Suche:return to forever

SG is none other than Andrew Pekler returning to faitiche with an album of sentimental guitar escapism. For Lovers Only / Rain Suite features ten tracks made using only an electric guitar and a handful of effects pedals (plus some additional recordings of rain) and finds Pekler once again attempting to reconicile his tendencies towards kitsch, experimentation and minimalism.

What does Pekler's pseudonym SG stand for? Sentimental Guitar? Sound Gallery? Shy Guy? Sad Gnosis? Saudade Glamour? Soft Goth? We don't know, but we asked notorious Chicago romantic Sam Prekop for his take on the album – his reply:

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It’s a wonder where the rivers go and far, how fast or slow.

Just seconds to remember, who can forget, when you are lost.

I think to recount every step, in both hands, eyes open, the clouds unfold, one two three. Every other step, just as well.

Where the moss is soft, you know strong. How many hours, days? I could have been careful, did I forget?

Never mind. Waking up, in these arms, where the rivers go, slow. One two three, one two three.

We’ve waited over 20 years and finally Vince Watson is releasing the follow up to his seminal ‘Moments In Time’ album released on Ibadan and Alola, entitled ‘Another Moment In Time’. Over the twenty years since the release of ‘Moments In Time’, Vince has put out more than ten LPs of various flavours. Here he returns to the vibe and feel of those early works. ‘Another Moment in Time’ wastes no time in exploring those rich, melancholic tones with his stunning piano chords and an essence of nostalgia that is both thought provoking and deeply satisfying. This album takes Vince Watson ever further into his original sound but with a pristine quality and finesse that his early work was yet to benefit from.

There are many highlights, from the opener with its rich acid deepness and subtle keys, to the energetic and deeply fulfilling ‘Flashback’ that gives a nod to Funk d’Void’s Diablo or KiNK. ‘Peace Of Mind’ features the incredible talents of the hallowed Underground Resistance ‘Timeline’ keyboard master Jon Dixon as co-writer, this combination of both musicians is an ear to behold; the piano and Rhodes playing is straight up high-tech jazz. ‘Lost In the Deep’ takes its cues from Detroit but hits different with twisting chords and grooves. ‘Whispers’ delivers the most melancholic deepness on the LP, whereas ‘Sunshine’ is pure out and out happiness with its twisting chords and a firm foundation in Detroit. Written on the first sunny day after the winter, you can hear the breath of relief within the track.

‘Rendezvous Finale’ is the 3rd and final version of a cut that’s had a long and satisfying journey. Originally released on Carl Craig’s Planet E in 2006, it was then formatted into Afro House for Osunlade’s Yoruba Records in 2018, and in ‘22 this new version was debuted for Carl Cox’s Birthday at DC10 in Ibiza for Vince’s live set. The reaction sealed the deal! ‘Forever’ and ‘Make A Wish’ are straight up club cuts that featured on a single also in ‘22. The album closes out with the peacefully beautiful ‘Sleep’ that rounds things off to sonic perfection.

20 years is a long time to wait, and it would do ‘Another Moment in Time’ no justice to simply say it was worth the wait. This feels like the next evolution in Vince Watson. The finesse, the musicality, musicianship, and the production levels are of the highest level. ‘Peace of Mind’ and ‘Flashback’ may well be two of the biggest tracks that Watson has released to date.








g D1 Rendezvous Finale

Fast-rising Dutch producer, Baril, returns to Intercept Records with the emphatic release of his debut album, For You, Forever. Set for release August 25th, the project see’s Baril build upon his chillwave approach to dance music which serves as a warm embrace to listeners. Merging contemporary songwriting with a plethora of electronic influences, the album transcends ambient, breakbeat, and Deep House - the result is one that fits perfectly both on the dancefloor, as well as home listening. The project arrives two years on from his six track EP ‘One More Rush’ which gained the artist worldwide recognition from the likes of Bicep and Fred Again.

RIYL: Sigur Ros, Explosions in the Sky, Bark Psychosis, Caspian, Mogwai, This Will Destroy You. Exclusive vinyl colour (Opaque Mix Hellfire), limited to 1000 copies, and features a gatefold jacket, printed two-sided Euro sleeves, four art prints, and download code. Breaking from the strange monotony and abnormal norms that took hold during two years of pandemic life, Hammock returns with Love in the Void, an album that looks to the future, seizes the present, and unabashedly relishes the experiences and bonds that bring meaning to our days. Known for crafting orchestral works of stirring cinematic ambience, on Love in the Void the Nashville-based duo of Marc Byrd and Andrew Thompson bring guitar-forward, heart-pounding urgency to songs that shout through and shatter the static of complacency. Since forming as Hammock in 2003, Byrd and Thompson have released 14 critically-acclaimed albums and are renowned for their unique talent for bringing inexpressible emotion to life. The Covid-19 pandemic followed closely after one of Hammock’s career-defining works, the Mysterium, Universalis, and Silencia trilogy that chronicled the incomprehensible loss of Byrd’s 20-year old nephew. At their homes and apart, Byrd and Thompson then recorded Elsewhere, an album of shimmering ambience that channelled alienated longing and displacement into avenues that gave way to worlds and possibilities yet realized. Shaken awake and needing to break free of frustrations and longings, Love in the Void pulses with an unbridled spirit for action and experience and a burning desire for connection. Across songs that hammer home the keenly felt emotions of life’s highs and lows, Byrd and Thompson crest soaring crescendos awash in reverb and delve to keenly felt moments of quiet introspection, with unflinching lyrics on tracks like “Undoing” and “Denial of Endings’’ that weigh choices made and circumstances that can’t be changed. Lush and dramatic string orchestration from Matt Kidd (Slow Meadow) and emphatic drumming from Jake Finch heighten the stakes in play, and Christine Byrd’s (Lumenette) ethereal vocals leave mysteries lingering in the haze. Love in the Void is Hammock’s loudest album to date, embracing daring and vulnerability with palpable vitality at its core, and moving into an unknown future without fear.

Perc Trax's Forever series returns with another forward facing selection of Perc Trax regulars and artists that are new to the label. Now in its fourth edition this time Tham, Perc, Tassid and Dahryl serve up a varied mix of tracks from across the techno
spectrum.

Opening up the release is Tassid, who returns to the label after his recent festival wrecking remix of Perc's own 'Resistor' and his continued work for Stay Up Forever and his own Skuxx imprint. Here he gives us 'Quantum Entanglement', taking dance floors on a twisting psychedelic journey built on a classic rock solid Tassid warehouse foundation.

Closing the A-side is label boss man Perc, returning to the Forever series after this Dirt release for Perc Trax and his Wave Cannon EP for Scalameriya's new Void+1 label. 'Fireball XTC' hits you with a swarm of jabbing vocal shouts pushed forward by rolling percussion rhythms for a typically epic Perc work out. Flip over the vinyl and Synoid cofounder and Driller label head Tham makes his Perc Trax debut with 'Put The Screws On' showcasing a fusion of modern Berlin techno and classic electro synth sounds.

Last up is Elements & Green Fetish producer Dahryl closes the vinyl with 'Just Do It' a grinding slab of main room techno featuring the biggest drop of the release which has been in Perc's sets for months now.

Legendary drummer Kenny Clarke compared Jean-Luc Ponty to Dizzy Gillespie Fellow violinist Stuff Smith marveled, "He plays violin like Coltrane plays saxophone." Born in 1942, the French violinist Jean- Luc Ponty transported jazz violin playing into the world of modern jazz. On Frank Zappa's urging, Ponty moved to the States in 1970. Over the next years he toured with Zappa, the Mahavishnu Orchestra, and Chick Corea's "Return to Forever".In the early 1970s Ponty bought himself a sequencer and synthesizer and carried them around while traveling so he could record new ideas. By 1982 Ponty had a well- deserved reputation as a forerunner in jazz-rock and jazz fusion.
In a retrospective interview for this re- release of the 1983 album Individual Choice, JLP said:
"What I was recording in that new sequencer gave me the idea to go for a totally different concept, to use these recordings as rhythmic backgrounds, sometimes without drums or percussion. I planned to record a new album in which I would play all the background parts with my synthesizers and add my violin later on in the studio."
Ponty also invited a couple guests to contribute to the recording.

They were no less than George Duke (keys), Allan Holdsworth (guitar), Rayford Griffin (drums) and Randy Jackson (bass).
Individual Choice has been re- mastered by 2023 Grammy Nominee Christoph Stickeland includes new liner notes.

new music in nearly 30 years Includes 11 brand new songs written by the band The Cowsills will be on the road through 2023 supporting the new record Some of the best music made in the last 60 years has been delivered by musical families. Think about it . . . The Everly Brothers, The Beach Boys, Bee Gees, The Jackson 5, The Staple Singers, Pointer Sisters, Kings Of Leon, Oasis . . . and The Cowsills! Starting in 1965, The Cowsills was composed of six siblings, performing their instruments and singing those glorious harmonies as only families can. Originally starting as a regional act (from Newport, Rhode Island), the group was “founded” by Joda Records owners Danny Sims and reggae/pop singer Johnny Nash (“I Can See Clearly Now”) in the mid-’60s for whom they recorded a handful of singles before turning towards more national recognition when they were signed to MGM Records in 1967. At this point, the group’s mother Barbara and young sister Susan joined the act and they were awarded a Gold record for over one million copies sold of their very first single for MGM, the sublime, “The Rain, The Park & Other Things.” This began a series of chart records that dominated the Top 40 for the next three years. Among the classic Cowsills recordings are “We Can Fly,” “Indian Lake,” “Hair” (from the rock musical Hair), and “Love American Style” (the theme song from the popular ABC-TV show of the same name). The group also recorded and charted with five successful albums during this time period. The band and their story were even the inspiration for the popular 1970s sitcom The Partridge Family. The group was also a prosperous touring attraction up through 1972, spreading their harmonious hope and love to an adoring fan base. They even had their own comic book published in 1968. As all families do, the group went through a series of changes, disbanding in 1972. But music never left the soul of this tuneful and melodic kin. Over the years, the group, as individuals, continued to make music and even reunited in 1978 and 1993 to make historic records that are woefully out of print. Now, nearly 30 years after their last recordings as a group, The Cowsills are returning with new music for the new world! Omnivore Recordings is proud to announce the release of Rhythm Of The World. Eleven brand new songs written by the band. The ambassadors of goodwill and love will be on the road through 2023 thrilling fans with their classic hits and soon to be new favorites!

Somniac One returns to Perc Trax after her breakout Perc Trax hit 'Junkyard Shift' was featured on the Perc Trax Forever 3 VA release at the end of 2022.

Originally hailing from Lithuania, but currently residing in the Netherlands Somniac One perfectly bridges the gap between modern high intensity techno and the production intricacies of the European hardcore scene. Across the three tracks that make up 'I Hope This EP Finds You Well' Somniac One demonstrates her razor sharp production skills and firm grasp of dance floor dynamics, with each track growing more and more powerful as the EP progresses.

Opener 'Instigator' breaks down to a unforgettable buzz saw breakdown before the beats come hurtling back, 'Infiltrator' adds a touch of drama to the EP with soft pad chords gliding across the middle of the track and closer ' Buzz Pollinator' takes the BPM's higher with its driving arpeggios pushing the track forward rounding off the EP breathlessly.

‘Lindstrøm returns with his sixth studio album Everyone Else is a Stranger, and the first since 2019’s On a Clear Day I Can See You Forever. The title of the album was inspired by John Cassavetes’ original title for his 1984 film Love Streams, and contains four tracks of his signature chord-stacking disco epics and freeform cosmic voyages, stretching across nearly 40 minutes. An album that in many ways sums up his career, and gathers his different musical paths into one sound and one album.

Where his previous album had a slower and more mellow feel, 2023’s Everyone Else is a Stranger sees Lindstrøm take on a much more rhythm-oriented and uptempo approach, containing tracks that fit perfect with the artist’s revered live sets. That said, this album also contains the unexpected twists and turns that has become the Norwegian producer’s trademark, including recordings of him playing a cheap Chinese cello and violin for the first time alongside the old Solina String-Ensemble he has used on essentially every track since his debut.

Named «the king of space disco» by The New Yorker, Lindstrøm has always made a virtue of his obsessive work ethic, turning his city center studio into a factory floor for churning out monster tracks. He has collaborated with the likes of Todd Terje, Prins Thomas and Todd Rundgren, has remixed a slew of acts including LCD Soundsystem, Lana del Rey, Haim, Grizzly Bear, Flume, RAC, London Grammar and more.’

Lindstrom returns with his sixth studio album Everyone Else is a Stranger, and the first since 2019's On a Clear Day I Can See You Forever. The title of the album was inspired by John Cassavetes' original title for his 1984 film Love Streams, and contains four tracks of his signature chord-stacking disco epics and freeform cosmic voyages, stretching across nearly 40 minutes. An album that in many ways sums up his career, and gathers his different musical paths into one sound and one album. Where his previous album had a slower and more mellow feel, 2023's Everyone Else is a Stranger sees Lindstrom take on a much more rhythm-oriented and uptempo approach, containing tracks that fit perfect with the artist's revered live sets. That said, this album also contains the unexpected twists and turns that has become the Norwegian producer's trademark, including recordings of him playing a cheap Chinese cello and violin for the first time alongside the old Solina String-Ensemble he has used on essentially every track since his debut. Named "the king of space disco" by The New Yorker, Lindstrom has always made a virtue of his obsessive work ethic, turning his city center studio into a factory floor for churning out monster tracks. He has collaborated with the likes of Todd Terje, Prins Thomas and Todd Rundgren, has remixed a slew of acts including LCD Soundsystem, Lana del Rey, Haim, Grizzly Bear, Flume, RAC, London Grammar and more.

In the debut EP 'We Are The Ones/Fire/Forever', Chicago DJ legend Rahaan collaborates with an incredibly talented group of musicians, including Marcus J. Austin on lead vocals, Nancy Clayton on backing vocals, Carnell C. Newbill (also known as Spike Rebel) on keyboards and backing vocals, Todd Swope on guitar, and Lou Terry on bass. Together, they create a 3-track EP that perfectly showcases Rahaan's production skills and the musical talents of the entire group. Rahaan's experience and expertise as a DJ and producer are evident in each track, with grooves that are sure to keep the dancefloor moving. The title track, 'We Are The Ones', is a story of adventure and return, with a twist. Created by Rahaan and The Ones while under the influence, the track was lost for years as it was unnamed on his computer. However, Rahaan's determination to find it paid off, and with the help of Ohio Players' Kenny Anderson on the horns, he built upon the elusive skeleton track. With Marcus J. Austin on lead vocals and Nancy Clayton on backing vocals, 'We Are The Ones' delivers a soulful, 4-to-the-floor anthem that showcases the vocal talents of the group. And in 'Fire', Todd Swope's guitar skills shine through, creating an epic production that draws spiritual inspiration from traditional AfroBeat rhythms. It's worth noting that The Ones features some truly talented musicians, including Carnell C. Newbill (Spike Rebel) on keyboards and backing vocals. Spike Rebel is a well-known producer and musician in his own right. With his soulful vocals taking center stage, Carnell Newbill leads the charge on "Forever," he also superbly delivers on bass, keys, percussion, and guitar. Expertly mixed by Rahaan, this track is sure to become a dance floor anthem. In summary, 'The Ones' EP is an impressive collaboration between some of the most talented musicians in the Chicago underground House and Disco scene. With Rahaan at the helm, this project is sure to be a hit with anyone who loves to dance. Mastered with Love by the Grammy nominated The Carvery Studios, this is one for any worthwhile DJ’s record bag.

