Suche:roll

This one is a double first for Shall Not Fade - the launch of the new Killer Cuts series focused on groove-heavy dancefloor fillers, and Marc Brauner’s debut on the Bristol label. The born-and-raised Berliner has previously released on German labels Midnight Snacks and Pentagonik, and joins the Shall Not Fade roster with a collection of classic house tracks to make you miss the clubs. Brauner covers a breadth of moods on the record, the A-side filling you up with euphoria; opener ‘Too Real’ is a gorgeous bit of lofi house tinged with funky guitar inflections and a retro feel that sweeps across the whole release. ‘Things I Did’ and ‘Tool For Lovers’ drag you out of winter and into a 90s Ibiza summer, utilising a 303 bassline and classic house stabs to warm up your dancing feet. In comparison to the warmth of the first half of the record, the B-side gets more haunting in tone, first by introducing rolling breaks in ‘I Know You Would’ and especially in ‘Tears of a Fallen Angel’. This is the emotional core of Brauner’s offering, euphoria tinged with sadness over a punchy rhythm that juxtaposes the subtle vocals woven throughout. The record closes with a hint of post-disco; ‘Neptun’ is a real groover of squelchy electro synths that is reminiscent of Patrick Cowley and the early, smoky nightclubs of New York. The bonus digital track ‘Out of Time’ carries on a similar energy - it’s a piece that doesn’t keep still, glittering with playful synth melodies and a surging cacophony of vocal samples.

1977 ORIGINAL SOUNDTRACK LP FOR THE HORROR SEQUEL - MUSIC COMPOSED BY ENNIO MORRICONE.

In one of his first forays into big budget Hollywood, Ennio Morricone handed in one of his weirdest, eeriest scores - Rolling Stone (top 35 greatest horror soundtracks)

From the beautiful to the absolutely demented, while still playing in the same sandbox. Once you get to the deranged Satanic prog rock of “Magic And Ecstasy,” it hits you: this is the craziest we’ve ever heard Morricone. And it’s amazing.

“I like the first Exorcist, because of the Catholic guilt I have, and because it scared the hell out of me; but The Heretic surpasses it”. Martin Scorsese

It has occasionally been assumed that Henry Grimes got this December 28, 1965 recording date as a reward for his long service in the avant-garde of jazz. Having already honed his musical conception with a varied range of players, from Benny Goodman and Arnett Cobb to Lee Morgan, Gerry Mulligan, and Sonny Rollins to McCoy Tyner, Steve Lacy, Albert Ayler (including ESP 1020, Spirits Rejoice), Don Cherry, and Cecil Taylor (to name just a few), the service was certainly there, but he got this gig fully on his merits. For The Call Grimes teamed with highly original clarinetist Perry Robinson (as label owner Bernard Stollman has noted, "a virtuoso who merits far wider recognition...and this recording reflects both of their contributions, in equal measure") and stalwart drummer/ESP-Disk' regular Tom Price. As a bassist, Grimes's melodic style is well up to the task of being co-equal voice with a horn, resulting in a thoughtful and texturally rewarding LP with a level of quality far above the rote sideman session cliche, and far away from equally clichéd ideas of unrelentingly full-bore free jazz. It offers the sound of three excellent musicians listening to each other and responding superbly. The Juilliard-trained Grimes appeared on six other ESP LPs besides those already mentioned. He retired at some point after the last of them, 1967's Marzette Watts LP, and went so far off the scene that it was rumored that he had died. Happily, that was not the case, and he reemerged in 2003, moved back to New York, and returned to his prolific ways until illness slowed him down and then took him from us earlier this year (2020).

Life and Times is part of a series of 1972 – 1974 Catalogue Reissues of the Legendary Jim Croce, which are now back in print on CD & 180g Black Vinyl.
The set of reissues includes 3 Top 10 Gold Certified Studio Albums & Top 5 Platinum Certified Greatest Hits Release, featuring 10 Billboard Hot 100 singles, including 8 Top 40, 5 Top 10, and 2 Number 1 Classics.
Life and Times was Croce’s 4th Studio album, released in 1973, and is certified GOLD.
It Features the GOLD #1 single “Bad, Bad Leroy Brown”, plus the hit “One Less Set Of Footsteps” (#37).

