high density resealable poly bag. This edition features for the first time ever on vinyl, the formerly CD only bonus track, "North Star (Jewels)". And if that wasn't enough, the entire album also features completely enhanced and painstakingly remastered audio. This is the definitive must-own vinyl edition of Raekwon's masterpiece.

With more than 30 years in the game, D.I.T.C. affiliate Andre the Giant of Showbiz & A.G. fame continues to prove that his pen game is better than ever with the release of his latest full length effort, Giant In The Mental.

The album title is more than just a reference to one of his earliest tracks; it’s a statement that he remains head and shoulders above the competition like the rap giant that he is. And he’s proudly doing it all on his own with this record, without any guest appearances.

“I am really not moved by guest appearances,” A.G. explains. “Music for me is mostly therapy, and I don’t need anyone else to help me vent and express my thoughts.” He’s absolutely right, because across the 10 tracks on Giant In The Mental, he skillfully unpacks and tackles a number of different topics with his trademark wit and wisdom.

The Bronx rap legend straight-up kills it on every level, too, from clever wordplay to engaging storytelling raps. If you want his bully bars, just listen to the hard-hitting opening track, “Andre The Giant,” with speaker-thumping production from DJ Manipulator. And for storytelling, you can dig into the beautifully written and smooth “Summer School” or the cinematic and stirring “The Sphinx.”

It all amounts to a truly impressive and cohesive piece of work from A.G., who is eager to continue creating art until he can’t meet his own standards. “If I can’t perform at a high level then it’s time to stop!” he says before adding that pushing himself creatively is what this is all about for him. His integrity and passion for the artform is palpable, and it’s those qualities that have helped him remain such a necessary voice—and force— in music.

LANGUISH is a band that has relied on speed to deliver their message in the most caustic and devastating way possible, but conversely they’ve taken their time to reach the point they’re now at; they stand on the precipice of releasing their third studio album, Feeding The Flames of Annihilation. World events forced a creative go-slow which granted them time to ‘hyperfocus’ on crafting a sonically pernicious 11-track ode to human beings accelerating their own demise. Despite the album being swathed in nihilism, the occasional glimmer of optimism pushes through in the form of class solidarity and hopeful resistance. But for the majority of the 25 minute runtime, malevolence and misanthropy reigns - articulated more clearly than ever before by vocalist, Sean Mears. Although grindcore continues to make up a good deal of the LANGUISH calling card, a considered leaning towards death metal allows room to enunciate their distaste with more clarity - both literally and metaphorically. The world-weariness felt by its authors is coloured with rage, disappointment and a cycle of hitting rock bottom over and over. Inspired by the socialist anthems of Woody Guthrie, LANGUISH takes swipes at landlords, megacorps, and billionaires - with few escaping their scathing sulfur.

New single by Pittsburgh, PA-based band The Commonheart. "They pay soulful tribute to the soul gods without disrespecting their exhumed remains." - No Depression Live and in the studio, the Pittsburgh-based collective is offering feel-good positivity, Golden Rule messaging, and sweat-soaked performances that nimbly ease through blues, vintage soul, and rock. The band is bonded by familial-like ties and a desire to foster spiritual uplift. Among its ranks are female backup singers, drums, bass, guitar, a horn section, and keyboards. Out front is Clinton, a lightning bolt charismatic frontman with dynamically expressive pipes that effortlessly traverse bluesy pleading, and honeyed balladeering. "Hustler" is an anthem for perseverance. Told thru the eyes of a street hustler's mindset; this song offers their interpretation of what it takes to make a living in this world thru the hardest times. The narrative runs parallel for anyone that's finding their way thru life with grit, fearlessness & drive. The new album, produced by Steve Berlin, saxophonist, keyboardist, and record producer, best known as a member of the rock group Los Lobos, entitled 'For Work or Love' will be released on September 16th, 2022.