Lost private press gem "The Swimmer" by Florida native Danny Morgan, is a cool and breezy, beguiling easy glide from 1987. It should've been huge. It still could be. It's a mellow marina masterpiece and quintessentially Balearic. Over the past few years, it's gathered a cult following yet the album from which it derives is virtually impossible to come by.

Finally available on a standalone, fully remastered 12", it's been backed by an instant classic "Seahawks Swimming Through Space Remix", courtesy of those beloved cats Jon Tye and Pete Fowler.

These won't be around for long, limited to just 500 copies for the world, so don't drown in procrastination.

One listen and you'll want to dive in.

Fans of the deeply entrancing, nautically and narcotically-enhanced cuts of Dennis Wilson or Michael Nesmith’s The Prison will be instantly mesmerised by the sheer beauty of "The Swimmer". After tracking Danny down, we wanted to know more. How does something so magical come about? The man himself answered thusly:

"At the time I was running many miles on the Sanibel Island beach and doing a bit of swimming in the Gulf Of Mexico. Keeping my mind busy on a long run, I imagined a “what if” movie scene. Almost every run or swim someone is sitting there on the beach watching what goes by. Back at my desk I started finger picking some chords and the picture in my head showed up. I punched in a rhythm loop and the song was on its way.

Adrian Belew and I had the same manager Stan Hertzman so I was listening to some of Adrian’s work. I was a huge fan of Joni Mitchel and the unusual chord changes and melodies in some of her songs. All of this influenced the sound on “The Swimmer”

I had a support band at the time living in my house on Sanibel Island so we practiced a lot. We came up with an arrangement of the song and we took across the bridge to John McLane’s Important Studios and recorded it. I played finger picking acoustic guitar and sang, Tim Miller played drums, Jeff Holck played fretless bass, Dave Dust played lead guitar and John McLane played keyboards and sang harmony."

Our deep thanks must go out to Jon Tye (MLO / Seahawks / Ocean Moon) for first hipping Be With to this stunner. We returned the favour by giving him the keys to the stems and requesting a strung out remix to go on the flip - he returned having conspired with Pete Fowler to conjure a cosmically copacetic rerub with the subtropical chug of the "Seahawks Swimming Through Space Remix".

Putting together the artwork for this 12" release was an enjoyable process. It was nice to be able to flip the original sleeve for the Beach Life album by using previously unseen photos, sent to us by Danny. We wanted to create something that looks like it would've gone with the LP sleeve. We think we've cracked it. Simon Francis remastered Danny's original audio and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 12" sounds appropriately outstanding. The immaculate Record Industry pressing will ensure this previously lost masterpiece stays forever found.

*BLACK VINYL* Eight years in the making, Santa Cruz, California’s reclusive sons of tectonic riffage Mammatus return with Expanding Majesty, a sixty-nine minute magnum opus of kaleidoscopic guitars, soaring analog synths, wall-ofamps fuzz bass and one hundred feet drums. Four sidelong pieces unfold across a double album in unstoppable riffs that span the meditative and joyful un-earthed flight of ’70s kosmische godfathers like Popol Vuh and Tangerine Dream to the kinds of sub-surface thunder pioneered by Melvins and Sleep.

Detroit’s Eddie Fowlkes returns to Rekids this June with ‘Bahama Man EP’

Hot on the heels of his recently released ‘Forever EP’ on Radio Slave’s evergreen Rekids, Eddie ‘Flashin’ Fowlkes returns to the label with ‘Bahama Man EP’, another four-track EP of red-hot dancefloor cuts. From the swinging opening title track through to the jacking low end of closer ‘Cube’, Eddie’s knack for crafting his unique style of club-friendly cuts is on full display across the record, some of his finest work to date.

As one of Techno’s originators, Eddie Fowlkes has shaped the Techno genre for over 36 years. With his releases on Metroplex, Tresor, Sony, Peacefrog, and his own imprints CityBoy Records and Detroit Wax, Fowlkes' contribution to the blueprint of modern electronic music cannot be overstated.

Beatservice are delighted to present the debut album from the irrepressible Norwegian outfit, b0ka, with 13 genre-surfing tracks lovingly presented on the gloriously pop-centric 'Forever, My Friend'.

Friends since as far back as kindergarten, the b0ka players released a selection of highly regarded singles between 2013 and 2016, with their music arriving via prestige imprints including Eskimo, Paper Recordings, Diamond Club, and their own b0ka Recordings. They've since pursued a diverse range of projects, including Lakehouse, OJKOS, Bjørnar Sira and Den Kosmiske Overorden, with their expansive sounds routinely winning admirers throughout the global music community. The pandemic-induced lockdowns allowed the band an opportunity to re-visit long lost b0ka projects: reviewing dusty hard discs before funnelling the best morsels into the Sagrada Jukebox mixtape earlier this year. It was during this journey of sonic rediscovery that the masterfully diverse 'Forever, My Friend' was ushered into existence.

Drawing on all-manner of far-flung influences and brilliantly assembling the components with a pop-ready sophistication, this is spectacular work from b0ka, marking their return to release action in breathtaking style.

“Crystal Motion” were a vocal quartet of Cape Verdean descendancy from New Bedford Massachusetts. The group’s original members being lead vocalist “Kevin Gomes”, Kevin’ s cousin, Rodney “Skeeta” Santos, Daniel “Buddy” Monterio and John Paris, the man responsible for coining the group’s eventual performing name “Crystal Motion”.

Entering a local now defunct recording studio “Metcalf’s” the grouped recorded the Kevin Gomes penned demonstration song, the sweet soul ballad “There’ll Be Another”.

A copy of this song was eventually submitted to the recently formed Independent Recording Studio, “Omega Sound Productions” in Philadelphia, PA. The label was owned by Frank Fioravanti who having just hit paydirt with William DeVaughn’s smash hit “Be Thankful For What You Got” continued with his policy of supporting up and coming talent and upon hearing Crystal Motion’s demo decided to offer them a recording contract. Although deciding against using their submitted demonstration song (which was to remain unissued) Fioravanti chose to record the group on a song he had co-written with another Philly writer and recording artist Pal Rakes, the title of the song was “You’re My Main Squeeze (Part 1 & 2)” an exciting disco dance orientated song that Frank released on them in 1975 on his Sound Gems label imprint. The song became a minor hit in Boston MA, Providence RI and Philadelphia areas also receiving extensive airplay in Atlanta GA and Houston TX. John Paris was to leave the group being replaced by a longtime friend of the other group members Douglas “Dougie” Mendes. With attention coming from the producers of “American Band Stand” and “Soul Train” the group toured the East coast circuit throughout 1975 and 1976 in preparation for an upcoming album project which was never finished before lead singer Kevin Gomes left for unforeseen personal reasons and ultimately the group broke up. Little did “Crystal Motion” know at the time but their solitary 45 release was finding a new audience across the pond in the UK with “You’re My Main Squeeze” being championed by inspirational DJ Colin Curtis in the hallowed halls of Blackpool Mecca, a timeless classic that never fails to bring a smile to the listening audiences faces even to this day.

Returning to the groups unfinished Sounds Gems album project only one track was ever completed, the Fioravanti/Rakes composition “Million Dollar Baby” which along with “There’ll Be Another” has been licensed from their respective owners and paired together for a long overdue 45 release for your delectation. With ‘Crystal Motion’s’ “You’re My Main Squeeze” cult and anthemic status being forever assured with Northern/Modern Soul devotees we’d like to think the discovery and release of these two slightly differing Sweet Soul offerings will garner and enhance the group’s wider appeal with the growing aficionados of the Chicano, Group Harmony and Lowrider genres, Enjoy.

Sometimes I sink into the dark side of life,
Lucky me to have music to pull me back into the light” Kutiman

Following on from his critically acclaimed Open LP released in October, revered polymath Kutiman returns to Siyal Music with his Dense EP. Kutiman continues to push forward with developing his sound as we see the artist creating his first ever electric leaning release. Not the only first, as the haunting vocals layered throughout are a result of Kutiman debuting his very own voice. Kutiman pulls elements from various musical inspirations, be it moody electronica, garage and 2step, modern classical music, ambient or twisted r'n'b. The outcome is a unique, cutting edge blend of emotional pitched down vocals, melodic airy pianos and glitching sound effects.

“This EP expresses emotions from a dark period that I went through. At the time I was into dark electronics and also found inspiration from Rhythm and Sound, Burial, The Blaze, Plasticman and more. The EP all started from a little "Volca" drum machine, which I hooked up and set up a mostly analogue setup around it with some synths and drum machines that enabled me to "jam" a lot of the music without the need to stop for overdubbing or editing”. Kutiman

With an illustrious career spanning over a decade, Ophir Kutiel aka Kutiman moved to Tel Aviv as a teenager to study jazz at the prestigious Rimon music college. It was during this time that he was able to immerse himself in music, with influences cited as Massive Attack, DJ Shadow, Amon Tobin and Parliament. Fast forward to 2007 and his self-titled debut album received a 8.2 rating from Pitchfork and set the precedent for what was to come. Other tastemakers to highlight over the years include; The Guardian, Billboard, The New Yorker, The Wire, Uncut and XLR8R among others. Kutiman is forever pushing boundaries with his music, and draws on a range of world influences from spiritual jazz to psychedelic funk. ‘Dense EP’ sees Kutiman adding yet another string to his musical bow, as we enter the era of electronic inspired music.

Fellow violinist Stuff Smith marveled, "He plays violin like Coltrane plays saxophone." Born in 1942, the French violinist Jean- Luc Ponty transported jazz violin playing into the world of modern jazz. On Frank Zappa's urging, Ponty moved to the States in 1970. Over the next years he toured with Zappa, the Mahavishnu Orchestra, and Chick Corea's "Return to Forever".If Ponty's 1983 album Individual Choice was the sketchbook of his decision to take his music in a new direction, Open Mind (1984), released the following year, was a deeper
exploration of the emerging world of synthesizers and sequencers and their impact on live and studio performance. Here, complex rhythmic patterns shift in the background while new sounds appear and disappear on the surface in colorful bursts, and outstanding jazz improvisors create familiar music in new settings. It's almost an audio version of a kinetic wind sculpture.

Ponty chose to use a Roland rhythm machine instead of faking real drum and percussion sounds and played all the keyboard parts himself in order to further explore the concept he had introduced in Individual Choice. He additionally asked two longtime friends to solo on various tracks: George Benson, whom JLP had met and played with when they were both 21 years old, and Chick Corea, who
excels on two tracks with his Moog synthesizer. Open Mind has been re-mastered by 2023 Grammy Nominee Christoph Stickeland includes new liner notes.

Tom Trago returns to Rush Hour after 10 years with a wonderfully accomplished mini-album, tip!

During the years he spent living in Amsterdam, when his DJ career seemed to become an unstoppable juggernaut, Tom Trago was a regular visitor to Deco Sauna, a local institution that helped him “decompress” and de-toxify his body. Eventually, a more extended period of “decompression” was needed, with Trago moving to the coast to reassess his priorities and spend more time with his young family.

‘Deco’, his sixth album and first for Rush Hour in a decade, was recorded following an extended absence from club dancefloors, as Trago cut back on DJ commitments to prioritise family life. When he returned to the studio, often with his daughter by his side, Trago initially struggled to get back into the groove. The desire to make dancefloor-focused music had – temporarily, at least – deserted him; instead, he found himself drawn towards a desire to create “electronic lullabies” and music that reflected his more pastoral environment (his home backs on to a patch of woodland in which he would walk every day).

Returning to his most familiar synthesisers – and specifically the first synthesiser he bought, on credit, as a young DJ and wannabe producer – Trago set about navigating different musical routes without the straight-jacket of club-focused dancefloors. Occasionally, old friends from Amsterdam would join him in the studio – Tracey and Maxi Mill, both of whom are part of his Voyage Direct label roster, contributed to tracks on the album – but for the most part the production process was a solo endeavour: musical therapy for an artist determined to do things differently after years spent making club hits and sweat-soaked peak-time workouts.

The results are rarely less than spellbinding. Trago sets his stall out with opener ‘Dark Oak’, a gorgeous, colourful, sun-bright scene-setter co-produced by Tracey that layers tumbling lead lines, chiming melodic motifs and kaleidoscopic chords atop the gentlest of bubbly beat patterns. Maxi Mill lends a hand on ‘Central Park’, a deep and hypnotic excursion marked out by rhythmic bleeps, minimalistic beats and layered melodies, and the summer sun-down rush of ‘Never Peace a Puzzle’, where kaleidoscopic synth sounds, meandering solos and looped electronic stabs rush towards a dancefloor of the mind.

Trago’s desire to create “electronic lullabies” for his young daughter comes to the fore on ‘To Be Left Unlocked’, a hypnotising fusion of spacey electronic motifs, Steve Reich style (synth) marimba melodies and slowly building musical intensity, while the echoing Fender Rhodes riffs, squelchy synth-bass, glistening guitar notes and sparse, snappy post hip-hop beats of ‘When The Sky Is Watching Us’ doff a cap to the producer’s roots as a bedroom beat-maker.

Given the project’s genesis, it’s perhaps fitting that Trago chose to conclude proceedings with ‘It Might Be Forever’ and the digital only ‘Blue Dope’, the album’s most rejuvenating, immersive, and vibrant moments. Both feature sustained chords painted with vivid aural brush strokes and come blessed with the merest hint of a rhythmic pulse – a thread that subtly runs throughout Trago’s most mature and musically rich album to date.

Matt Anniss

Multi-Award winning, hugely influential musician Feist returns with Multitudes, her sixth solo album and first since 2017’s Pleasure.

Multitudes was produced by Feist with longtime collaborators Robbie Lackritz (The Weather Station, Bahamas, Robbie Robertson) and Mocky (Jamie Lidell, Vulfpeck, Kelela). Blake Mills (Bob Dylan, Fiona Apple, Perfume Genius) and Joseph Lorge came in to mix, with Mills as a co-producer in the final stages.

Multitudes took shape soon after the birth of her daughter and sudden death of her father, a back-to-back convergence of life-altering events that left the Canadian singer/songwriter with “Nothing performative in me anymore.” As she cleansed her songwriting of any tendency to obscure unwanted truths, Feist slowly made her way toward a batch of songs rooted in a raw and potent realism which is touched with otherworldly beauty.

Largely written and workshopped during an intensely communal experimental show of the same name through 2021 and 2022, the songs on Multitudes developed in parallel with and were deeply influenced by the mutuality of the unconventional experience. The production, developed by Feist with legendary designer Rob Sinclair (David Byrne’s American Utopia, Peter Gabriel, Tame Impala) was formulated to bring people together as they re-emerged from lockdown while providing an outlet for connection between artist, art, and community.

Multi-Award winning, hugely influential musician Feist returns with Multitudes, her sixth solo album and first since 2017’s Pleasure.

Multitudes was produced by Feist with longtime collaborators Robbie Lackritz (The Weather Station, Bahamas, Robbie Robertson) and Mocky (Jamie Lidell, Vulfpeck, Kelela). Blake Mills (Bob Dylan, Fiona Apple, Perfume Genius) and Joseph Lorge came in to mix, with Mills as a co-producer in the final stages.

Multitudes took shape soon after the birth of her daughter and sudden death of her father, a back-to-back convergence of life-altering events that left the Canadian singer/songwriter with “Nothing performative in me anymore.” As she cleansed her songwriting of any tendency to obscure unwanted truths, Feist slowly made her way toward a batch of songs rooted in a raw and potent realism which is touched with otherworldly beauty.