Photographs & Memories is part of a series of 1972 – 1974 Catalogue Reissues of the Legendary Jim Croce, which are now back in print on CD & 180g Black Vinyl. The set of reissues includes 3 Top 10 Gold Certified Studio Albums & Top 5 Platinum Certified Greatest Hits Release, featuring 10 Billboard Hot 100 singles, including 8 Top 40, 5 Top 10, and 2 Number 1 Classics. Released in 1974, just 1 year after his untimely death, Photographs & Memories: His Greatest Hits, reached #2 in the charts and is certified PLATINUM. It features the #1 Hits “Bad, Bad Leroy Brown” and “Time In A Bottle” plus Top 10 Hits “I’ll Have To Say I Love You In A Song” and “You Don’t Mess Around With Jim” and more.

Acid Jazz present ‘Circles: The Ultimate Fleur De Lys’, the
definitive compilation centred around one of the greatest 60s
bands.
Atlantic Records, Andrew Loog Oldham, Shel Talmy, Cream,
Isaac Hayes and Tony Blackburn - all these and so many more
turn up in the story of Southampton band the Fleur De Lys. You
may not have heard of them and if you have it may be just
because of their glorious cover of the Who’s ‘Circles’, an
ultimate freakbeat anthem that this compilation is named after,
but the singles they released in the second half of the 1960s
are one of the greatest collections of singles by any band,
ranging from R&B through freakbeat and psych and back into
club soul.
Emerging from the English South Coast’s competitive club
scene they signed to Rolling Stones’ manager Andrew Loog
Oldham’s pioneering indie label Immediate where they
recorded two singles before being taken under the wing of
Frank Fenter, who worked out of the UK Polydor office running
the UK arm of Atlantic. The group went through numerous line
up changes as they recorded a series of singles which are now
some of the most collectible of the era.
Acid Jazz and Countdown Records have been the custodians of
the Fleur De Lys catalogue for the last decade and this
compilation is the culmination of that work, containing all the
singles that they released for Immediate, Polydor and Atlantic
(where they pipped Led Zeppelin to become the first UK signed
band to that legendary label).
Issued on CD and gatefold coloured double vinyl, the album
has been produced with the full co-operation of the group’s
Keith Guster, allowing us access to previously unseen photos
and illustrations. Compiled by Eddie Piller and Dean Rudland
and the band’s official biographer Paul ‘Smiler’ Anderson, who
has contributed an extended note that tells the band’s story in
compelling detail.

The Peacers are back with their third album. The time has
been kind. Three years since they went about their
sophomore release, ‘Introducing the Crimsmen’. That
second Peacers record was made by the second Peacers
line up, after two thirds of the first gang made for the door
after the first album. In came Bo Moore, Shayde Sartin
and Mike Shoun but, after they’d finished making
‘Introducing the Crimsmen’, singer Mike Donovan moved
out of his old San Francisco digs to the east coast and
made two solo albums.
The Peacers were consistently great no matter who they
were, delivering Mike D’s irrepressible subterranean pop in
a full colour spectrum of moods from purple to blue-black
to sometimes white. ‘Blexxed Rec’ is a different time in the
band’s life - a second album from the same line up, plus
with a country in between them. Also Bo, who had one
song on the last one, brought three in for this one and
Shayde’s got the closing number. Suddenly, three singersongwriters under The Peacers’ flag.
The Peacers send out a mad variety of the thrills and chills
of modern rock, whether glam-tinged (‘The Thunder Is an
Electrical Love God’), psyched-out (‘Colors for You’,
‘Dandelion’), folky (‘Irish Suit’), riding the knife blade of
post-garage fusion (‘Blackberry Est’, ‘Ms. Ela Stanyon’s
School of Acting’) or pumping the winning strains of their
own pure pop sound (‘Ghost of a Motherfucker,’ ‘Bic Sitar,’
‘Make It Right’) and melting it all together.
Recorded in SF and Hudson NY with The Peacers’
production ear for small and curious detail in full spectrum,
‘Blexxed Rec’ is a blessed event for all you rock and roll
people.