** SISTER FUNK, SOUL-JAZZ and BLUE-EYED-SOUL - OBSCURE RARE GROOVES ALL THE WAY THRU! **

- the double vinyl LP comes with a full album download code
- deluxe double-gatefold LP with detailed liner notes & unseen photographs
- ALL songs appear on LP & digital for the very first-time
- sales notes by Joel Ricci (aka Lucky Brown)

When Tramp Records was founded, there really were very few ways in which the music lover could discover new music besides the traditional methods of digging, good luck, and inheritance. First there were torrent sites such as Napster and Limewire where generous collectors might digitize and upload portions of their accessions, and sometimes you could find entire radio show broadcasts of live vinyl curation made by real Disc Jockeys out there, a lot of the Deep Funk I heard for the first time in around 1999 I found this way via Disc Jockeys on radio shows from the UK, tunes were faded and mixed together and of course veiled with that unmistakable Mp3 'whoosh'. And unless you have been living as an off-grid hermit for the past 20 years, you know the rest of the story.

But though our world has changed, and even though everyone from our grandparents to our 5-year old nieces are curating their own internet playlists, I submit that the role of DJ has become even more vital, not less. We as a culture have always relied on our Disc Jockeys to introduce us to sounds that speak to their souls, to control the vibe and most importantly put forth the narrative that speaks to society as a whole. DJs are our tribal storytellers, and the music they bring us are the stories. And when a DJ like Tobias Kirmayer is telling us that story clearly and with conviction, it speaks to our souls as well.

"Countdown to...SOUL" is a compilation series that, much like Tramp Records' other critically-acclaimed comps such as Movements, Feeling Nice, and the Praise Poems Series' examines a unique facet of the Golden Era of Soul, Funk, Jazz and R&B. Perhaps, in this case the dawning of the Soul era, "proto-soul", "primitive soul", or even "pre-soul" if you will. When they were recorded, many of these tunes were still firmly ensconced in the Black Radical Jazz tradition, but there was a change in the air, something happening in the coming years that would revolutionize popular music forever. In fact, Soul had already taken over the world by the time many of these tunes were released on 45, but for various reasons, the artists and their music occupied the fringes of the idiom and therefore remained obscure. Countdown to...SOUL chronicles that beginning, that buildup, those heady moments before the lid blew off and American Black music would explode across the planet, while scouring the outskirts and tide pools for specimens that were emanating in their own respective neighborhoods and communities, so often overlooked by the American pop music machine.

Side A features barrier-breaking pioneer Frankie Staton and her message of "Love One Another" to the world that is as fresh and vital today as it was when it first came out in the late seventies. In that spirit, Tenison Stevens' appeal "Don't Rip Me Off" reminds us to treat each other as brothers and sisters.

Side B meets us at the altar of the formidable Hammond Organ with an Unknown and uncredited Organist found languishing on a one-of-a-kind unreleased acetate and moving on to explore the nexus of Soul, Bebop, and R&B with Don Patterson's "Paddy Wagon".

Side C satisfies our hunger for the blaring horn sections, big beat drums, wailing Hammonds, pleading vocals and gritty guitars of authentic Soul music (both brown and blue-eyed) with Marva Josie, Shirley Wahls and The Echomen, among others, but then takes a hard left turn into undoubtedly uncharted territory with the hybrid folk/country/soul story of Sherrif Black and poor Sally who, though she is tragically met with a terrible fate, thanks to the careful and conscientious mastering of our German engineers, the song itself remains alive and is a genuine addition to the canon.

For the remaining side, I'm gonna just let you discover this music on its own terms, as you won't find these tunes anywhere else, not on Napster, not even on Limewire, or anywhere else. I want to personally thank you for putting your trust in the DJ and for continuing to listen, study, appreciate, and share the work and mission of Tramp Records.

-Joel Ricci (May 2022)

Amir Alexander's unique production style and his musical output has been an inspiration for a long time. His record were always special ones and we were loving the fresh vibes outta Chicago a lot. In 2012, we were happy to host Amir to play his first-ever DJ-gig in Germany at our Smallville night at Golden Pudel Club in Hamburg, as part of his first EU tour ever. The night remains a memorable one and so we are very happy to close the circles now and to release this special 12“ by Amir. Full cover artwork by Stefan Marx.
The tracks were made in loving memory of Nathaniel Jay. Rest in peace and all the love to you.