Largely written and workshopped during an intensely communal experimental show of the same name through 2021 and 2022, the songs on Multitudes developed in parallel with and were deeply influenced by the mutuality of the unconventional experience. The production, developed by Feist with legendary designer Rob Sinclair (David Byrne’s American Utopia, Peter Gabriel, Tame Impala) was formulated to bring people together as they re-emerged from lockdown while providing an outlet for connection between artist, art, and community.

Stay Up Forever on their 110th release and still going strong. Ciuciek teams up with Aggie Acid Line and Bassline Ben for a rousing Acid Techno anthem on the A1 track ACID ON THE DANCEFLOOR.

The same trio get darker on the A2 with HEAD FULL OF ACID, whilst Ciuciek and fellow Polish producer ErykkMTK deliver a pulsating dancefloor bomb on the B1 with RETURN TO ACID.

The MYTHOS rocks! Neptune Kings are presenting a magnificent follow-up to their 2019 debut album "TRITON" in long-play format on vinyl.

"The Neptune Kings play intelligent fusion, which clearly has its roots in 70's music, as performed by bands and musicians such as Return To Forever, Spyro Gyra, The Crusaders, Lee Ritenour and celebrated by many others.", jazzandrock March 26th, 2019)

After their debut, which was equally celebrated by electrified fans and the euphoric press, the four guys from Germany are even upping the ante with their second album. Its title "MYTHOS" can be taken literally. Sophisticated compositions, spherical sounds and energetic songwriting take the listener into a fabulous world of sound, in which the imagination is tickled for 37 minutes and everyone can experience their very own MYTHOS!

Catchy melodies, which come alternately from Nicolas Kozuschek's keys, Daniel Hinte's guitar or Calvin Lennig's bass, run as a central theme through the 7 tracks. Collaborating their dynamic arrangements, in which Dennis Schendzielorz creates a great arc of suspense encompassing his usual energetic drumming, it never gets boring.

As a bonus, every vinyl comes with the CD of the album free of charge.

Detroit icon Eddie Fowlkes drops ‘Forever EP’ on Rekids this March.

As one of Techno’s originators, Godfather of Techno Soul Eddie Fowlkes has shaped the Techno genre for over 36 years. With his releases on Metroplex, Tresor, Sony, Peacfrog, and his own imprint CityBoy Records and Detroit Wax Label, Fowlkes' contribution to the blueprint of modern electronic music cannot be overstated.

Returning in fierce form for 2023, Eddie Fowlkes arrives on Radio Slave’s Rekids with a sizzling four-tracker. From the red hot drums and trippy vocals on the opening track ‘Forever’ through to the bubbly synths and swinging percussion on the B2 ‘Nice’, Fowlkes’ funk-infused House and Techno has its sights set squarely on the dancefloor - an unwavering testament to the lasting production chops of a true originator.

UK producer Dennis Huddleston goes by the artist name of 36. He is a much-loved producer with a fine back catalogue which is investigated here with The Box, a new collection of his earliest and perhaps most admired works. They were all written between 2005 and 2012 and are drawn from albums such as 2009's Hypersona, 2010's Hollow and 2012's Lithea. The bumper six vinyl collection also features a bonus album, Orphans, of all new and previously unreleased tracks. There is a real depth of range and emotion to these tracks so it is no wonder the artist says they are some of the most personally cherished works he has written.

First Word Records is extremely proud to welcome the legendary New Sector Movements to the label, and the first new release from this moniker in 15 years! A 5-track EP for 'These Times', comprised of street soul, hip hop, jazz and bruk-tinged vibes.

Founded, headed and produced by DJ & musician IG Culture (CoOp Presents / LCSM), this all-new quasi-group project also features the vocal talents of Allysha Joy, Mike City and Natalie May with additional accompaniment from Wonky Logic, Wayne Francis, Alex Phountzi and the NSM Fusion Starship!

New Sector Movements (aka NSM) were the first out the gate at the dawn of the original broken beat movement, releasing their first single 'Groove Now / New Goya' on the People label in 1997, then releasing several singles and EPs through to the late noughties, and dropping a classic album on Virgin entitled 'Download This'. The previous incarnation featured several other artists from the bruk foundation era, including Kaidi Tatham, Izzy Dunn, Julie Dexter and Eska Mtungwazi amongst others.

Awarded a 'Lifetime Achievement Award' at the 2019 Worldwide Awards, NSM's IG Culture is a hugely pioneering prolific artist in the UK music scene. His catalogue of releases over the years has seen numerous aliases, collaborations, remixes and productions. Appearing on the scene in 1990 as part of Dodge City Productions, to producing several solo albums throughout the noughties, to recent years with his hugely-acclaimed cosmic jazz outfit LCSM (Likwid Continual Space Motion), additionally to co-running the CoOp Presents label, continuing the legacy of the award-winning club night whilst showcasing new artists, IG Culture has been omnipresent at every corner of British black music for three decades deep, influencing many a sound.

This is all additionally to projects like NameBrandSound, Likwid Biskit, Da One Away and Son of Scientist to name just a few. His work has appeared on releases by Roots Manuva, Young Disciples, Les Nubians and Monday Michiru, while remix work over the years has included Gang Starr, Femi Kuti, José James, Miraa May, Slum Village, Digital Underground, Luniz, Naughty By Nature, Airto Moreira & Flora Purim.

As a DJ, he's shut down dances all over the world, recently at places like Fabric, We Out Here festival and Summer Dance Forever in Amsterdam, as well as regularly rocking the airwaves on Worldwide FM and combining the two at BBC 6 Music's All Points East stage in the Summer. IG Culture also founded Selectors Assemble; a collective of forward thinking DJs and producers.

So, as we head towards Winter 2022, New Sector Movements has returned (but don't call it a comeback!). After a turbulent few years in the world, it seemed a poignant moment to reinvigorate the soul, and reflect upon 'These Times'. Here we have five brand new tracks, each illustrating a pertinent mood and attitude representing the current climate. Allysha Joy leads the vocal on EP opener 'These Times', a sumptuous slice of street soul with a deeply infectious horn hook. 'Stand' is next - uptempo boom bap for the dancers, this one featuring the soulful pipes of Mike City. 'Hope' is a midtempo jazz-funk dub again feature vocal licks from Allysha, and introducing the mysterious NSM Fusion Starship into the fold. 'H.E.A.T.' picks up the pace with some infectious jazz-bruk business, this one lead by Natalie May on the vocals, who explains "heat = movement, motion". And finally 'Bless' with closes the set on a four-four riddim with bruk sensibilites, inviting Mike City back with an uplifting vocal requesting we "bless the people just trying to make it".

An essential EP of cross-genre vibes to resonate cross-generations, New Sector Movements do not ramp. IG Culture and crew proceed to give you what you need for 'These Times'.

'These Times' is released on vinyl and digital worldwide via First Word Records late February 2023.

A travelogue that unites physical and inner space, a series of trance states rendered in vivid colour, a delirious portal into the ether.
Marlene Ribeiro’s first albumunder her own name is all of this and much more. Toquei No Sol is a fresh new chapter for this unique artist, by far the most melodic and transcendent outing yet for her hypnotic dreampop.

This is only the latest release in a long history of sonic experimentation for Marlene, which includes her previous work as Negra Branca across a series of releases on labels such as Tesla Tapes and Zamzam and a long period as a member of audial iconoclasts and Rocket mainstays GNOD, not to mention collaborations with the like of Valentina Magaletti and Thurston Moore.

Toquei No Sol is also a record with a very distinctive and potent sense of place, paradoxically despite having been woven together from recordings made in Ireland, Wales, Portugal, Madeira and Salford.
It’s genesis came via a visit to Marlene’s maternal grandmother Emilia, whose influence as well as the sounds of her kitchen in Portugal.
can be heard on the album’s first track ‘Quatro Palavras’.

“Emilia ended up getting excited about me being able to record things there and then and - total news to me - told me she used to sing a lot when she was younger to the point of getting offered studio time but refusing it as she was fearful of what that could imply in those times” relates Marlene “From that point I planned to include her in this record as sort of the chance she never had of getting her voice out there.”

Elsewhere, a disarmingly catchy and irresistible grace is married to
a utilitarian approach to sound and texture. The ritualistic “Sangue De Lua de Lobo” (first released on a Sofia records compilation Songs Of The Lunar Eclipse) contains random objects from Marlene’s then-garden in Ireland, whereas on the drifting, beatific ‘Forever’ the percussion tracks are constructed from the sounds of pots and pans in her own Salford kitchen.

Yet at all times her fleet-footed approach to melody rings through even as the tracks conjure visions of heat-hazes, meditative spaces and late-night epiphanies. Although listeners may hear echoes of the
loop-driven psychedelia of Panda Bear’s Person Pitch or the incantatory ululations of Pocahaunted in these beguiling soundscapes and magick-strewn mantras, the truth is that the aesthetic here is
very much Marlene’s alone.

“It’s all a big misty haze of nostalgia, playfulness, self-reflection and hopefulness” is what Marlene reckons herself. Yet Toquei No Sol
is also a transporting vision from an artist both returning to her roots
and looking out to new celestial horizons.

‘Energy MC2’ began as an energetic bunch of 10 and 11year old neighborhood kids, who initially formed a band under the name of ‘Congressional Funk’. The founding members were Vincent Bonham, Opelton Parker (the brother of Ray Parker Jr) and brothers Ufuoma and Eric Wallace, with the later addition of Fred Gordon. Later becoming the backing band for local Detroit act Mad Dog & The Pups. Featuring on some of the ‘Pups’ earliest Magic City releases “Hep Squeeze” (MC-007) and the follow up release “Funky Monkey” (MC-009). A name-change to ‘The Soulful Hounds’ followed which they are credited as on the instrumental flipside of Mad Dog & The Pups vocal version of “Why Did You Leave Me Girl” Magic City (MC-012).

After leaving Magic City, the band went through several changes in both name and personnel, upon hiring bass player Ben "Rat Bass" Adkins, they adopted the name of his former band, ‘Energy’ to which they added Albert Einstein’s formula for special relativity (E=MC2) to finally became ‘Energy MC2’. As Energy MC2” they soon began seriously recording their own original material which included the two previously unissued 70’’s tracks “If You Break It” and “Other Side Of The Mirror” first released on Soul Junction in 2016. The group’s line up on these songs included Vincent Bonham, Ufuoma Akill-Wallace, Arnell Carmichael, Ernestro Wilson, Opelton Parker, Gordon Carlton, Eric Wallace, Leon Lopez, Marvin Carlton and Marlene Rice. A further unissued song the mellifluous ballad “Juliane” also the gained release on the ‘We Got A Sweet Thing Going On’ volume 2 SJCD 5011 cd compilation album.

During 1974 several members of the group boarded a Greyhound bus for Los Angeles. During their week long stay there under the supervision of Ray Parker Jr they recorded the two featured songs the mellifluous “You And Only You” and “Love To Make Love To You” featuring Arnell Carmichael on lead vocals with the session remaining unissued Energy MC2 returned to Detroit. Vincent Bonham and Arnell Carmichael in 1977 returned to L.A. to join

Ray Parker Jr and Jerry Knight to form the band ‘Raydio” later becoming Ray Parker Jr & Raydio when Jerry Knight left to go solo. Ray Parker later too chose to persue a solo career leading to him recording the title track of the box office hit movie “Ghostbusters” a song he will forever be remember for. During 2014 Arnell Carmichael, Vincent Bonham, James Carmichael and Giovanni Rogers revived ‘Raydio’ but only as a touring band. The remaining members of Energy MC2 all enjoyed successful careers as session and backing musicians with many major artists, The Four Tops, The Temptations, Areatha and Carolyn Franklyn, Michael Henderson, Cheryl Lynn, Bettye Lavette, and Parlet’ (part of the P-Funk family) that help George Clinton Land the Mothership!

Red Vinyl

Breaking from the strange monotony and abnormal norms that took hold during two years of pandemic life, Hammock returns with Love in the Void , an album that looks to the future, seizes the present, and unabashedly relishes the experiences and bonds that bring meaning to our days. Known for crafting orchestral works of stirring cinematic ambience, on Love in the Void the Nashville-based duo of Marc Byrd and Andrew Thompson bring guitar-forward, heart-pounding urgency to songs that shout through and shatter the static of complacency. Since forming as Hammock in 2003, Byrd and Thompson have released 14 critically-acclaimed albums, and are renowned for their unique talent for bringing inexpressible emotion to life. The Covid-19 pandemic followed closely after one of Hammock's career-defining works, the Mysterium, Universalis, and Silencia trilogy that chronicled the incomprehensible loss of Byrd's 20-year- old nephew. At their homes and apart, Byrd and Thompson then recorded Elsewhere, an album of shimmering ambience that channeled alienated longing and displacement into avenues that gave way to worlds and possibilities yet realized. Shaken awake and needing to break free of frustrations and longings, Love in the Void pulses with an unbridled spirit for action and experience and a burning desire for connection Across songs that hammer home the keenly felt emotions of life's highs and lows, Byrd and Thompson crest soaring crescendos awash in reverb and delve to keenly felt moments of quiet introspection, with unflinching lyrics on tracks like "Undoing" and "Denial of Endings'' that weigh choices made and circumstances that can't be changed. Lush and dramatic string orchestration from Matt Kidd (Slow Meadow) and emphatic drumming from Jake Finch heighten the stakes in play, and Christine Byrd's (Lumenette) ethereal vocals leave mysteries lingering in the haze. Love in the Void is Hammock's loudest album to date, embracing daring and vulnerability with palpable vitality at its core, and moving into an unknown future without fear.

Cacophony is the second Rudimentary Peni album. Released after the band returned from their first hiatus following a series of personal events that changed the band forever. The thirty track LP keeps turning heads 34 years after its release. Far from writing another “Death Church” the band embarked on a truly bizarre quest - to record an album based on the life and writings of horrors absolute king H.P. Lovecraft. A dense cacophony of total free songwriting. Dark, gothic, intricate, unexpected head-scratching punk. The short bursts of music twist and turn at every corner - the vocals are part classic Blinko and part spoken word, the guitar is full of distorted awkward tones and the very inventive bass and drums are locked together creating a truly unique album. Cacophony is the benchmark of outsider Punk and the influence and cult nature of this album grows with every passing year. This reissue stays close to the original version, with Nick Blinko’s incredible cover art, including a 11” x 11” 8-page lyric booklet.

From over the hills and far away, the cobblers and their boots are here to stay. The sartorial scallywags return with another collection of kaleidoscopic, Italo-tinged party pleasers.

First off the block, London royalty Super Drama team up with homeboy Kayroy for ‘Something New’, a cut of propulsive glitterball synth-funk, with just the right amount of cowbell. Next up, Italy’s Disco Mortale and Futuristant take us for a tour of the dark side, with cyborg vocoders
and cyberpunk arpeggios painting a vivid dreamscape of neon and steel. ‘Until Forever’ flirts the line between sinful and sincere, abandoning you to the rise of the machines, and a dance-off to the death!

Flip that wax and step on the gas because Gabto reunites with collaborator Kauan Marco for the colossally cool ‘Ki Ko Ho’. These brilliant Brazilians have delivered a bonafide gem, complete with drums that hit you in all the right places, and a killer synthesiser solo – brilliant stuff.