Re-release! Mit vier Alben in fünf knapp Jahren hat dieses explosive Trio immer größere Erfolge gefeiert und sich Respekt bei Rock-Fans ebenso wie bei Anhängern des Jazz erspielt. Blühendes Lob kam dabei zum Beispiel von David Fricke, dem leitenden Redakteur des Rolling Stone (US) Magazins und dem erfahrenen Autor Richard Williams, der seinen Bericht zum Berliner Jazz Festival mit den Worten eröffnete, dass das HEDVIG MOLLESTAD TRIO während deren Late-Night-Gigs einen Weg gefunden habe, um ihn davon zu überzeugen, dass sich ,headbangen gut anfühlt". Das Trio kehrt mit seiner unverkennbaren Fähigkeit zurück, die Kraft des Heavy Rock mit elektronischen Jazzklängen zu verbinden und präsentiert uns sein neues Album ,Black Stabat Master", auf dem nun auch neue und freiere Gefilde betreten werden. Frontfrau Hedvig Mollestad Thomassen präsentiert sich hier nicht nur als Riffmeisterin, sondern auch als Sologitarristin und wird früheren Vergleichen mit Tony Iommi und Jimmy Page mehr als gerecht. * "Hedvig Mollestad macht instrumentalen Jazzrock so spannend, wie er schon lange nicht mehr war. Ihr Spiel ist virtuos-fiebrig und zugleich nordisch unterkühlt, lässig kann sie in ihren Improvisationen gefühlte tausend Melodien aufflackern lassen, um doch immer wieder mit verblüffenden Wendungen am Ausgangspunkt anzukommen. In ihrem Trio bündelt sie die volle Kraft von Heavy-Rock und Elektro-Jazz, ihre volumenstarken Auftritte erinnern an die großen Momente des Hardrock der siebziger Jahre, wirken jedoch zu keinem Zeitpunkt anachronistisch." Berliner Festspiele 2019

Quietschbunte Indie-Pop-Tunes Nachdem das letzte Tune-Yards-Album "I can feel you creep into my private life" 2018 auf 12 Songs Themen wie Geschlechterteilung, Politik, Feminismus und die nach wie vor um sich greifende Umweltverschmutzung behandelte, hinterfragen sich Merrill Garbus und ihr langjähriger Mitstreiter Nate Brenner auf dem fünften Studioalbum "sketchy." selbst. "We had really been non-stop hustling," reflektiert Merrill, die zwischen 2009 und 2018 vier hoch gelobte Alben als Tune-Yards veröffentlicht hat, durchgängig auf Tour war und zusätzlich noch den Score zum surrealistischen Boots Riley-Film "Sorry To Bother You" kreierte. Ihre eigene Rolle in den von ihr so verhassten, eingefahrenen Systemen, lähmte Merrill, ohne Idee, wie sie nun weitermachen sollte. Inspiriert vom Buch der Beastie Boys und von Questloves "Creative Quest" machte sich das Duo daran täglich für mehrere Stunden in ihrem Proberaum zu jammen, um sich ähnlich wie Athleten vor einem Wettkampf zu trainieren. Dabei tauschten sie Computer-Samples gegen Live-Instrumente ein (Merrill an den Drums, Nate am Bass) und schon nach kurzer Zeit entstanden die ersten neuen Songs. Das Ergebnis ist ein farbenfrohes und fröhliches Album mit Lyrics, die es in sich haben

Nach einer fast sechsjährigen Pause und dem Auseinanderbrechen des audio-visuellen Trios, zu dem sich das Projekt über die Jahre entwickelt hatte, kehrt Origamibiro nun zurück. "Miscellany" bündelt eine Reihe an Arbeiten, die sich seit dem Release von Odham's Standard (2014) angesammelt haben. "Miscellany" umfasst eine abwechslungsreiche Mischung an Tracks, von elektro-akustischer bis hin zu orchestraler Kammermusik. Aufbauend auf dem einmaligen Style, für den Origamibiro bekannt wurde, verfolgt Hill weiterhin seinen DIY-Anspruch des Sampling und Komponieren, das auch heute noch eine zentrale Rolle in seinem kreativen Schaffen einnimmt. Die Erkundung der greifbaren Natur alltäglicher Objekte und Texturen - sowohl innerhalb als auch außerhalb der eigenen Wohnung - markiert ein Thema, das einen hohen Stellenwert in den Arbeiten von Origamibiro genießt. Brombeersträucher aus dem Wald als auch Spielzeug-Eier aus Plastik werden mit chirurgischem Detail untersucht und mit dem Schmutz demolierter Klavierteile vereint, mit dem Ziel, neue und unerwartbare Klang-Potentiale zu entdecken. Obwohl sich Hill auf seine Anfänge konzentriert, hat er seine Palette an Instrumenten erweitert: Viola da gamba, Klavier, Zither, Klangschale, Glockenspiel, Drum-Machines und Gongs ermöglichen es Hill, eine weitaus breitere Klanglandschaft zu kreieren.