Master’s second album recorded by Scott Burns at Morrissound Studios! Classic 1990’s Death Metal! One of the problems with looking back on a musical genre from a perspective years or decades removed from the core of the movement itself is that subsequent developments tend to obscure both a genres origins and threads within a tradition that died out without offspring. As a result, interesting and deserving albums often get lost in the shuffle as reviewers reflect on those albums most “influential” upon later achievements. Death metal pioneers Master are among those who have been shortchanged as a result of that phenomenon, and their 1990 masterpiece “On the Seventh Day, God Created... Master” remains a fascinating exploration both of the genre’s roots and of spaces it might have occupied had different paths been taken. There are a couple of things that leap out immediately to even the casual listener. The first is the seeming primitivism of the music, with songs consisting of relatively brief, bludgeoning pieces driven by relentless rhythms, cyclic riffs and simple melodic hooks. The second is the realization that someone is playing some seriously insane, brilliantly constructed leads. In this case, that someone is Paul Masvidal, far exceeding anything he ever achieved with Cynic. Beneath the surface simplicity, lies a creative spirit that at once recalls the primal birth of death metal (which Master was both present for and very much a driving force behind) and points the way to what the genre might have become. Very apparent are the genre’s hardcore roots, Master here eschewing the Slayer-derived technical architecture that came to dominate most “modern” death metal in favor of structures that would not have been out of place on Discharge’s landmark “Hear Nothing See Nothing Say Nothing” release (there are even a few appearances of the infamous D-beat). Within the unrelenting storm of brutal repetition, the music’s core meaning is encoded, a sheer primal rage dripping from thunderous cycles of power chords and the open throated roar (again the hardcore influence) of vocalist and chief songwriter Paul Speckman.

One of the most violent thrash metal albums ever! Raging riffs, outraging drums, screaming solos and totally pissed vocals. Total aggression! Death metal wouldn’t sound like it does without that album. Then the 10 tracks on this legendary album... Let’s start with Side A: The opener “Malleus Maleficarum/Anthropomorphia” sets the tone and remains a classic to this day, with a switch after 50 seconds and then a full on thrash attack only comparable to the best and most intense moments on “Pleasure to Kill”. The mid-tempo part and the solo’s/leads are haunting still and hint at more melodies to come in the future. “Parricide” is brutal Thrash, surely echoing a bit of Slayer/Infernal Majesty as well, but just very intense and brutal. Next up is “Subordinate to the Domination”, another bulldozer song, that simply pounds you into ashes, very thrashy, but also brutal. As a short intermezzo we get “Extreme Unction”, which with it’s one and a half minute echoes a bit the crossover/thrash metal attitude of the late 80’s, and it is in its intensity and compactness a strange, yet fitting track that leads us to the closing song on Side A of the LP (yep, bands did think on closers on album sides when vinyl was the standard)... “Commandments” that is, starting with its acoustic intro, fully bursting out after 35 seconds into one of the standout songs of this album, to some possibly the best song on the album (who am I to disagree) because it is one of those brutal thrash songs that is among the best ever recorded, and a song that everyone knew back then, because of the “Stars on Thrash” compilation.

Diamond Head are of seminal importance to heavy metal music, and their debut album Lightning To The Nations is a key influence on the genre. Silver Lining Music is therefore proud to present Lightning To The Nations (The White Album) Remastered 2021, the ultimate version of this ultimate album, featuring not only the original album from ¼ inch master tapes discovered in founder Brian Tatler’s archives, but also alternative mixes of classic cuts “Lightning To The Nations”, “The Prince”, “Sucking My Love” , “Am I Evil?” and “Sweet And Innocent” never publicly released (or heard) before. There is also brand-new cover artwork based on an idea Brian Tatler had to show a character referred to as ‘The Lightning God’.

The original tapes were first quite literally baked (a process which allows degraded tape to be returned to playable quality), then restored and digitized before Diamond Head frontman Rasmus ‘Ras’ Bom Andersen remastered the tracks, ending up with a pristine edition of the original recordings. The alternative mixes, pure treasure for all fans of both Diamond Head and the New Wave of British Heavy Metal, are supplemented by a set of bonus tracks originally recorded in 1980s, and rounding-out this ultimate edition are a set of deep and detailed notes on both the era and each song by Brian Tatler.