For the cherry on top, Marching Machines bring their intoxicating and hypnotic flavour of Belgian chug and psychedelic dark disco to the table with the festival-ready epic ‘Seraphic’ – molto bene! An electrifyingly eclectic and adventurous collection of toe-tappers and hip snappers, made with love and coming soon to a discoteca near you.

PETE MOLINARI is a country blues singer, songwriter from the Medway Delta. He was born into a large Maltese/ Italian/ Egyptian family in Chatham, Kent, where he was discovered by Billy Childish.
He’s got five critically-acclaimed albums’ worth of timeless folk, blues, rock and alt- country songs to his credit, plus a bunch more EPs.

THIS IS THE FIRST PHYSICAL RELEASE OF ALBUM ONLY RELEASED DIGITALLY IN 2020 DURING THE PANDEMIC…AVAILABLE ON BLACK VINYL AND INDIES-ONLY PALE BLUE VINYL (NON-RETURNABLE) WITH NEW ARTWORK.

Just Like Achilles is the distillation of everything Pete has learned since those years on the road as a travelling troubadour, playing tiny theatres and coffee houses everywhere from London, to New York, Paris to Nashville and around the world, eventually taking him to the most celebrated venues such as The Royal Albert Hall, The Royal Festival Hall, Carnegie Hall and Radio City Music Hall.

Just Like Achilles brims with big songs and huge choruses. After a first listen, it’s like you’ve known and loved this record forever. Although surprising for some who think he is the lone songwriter with his guitar, Pete is a big fan of Pop. Yes, somewhat of a dirty word today, but it is that timeless and well-crafted pop that created so many hit songs in the past that we still adore today.

Pete’s songs always cut straight to the heart of the matter. No fat, no artifice, no histrionics. The sound is real. Live. Real people playing real instruments. Front and center are Pete’s own majestic guitar chops and unique, soulful voice. Even on Achilles’ sadder songs, there’s a buoyancy and potency to them, an infectious effervescence that imbues life is for living, and it is that loving of life that we find celebrated in every song, arrangement and composition.

To coincide with Just Like Achilles highly anticipated release, Linda Perry organized an extraordinary event. She booked out the legendary Capitol Records’ Studio A and hit her contacts list to pull together a supergroup to join Pete in performing his new songs live in the studio. It included legends Ronnie Spector and Don Was, plus Mike Garson and Gail Ann Dorsey from the David Bowie band. Evan Rachel Wood also came along to sing on a couple of songs, while Jakob Dylan duetted with Pete on a very special version of “Waiting For A Train”.

So, everything was ready to go, ready for release. This was the beginning of 2020. And then .... well, as we all know, everything stopped. Now, two more years on, this is Take Two: Just Like Achilles is finally set to receive the release it always deserved.

Blue Vinyl

PETE MOLINARI is a country blues singer, songwriter from the Medway Delta. He was born into a large Maltese/ Italian/ Egyptian family in Chatham, Kent, where he was discovered by Billy Childish.
He’s got five critically-acclaimed albums’ worth of timeless folk, blues, rock and alt- country songs to his credit, plus a bunch more EPs.

THIS IS THE FIRST PHYSICAL RELEASE OF ALBUM ONLY RELEASED DIGITALLY IN 2020 DURING THE PANDEMIC…AVAILABLE ON BLACK VINYL AND INDIES-ONLY PALE BLUE VINYL (NON-RETURNABLE) WITH NEW ARTWORK.

Just Like Achilles is the distillation of everything Pete has learned since those years on the road as a travelling troubadour, playing tiny theatres and coffee houses everywhere from London, to New York, Paris to Nashville and around the world, eventually taking him to the most celebrated venues such as The Royal Albert Hall, The Royal Festival Hall, Carnegie Hall and Radio City Music Hall.

Just Like Achilles brims with big songs and huge choruses. After a first listen, it’s like you’ve known and loved this record forever. Although surprising for some who think he is the lone songwriter with his guitar, Pete is a big fan of Pop. Yes, somewhat of a dirty word today, but it is that timeless and well-crafted pop that created so many hit songs in the past that we still adore today.

Pete’s songs always cut straight to the heart of the matter. No fat, no artifice, no histrionics. The sound is real. Live. Real people playing real instruments. Front and center are Pete’s own majestic guitar chops and unique, soulful voice. Even on Achilles’ sadder songs, there’s a buoyancy and potency to them, an infectious effervescence that imbues life is for living, and it is that loving of life that we find celebrated in every song, arrangement and composition.

To coincide with Just Like Achilles highly anticipated release, Linda Perry organized an extraordinary event. She booked out the legendary Capitol Records’ Studio A and hit her contacts list to pull together a supergroup to join Pete in performing his new songs live in the studio. It included legends Ronnie Spector and Don Was, plus Mike Garson and Gail Ann Dorsey from the David Bowie band. Evan Rachel Wood also came along to sing on a couple of songs, while Jakob Dylan duetted with Pete on a very special version of “Waiting For A Train”.

So, everything was ready to go, ready for release. This was the beginning of 2020. And then .... well, as we all know, everything stopped. Now, two more years on, this is Take Two: Just Like Achilles is finally set to receive the release it always deserved.

We have a very limited amount of these available now for stores. 4LP boxset - white vinyl - edition of 300 - includes: The Dream Derealised LP, Lightnesses I & II LPs, Near Future Residence LP. It’s nearing a decade since William Doyle released his Mercury Music Prize nominated debut album, Total Strife Forever, as East India Youth in 2014. A year later, he had toured the world and was releasing his second album, Culture of Volume, but it would be another four years before Doyle returned with his third full album, and the first official release under his own name. The dizzyingly ambitious Your Wilderness Revisited arrived in 2019 and was followed last year by the artpop masterpiece, Great Spans of Muddy Time. In the years between leaving the old project behind and re-emerging under his own name, Doyle self-released a string of ambient-leaning albums, The Dream Derealised, Lightnesses Vol I & II and Near Future Residence, which are now to receive a first vinyl pressing via Tough Love as both a highly limited four LP box set, titled ‘Slowly Arranged: 2016-19’, and as separate albums. The Dream Derealised is a collection of nine abstract, lo-fi pieces that were recorded during the summer of 2016, when focusing on creating them helped guide Doyle through a “difficult period of anxiety, panic and a regular dissociative feeling called derealisation.” At the time, doing something creative in a quick and immediate fashion felt vital to Doyle, carrying him to a new place: “I’m releasing them now as a cathartic measure, and as a message for others who may be going through difficult times themselves. What I told myself at the time, what I can tell you now: You are not in danger. You are not going insane. You are not alone.” Lightnesses Vol. I & II sees Doyle create what we might understand as true ambient music – that is, music intended for the background that wasn’t composed as such, but allowed to blossom out of the setting of some rules and parameters, played by sounds he created and then resampled. The deceptively simple, droning pieces are unlike anything Doyle has made before or since. “During their creation I’d often take photographs of the light coming in through the windows of the two houses I lived in during their creation. I’d post these on social media and they became quite popular parts of my output. This music was intended to accompany those visuals. The first volume’s photo is a double exposure of the sun shining in on my notebook and my hand, whereas the photo for the second volume was taken in Joshua Tree Park, California as I saw our tail lights illuminate one of the trees.” Near Future Residence is music for an imagined place based on real ideas; the soundtrack for an ecologically sustainable housing development somewhere in a not-too-distant future Britain. The eleven instrumental pieces here come from a place of optimism, imagining a future that is based on cooperation, community and ecological urbanism. It's music intended to sit in this imagined environment rather than impose upon it, similar in principle to the function of Kankyō Ongaku (Japanese environmental music). The ideas contained on Near Future Residence laid the groundwork for - and can be seen as a companion piece to - the album Your Wilderness Revisited, released to critical acclaim in 2019. Doyle explains how the pieces “were composed in entirely generative ways using samples of instruments, synthesisers and field recordings I've collected and developed throughout 2018. In generative composition, rules are set and parameters are chosen and then put into motion, the results constantly changing and surprising.”

Stay Up Forever unleash D.A.V.E.The Drummer and Chris Liberator (aka Dynamo City) on a collab with new acid techno whizz-kid Rats On Acid, bringing forth 2 killer acid techno juggernauts that reflect all the paranoia/distrust/misinformation/loss/trauma of the virus and it's impact on society in the past 18 months... throwing it back at us in a glorious frenzy of driving acid rhythms that is going to devastate dark warehouses and sweaty clubs ready to finally embrace a return to 'AVIN IT!!!

In 1997, after a lengthy hiatus, Echo & The Bunnymen returned to the fore with 'Evergreen', revealing the brighter side of the band, and standing up with any of their earlier work.The self-produced album was recorded at The Doghouse in Henley-On-Thames with additional strings, horns and vocal arrangements recorded at Abbey Road.

The album saw the band rightfully return to the UK album charts at #8, with 3 singles ('Nothing Lasts Forever', 'I Want to Be There When You Come' and 'Don't Let It Get You Down') entering the UK top 50. 'Nothing Lasts Forever' (with backing vocals and tambourine by Liam Gallagher) has grown to become one of the band's most enduring and well-loved songs - a UK Top 10 and a fan favourite to this day.

To celebrate its 25 year anniversary, London Records releases 'Evergreen' on vinyl for the very first time, with a limited first pressing in solid white vinyl. There is also a new remastered and expanded 2 CD edition, taking in studio b-sides, live and acoustic sessions and previously unreleased versions across 33 tracks.

The stage is set for an almighty celebration as Groove Armada approach a huge milestone and mark the anniversary with a return to the road. New music plays a key part of the GA25 celebrations, with the duo recruiting some of today’s leading underground artists to remix their most iconic tracks, packed into a box set celebrating an award winning career that has seen them produce an impressive, record-breaking body of work.

25 years on from their debut, Groove Armada have become one of the most influential and successful dance acts of the 21st century, a position they have maintained, proving to be an influential force in the UK and globally. Over two decades of prolific productions and tireless touring they’ve proved that it’s possible to daringly explore a multitude of sounds while achieving critical and commercial success.

From huge outdoor performances to intimate parties, travelling the world, delivering their diverse dance floor-focused sound to raucous crowds on every continent, the duo have done it all. Despite their extensive list of achievements, there’s still plenty of motivation to have another huge party and go the extra mile to make GA25 one to remember, for fans new and old.

“The Long Meadows is the endless stream never getting to the sea, through the lens of a couple in love unable to buy a home. It's the Now and the Past both melding into one cry of confusion, unanswered and forever in pursuit, “locked out of the next life”.

Following both a global pandemic and an acclaimed, landmark debut album, inimitable Irish Alt-Folk act Junior Brother returns today with details of his new album The Great Irish Famine, and a new single titled “No Snitch”. The album follows his much lauded 2019 Pull The Right Rope and is out 2nd September via multidisciplinary Irish label Strange Brew.

The Great Irish Famine leaps boldly forward into an exciting new chapter, and into a shaken new world - staggeringly profound, brutally beautiful in its epic sweep.

Speaking about the themes across the album Kealy further explains, "I was very conscious to bring each element of the debut into this follow-up, but dramatically dig ten times deeper and stretch ten times further down into each avenue”. “No Snitch" soars amidst darkly comic self-reflection ("This Is My Body"), anxious reflexes on modern living ("No Country For Young Men"), and the painful role the past plays in a nation's present ("King Jessup's Nine Trials").

Both startlingly dynamic and profoundly accomplished, The Great Irish Famine reflects fall-out of trauma both personal and universal, national, and international, minor, and mountainous, historic, and contemporary - all uncompromisingly conveyed through the magnetic, emotionally potent vision of a one-of-a-kind artist at the top of his game.

Beth Orton returns after six years with her new album, ‘Weather Alive’.

“Through the writing of these songs and the making of this music, I found my way back to the world around me - a way to reach nature and the people I love and care about. This record is a sensory exploration that allowed for a connection to a consciousness that I was searching for. Through the resonance of sound and a beaten up old piano I bought in Camden Market while living in a city I had no intention of staying in, I found acceptance and a way of healing.” - Beth Orton

Album collaborators include Tom Skinner, Alabaster dePlume, Shahzad Ismaily and Tom Herbert.

Big headline UK tour in October 2022, including a headline show at Koko in Camden, London.
CD housed in digipak packaging. Clear vinyl in a single-sleeve jacket and printed inner. Black vinyl, housed in a single-sleeve jacket and printed inner.

“As the music rises against the ragged pulse of her vocals, the English artist, nearly 30 years into her career, constructs an entirely new landscape for her songwriting - a wide-open space that grows stranger and more beautiful the further inside she leads us.” - Pitchfork

“The musical richness only mirrors Orton’s astounding writing” -MOJO (★★★★)

“Viscerally corporeal music, full of gristle and breath and richly ambient” - Uncut (8/10)

“‘Weather Alive’ is an enormously exciting record” - The Guardian

“Soaring” – NME

“Best New Track” - Pitchfork

“Singular and captivating” - Stereogum

Beth Orton returns after six years with her new album, ‘Weather Alive’.

“Through the writing of these songs and the making of this music, I found my way back to the world around me - a way to reach nature and the people I love and care about. This record is a sensory exploration that allowed for a connection to a consciousness that I was searching for. Through the resonance of sound and a beaten up old piano I bought in Camden Market while living in a city I had no intention of staying in, I found acceptance and a way of healing.” - Beth Orton

Album collaborators include Tom Skinner, Alabaster dePlume, Shahzad Ismaily and Tom Herbert.

Big headline UK tour in October 2022, including a headline show at Koko in Camden, London.
CD housed in digipak packaging. Clear vinyl in a single-sleeve jacket and printed inner. Black vinyl, housed in a single-sleeve jacket and printed inner.

“As the music rises against the ragged pulse of her vocals, the English artist, nearly 30 years into her career, constructs an entirely new landscape for her songwriting - a wide-open space that grows stranger and more beautiful the further inside she leads us.” - Pitchfork

“The musical richness only mirrors Orton’s astounding writing” -MOJO (★★★★)

“Viscerally corporeal music, full of gristle and breath and richly ambient” - Uncut (8/10)

“‘Weather Alive’ is an enormously exciting record” - The Guardian

“Soaring” – NME

“Best New Track” - Pitchfork

“Singular and captivating” - Stereogum

Perc Trax's scene leading Forever series returns for its third instalment. Taking a more curated approach to your typical 'release 30 random tracks and see what sticks' approach of most VA projects, the Forever series keeps the track count tight and the quality control even tighter. Featuring four artists new to Perc Trax plus new material from label regulars Perc and EAS, Forever 3 is essential as a summary of where both Perc Trax and the wider techno scene are at right now.

Opening up proceedings is Somniac One, making her Perc Trax debut after well received releases on RAW, Ghostly International, PRSPCT and her own newly launched Somniverse label. 'Junkyard Shift' is everything you'd expect from Somniac One on Perc Trax, huge kicks, hardcore synths and just the right amount of dance floor drama. Next up another Perc Trax Exos debutant, well known for his releases on Trip, Symbolism, Force Inc and more serves up something from the rougher extremes of his musical range with 'Warlion' a 4/4 stomper relying on swooping synths to drive the track forward.

On the B-side Perc collaborates with new Perc Trax signing Million on 'Rotopod'. Working together for the first time the newcomer influence pushes Perc's sound to a faster, more aggressive place. Closing the vinyl is 'Ryu Acid' by Perc Trax regular EAS, an acid fuelled monster that has been a highlight of Perc's sets for over a year now.