Former Missouri disc jockey, Don Woody teamed up with a friend to write
a dozen rock ‘n’ roll songs to pitch to the record companies.
One was picked up by Little Brenda Lee and opened a door for Don with Decca
Records. Don’s clever way with words is evident on the recordings of “BirdDog” and “Barking Up the Wrong Tree” cut at Decca, while his more recent
coupling on Arco should consolidate his elevated position with the hep set.
YOU’RE BARKING UP THE WRONG TREE

Band Of Brothers is the 63rd studio album by country music singer songwriter Willie Nelson. Produced by Buddy Cannon, the album was recorded by Nelson in October 2013 and March 2014. The sessions took place at Nashville’s Sound Emporium Studios with additional recordings at Pedernales Studio in Austin, Texas and The Hit Factory Criteria in Miami, Florida.

Nine of the fourteen tracks of the album consist of newly written compositions by Nelson, the most included in one of his album releases since 1996’s Spirit. The album includes covers of Vince Gill’s “Whenever You Come Around”, Gordie Sampson’s “Songwriter” and a duet with Jamey Johnson of Billy Joe Shaver’s “The Git Go”.

The video for the first single, “The Wall” premiered on May 6, 2014 by Rolling
Stone. The single “Bring It On” was later premiered on June 3 by ESPN Music.

Now available as a limited edition of 1000 numbered copies on transparent blue vinyl.

Drumcode heavyweights Pig&Dan and Victor Ruiz link for their maiden collaborative EP.

The project begun in the first quarter of the year when the artists were still touring and was later completed during a series of productive sessions after lockdown Pig&Dan members Dan Duncan and Igor Tchkotoua experiencing a creative synergy with close friend Victor Ruiz that injected some lightness into an otherwise challenging time for the trio of producers.

‘Consciousness’ is driven by a catch low-end riff that’s powerful and funky in equal measures and is a particular favourite of Adam Beyer’s, highlighting the boss’ Drumcode Indoors II and Tomorrowland’s United Through Music stream. ‘Music Takes You’ is a delicious low-end roller driven by a punchy synth workout that drops down into a captivating vocal break made for big moments. ‘Paradise Lost’ is a widescreen melodic gem, comprised of a laser-kissed synth hook, crisp percussion, and a clever low-end chord progression, giving it a classy timeless appeal.

Magnonic Signal head honcho Antonio Velazquez aka Spin Fidelity, known from his top notch releases on Subwax Excursions and Parang recordings, is present on the fourth outing on Brussels imprint Nightflight Records. This EP reflects the label’s spirit where there are no musical boundaries and hi-tech funk is the main ingredient of every track. On the A-side we have two techno soul stompers, “Photon Stream” and “Ancient love”, with rolling basslines, some acid and deep pads that will draw you straight to the dancefloor. On the flip we get two deep electro-funk tracks, “There must be a way” and “Magnonic transmission”, with a Detroit touch on a deep futuristic trip.