Lightning To The Nations (The White Album) [Remastered 2021], will be released as a double CD, a deluxe 180 gms gatefold triple-vinyl edition containing the original album remastered, the lost mixes and the bonus tracks. There will also be a single vinyl edition of just the remastered album, also on 180 gms.

“We wrote instinctively,” says Brian Tatler in his notes, “we had an undeniably unique sound. Four young lads, each with an element that, when combined, produced an alloy that was our own heavy metal sound.” Lighting To The Nations (The White Album) remains an indispensable alloy for any set of self-respecting

Diamond Head are of seminal importance to heavy metal music, and their debut album Lightning To The Nations is a key influence on the genre. Silver Lining Music is therefore proud to present Lightning To The Nations (The White Album) Remastered 2021, the ultimate version of this ultimate album, featuring not only the original album from ¼ inch master tapes discovered in founder Brian Tatler’s archives, but also alternative mixes of classic cuts “Lightning To The Nations”, “The Prince”, “Sucking My Love” , “Am I Evil?” and “Sweet And Innocent” never publicly released (or heard) before. There is also brand-new cover artwork based on an idea Brian Tatler had to show a character referred to as ‘The Lightning God’.

The original tapes were first quite literally baked (a process which allows degraded tape to be returned to playable quality), then restored and digitized before Diamond Head frontman Rasmus ‘Ras’ Bom Andersen remastered the tracks, ending up with a pristine edition of the original recordings. The alternative mixes, pure treasure for all fans of both Diamond Head and the New Wave of British Heavy Metal, are supplemented by a set of bonus tracks originally recorded in 1980s, and rounding-out this ultimate edition are a set of deep and detailed notes on both the era and each song by Brian Tatler.

Lightning To The Nations (The White Album) Remastered 2021, will be released as a double CD, a deluxe 180 gms gatefold triple-vinyl edition containing the original album remastered, the lost mixes and the bonus tracks. There will also be a single vinyl edition of just the remastered album, also on 180 gms.

“We wrote instinctively,” says Brian Tatler in his notes, “we had an undeniably unique sound. Four young lads, each with an element that, when combined, produced an alloy that was our own heavy metal sound.” Lighting To The Nations (The White Album) remains an indispensable alloy for any set of self-respecting

Chronophage’s third LP is a scarcely anticipated revelation full of poise and delicacy. Tough,tender, precise and unconstrained, it concentrates the tragic ingredients of the past two yearsinto ten songs. Each one is a decisive, well-cut crystal: sharp, clear, weighted. Can you envisiona midpoint between Big Star and the Homosexuals? Imagine Nick Lowe constructing defiantrejections of the civil structure? Chronophage’s unconstrained melodies and gleefullyimaginative structures enact such original, liberatory music.Chronophage began five years ago in Austin, Texas. Stout participants in the transgressive DIYpunk community patchworked throughout the world, the band have released two LPs and ahandful of cassettes, always demonstrating a kind of risk-taking that feels both gleeful and dire.It’s clear that they delight in making hard, unexpected decisions, but there’s a colder sense thattheir existence depends on this daring.Defying the band’s scratchy, 4-track history, ‘Chronophage’ blooms, distilling the warmest, mostcompelling, most vulnerable qualities of their music. It’s a product of their unhurried approach torecording this album, a six-week process of tinkering and clarifying. It’s also a product of thematerial conditions of their songwriting phase—”the pandemic making it where we just saw eachother all the time and were less influenced by scenes,” as explained by guitarist/singer ParkerAllen. Undoubtedly their most immediate record, but without sacrificing the mortalconsequences or thrills of their past. The danger and vigor remains, the spring is wound eventighter. It’s evidence of the band’s growing confidence, but speaks most clearly to the strength ofthe songs. Producer Craig Ross articulated this strength through his own experience of workingon ‘Chronophage’: "When I would run into a block, in terms of arrangement, the narrative of therecord told me exactly what to do. I realized I just had to stick to the record, it has all theanswers."‘Chronophage’ is released simultaneously by Post Present Medium (US) and Bruit Direct(Europe). TRACKLIST: A1 Love torn in a dream A2 after a storm A3 swimmer A4 summer to fall A5 cop in psyche B1 spirit armor B2 old city back again B3 black clouds B4 burst the shell B5 fear + agony Dooms horn