Rose For Bohdan return with their 5th full length album in full rock mode (w/ David Gorilla and Kerri Kerang on drums). Beyond high energy anthems filled with blistering electronics, thunderous bass/drum combo, and instantly catchy boy/girl vocal hooks. Inspired by living in Los Angeles, from the ADHD pace to the still unresolved undertones of racial tension to the youth that lights this town up with hope. No Rose For Bohdan album has ever been released on vinyl, so we're here to fix that problem, beginning with the high water mark for the band. Noise poppunk that takes wild twists and turns, bathed in ridiculous energy. This is fun insanity. TRACKLIST: 1. Friends Forever 2. Peter and the Rabbit and the Wolf 3. Thunderstorm Summerschool 4. The Fashion Show 5. I'm 6. The Amazing Bird the Shit in a Bag 7. The Fear 8. Covered In Monkeys

Formed in 2005 in Sundsvall, Sweden, Technical Metal Masters SOREPTION are known for their razor-sharp technical riffs, schizophrenic time signatures topped with catchy chugging grooves and intense vocals. From this they have created their signature sound, not yet replicated by any other modern band, with a strong following to back. The band’s debut full-length Deterioration Of Minds brought major attention to the band as a formidable force in the genre. Deterioration Of Minds was released by Ninetone Records in 2010 and was rereleased by Unique Leader Records in 2014, and their follow-up punishing album “Engineering the Void” was released February 2014 also on Unique Leader Records to critical acclaim. 2015 saw SOREPTION take their technical prowess to the masses, with tours supporting extreme metal machine Cryptopsy, tech-death masters Origin, and the legendary death metal giant Cannibal Corpse. Following the on-road success, the industry and fans sat up and took notice, resulting in the band signing with Sumerian Records in 2018 releasing their next full-length “Monument of the End in the late summer of that same year. The album highlighted the growth of the outfit and continued razor-sharp precision that SOREPTION has become known for. Prior to the release of “Monument of the End” the band earned a spot on the 2018 edition of The Summer Slaughter Tour and followed it up with a support slot for Revocation on “The Outer Ones Global Invasion Part II” European Tour, solidifying them again as a live force to be reckoned with. When the world was shuttered from a worldwide pandemic, SOREPTION saw this as an opportunity to shift gears, refocus their tech machine and set out to create an album that is the natural continuation of ‘Monument of the End’, both musically and concept-wise. 2022 sees the return of SOREPTION to Unique Leader Records with the highly anticipated new album “Jord”, mixed and mastered by Buster Odeholm and featuring artwork by Caelan Stokkerman who handled artistic duties on their previous releases.

We return with the second Glenn Davis” 12”, a year on from his last Yore twelve-inch “Soul On My Side”, Dublin-based DJ and producer Glenn Davis returns with its sequel, the as-stellar Better Daze. The EP's melodic, soulful sound. The dynamic title cut locks in instantly with a pumping kick drum and builds layer by layer thereafter. Percussion, hi-hats, electric piano chords, and synthesizers add to the thrust of the production as it grows ever more urgent. As the track advances, Davis drapes a jazzy keyboard solo across the booming base as the swing swells to a near-ecstatic level. “Your Time” rounds out the A-side with a cut that suggests pure energy at its outset before quickly morphing into a sleek house strut. With percussion included and late-night synth atmospherics folded in, the breezy tune starts to sound like something you'd hear banging out on the Dancefloor thats surrounding you.

On the flip, Davis brings the skipping house groove of "Inner Monologue” to a fever while. Moody chords, hand drums, and a snappy groove set the scene. The female vocalist's soulful delivery and vibes-like earworm that make the tune the standout it is. Think of a dark Room and a red light bulb & House Music forever and a day.

Low Company presents Yuta Matsumura’s Red Ribbon, a sequence of introspective, lavishly melodic dream-songs and amphibian atmospheres recorded in scattered periods over 2018-21. Having played in bands like Low Life, M.O.B. and Orion, and the duo Jay & Yuta (with Jay Cruikshank), Red Ribbon is Matsumura’s first solo outing, and represents a conscious effort to move away from guitar-based songwriting. He composed its nine tracks mostly on piano - layering vocals, bass, keyboards, flute (courtesy of Maeve Parker), violin/cello (Laurence Quinn) and clacking drumbox rhythms into dynamic, dubwise avant-pop structures which are supple and spacious but fizzing with detail and vivid inner life. The laconic 4/4 pulse, heat-warped synth-tones and haunting vaporous melodica of opener ‘Box Garden’ set the tone: its surreal psychedelic patternings barely concealing a deep sting of longing and regret. The cryptic lyrics suggest chance encounters, hidden logic, missed opportunities, fatalism, serendipity. A city submerged: everyone else paused mid-movement, while you’re allowed to swim free and fish-like through the streets, over the rooftops...‘Tangled Orchid’ is a tense night-drive through dry desert heat and into the unknown, running away from your old life, chased down by dust-devils of half-baked schemes and abandoned plans, while ‘Myth Machine’ drops the tempo and something mind-altering, guiding us on a tripped-out dub-disco scuba among alien flora and fauna, a world of impossible shapes and sensations. At which point, the mood of the album decisively shifts, firstly with ‘Sake No Otoh’, sung in Japanese by Haruka Sato: an instant-classic, breathtakingly intimate lover's lament that sounds like it got lost on its way to heaven and is now doomed to orbit the earth forever. The songs that follow continue in this more confessional, imploring mode. As if the travelling's done, the baggage has been cast off, and we’ve arrived at our destination, where the real process of rebirth and repair can begin. The music’s textures become less overtly dubby and electronic, with more of an organic, earthy, chamber-pop/avant-folk feel, at once sad and hopeful-sounding. Three songs in particular bear the influence of Eno’s 70s work (and its mutant bedsit offspring Lifetones, Flaming Tunes, etc): ‘‘E. Potential’, where baroquely chorused vocals - half-agonised, half-beatific - teeter on top of simple oscillating piano loops, and the stately, dawntreading ballads ‘Tabula Rasa’ and ‘No Sleep For Birds’. The bulk of the album was made prior to lockdowns and all of that; its themes of reset, self-examination, the need to f**k it all off and take spiritual stock, are timeless. Though they perhaps have a more bittersweet resonance now the world has returned pretty much to how it was, only worse. Track list: 1. Box Garden 2. Tangled Orchid 3. Myth Machine 4. Red Ribbon 5. Soko No Ato 6. Tabula Rasa 7. E. Potential 8. No Sleep For Birds 9. Zookeeper's Trial

40th anniversary year of this (15 million + selling) classic release. Sony Music will be repromoting both formats. A 12 track double gatefold LP with 16 page booklet containing full script, lyrics, original paintings and credits. A double 17 song CD format. There is a 15 date UK arena tour in November/December, featuring Jason Donovan, Newton Faulkner, Adam Garcia and the 3D hologram of Liam Neeson. There is also a major 3 part adaptation of the H.G. Wells novel will on BBC 1 in late November/early December starring Eleanor Tomlinson, Robert Carlyle, Rafe Spall and Rupert Graves. National TV ad campaign across all networks to Xmas. Radio features, spot plays and ad campaign. Press ads and features. Online/social media activity. Poster campaign and database mailout.

Kids Return is first and foremost a great story of friendship since childhood between Adrien Rozé and Clément Savoye . It is between their small Parisian studio and a house suspended between the mountains of the Pyrenees that their pieces are born, then orchestrated by a string quartet in the countryside. From this trip was born a dreamlike and sensory music, a call to dream. Music that takes root out of time.

Forever Melodies is Kids Return's first album, it follows their first four singles, released between 2021 and today (Melody, Our Love, Orange Mountains, Forever). This album is ten skilfully refined pop tracks (“Some bands tell you 'We made 35 songs to keep 8', we made 10 songs to keep 10”) imbued with nostalgia, with an astonishing sincerity (breakups, stories of friendships, love, physical anguish, the transition to adulthood), a boundless love for dressing melodies. This album was orchestrated as a wonderful intimate journey, in space and time: the film of their lives.

UK producer Dennis Huddleston goes by the artist name of 36. He is a much-loved producer with a fine back catalogue which is investigated here with The Box, a new collection of his earliest and perhaps most admired works. They were all written between 2005 and 2012 and are drawn from albums such as 2009's Hypersona, 2010's Hollow and 2012's Lithea. The bumper six vinyl collection also features a bonus album, Orphans, of all new and previously unreleased tracks. There is a real depth of range and emotion to these tracks so it is no wonder the artist says they are some of the most personally cherished works he has written.

Black White Splatter Vinyl

When two musicians intensively work together for a period of time, at some point the whole becomes greater than the sum of its parts. If Paul Boex and Dave Miller hadn't already reached that status under their Abstract Division moniker, they certainly have now, with the release of Midnight Ensemble, their first full length album.

Those who have followed the duo since their early days of playing dj-sets together, know that it's hard to define their style anywhere beyond techno or even electronic music, as it is ever evolving and always dependent on the time of the day or night. When listening to this album, the resemblance between their unpredictable selection behind the decks and the eclectic range of subgenres on this album is more obvious than ever before. Midnight Ensemble could be interpreted as an ode to nightlife; a reminiscence of all that happens between dusk and dawn, captured and compressed into about one hour of music. An hour in which they so delicately time their changing of styles and tempos, always reading the room and always being one step ahead of the crowd.

This album is a reflection of that skill, starting its journey with soothing, moodsetting ambient, followed by timeless pieces of Detroit and dubtechno. A daring electro cut providing a refreshing break from the four to the floor tradition, only to be followed by the stripped down sound the duo is so comfortable with.

The final minutes consist of experimental breaks, one last banger to pull out the last bits of energy that is left and a beautiful outro, which concludes the allnighter vibe. There are no open endings, it doesn't make you want to stay in the dark forever. Rather it makes you want to close your eyes one last time before walking outside to see the sun come up again before going home, overwhelmed and satisfied.

Second album in less than a year from the prolific William Dorey. Includes the singles ‘Another Day, ‘Behind The Sun’ and ‘Losing My mind’. CD packaging is gatefold with choice of 5 inserts to ‘choose your own cover’. Building on the success of 2018’s ‘Filoxiny’ (listed as one of Q Magazine’s ‘354 Albums to Blow Your Mind’) and this year’s ‘Umoja’ (“a pleasure to listen to from start to finish” – Songlines magazine) – both of whose singles have peppered the playlists of BBC 6 Music and have lead to his helming of a Bandcamp takeover - Skinshape returns with the witheringly, prophetically titled ‘Arrogance is the Death of Men’. Written and recorded between November 2019 and July 2020, Skinshape bids torecreate something akin to the ‘old style’ of ‘Oracolo’ (2015) and ‘Life & Love’ (2017). With ‘Arrogance…’, Will Dorey’s blueprint points to a simple formula, aligning a bank of fresh drum breaks recorded at the end of 2019 to whatever he had to hand, for a long player recorded in the majority at home due to the COVID-19 lockdown. Forever balanced between sweetness and a sigh, as per his position ‘Behind the Sun’, the Skinshape essence, intricate yet always reachable, at times tailored in a single session and sourcing archive bric-a-brac when required, is all around on the sweetly strummed ‘Tomorrow’ and ‘The Eastern Connection’, featuring Ivan Kormanak on drums. Maintaining an incisive knowledge of global sounds that keeps him in the filmic company of Khruangbin and El Michels Affair, Dorey’s listening to vintage Vietnamese music and Asian film scores provides the basis of ‘Sound of Your Voice’ and ‘Flight of the Erhu’, starring Wan Pinchu on Erhu violin. Acutely aware of the world’s ongoing health crisis without preaching about the whys and wherefores, the title track and ‘Losing My Mind’ reflect enforced confinement as tranquil songs of both quiet consideration yet powerful release. Dorey’s guitar pieces and wraith-like soul continue to flicker with fascination as Indian Summers and fireside retreats beckon, with ‘Watching From The Shadows’ - about “standing up for yourself, and avoiding the limelight for your own good”– and ‘Outro’ gently bringing the album to rest.

After the 2021 Re-Release of “Schwingungen” (MG.ART612) and together with “Seven Up” (MG.ART613) we proudly announce “JOIN INN” as Part3 of the authorised 50th Anniversary “A.R.T.” Re-Edition Series.
“JOIN INN” is the fourth album by Ash Ra Tempel. It was recorded at Studio Dierks and originally released on LP by Ohr Musik-Produktion, catalogue number OMM 556032. Each side of the LP comprises one long track.
In 1972 ASH RA TEMPEL teamed up again with Klaus Schulze during the recording of Walter Wegmüller's Tarot album, and after one of the recording sessions, ASH RA TEMPEL members: Enke, Göttsching and Rosi, together with Klaus decided to "play it again" in a late night session. This recording led to the birth of the “JOIN INN” album, as well as two legendary last concerts in February 1973 in Paris and Cologne.
Manuel Göttsching recalls Hartmut Enke on bass and Klaus Schulze on drums being a dream-team rhythm section for him to play his guitar, especially here to hear on “Freak'n' Roll”, that was ingenious and not to replace ever since.
It was the last recording ever where Klaus Schulze (who sadly passed away this Year) played the Drums and also Hartmut (the Hawk) Enke soon after quit the Bass and music forever.
Join Inn marks the end of the collaboration with Klaus Schulze.
However, together with Ash Ra Tempel, their eponymous first album, which will be released in 2023 as the final edition of our Series, it is considered a highlight of the Krautrock movement.
As for the music itself we again refer to Julian Cope´s review from his book “Krautrocksampler” (published by Head Heritage, 1st ed. 1995):
""Freak’n’roll” fades in like it never started - just was always there from the beginning of time, a dry wah-guitar freerock riff-out unlike any of the other Ash Ra Tempel LPs, and not much like any other music. Yes, there are bluesy riff but none of them have a blues context. Manuel Gottsching’s guitar is so confident that he sometimes drops down to a simple major chord groove, whilst the Hawk pushes that round woody bass into strange overlapping rumbling melody. And ... it’s the return of Klaus Schulze on drums which propels “Freak’n’roll” to its height. No-one but Klaus has the ability to
transcend rock’n’roll in such an on-the-beat non-groove-y way and still send sparks of light into the cosmos as he does it.
-> continued on page 2“Freak’n’roll” is so egoless that it even works at a quiet volume as meditational music. Themes rise from the high tempo pulse beat, then are carried along the muscles of the song into the main area where the riff actually becomes real and expressionist for just long enough before slipping back into the musical fabric of the song.
As usual with Ash Ra Tempel, the other side is an enormous drift piece called “Jenseits (The Next World)”, a beautiful Klaus Schultze meditation of haunting synthesizer chords over which Rosi Muller tells the story of the Cosmic Couriers’ meeting with Timothy Leary. Gradually, the pulsing guitar becomes increasingly intense and turbulent, but Rosi never sounds less than freaked out. Essentially, “Jenseits” is a precursor to Klaus Schulze’s later spacey minor-key grooves.
Unfortunately, this was the last Ash Ra Tempel album in its particular ‘series.
(…) After “JOIN INN”, Manuel Gottsching took over the Ash Ra Tempel mantle alone.”