For Chris Tooker, the first decade of his artistic journey was immersed in bands while the second was engaged in wandering the realms of electronica in the form of creator, composer and engineer for DJ duo KMLN. Today, after many incarnations, Tooker returns to the source of himself while carrying both the treasures of his past and a vision for the future. Tooker has long been called to pursuing obsessive trails through the greater cosmos. On these journeys, he seeks particles with a hypnotic essence. Once found, he interprets this magic in his own special way, through the most universal language - music. His music tells stories of fascinating adventures through the dust, the palms, and the gritty streets of yonder. It is colorful, deep, and disco laced. It flaunts rare collected percussion (delivered live in his sets), various instruments and sometimes whispers a touch of voice. Now his solo-debut EP Nang’o drops on Acid Pauli and Nico Stojan’s label Ouie. For the lead track Nang’o, Tooker recruits the phenomenal talents of Kenya’s multi-instrumentalist Labdi. Labdi’s oruto (a western Kenyan fiddle instrument) and bewitching vocals provide the hooks for this subtle, shuffling track, presented here as both a full version and as an instrumental. Baladi features Shawna Hofmann both on co-production and vocal duties - this time a more driving, rolling groove develops with Shawna adding sultry, evocative vocals to the mix. Undone rounds off the physical release - another signature exercise in subtlety and restraint, as an infectious groove folds in bubbling synths, crisp percussion and dubby effects.

Intruder is the first new music from the iconic and influential Gary Numan since 2017’s album Savage: Songs From a Broken World, which charted at #2 in the UK.
The forthcoming album, also titled Intruder, will be released in May 2021 - his 21st solo album. Intruder sees Gary reunite with producer Ade Fenton, who previously produced four critically acclaimed albums for Numan: Jagged, Dead Son Rising, Splinter and Savage.
With a career that has spanned nearly four decades, his approach to electronic music remains an inspiration to artists across genres and eras, from stadium goliaths such as Depeche Mode, Prince and Nine Inch Nails to alternative heroes such as Beck, Damon Albarn and Marilyn Manson. Even Kanye West owes him a debt, and David Bowie once credited him with “writing two of the finest songs” in British music.
Gary has had 23 top 40 singles and 15 top 40 albums in the UK. The British electro pioneer was also awarded the Inspiration Award for songwriting and composition at the Ivor Novellos in 2017.
2020 saw Gary release his critically acclaimed rollercoaster of an autobiography, (R)evolution.

Dream Violence, Michael Beach’s fourth full-length, is an epic album that explores the duality of the human condition. Or, as Beach himself puts it, the album is about “human futility, passion, desire, anger, frustration, and the struggle to maintain hope in a somewhat hopeless time.” Dream Violence, then, addresses the existential crisis of being an artist in 2020.

Known for his work touring with the Australian guitar pop band Thigh Master and the late, brilliantly eccentric Israeli guitarist Charlie Megira, currently the focus of a number of reissues by the Numero Group, Beach is the architect of a sound that is both well-built and ramshackle, straightforward and indeterminably complex, out of the norm yet familiar in all the best ways.

Dream Violence unfolds like a revelation, filled with sonic tumbleweeds that reference Neil Young’s On the Beach, Bruce Springsteen’s Nebraska, the Velvet Underground’s Loaded, and the Go Betweens’ Before Hollywood. Influences ranging from the enigmatic outlier Megira to Glenn Branca to the Oblivians are combined to create a new, exhilarating sound, part of the path that Beach has been on since 2008’s Blood Courses. A veteran of year-end indie rock round ups beginning with Golden Theft in 2013 and continuing with Gravity/Repulsion, released in 2017, Beach distills the best of those early albums and adds sharpened intent.

Dream Violence works beautifully as a start-to-finish album. There are magnificent stand-alone moments: “Spring,” a raggedly building ballad that perfectly captures the ennui attached to new beginnings; “De Facto Blues,” a born-to-lose anthem that, says Beach, “is the sound of people totally at their wits end;” “Curtain of Night,” a simultaneously derelict and bright tribute to the late Megira, which sounds like it could’ve been cut at Muscle Shoals Sound Studio after the Rolling Stones wrapped up sessions for Sticky Fingers; and the delicately vulnerable “You Found Me Out,” which evokes equal parts Lou Reed and Joni Mitchell. On the latter, the lyrics “You found me out, on a ship at sea, you pulled me in, made a wreck of me,” encapsulate “the aimless of a modern world view in a future without hope and the draw/dependence of love in those times,” Beach explains.