This album marks the debut recording for Venezuela's Velvet label by pianist Ray Pérez and his trombone-led salsa band Los Dementes. Heavy dance numbers and the distinctive vocals of Perucho Torcat make this historic 1967 rarity a sought-after collector's item. Now the LP has been lovingly restored, mastered from the original tapes, with its original artwork intact, preserving the legacy of Los Dementes for today's generation of salsa lovers everywhere. First time reissue. Salsa pianist, vocalist, composer and arranger Ray Pérez, acquired his nickname "Loco" by being a free, independent spirit, an innovator and iconoclast who was initially branded as "crazy" for the freshness and audacity of his sound. Amazingly, he is not that well known in the US, where he spent some time in the late 1960s and salsa was king during the 1970s. Yet he was quite popular in his home country from the beginning, especially amongst the working class of Caracas and Maracaibo, who adopted Cuban music played by New York Puerto Ricans as their own and called it "salsa" years before the term was employed by US labels like Fania as a marketing tool. Pérez is revered in Venezuela, as well as in Mexico and Colombia, and his storied career, which spans seven decades and thousands of concerts, has yielded more than 35 albums recorded by his various bands, including Los Dementes, Los Kenya, and Los Calvos, all of which are collector's items today. At the start of 1967 Pérez debuted Los Dementes, with vocalists Claudio Zerpa and Perucho Torcat backed by an ace band featuring only trombones in the brass section. Titled "¡Alerta mundo! Llegaron los 'The Crazy Men'" the record was released on the small Venezuelan label Prodansa. Soon after, Prodansa folded and Los Dementes were left without representation or much compensation for their efforts, being paid only in records. In the end of February of that year, Pérez returned to Caracas from a stint in Maracaibo in order to finish his first LP with the well-established and larger Velvet label, entitled "Manicomio a locha". In the first quarter of 1967, Velvet unleashed a trilogy of salsa records in order to compete with rival label Palacio and their recent success with Federico y su Combo Latino: "Porfi '67 Salsa & Boogaloo" by Porfi Jiménez y su Orquesta, "Guasancó" by Sexteto Juventud and lastly "Manicomio a locha". The LP begins appropriately with the boisterous title track, written by the band's conguero Carlos "Nené" Quintero, who would become a legend in coming years. Torcat describes a jam session in mental institution and introduces the band, with tasty solos by trombonist Rufo García followed by Ray on piano. Already you can hear something was different about Ray and his "Crazy Men"-a sound as wild and innovative as what was happening in New York with Eddie Palmieri, but with a more unhinged, raw feeling in line with Willie Colón and other younger Nuyorican bands. Next up is an intriguing track sung in a mix of Italian, English, Spanish and Papiamento by Pérez himself, performed in the complicated rhythm of the mozambique, an Afro-Cuban carnival beat developed in the early 1960s. This is followed by the heavy dancer 'Rico guaguancó', penned by Angelito Pérez, which changes from the guaguancó to the mozambique rhythm mid-way through, proving that Los Dementes were "different from the rest" as the lyrics say. 'Puerto Libre', sung by Torcat, is dedicated to the Venezuelan island of Margarita in the Oriente region, and the independent spirit of its working people. The rhythm changes from guaguancó to guajira and back again but remains danceable all the way through. The side closes out with a "3 in 1" medley inspired by the popular formula of the mosaicos of Billo's Caracas Boys, seamlessly knitting together several different tempos, rhythms, moods and compositions. Side two starts strong with the fierce yet satirical 'Corte e' patas', then 'Alma Cumanesa', a typical folk song refashioned as a guaguancó. This is followed by the funky 'Guajira con Boogaloo'. The tune echoes the sound of young Latin New York, pointing out the connection between Cuban and African American soul music. The pace picks up again with 'Fiesta de trombones', a hot descarga and then the album closes with another medley. Though this marks the end of a rather short album, it also signaled the emerging success of Los Dementes and their involvement with the salsa boom in Venezuela, quickly selling out of its initial run of 1000 records and making for a memorable debut on the Velvet label. Now this rare and sought-after LP has been lovingly restored, mastered from the original tapes, with its original artwork intact, preserving the legacy of Los Dementes for today's generation of salsa lovers everywhere.