The 2018 Halloween movie has the distinction of being the first film in the series with creator John Carpenter's direct involvement since 1982's Halloween III: Season of the Witch. Carpenter serves on the new David Gordon Green-directed installment as an executive producer, a creative consultant, and, thrillingly, as a soundtrack composer, alongside his collaborators from his three recent solo albums, Cody Carpenter and Daniel Davies.The new soundtrack pays homage to the classic Halloween score that Carpenter composed and recorded in 1978, when he forever changed the course of horror cinema and synthesizer music with his low-budget masterpiece. Several new versions of the iconic main theme serve as the pulse of Green's film, its familiar 5/4 refrain stabbing through the soundtrack like the Shape's knife. The rest of the soundtrack is just as enthralling, incorporating everything from atmospheric synth whooshes to eerie piano-driven pieces to skittering electronic percussion. While the new score was made with a few more resources than Carpenter's famously shoestring original, its musical spirit was preserved.

It’s nearing a decade since William Doyle released his Mercury Music Prize nominated debut album, Total Strife Forever, as East India Youth in 2014. A year later, he had toured the world and was releasing his second album, Culture of Volume, but it would be another four years before Doyle returned with his third full album, and the first official release under his own name. The dizzyingly ambitious Your Wilderness Revisited arrived in 2019 and was followed last year by the artpop masterpiece, Great Spans of Muddy Time. In the years between leaving the old project behind and re-emerging under his own name, Doyle self-released a string of ambient-leaning albums, The Dream Derealised, Lightnesses Vol I & II and Near Future Residence, which are now to receive a first vinyl pressing via Tough Love. The Dream Derealised is a collection of nine abstract, lo-fi pieces that were recorded during the summer of 2016, when focusing on creating them helped guide Doyle through a “difficult period of anxiety, panic and a regular dissociative feeling called derealisation.” At the time, doing something creative in a quick and immediate fashion felt vital to Doyle, carrying him to a new place: “I’m releasing them now as a cathartic measure, and as a message for others who may be going through difficult times themselves. What I told myself at the time, what I can tell you now: You are not in danger. You are not going insane. You are not alone.”

We all make mistakes. We all have regrets. We all look back on the loves and losses life brings and lament on how things might have been different. In these deeply personal moments of reflection our emotions can run wild as we contemplate our choices and come to terms with what’s next. Hindsight is a powerful and complex thing, and a phenomenon whose intricacies are explored in captivating fashion on The Greatest Mistake Of My Life, the second album from Cardiff’s Holding Absence.

Building on the excellent foundations laid down by the band’s eponymous debut record, released in 2019, and following standalone singles ‘Gravity’ and ‘Birdcage’, the four-piece have returned with a group of songs that, in the view of vocalist Lucas Woodland, are the truest representation of Holding Absence to date.

Inspired by a song of the same name that was recorded in the 1930s by actor and singer Dame Gracie Fields, The Greatest Mistake Of My Life is rooted in a time long before Holding Absence even existed. Lucas’ great uncle covered the song during the 1950s – something the frontman repeats on this album – and after finding this out from his grandmother, the singer decided the poignancy of its words were worthy of titling Holding Absence’s next record.

Holding Absence – the band completed by bassist James Joseph and drummer Ashley Green – carry the The Greatest Mistake Of My Life’s contemplative and thoughtful spirit throughout their second album. Whereas their debut was a concept record about the subject of love, The Greatest Mistake Of My Life’s inspirations are more complex, as Holding Absence stare down love in the face of death, all the while musing on the vast array of emotions we as humans experience throughout our lives.

Lead single ‘Beyond Belief’ is a soaring epic about the risk of loving someone forever, when their definition of ‘Forever’ might be different to yours, and a song that, Lucas says, argues how “love is something worth taking a risk on.” Holding Absence’s unique approach to romance is also present on atmospheric tracks like ‘Curse Me With Your Kiss’ and ‘Afterlife’, but for every display of affection, The Greatest Mistake Of My Life counters with despondency. ‘Die Alone (In Your Lover’s Arms)’ tells of the loneliness two people feel within a relationship long-turned sour, while ‘In Circles’ speaks to the monotony of everyday life and the crushing of dreams.

The Greatest Mistake Of My Life soundtracks the journey of our lives via all of its despair, elation, joy and pain, but never once tells the listener how they should be feeling.


Shedding their skins and emerging into a bright new phase for their band, with The Greatest Mistake Of My Life, Holding Absence are embracing change whilst holding onto the things that make them special. Aesthetic, for instance, remains important to Lucas and his bandmates, but as seen in the video for ‘Beyond Belief’, no longer do they exist in a world of purely black and white colour. Ushering in a colourful new era for Holding Absence, Lucas speaks of a desire “to bring warmth to people’s lives.”

Armed with a stellar new album and an unflinching belief in their craft, this new incarnation of Holding Absence promises to excite and impress like never before. An enthralling collection of songs and stories that tell of love, life, death and everything in between, The Greatest Mistake Of My Life is a thrilling record, and one its creators were born to make.

As Holding Absence have proved, the greatest mistakes can sometimes open the door to even greater triumphs.

Minru is the project of Caroline Blomqvist, a Swedish musician based in Berlin. Woven from light and shadow, the interplay of her folk and indie-rock blend appears from a personal space of finding life after death. On her debut LP »Liminality« she paints melody in soft tones, whispering secrets to navigate feelings of loss.

Built around winding layers of acoustic guitar, piano, and strings, Minru is a surprisingly uplifting and stirring testament to Blomqvist’s own suffering from the passing of someone close to her. Returning to Berlin from Sweden feelings of grief, confusion, and pain travelled with her, and these emotions prompted the journey both of and within the album, heard as a dreamlike actualisation of wandering lost between them. "I read that Carl Jung used the word "»Liminality«” to describe the psychological process of transitioning. I instantly felt seen; it reflected my own experience and the feelings I carried whilst making the album – a sense of the old certainties being gone, but the new not being quite there yet,” she says.

Defined as "the threshold separating one space from another" »Liminality« moves between feeling the ground beneath your feet fall away, fighting through the darkness and the doubt, and the emerging shades of hope and light as you painstakingly make peace with mortality and find yourself as a person again. "I am happy to have encapsulated this moment of time in sound," Blomqvist says, "it will always be there as a memory."

Flourishing from a preferred position of solitude, »Liminality« sees Blomqvist’s vision radiate with intensity from her home-based studio in Neukölln - a small, 2-room apartment with squeaky old wooden floors. Capturing the intimacy of the space, she recorded vocals and synth on gear partly borrowed from friends (to swiftly reunite it with its owners), and the songs flow with a stream of consciousness as feelings become entwined with melody. Time-restraint drew the process to a natural close, preventing Blomqvist from losing herself to experimentation. “Maybe I would have been stuck in »Liminality«, trying out sounds forever,” she suggests of the way ‘Into the well’s instrumental swims into a warm stream of synth pads. "It’s the cosiest moment on the album,” she says, “Cosy is a feeling I always strive for in life."

Finished and self-produced at a Berlin-Lichtenberg recording studio alongside musical friends (Povel Widestrand, Tobias Blessing, Sunniva Lilian Shaw Of-Tordarroch, Marlene Becher and Liv Solveig Wagner), the result is beautifully detailed and rich like the folk of her Swedish roots. First picking up a guitar as a kid and becoming obsessed with it, she would skip school to spend extra hours mastering the instrument, grappling to perfect the ‘Stairway to Heaven’ intro. “As a child I was fascinated by my dad’s acoustic guitars around the house and would hit the strings to make them sound,” she recalls. After attending music high school in Gothenburg and playing in bands during her teens, Blomqvist later moved to Germany. As well as enjoying walks at Tempelhofer Feld and coffee at Leuchtstoff café, she performed with Tuvaband, Adna, and Tara Nome Doyle and played in Berlin venues Loophole and Schokoladen, where music became her world. With the passing of time she felt a growing urge to find an outlet for her own songs; Minru was the answer along with her first »Yearnings« EP.

Now writing whenever she returns to Sweden, within the calm and stillness of her family’s mountainside cabin, her skilfully constructed arrangements summon the comforting atmosphere of home. “I hope listeners will feel inspired to slow down a bit, create, draw, cook something. Just be in the moment that is now.” »Liminality« is the kind of record that rewards attention. Give this album your time, it will give you its soul.

Part of The Optic Sevens 4.0 Reissue Series.
Limited to 800 copies worldwide. Please check your allocation with your sales rep.
Pressed on White Vinyl.
Includes postcard and poster. Non-Returnable.
Colin Vearncombe may be forever associated with the worldwide hit ‘Wonderful Life’ but 6 years earlier Black released this incredible single.
Evocative of The Smiths (although this was released years earlier) it contains all the elements of a classic indie single.

As a fine collector of Jazz-Funk and Fusion for many years, Charles Maurice selected some of his favorite forgotten productions, as he previously did for the AOR Global Sounds, French and Brazilian Disco Boogie Sounds compilations series.

This time, recordings come from Sweden, Switzerland, South Africa, New Zealand, Uruguay, Spain and France, from artists and bands mostly known in their local scenes. You'll hear here the best elements of the Fusion and Jazz-Funk genre: breezy vocal arrangements reminding Flora Purim in Return To Forever or George Duke's albums, sweet and virtuosic Fender Rhodes (kind of common thread of the comp), melodic spiral-shaped fuzzy synthesizers leads, or irresistible basslines, altogether bringing a unique groove to life.

Patrice returns to home base with a fresh trio of sonic delicacies for the Sistrum faithful. Bringing his signature depth of soundyet infusing a sense of funk, Patrice lays it out proper, as always. A1 Soulfood Crisp breaks meet a solid 4/4, moving quickly into top-shelf broken/nu-jazz vibrations. A deep, punchy bassline follows warm key stabs as metallic percussion shuffles amongst the tones. Think of modern, late night machine funk and you're on the right track with this savory slice of goodness. Soulfood for discerning ears, indeed. B1 Feels So Good A 4/4 rides over a looped break, warm chords float in and the groove is locked in. Sweet, jazzy stabs ensue before Patrice brings in that bassline... Punchy in all the right places. The title really says it all - this tune just feels good and could roll on forever, without a care in the world. B2 InstantGratification Patrice brings it back to traditional vibes with this deep, stripped down groove. As the kick marches on and looped hand percussion begins to hypnotize, a rotund square wave bassline bumps through the mix to excellent effect. Signature, deep Detroit keys creep in and are soon accompanied by delicately processed synth textures - like transmissions intercepted from deep space. Gratification comes to those who open their ears and hear between the sounds.

We’ve come to expect big things from Liam Gallagher, but today he reveals plans for 2022 that are biblical even by his colossal standards. He is set to release his new album ‘C’MON YOU KNOW’ on May 27th as he looks to score a fourth consecutive #1 UK record. He also celebrates the 25th anniversary of Oasis’ era-defining gigs at Knebworth Park with the news that he’ll return there to play the biggest show of his solo career to date on June 4th.

‘C’MON YOU KNOW’ follows the huge success of Liam’s previous studio albums ‘As You Were’ (2017) and ‘Why Me? Why Not.’ (2019), which established his iconic status for a whole new generation. His ‘MTV Unplugged’ also went straight to #1 on the Official Album Chart. Between his triumphs as a solo artist and his phenomenal success with Oasis, Liam has spent a combined total of almost six months at #1 across eleven chart-topping albums. More details regarding ‘C’MON YOU KNOW’ will follow.

The Knebworth Park show will see Liam return to the site where Oasis famously played two unforgettable nights there in 1996. The 25th anniversary of the shows was marked with the release of the feature-length documentary ‘Oasis Knebworth 1996’, which NME described as “an era-defining gig that will live forever.” The Knebworth Park gig will be the biggest show of Liam’s solo career to date. It follows his triumphant return to touring this summer with headline sets at Reading, Leeds and TRNSMT alongside a free gig for NHS staff at The O2.

Liam says, "I'm absolutely buzzing to announce that on 4th June 2022 I'll be playing Knebworth Park. It's gonna be biblical. C'mon You Know. LG x"

Across eight studio albums, DECAPITATED grew from the adolescent dream of teenagers from a small Central European town to one of the leaders of the metal genre. Each successive album further expands the band’s sound with genre-bending authenticity and integrity. As Metal Injection rightfully observed, “any self-respecting death metalhead knows the name well.”

DECAPITATED’s music is a weapon forged by four young men from a historic medieval-fortified town in Poland, which catapulted them to the top of a worldwide subculture. Like a rose in the devil’s garden, the DECAPITATED story builds triumph from tragedy. The gleeful grotesquery of extreme metal imagery and rifftastic bludgeoning beckons listeners to uncover broader truths.Upon the release of 2017’s Anticult, Metal Hammer declared DECAPITATED “a serious successor to the likes of Pantera and Lamb Of God – a band who can draw new legions into the metal world as its new champions.” Their diverse follow-up, 2022’s Cancer Culture, delivers on that promise.

Instantly recognizable devastation and deceptively sinister hooks abound. Freshly minted DECAPITATED anthems like “Last Supper,” “Hello Death,” “Just Cigarette,” “No Cure,” “Iconoclast,” and “Cancer Culture” shimmer with sonically sharp production and unrelenting bombast. There’s also a newly increased emphasis on melody, even venturing into darkly romantic territory. Wacław "Vogg" Kiełtyka (guitar), Rafał "Rasta" Piotrowski (vocals), Paweł Pasek (bass), and James Stewart (drums) are at the top of their game, delivering the goods at peak performance. Jinjer vocalist Tatiana Shmayluk and Machine Head frontman Robb Flynn make guest appearances.

Set on the descending plains of a mountain range amid a dense forest, Krosno boasts a 14th-century Gothic church, a Subcarpathian museum, and stunning artisan glassware. In this Polish town, teenage music student Wacław "Vogg" Kiełtyka discovered records from bands like Morbid Angel, Cannibal Corpse, Metallica, and Machine Head. The guitarist and his younger brother, drummer Witold “Vitek” Kiełtyka, cofounded DECAPITATED in 1996, inspired by a wide range of technical death, blackened thrash, and local heroes, like KAT and the world-renowned Vader. Death and black metal reigned supreme in the Polish scene of the 1990s, where Behemoth originated as well. In fact, a Vader song called “Decapitated Saints” inspired the band’s moniker.
The organic musical chemistry between the Kiełtykas was akin to the brotherly connectivity and vibe driving Pantera, Gojira, and the classic era of Sepultura. In 2006, Kerrang! praised the first three DECAPITATED albums - Winds of Creation (2000), Nihility (2002), and The Negation (2004) – as “superbly conceived and executed eruptions of technical brilliance and razor-sharp songwriting that turned these youthful Poles into one of the genre’s most widely respected bands.” That year’s Organic Hallucinosis further perfected Vogg’s penchant for blending extremity with catchy hooks.

The rule-breaking ferocity and invention of the first four albums reinvigorated death metal, as DECAPITATED inspired a new generation of bands who followed suit. Sadly, this era came to a shocking end in late 2007. While touring Russia, the band’s bus collided with a large truck near the border with Belarus. Both Vitak and then-singer Adrian “Covan” Kowanek sustained severe head injuries. Tragically, Vitak passed away in a Russian hospital a few days later. He was just 23.Vogg summoned the courage to continue, in honor of his brother and what they created, and returned with a new incarnation of DECAPITATED and the fiercely adventurous comeback album, Carnival is Forever (2011) featuring new vocalist Rafał "Rasta" Piotrowski. Blood Mantra (2014) introduced bassist, Paweł Pasek. Blabbermouth declared it “perhaps the most poised and gutsy” DECAPITATED album, adding “its courageous bends make it a turbulent but pleasurable ride.”