Through music, Beach strives to convey both passion and compassion, energy and action. “My hope is that something gets communicated that makes people think outside of themselves or their surroundings,” he says. “To ask questions, and consider the effects of their decisions. To communicate some essential part of the human spirit that understands intuitively how to feel connected to each other rather than divide, exploit, separate, ignore, and all the other heinous shit we have the ability to do with each other.”

Recorded on two continents, Dream Violence documents Beach’s move from Oakland, California to Melbourne, Australia as he navigated a new music scene, plenty of bureaucratic red tape, and, ultimately, citizenship. Parts of the album were recorded and mixed at Tiny Telephone Recording in Oakland, at the end of a 2019 tour with Kelley Stoltz producing. Other tracks were recorded at Beach’s new home in Melbourne, where he could be “relaxed and sloppy in all the right ways,” and partially remixed at Phaedra Studios.

At the Memphis-based Goner label, Beach joins an increasingly unique roster of international musicians that reaches far beyond garage or indie rock to encompass artists like gospel singer Rev. John Wilkins, Kentucky rockers Archaeas, New Orleans iconoclasts Quintron and Miss Pussycat, and no-wavers Optic Sink.

“I made this record for young women to feel invincible.” - Izzy B. Phillips, Black Honey Having last week been pre-empted by the landing of their colossal new single ‘Run For Cover’, today Black Honey have announced their brand-new album – ‘Written & Directed’. ‘Written & Directed’ will be released on the 29 th of January 2021 on Foxfive Records. ‘Written & Directed’ is Black Honey’s second album. It follows their outstanding self-titled debut released back in 2018 when the world that surrounded the Brighton four piece looked and felt like a very different place. Black Honey however are still the bad-ass, truly original band they have always been, they’ve just graduated from the intriguingly anomalous newcomers to becoming one of UK indie’s most singular outfits. They've travelled the world and released a Top 40 album; graced the cover of the NME and become the faces and soundtrack of Roberto Cavalli's Milan Fashion Week show; smashed Glastonbury and supported Queens of the Stone Age, all without compromising a shred of the wild, wicked vision they first set out with. It's now time for the next instalment of their story – ‘Written & Directed” – which see’s Black Honey deliver one, very singular, message – a 10 track mission statement that aims to unashamedly plant a flag in the ground for strong, world-conquering women. For fierce frontwoman and album protagonist Izzy B. Phillips – it’s the most important message she could send to inspire her cult-like fanbase and fill the female-shaped gap that she felt so acutely when she was growing up and discovering rock music for the first time. Written throughout 2019 and recorded in fits and spurts between touring, ‘Written & Directed’ is drenched with a hedonistic, anything-goes attitude. It’s also the most full-throttle collection of music that Black Honey have ever-written – egged-on by their run of shows supporting long-term friends and collaborators Royal Blood. Exploring everything from womanhood, to identity and power, it’s an album that revels in the rich history of pop culture, throws a wink to its rock- and-roll heroes, but ultimately (and in true Black Honey fashion) it stands on its own two feet. With a typically hyper-visual world referencing grindhouse cinema, kitschy pulp films and a flip-reverse of female cinematic representation all primed to unfurl and explode around them, 'Written & Directed' is the sound of Black Honey strapping in and saddling up, of harnessing their quirks, and, as the Phillips has always hoped, riding them joyously into the sunset.

Devin Townsend brings to you the Devolution Series: a grouping of oddities and interesting material that he would like people to hear, but that aren’t necessarily a ‘major release’. The series will include all the quarantine songs and concerts, as well as various live shows from the past few years. The first release, “Devolution Series #1 - Acoustically Inclined, Live in Leeds”, is a remixed and remastered version of the ‘Live in Leeds’ show that was originally included on the Empath Ultimate Edition as video asset. A cool acoustic show that deserves to be heard, now availble as audio version.

British Heavy Metal legends Saxon will deliver a full-roar-fun-down set of covers on March 19th 2021 (Silver Lining Music), with their latest album Inspirations, which drops a brand new 11 track release featuring some of the superb classic rock songs that influenced Biff Byford & the band.