A decade is a long time in music, but it feels less epic when the music in question is timeless, picturesque, and immersive. Founded in London, run from Bali for a period, and now based in Ibiza, NuNorthern Soul has grown from humble roots to become one of the most popular outlets for Balearic music on the planet.

NuNorthern Soul started in the late 1990s, long before the label launched, NuNorthern Soul was a regular Sunday session in a bar in Chester, UK where label founder Phat Phil Cooper and school friend Jim Baron (Ron Basejam, Crazy P, JIM) sat behind the decks and played laidback, eclectic musical selections to wind down the weekend. The name was suggested by one of the event’s regular punters, who likened the community feel of the event to his experiences as a Northern Soul dancer.

Fast forward to 2011. Following a move to London, Cooper was introduced to Ben Smith, a singer-songwriter and producer whose music he’d long admired. After bonding over a few pints of Guinness, Smith offered to hand over a hard drive full of unreleased tracks; together, the pair put together what would become the NuNorthern Soul label’s first ever release: a fine album of beautiful, boundary-free music entitled The Movedrill Projects.

Another EP from Smith, Dedications to the Greats, followed in early 2013, with the sometime Fug and Akwaaba band-member recording emotive, life-affirming cover versions in his signature style. It was followed by an EP of opaque, sunset-ready songs from Ragz Nordset, and NuNorthern Soul was on its way. While the label has subtly moved around musically since, offering up EPs and albums that incorporate elements from a multitude of becalmed and blissful styles, the core ethos remains the same. Significantly, those early Ben Smith and Ragz Nordset releases still stand up to scrutiny all these years on.

Smith has remained a big part of the NuNorthern Soul family ever since, and it’s fitting that two of his tracks – the stunning, undulating downtempo epic ‘Over Land & Sea’, from improvised 2019 album From The Ash, and Jonny Nash’s glistening, shuffling 2015 rework of ‘Hold On To It’ – are featured on this 10th birthday celebration of the NuNorthern Soul story so far.

It’s right, too, that Jim Baron, whose stints behind the decks with Cooper in Chester began the NuNorthern Soul story, also makes two appearances. His chugging, jangling, wide-eyed 2014 Ron Basejam rework of Ragz Nordset’s ‘You Started It All’ – a track that has so far racked up over three million streams on Spotify – was an early label hit, while his fragile, softly spun masterpiece as JIM, ‘Whisper in the Wind’ (featuring none other than Ben Smith on guitar), features here via a deliciously stretched-out, sunrise-ready remix from James Holroyd under his Balearic-friendly BEGIN guise.

Sentimentality aside, the success of NuNorthern Soul is rooted in Cooper’s ability to pick music to release from a wide variety of artists that fits the label’s colourful, atmospheric, and tactile sonic vision. This lovingly curated box set is testament to that, with immersive, yearning efforts from veteran musicians such as Jon Tye (here appearing as Captain Sunshine, via the breath-taking ‘The Oceans Inside’) and the late, great Ryo Kawasaki (remixed by Mancunian, former Body & Soul NYC resident DJ Andi Hanley) being joined by wonderfully on-point productions from relatively recent signings such as Torn Sail (the Balearic folk swell of ‘Disconnected’), George Koultalieris, My Friend Dario and Tambores En Benirras.

10 Years, 5 EPs, 10 tracks, exclusives, previously unreleased and hard to find NuNorthern Soul treasures. Packaged in a full colour commemorative designed box with full colour inner sleeves. 1 track per side of vinyl for maximum audio pleasure. Comes with 4 page NuNorthern Soul insert. Limited edition.

First vinyl issue of the sole The Dead Texan album originally released in 2004. Gatefold Sleeve.