Cancer Culture sounds brilliant, modern, and tasty. “There is no place for any fake, plastic, bullshit drum machine or anything like that,” Vogg insists. “It’s all organic, pure, and clear, showing the true face of the band. Vogg and company entrusted the Cancer Culture mix to David Castillo at Sweden’s Fascination Street Studios / Studio Gröndahl (Sepultura, Carcass, Opeth, Katatonia), and legendary American producer Ted Jensen (Metallica, Slipknot, Pantera, Machine Head, Korn).
The devoted supporters who traveled to see DECAPITATED on international tours with the likes of Lamb Of God, Meshuggah, Soulfly, Fear Factory, and Suffocation over the years will recognize the ever-present pummeling backbone. Longtime fans and newcomers alike will connect to the variety of atmospheric depth throughout Cancer Culture’s ten boundlessly energetic and creative tracks.
“If you told me 25 years ago, in my neighborhood in the South of Poland, that I would be in Machine Head, sharing riffs with Robb Flynn,” Vogg marvels. “It’s simply incredible. It means that everything is possible in your life. That gives me the faith to believe that I can achieve even more in my career. The dreams we have when we are kids, things we can barely imagine, can happen.” Flynn contributes a hauntingly beautiful vocal to the Cancer Culture track “Iconoclast.” “Clean vocal singing is a really new thing in DECAPITATED,” Vogg notes. “It’s really unique and amazing.”

Driven by Vogg’s passion and integrity, the dual emphasis on creative invention and technical prowess maintains DECAPITATED’s stature as genre-leaders in 2022 and beyond. The band’s supporters continually demonstrate confidence and absolute certainty DECAPITATED will deliver.

Across eight studio albums, DECAPITATED grew from the adolescent dream of teenagers from a small Central European town to one of the leaders of the metal genre. Each successive album further expands the band’s sound with genre-bending authenticity and integrity. As Metal Injection rightfully observed, “any self-respecting death metalhead knows the name well.”

DECAPITATED’s music is a weapon forged by four young men from a historic medieval-fortified town in Poland, which catapulted them to the top of a worldwide subculture. Like a rose in the devil’s garden, the DECAPITATED story builds triumph from tragedy. The gleeful grotesquery of extreme metal imagery and rifftastic bludgeoning beckons listeners to uncover broader truths.Upon the release of 2017’s Anticult, Metal Hammer declared DECAPITATED “a serious successor to the likes of Pantera and Lamb Of God – a band who can draw new legions into the metal world as its new champions.” Their diverse follow-up, 2022’s Cancer Culture, delivers on that promise.

Instantly recognizable devastation and deceptively sinister hooks abound. Freshly minted DECAPITATED anthems like “Last Supper,” “Hello Death,” “Just Cigarette,” “No Cure,” “Iconoclast,” and “Cancer Culture” shimmer with sonically sharp production and unrelenting bombast. There’s also a newly increased emphasis on melody, even venturing into darkly romantic territory. Wacław "Vogg" Kiełtyka (guitar), Rafał "Rasta" Piotrowski (vocals), Paweł Pasek (bass), and James Stewart (drums) are at the top of their game, delivering the goods at peak performance. Jinjer vocalist Tatiana Shmayluk and Machine Head frontman Robb Flynn make guest appearances.

Set on the descending plains of a mountain range amid a dense forest, Krosno boasts a 14th-century Gothic church, a Subcarpathian museum, and stunning artisan glassware. In this Polish town, teenage music student Wacław "Vogg" Kiełtyka discovered records from bands like Morbid Angel, Cannibal Corpse, Metallica, and Machine Head. The guitarist and his younger brother, drummer Witold “Vitek” Kiełtyka, cofounded DECAPITATED in 1996, inspired by a wide range of technical death, blackened thrash, and local heroes, like KAT and the world-renowned Vader. Death and black metal reigned supreme in the Polish scene of the 1990s, where Behemoth originated as well. In fact, a Vader song called “Decapitated Saints” inspired the band’s moniker.
The organic musical chemistry between the Kiełtykas was akin to the brotherly connectivity and vibe driving Pantera, Gojira, and the classic era of Sepultura. In 2006, Kerrang! praised the first three DECAPITATED albums - Winds of Creation (2000), Nihility (2002), and The Negation (2004) – as “superbly conceived and executed eruptions of technical brilliance and razor-sharp songwriting that turned these youthful Poles into one of the genre’s most widely respected bands.” That year’s Organic Hallucinosis further perfected Vogg’s penchant for blending extremity with catchy hooks.

The rule-breaking ferocity and invention of the first four albums reinvigorated death metal, as DECAPITATED inspired a new generation of bands who followed suit. Sadly, this era came to a shocking end in late 2007. While touring Russia, the band’s bus collided with a large truck near the border with Belarus. Both Vitak and then-singer Adrian “Covan” Kowanek sustained severe head injuries. Tragically, Vitak passed away in a Russian hospital a few days later. He was just 23.Vogg summoned the courage to continue, in honor of his brother and what they created, and returned with a new incarnation of DECAPITATED and the fiercely adventurous comeback album, Carnival is Forever (2011) featuring new vocalist Rafał "Rasta" Piotrowski. Blood Mantra (2014) introduced bassist, Paweł Pasek. Blabbermouth declared it “perhaps the most poised and gutsy” DECAPITATED album, adding “its courageous bends make it a turbulent but pleasurable ride.”

Cancer Culture sounds brilliant, modern, and tasty. “There is no place for any fake, plastic, bullshit drum machine or anything like that,” Vogg insists. “It’s all organic, pure, and clear, showing the true face of the band. Vogg and company entrusted the Cancer Culture mix to David Castillo at Sweden’s Fascination Street Studios / Studio Gröndahl (Sepultura, Carcass, Opeth, Katatonia), and legendary American producer Ted Jensen (Metallica, Slipknot, Pantera, Machine Head, Korn).
The devoted supporters who traveled to see DECAPITATED on international tours with the likes of Lamb Of God, Meshuggah, Soulfly, Fear Factory, and Suffocation over the years will recognize the ever-present pummeling backbone. Longtime fans and newcomers alike will connect to the variety of atmospheric depth throughout Cancer Culture’s ten boundlessly energetic and creative tracks.
“If you told me 25 years ago, in my neighborhood in the South of Poland, that I would be in Machine Head, sharing riffs with Robb Flynn,” Vogg marvels. “It’s simply incredible. It means that everything is possible in your life. That gives me the faith to believe that I can achieve even more in my career. The dreams we have when we are kids, things we can barely imagine, can happen.” Flynn contributes a hauntingly beautiful vocal to the Cancer Culture track “Iconoclast.” “Clean vocal singing is a really new thing in DECAPITATED,” Vogg notes. “It’s really unique and amazing.”

Driven by Vogg’s passion and integrity, the dual emphasis on creative invention and technical prowess maintains DECAPITATED’s stature as genre-leaders in 2022 and beyond. The band’s supporters continually demonstrate confidence and absolute certainty DECAPITATED will deliver.

Following years of international touring and a lengthy list of critically-acclaimed collaborations with Brian Jonestown Massacre's Anton Newcombe in recent years (most recently the duo's self-titled 2018 LP), the new album will be Parks' first full-length solo offering since her debut, 'Blood Hot', was released back in 2013 on Alan McGee's 359 Music label. "In my mind, this album is like hopscotch", Parks says: "These songs were pieced together over time in London, Toronto and Los Angeles with friends and family between August 2019 and March 2021. So many other versions of these songs exist. The recording and final completion of this album took over two years and wow - the lesson I have learned the most is that words are spells. If I didn't know it before, I know it now for sure. I only want to put good out into the universe." A growing disillusionment with the state of the world paired with an injury that stopped Parks from being able to play guitar and piano for months meant the album was nearly shelved. "I really felt discouraged to complete this album", she recalls: "I stopped listening to music for honestly about a year altogether and turned to painting instead. I really had to convince myself again that it's important to just share whatever good we can - having faith in ourselves to know that our lights can shine on and on through other people and for other people. The thought of anyone not sharing their art or being shy of anything they create seems like a real tragedy to me. Even if it's not perfect, you're capturing a moment." Recorded over a two year period but with songs, lyrics and ideas dating back over a decade in some form, 'And Those Who Were Seen Dancing' is an album full of such moments, people and places. Col LP is on 180g ultra-clear vinyl, standard sleeve.

Following years of international touring and a lengthy list of critically-acclaimed collaborations with Brian Jonestown Massacre's Anton Newcombe in recent years (most recently the duo's self-titled 2018 LP), the new album will be Parks' first full-length solo offering since her debut, 'Blood Hot', was released back in 2013 on Alan McGee's 359 Music label. "In my mind, this album is like hopscotch", Parks says: "These songs were pieced together over time in London, Toronto and Los Angeles with friends and family between August 2019 and March 2021. So many other versions of these songs exist. The recording and final completion of this album took over two years and wow - the lesson I have learned the most is that words are spells. If I didn't know it before, I know it now for sure. I only want to put good out into the universe." A growing disillusionment with the state of the world paired with an injury that stopped Parks from being able to play guitar and piano for months meant the album was nearly shelved. "I really felt discouraged to complete this album", she recalls: "I stopped listening to music for honestly about a year altogether and turned to painting instead. I really had to convince myself again that it's important to just share whatever good we can - having faith in ourselves to know that our lights can shine on and on through other people and for other people. The thought of anyone not sharing their art or being shy of anything they create seems like a real tragedy to me. Even if it's not perfect, you're capturing a moment." Recorded over a two year period but with songs, lyrics and ideas dating back over a decade in some form, 'And Those Who Were Seen Dancing' is an album full of such moments, people and places. Col LP is on 180g ultra-clear vinyl, standard sleeve.

Cocteau Twins, Jefre Cantu-Ledesma, Julia Holter, DIIV, Washed Out, Broadcast, Insides, Beach House, Drug Store Romeos. Introducing Beneather, a BAFTA-nominated composer from North London obsessively crafting sad, lo-fi, cinematic, ambient scandi-dreampop submerged in gently fuzzy tape loops. Much like the paintings of Gerhard Richter or a heavy mist rolling through a familiar landscape, the debut long player from Beneather obscures and blurs ten beautiful tracks beneath washes of cinematic, ambient scandi-dreampop – details emerge and fade, voices ooze and flow, tunes soothe and unnerve, metronomic beats click and swing. It would not be out of place on a David Lynch or Jim Jarmusch soundtrack. Inspired by the likes of Jefre Cantu-Ledesma, Hammock, Grouper, Low, GAS, Huerco S., Emeralds, Jenny Holzer, William Basinski & ABBA!! Beneather is the solo project of Lewis Young - composer and collaborator in The Leaf Library, drone pop from north London. As a composer, Lewis recently scored the British short ‘Lucky Break’ which found its way into the BAFTAs short list only to narrowly miss out on the gong. Lewis is a multi-instrumentalist, producer, designer and filmmaker currently living in Walthamstow, London. He started as a guitarist in noughties math-rockers Tea with the Queen, shifting to bass for multi-harmonied Naomi Hates Humans before returning to thumping roots as drummer for The Leaf Library. Objects Forever - the imprint label created by The Leaf Library - has provided Lewis with the vehicle to jump back into experimental song craft, inspiring the genesis of Beneather. “I just needed to make a project which spoke to all the aspects of music I’ve loved creating as a multi-instrumentalist. Plugging things into things to make satisfying little electronic loops, then layering extremely minimal bass and guitar lines with a lo-fi aesthetic. Melinda and I spent a few days in the studio - picking out objects, patterns… items that could inspire a thread of instinctive wordless melody. I took that expressionism and sliced it to pieces, rearranging it into ambient vocal hooks.” Beneather is an exercise in hypnotic simplicity. Experimental, dream-like music built on layers of scratchy electronic tape loops, chiming spacious guitars and abstract pulsing vocals. These cinematic songs combine Grouper's wistful deviations with the warm fuzz of Jefre Cantu-Ledesma, the nocturnal hum of Emeralds, the crackling collapse of William Basinski and Low's glacial pop melancholy. Outside of compositions for film, TV and Podcasts - Lewis plays with the indie drone-pop band The Leaf Library, featuring Matt Ashton from John Peel faves Saloon (“World-weary yet innocent, blissful dream-pop” - UNCUT - 8/10). Lewis has supported the likes of Lali Puna, Joanna Newsom, Lætitia Sadier & Alexis Taylor.

FOR FANS OF:
Airto Moreira, Gilberto Gil, Chick Corea, George Duke, Jorge Ben, Sabrina Malheiros, Hermeto Pascoal, Chico Buarque, Stanley Clarke, Jaco Pastorius, Carlos Santana, Jose Neto, Dizzy Gillespie, Stan Getz, Milton Nascimento


First new studio album in over 15 years by the “Queen Of Brazilian Jazz” Musician line-up includes Airto Moreira, Jose Neto, Diana Purim and Celso Alberti.

One of the all-time greats of Brazilian jazz fusion, Flora Purim, returns with her first studio album in over 15 years, ‘If You Will’, released on Strut on 29th April.
Conceived as a celebration of her music and collaborations, the album explores new compositions alongside fresh versions of Flora’s favourite personal songs and positive lyrics from across her varied career. Title track ‘If You Will’ reprises a song from her inspired collaborations with George Duke: “You will find... good love, real joy, so much peace of mind, if you will…”; the resilient ‘This Is Me’ updates an Airto jam band tune ‘I Don’t Wanna Be Myself Again’; ‘500 Miles High’ marks the heyday of the late Chick Corea’s Return To Forever band and ‘Zahuroo’ interprets a song by Claudia Villela about “a shapeshifting animal creature, a messenger who acts as a bridge between our thoughts and the universe.” A family affair recorded primarily in Curitiba and Sao Paulo, ‘If You Will’ brings together many of Flora’s closest circle of musicians including Airto Moreira, guitarist José Neto, her daughter Diana Purim on vocals and percussionist Celso Alberti.
The album is the latest chapter in Flora’s long, illustrious and varied career. As well as her celebrated partnership with Airto and her early days with Quarteto Novo, Flora has worked with Stan Getz, Gil Evans, Miriam Makeba, George Duke, Chick Corea (as an original member of Return To Forever), Dizzy Gillespie’s United Nation Orchestra, Uruguayan band Opa and many more. Her solo albums on Milestone remain true jazz fusion classics.
‘If You Will’ is released on CD, LP and digital, supported by a full international PR and marketing campaign worldwide. The album was co-produced by Flora Purim and Roberta Cutolo with package photos by Mel Gabardo in Brazil and cover illustration by Gabriela Barbalho.

FOR FANS OF:
Airto Moreira, Gilberto Gil, Chick Corea, George Duke, Jorge Ben, Sabrina Malheiros, Hermeto Pascoal, Chico Buarque, Stanley Clarke, Jaco Pastorius, Carlos Santana, Jose Neto, Dizzy Gillespie, Stan Getz, Milton Nascimento

First new studio album in over 15 years by the “Queen Of Brazilian Jazz” Musician line-up includes Airto Moreira, Jose Neto, Diana Purim and Celso Alberti.