From the crunching take on The Rolling Stones’ ‘Paint It Black’ and the super-charged melodic romp of The Beatles’ ‘Paperback Writer’ to their freeway mad take on Jimi Hendrix’s ‘Stone Free’, Saxon show their love and appreciation with a series of faithful, raw and ready tributes. Recorded at Brockfield Hall near York, UK, with a firm eye on the old school way using Marshall cabs, Marshall amps and real drums, Saxon approach the likes of Motörhead’s ‘Bomber’ (with added whistle!), AC/DC’s ‘Problem Child’, Black Sabbath’s ‘Evil Woman’ and a raucous Deep Purple’s ‘Speed King’ with refreshingly warm, unfiltered, “vintage” sounding renditions.

Byford takes on some new vocal challenges, which he duly smashes on the likes of Thin Lizzy’s ‘The Rocker’. Saxon do a supreme job of entertaining both themselves and their audience throughout Inspirations. For even more proof of the validity behind that statement, wrap your ears around their sparkling take on Toto’s ‘Hold The Line’ and consider Saxon’s Inspirations a mission accomplished.

- The definitive overview of one of Canada's unsung musical heroes - Rare/previously unreleased recordings, photos, and interviews - Lyrics, discography, and filmography - Audio re-mastered by John Baldwin Mastering - Artwork by Christi Belcourt and Alanna Edwards - Liner notes by Kevin Howes (Voluntary In Nature) - Contributions from the Dunn family, Bob Robb, and Alanis Obomsawin (OC) // How did you first experience the poetry, music, and film of Willie Dunn? In a Montreal coffeehouse during the mid-1960s? On a CBC Indian Magazine broadcast with host Johnny Yesno? At a Toronto record store or Native Friendship Centre at the turn of the 1970s? Waiting outside of the Mohawk Nation Longhouse? Maybe in your parent's record collection on the Rez? A White Roots of Peace gathering? Pow wow? The Mariposa Folk Festival? Or was it that Save James Bay Benefit back in '73? On a good friend's stereo? Sitting around a crackling campfire? How about an old NFB film reel or VHS tape in high school? Or while attending Manitou College? A German concert hall in the 1980s? Maybe a direct action protest on the colonial streets of Canada? Busking in Ottawa during the 1990s? College radio? At Willie's celebration of life service in 2013 alongside Alanis Obomsawin and Willy Mitchell? LITA's Grammy-nominated Native North America (Vol. 1) compilation or the very anthology you hold in your hands? There should be no judgment for coming to things when you do. All that's important is remaining open to life-changing messages such as these_ Willie Dunn shared truth through song and celluloid. His original composition, "I Pity the Country," is an unparalleled statement on the greed and hate created by humankind, recorded in 1971 and still unfortunately needed today. "It's like the reason you're supposed to make music," said Kurt Vile about the song to MOJO Magazine in 2015. With "Charlie," Willie was the first to deliver the devastating story of Chanie Wenjack and the Canadian residential school system to the music community, nearly 50 years before the much-celebrated Secret Path, yet ignored outside of Indian Country and the folk festival circuit. Dunn's film technique, featured in 1968's The Ballad of Crowfoot (NFB), predates the "Ken Burns effect" to great effect. Are you catching the drift? Willie Dunn was not only a trailblazing leader in his time, but well ahead of the curve, simply without the PR push and big money backing of major label players. "He was our Leonard Cohen," said singer-songwriter Eric Landry about his musical hero. The only difference is that Willie refused to play the Hollywood showbiz game. In talent, he is Cohen, Dylan, and Cash rolled into one and along with Buffy Sainte-Marie, Floyd Red Crow Westerman, and A. Paul Ortega, brought a new set of perspectives and realities to the folk music tradition. Willie spoke directly to his people and Mother Earth through his creations, not only from experience but by examining his roots and connecting with the world in which he lived. We are humbled to help honor Willie Dunn. May he never be forgotten_ PEACE