“Stars Of The Lid’s Adam Wiltzie presents a collection of drone compositions that he considered too aggressive for his parent band—which means they range somewhere between a whisper and a shout. The sense of cathedral-like reverence is balanced with extreme intimacy.” — 8.2 Pitchfork

“This is quite possibly the best music available for slowly drifting into dreamland. Equal parts intrigue and sedative, The Dead Texan is an elegantly hypnotic album that manages to freeze time in addition to passing it.” —Tinymixtapes

“The Dead Texan remains a remarkably subtle and tranquil work. Disarmingly lovely...” —Textura

Another sweeping album from STARS OF THE LID/A WINGED VICTORY FOR THE SULLEN and AIX EM KLEMM member ADAM WILTZIE, this time under his DEAD TEXAN moniker.

Eleven mini-symphonies of nocturnal psychedelia and reverie-inducing soundcraft, propelled with piano, strings, and Wiltzie's surreal smear of guitars.

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

Scissor Kick delivers careful introspection, experimentation, and rich conceptual development. The beatless interludes and expansive sound worlds that stuck out their heads on earlier releases are embraced in full here. It’s claustrophobic, but space is found in the right areas; tension and release to the nth degree, never becoming a trope. Percussion remains, but slowed to a crawl.

The Blackploid resurgence of recent years continues to gather steam. After laying dormant for some time, Martin Matiske's project roared back into life in 2021 with a pair of EPs for Central Processing Unit. It doesn't look like he'll be taking his foot off the gas any time soon - not only does the new Blackploid collectionPlanetary Sciencecomplete Matiske's hat-trick for the Sheffield label, but it also serves as a prelude to the full-length album which Blackploid will deliver on CPU in 2023.

If that LP is as good as the tracks we get here, then it's safe to say that we're on to a winner. This EP contains a quartet of top-tier machine-funk productions, the kind of crisp post-Drexciya joints we've come to know and love Blackploid for. Each track onPlanetary Sciencemakes good on the record's title by delivering club tackle flecked with FX which sound distinctly like spaceships blasting off into the cosmos.

There is also progression acrossPlanetary Science. While it still aims for the dancefloor,Planetary Scienceis a somewhat more textured listen than eitherStrange StarsorCosmic Traveler, Blackploid's previous CPU drops. Most notable is the increased use of synth pads, with Matiske draping chord progressions over all of these tracks in order to give his music a newfound depth.

Blackploid's subtle evolution is clear from the opening track. 'Dimension Unknown' may begin with a precision-engineered groove reminiscent of an early Legowelt joint, but things soon soften with the introduction of some rich keyboard chords. A few well-chosen bleeps and bloops flit in and out of the mix, but whereas some would use these to scuff up the track further here they are warm and playful.

The more confrontational stance of following cut 'Magnetron' makes it a yin to 'Dimension Unknown's yang. Blackploid works with similar tools here - machine-gun beat programming, chords playing off boinging bass - but there is a tension and buzz to the track which isn't apparent on its predecessor. The synths have a slight Eighties deep space thriller vibe about them, and the FX cut through the mix with more bite.

'Magnetron's energy carries through to 'Wire', the first track on thePlanetary ScienceB-side. Here a big, brutish bassline takes centre stage from the off, a chunk squarewave equal-parts Dopplereffekt and early Eskibeat. Around this swirls a queasy brew of synthesised tones, with the component parts all arranged in order to channel 'Magnetron's sense of unease.

Planetary Sciencecloses out with 'Neurotransmitter'. On this cut, Blackploid returns somewhat to where we started off, finding a midpoint between 'Dimension Unknown's more spacious feel and the livewire flavour of 'Magnetron' and 'Wire'. Tension remains, particularly when Matiske serves up one of the EP's snakiest basslines, but there's also a deftness to the synth pads here which makes 'Neurotransmitter' a little softer around the edges.

Blackploid limbers up for a forthcoming full-length on Central Processing Unit withPlanetary Science, an EP of stargazing electro joints that quietly expand the project's sonic world.

RIYL:Drexciya, Dopplereffekt, DMX Krew, I-F, Annie Hall

Pizzazz is the fifth album by American Jazz singer Patrice Rushen. Pizzazz was her second highest charting album, reaching #39 in 1979. It features the hit single "Haven't You Heard". The single soared to the top of R&B radio play lists and remains among Rushen's biggest hits.