One of the all-time greats of Brazilian jazz fusion, Flora Purim, returns with her first studio album in over 15 years, ‘If You Will’, released on Strut on 29th April.
Conceived as a celebration of her music and collaborations, the album explores new compositions alongside fresh versions of Flora’s favourite personal songs and positive lyrics from across her varied career. Title track ‘If You Will’ reprises a song from her inspired collaborations with George Duke: “You will find... good love, real joy, so much peace of mind, if you will…”; the resilient ‘This Is Me’ updates an Airto jam band tune ‘I Don’t Wanna Be Myself Again’; ‘500 Miles High’ marks the heyday of the late Chick Corea’s Return To Forever band and ‘Zahuroo’ interprets a song by Claudia Villela about “a shapeshifting animal creature, a messenger who acts as a bridge between our thoughts and the universe.” A family affair recorded primarily in Curitiba and Sao Paulo, ‘If You Will’ brings together many of Flora’s closest circle of musicians including Airto Moreira, guitarist José Neto, her daughter Diana Purim on vocals and percussionist Celso Alberti.
The album is the latest chapter in Flora’s long, illustrious and varied career. As well as her celebrated partnership with Airto and her early days with Quarteto Novo, Flora has worked with Stan Getz, Gil Evans, Miriam Makeba, George Duke, Chick Corea (as an original member of Return To Forever), Dizzy Gillespie’s United Nation Orchestra, Uruguayan band Opa and many more. Her solo albums on Milestone remain true jazz fusion classics.
‘If You Will’ is released on CD, LP and digital, supported by a full international PR and marketing campaign worldwide. The album was co-produced by Flora Purim and Roberta Cutolo with package photos by Mel Gabardo in Brazil and cover illustration by Gabriela Barbalho.

After the 2020 album "Lieder Für Geometrische Stunden", Sankt Otten finally make us happy again with a new release at the beginning of 2022. "Symmetrie Und Wahnsinn" (Symmetry and madness) fits here skillfully, both creatively and musically, in an album series with geometric context.

The album starts unusually buoyant with "Hymne Der Melancholischen Programmierer" (Hymn for sentimental programmers). A Kraut-Pop pearl, which could go on forever with its Motorik swing and with its catchy melody the track doesn't come across as melancholic as the song title predicts. You have to listen twice to not succumb to the illusion that it was composed in Düsseldorf at the end of the seventies. Here (and on the track "Sei Symmetrisch Zu Mir"), Sankt Otten were supported in the studio by drummer friend DIRK PELLMANN.

The drum machine in rumbling funky mode. "Die Glücklichen Unglücklichen", the secret hit of the album? They bend the beat into geometric shapes, let the bass play in circles and cover the song with ghostly choirs. The echo of a spinett-like sound overlays the sound, spitting out a deceptively cuddly dream world.

The 10 minute long "Die Ordnung Des Lärms" could be called an Ambient-Kraut symphony without hesitation. An enormous swelling to ecstasy, a guitar sings distantly in the background. Silence. Synthetic strings pave the way and are supported by choirs. A crackle that suggests a rhythm until it is taken over by a drum computer in the main part of the track. Bombastic mountains of synthesizers pile up and yet a catchy melody finds its way through this mishmash of hypnotic electronics. Fourth movement - Kosmische-choirs in suspension over a bass synth and an Ebow guitar. Is this already Prog-Rock? The question doesn't arise, in the end everything merges into reverb. "Luftspiegelung Der Sentimentalitäten" begins cautiously with a gentle sequence and a discreet kick drum. The mini-Moog sounds like a guitar. Anyway. A surface floats by and returns, layers and shapes build up. At last, everything melts into perfect harmony with a plaintive-sounding synth. This track was composed as a stripped back reprise of the first track from the last album "Sentimentale Sequenzen". A hypnotic Motorik-beat of an 808 that encourages head nodding and could almost be danceable. True to style with warm analog 80s electronic sounds and a loose echo guitar. This is "Angekommen In Der letzten Reihe". Man and machine hand in hand as a homogeneous musical unit and the connection of tradition and vision.

Sankt Otten like images of infinity. In the religious sense of meditative mantras, or also in the mathematical sense of an elongated curve that eventually returns to its starting point. "Bis Das Helle Licht Uns Holt" goes exactly in this direction with its classical use of sequencers and a sound carpet of choirs. Sound worlds that, through a clever repetitiveness, barely noticeably guard the constant changes in the compositional mesh like a secret and only reveal what is to be discovered by listening closely and letting it be seen. Such a thing is probably called Berlin School?

The Osnabrück duo Sankt Otten, founded in 1999, has been releasing on Denovali since 2009. With their now 12th album they give us again a gem of timeless instrumental music. The holy trinity of Krautrock, Ambient and contemporary Electronics, but always stylistically confident and unmistakable Sankt Otten. For the mastering New York based RAFAEL ANTON IRISARRI could be won. Also with the cover layout again good taste is proven. As part two of a cover series, this extraordinary die-cut cover artwork was again created by designer DANIEL CASTREJÓN.

Our Starry Universe returns with it’s first release of 2022, the mesmerizing Mother Oak from Dan Wainwright & Elle Redding. The album is out on 12” vinyl and digital 22nd April.

An Acid House/Cosmic concept album featuring Elle’s spoken word on Dan’s production, Mother Oak is about the life cycle of an oak tree from the perspective of the tree. “As we dreamed up a rough outline of the story, the music was created to personify the seasons and the emotions that were to come through Elle’s words.” Says Dan.

It’s a deep listening experience. The kind of record one should listen to in one sitting on vinyl while you are staring at the lyrics on the back cover. “…it all just fell perfectly into place as Elle typed the story. It all came to life really quickly and was an emotional experience for me to enjoy something so beautiful as her creativity and it’s an honour to have that combined with mine.” Says Dan.

He continues… “We made an album that carries meaning and wisdom and at the same time conveys our wonder, awe and joy that we both experience by being in nature and feeling connected to the forever changing cycles of our planet.”

Dan Wainwright is a prolific producer in the underground with releases on Night Noise, Tici Taci, & Sprechen as well as a seemingly constant slate of releases on his own imprint Oddball Recordings.

One of the all-time greats of Brazilian jazz fusion, Flora Purim, returns with her first studio album in over 15 years, 'If You Will',released on Strut. Conceived as a celebration of her music and collaborations, the album explores new compositions alongside fresh versions of Flora's favourite personal songs and positive lyrics from across her varied career. The album is the latest chapter in Flora's long, illustrious and varied career. As well as her celebrated partnership with Airto and herearly days with Quarteto Novo, Flora has worked with Stan Getz, Gil Evans, Miriam Makeba, George Duke, Chick Corea (as an original member of Return To Forever), Dizzy Gillespie's United Nation Orchestra, Uruguayan band Opa and many more. Her solo albums on Milestone remain true jazz fusion classics.

Tape

Lucia H. Chung is a Taiwanese experimental artist based in London. She performs and releases music under the alias 'en creux'.

Under this alias, Lucia is interested in the underlying structures of what we call noise and is examining the effects of human interventions into its complex web of tones. Repetition and chance operations are fundamental to Lucia‘s music. It is not built on the dionysian maximalism and symbolic harshness of lots of noise artists; catharsis is not reached via an explosion of sound, but via concentration on sound phenomena and small changes, which, not unlike some minimal disco night your usual mind-altering drone ritual, sucks you in more with every tiny alteration. This music is as intense as it is sensitive.

„The Liberated Mind“, in Lucia‘s own words, „is a sort of split release between two no-input configurations“. For „Wyldside“, she tuned two different feedback mixers with identical routings as close possible, as much as tuning is possible at all on these highly volatile instruments. „The two channels naturally phased in and out from each other. I guess the process was actually akin to Steve Reich's tape techniques on Come Out and It's Gonna Rain. The whole release extrapolated from that point onwards...“ Finding and replicating similar routings/settings on no input mixing desks is the nightmare of every control freak and a task doomed to failure, but in letting go and embracing these failures, patterns emerge. And thanks to Lucia‘s careful work, these patterns become hypnotic as she carves out the essence of each feedback loop, or, as she puts it: „Actually, I did remember the setting for the final track „Earthrise“, but for whatever reasons, I just cannot reproduce the sounds and it's forever lost (at least for this point in time, maybe when the conditions are primed again for the machine, the same sounds will emerge again...). I guess that's really the essences of improvised NIMB setup. Every single sound was the effect of the previous iteration and the cause of the next iteration... (Wait... isn't it just like a Blockchain? Ha!)“

A collection of no-input studio sessions improvised with Mackie 1202-VLZ Pro, TAPCO MIX260FX, MXR Phase 90 and Electro-Harmonix Bad Stone Phase Shifter. All tracks recorded live, no overdubs. Recorded in London in February 2020. Mastered by causeandcondition

Lucia also works as independent curator, producer and broadcaster at Happened. Check out Lucia‘s other albums on Hard Return, Falt and SM-LL.

More than 20 years after the release of their first album (1999), and a reissue for the 15th anniversary, Tahiti 80 returns with a new repress of "Puzzle".

Perfect timing to enjoy French Pop’ s founding record which sold more than 200,000 copies worldwide, including the hit « Heartbeat ».

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

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

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

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

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

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

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

First time vinyl issue of this 1997 Mego classic. General Magic, the duo of Ramon Bauer and Andi Pieper, who, alongside Pita, first pioneered the classic Mego sound on the Fridge Trax 12” in 1995. The following year proved to be formulative when Mego released Frantz alongside a slew of game changing releases from Farmers Manuel, Pita and Fennesz.

Originally released as MEGO 010 Frantz presented a thrilling digression from what was in vogue in music at the time. This was the advent of portable computing and the Vienna based label was at the forefront of harnessing the potential of audio within this new technology.

At once smart and playful these releases reconfigured once disparate genres such as industrial, techno, glitch and the avant garde, folding them into a bright, audacious and euphoric new system of sound. The music on Frantz (named after the Austrian skier, Franz Klammer) still pushes the boundaries of acceptable audio constructions with it’s startling fried electricity and twisted sensibility. The sense of joy in the audio discovery is palatable as techno laced explorations unfold a variety of unexpected and unprecedented sonic manoeuvres.

Tyrell launches proceedings as schizophrenic stuttering handclaps simultaneously slice into pieces as it propels forward. The bending of the brain is on display with the likes of ‘Obvious’ and ‘Close, But Not Quien’. Temko skewers digital debris in which a ghost melody comes to the fore. Brazen rhythms mobilize the tracks ‘No Ketting’ and ‘Bonden’ whilst the Official GM Ski-WM Theme is a short stab of priceless pop wizardry skittering about a strange exhilarating melody in homage to the finest of winter activities.

This reissue also includes ‘Die Mondlandung’ which was released as a 12” in 1995 (MEGO 002), and has never been released anywhere, physical or digital, since. This track is based on the live German TV coverage of the moon landing. An apt theme for the abundance of exploration contained within this classic release.

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About Frantz ... and Peter (by Ramon Bauer & Andi Pieper, November 2021):

Listening to the test pressings of the remastered Frantz album for the first time on vinyl, 25 years after the original release on the then still young Mego label in 1997, felt like uncovering an ancient artefact. In those exciting days during the mid-1990s, together with the late Peter Rehberg, we founded a label called Mego to further explore the wonders of electronic music. And that is what we did for the next 10 years until everything became too much with the label in somewhat rough waters. So we dropped out of music business and pursued different things. It was Peter who continued producing and releasing music with the restarted label, now called Editions Mego. Until his unexpected death in July 2021, he developed Editions Mego into the grown-up and much acclaimed outfit for which it is known today. We will forever miss Peter’s inspiring personality and his uncompromising creativity. His legacy will live on in his music and in the vast and rich Mego and eMego catalogues. We are humbled and proud to have played a role in those formative years of the label.

Peter approached us in October 2020 with the idea to do a vinyl reissue of Frantz, just in time for the 25 year anniversary of its release. That came as a complete surprise for us, General Magic had not released any music or performed live for over 15 years. Anyway, we were delighted with the prospect of having that General Magic "classic" remastered (by the exceptional Russell Haswell) and released for the first time on vinyl on Editions Mego.

Frantz is a collection of tracks that we produced in 1995 and 1996 right after recording “Fridge Trax” (with Peter) and “Die Mondlandung” (which comes as a bonus track on this reissue). At that time, we started to migrate our analogue gear to 64 MB RAM computers and used almost every other digital thing that yielded a sound by any means. We even deliberately crashed our then so-called "Powerbooks" and scratched self-produced CD-Rs until they produced previously unheard sounds. Real time audio processing with computers was barely a thing back then (before SuperCollider was released), but cheerful massaging of sound files yielded interesting results and the future looked bright. Listening to Frantz today, with decades of distance, there are some parts that might appear dated by modern standards, but the energy and the general magic of that period is well captured.

All Frantz tracks were produced in Andi's studio in Berlin and at Mego Vienna. The Mego studio/office was a vivid place located in an old factory on the outskirts of Vienna. We shared the place with Tina Frank, who created most of the early Mego covers and videos. Other artists, musicians and friends were hanging out there almost every day. Many ideas on Frantz are a product of that particular environment. “Mimi”, for example, is based on a field recording in the backyard of the factory, where we also shot the video for “Tyrell”. “11.25” contains sounds from the Prague train station we regularly passed through on the night train travelling between Vienna and Berlin. Other sounds were sourced from the early internet and mangled on the computer, carefully preserving those early audio codec artefacts. While working on the Frantz tracks at the Mego Vienna studio, Peter was usually around, as he was literally working and living there. And so, of course, he also made an impact on that album: It might not be widely known but Peter even appeared on Frantz contributing his voice to the choir on “The Official Ski WM Theme”.

Let there be Frantz!

Martina Topley Bird’s new studio album ‘Forever I Wait’, features collaborations and arrangements from Robert Del Naja of Massive Attack, Euan Dickenson, Rich Morel, Christoffer Berg, Benjamin Boeldt and Tiadiad.

'Forever I Wait' is Topley-Bird’s fourth long awaited studio album and her very first self-produced and curated piece of work to date. The album, set for a digital release on September 10th, with a vinyl LP available to pre-order now, captures an extensive journey confronting, exploring, analysing and reflecting on the devastating fragilities of life as it ultimately seeks to make peace with what life is.

A sentient and sensual presence framed Tricky’s trip-hop pioneering white label debut release, Aftermath. Hauntingly unique and immediately recognisable, that voice became the defining timbre of a new music movement. Behind this voice was mysteriously soft-spoken, London-born Martina Topley-Bird, whose exquisite voice came to inspire and infuse other pioneering artists across all genres.

“It’s a trip through different emotional states and frequencies, mostly dark, from insecurity and desire, all the way through to serenity and acceptance with themes that resonate from my young teens all the way through till today. Things that I’ve seen and things I’ve felt and worked through, although sometimes I sense them trying to return”

“Forever I Wait”, as the title alludes, was written and re-written over a long period of time.

“I had to change my way of relating to music and the music industry in order to make the record I wanted to make.…and that took time. And I took the time I needed. I started in London, moved and lived in America for the first time in my life, then briefly moved back to London and finished the record in Spain.”

“After trying to work on a new record for a couple of years, I came to a realisation that in order to move forward I had to separate the concept and vision I had for this record from me as a person. I had to shift my perspective. That was a big personal win and the beginning of “Forever I Wait.”

'Forever I Wait' leans on a multitude of tense sounds, dubby atmospherics and natural instrumentation to demand the listeners attention leading to over two decades of observations, experiences and musical sacrifices. It is a bi-product of the new perspective featuring carefully selected and tailored supporting arrangements from a handful of collaborators including Robert del Naja (Massive Attack), Rich Morel (Deep Dish), Christoffer Berg (Fever Ray) and Benjamin Boeldt (Adventure).

A truthful expression of desire and heartache “Forever I Wait “Is Topley Bird’s most precise and accurate album to date.