When Patrice Rushen was being lambasted by Jazz fans for making the switch from Jazz instrumentalist to R&B/ Pop singer, she was also winning over a quite a few people: R&B fans loved her singing. Her profile in the R&B world continued to increase with Pizzazz.

The whole album is excellent, drawing on influences as Earth, Wind & Fire, Minnie Riperton and Stevie Wonder. Pizzazz might have received some negativity from Jazz critics, but from an R&B/Pop perspective, it's among Rushen's most rewarding and essential albums.

It has only been four catalogue numbers in the past since.....

Generali Minerali (Tbisili/Georgia) cooperated with RNBWS and made a fuzz. This time he’s on a solo path, or - according to the title - maybe alongside Kim Jong-un?

“Batteries aren’t low” gets to the heart of Generali’s sense for sounds: Softly billowing Electro, a vocal sample which kinda sounds like P. Diddy and harmonies that could well have been on “Selected Ambient Works II”. Come on, let’s go!
Point before line calculation or cryptic code? We don’t know for sure, but “5-5-6:5-6-5“ remains true to the ambient focus of the a-side. Retro 90s vibe, cosmic, prancing and floating - like stumbling into the chill out area for the first time on a muzzy Sunday morning.

“I got it” comes in significantly more abstract. Harmonies give way to industrial sounds, without vanishing entirely. Electric boogie with litte acid nuances - beautiful prelude to the b-side!
In terms of acid, „Smooth D“ puts a few blotters on top. A combination of psych sounds, dirty raw drums and trippy sequences. Two tickets for the 90s time capsule, please.

Black Truffle is pleased to announce a major archival discovery from the wildest outer fringes of the FMP universe, the Bergisch-Brandenburgisches Quartett’s Live ’82. The Bergisch-Brandenburgisches Quartett (BBQ) was formed in 1980 in Rostock, East Germany, when three of the most radical and riotous members of the West German free music scene—reedist/accordionist Rüdiger Carl, percussionist Sven-Åke Johansson and Hans Reichel on violin and his modified ‘strange guitars’ — first played as a quartet with East German saxophonist Ernst-Ludwig Petrowsky. A rare example of a working band with members from both sides of the wall, during its lifetime the BBQ left only one recorded document, a studio LP on Amiga, the pop and jazz sublabel of the GDR state-run Deutsche Schallplatten Berlin. Neither pure fire music nor orthodox free improvisation, the four members of the BBQ shared an all-embracing aesthetic where quotes and jokes sat comfortably alongside radical extended techniques and sonic experiments. Beautifully recorded at the 1982 Moers festival, the music presented here is a kaleidoscopic demonstration of what Johansson has called the BBQ’s ‘free postmodernism’. Beginning with a fractured landscape of clarinet flourishes from Petrowsky, Johansson’s spacious drums accents, banjo-esque plucks from Reichel’s handmade guitar and the groans and squawks of Carl on cuica, the music lurches between flowing melodicism and stunted locked grooves, settling after a few minutes into a lyrical clarinet and bass clarinet duet accompanied by shimmering guitar chords and some inexplicable percussive rotations. When Petrowksy starts to unfurl long, flowing flute lines accompanied by hand percussion, the music suddenly recalls Don Cherry’s global fusions, but this turn to the folkish quickly takes on a more European character when Carl and Johansson pick up accordions for the first of several comical but oddly moving duets. The more frantic second half of the set takes in a raucous digression into honking R&B, an Ayler-meets-Schlager romp with almost rockish chordal accompaniment from Reichel and an outrageous free jazz blowout with Carl on accordion, not to mention episodes of Johansson’s signature improvised Sprachgesang and antics with his expanded percussion set up, including items such as shoe stretchers and the Berlin yellow pages, which more than once cause the audience to burst into laughter. Arriving in a beautifully designed sleeve with copious archival photographs and flyers from Johansson’s collection and extensive new liner notes from Francis Plagne, Live ’82 is a major historical document that remains both musically challenging and immensely entertaining forty years on.