Seven years and a handful of lifetimes ago, New Bums came
out of nowhere with their debut album, ‘Voices In a Rented
Room’ - a record the New York Times described as “feeling like
it’s falling apart.” New Bums took this as a compliment and,
thus emboldened, they toured relentlessly in support of the
release: criss-crossing the USA in the spring of 2014, with a
European run that summer. Then, silence descended, as the
Bums withdrew to the place from which they’d mysteriously
emerged.
Now, the Bums are back. 2021 finds them with a new album in
hand. Following a West Coast US tour in late 2019 it’s clear that
the duo of Donovan Quinn (Skygreen Leopards) and Ben
Chasny (Six Organs of Admittance, Rangda, etc) are fully
reanimated, as evidenced by the songs and sounds of ‘Last
Time I Saw Grace’.
Retaining the drunk-dog-locomotion of their debut, New Bums
sprinkle a bit of fresh fancy into their signature twin guitarsand-vocals sound, with cleaner recording techniques, further
developments in harmonies and a new appreciation for a song
with more than two parts, making ‘Last Time I Saw Grace’
nothing less than the perfect progression from the purposefully
murky mixes of their debut.
Continuing to embrace an acoustic rock ’n’ roll sound, inspired
by artists such as Jacobites, Robyn Hitchcock, Johnny
Thunders, Replacements and such, New Bums push the words
and the stories to the front of the line, crafting tales with satiric
glee on ‘Last Time I Saw Grace’. However, this world of empty
perfume bottles, bodies tied to masts and moving onward to
devastation (after the bottle on the table pulls out a gun) feels
much more Gombrowiczian dreamscape than drunken night on
the town. Yes, everything is wasted but this is an existential
wasteland rather than a substance-laden one. This combination
of arch Californian post-aristocratic melodrama with torn and
frayed acoustic guitars opens up a new genre entirely, one
those at Drag City are tempted to call Rent Control Romantic.

On August 20, 2020 the world lost an amazing
light with the passing of Justin Townes Earle.
Justin was a vibrant songwriter who could play the
blues, country and rock ‘n’ roll all in the same
song. In his short career, Justin released eight
albums and one EP that all manage to sound
classic and yet inventive.
Justin’s father, Steve Earle, pays tribute to his son
by recording ‘J.T.’, an album of songs written by
Justin. The album consists of ten Justin Townes
Earle songs as well as one song written by Mr.
Earle shortly after Justin’s passing.
‘J.T.’ features fan favourites such as ‘Harlem River
Blues’, ‘Far Away In Another Town’ and
‘Champagne Corolla’, along with lyrically heavy
songs like ‘The Saint of Lost Causes’ and ‘Turn Out
My Lights’.
‘J.T.’ is a loving tribute to a loved son and beautiful
songsmith who left this Earth too early. But in his
wake, Justin left a wealth of beauty.

The iconic album series Back to Mine returns once again in 2019 with the first DJ imx compilation from world dominating indie-dance band Jungle, showcasing their personal tastes for the after-hours. The series was renowned for its eclectic selection and selectors which includes some of the biggest names in electronic and pop music, from the likes of Faithless to Pet Shop Boys, Groove Armada to New Order.

Building on Back to Mine’s heritage for quality this edition comes with limited edition heavyweight vinyl and extra thick cardboard sleeves with full coloured bespoke artwork, commissioned from illustrator Rich Fairhead, depicting the artist’s influences alongside personal sleeve notes from Jungle.

The collection includes an exclusive track from Jungle themselves and takes the listener on an eclectic musical journey. From 90s disco by Merle to more recent house tracks by Manuel Darquart and Drumtalk. Bristol DJ Admin provides the percussion heavy ‘Space Cadet’ and the irrepressible Mocky supplies good vibes on ‘How It Goes’. There’s sophisticated pop from The Marias and Sam Evian and there’s some spotlight for modern jazz with tracks by Kamaal Williams, Mansur Brown and BadBadNotGood featuring Kaytranada. There’s also room for some gospel influenced soul by The Flying Stars of Brooklyn NY, lo-fi dream pop from Paul Cherry before ending with the always impressive HNNY.

To coincide with the series release, Jungle will embark on an extensive Back to Mine global DJ tour.

Mouse on Mars, the Berlin-based duo of Jan St. Werner and Andi Toma, approach electronic music with an inexhaustible curiosity and unparalleled ingenuity. ‘AAI’ (Anarchic Artificial Intelligence) takes their fascination with technology and undogmatic exploration a quantum leap further.
Emerging from a primordial ooze of rolling bass and skittering electronics, hypnotic polyrhythms and pulsing synthesizers propel the listener across the
record’s expanse. Hidden in the duo’s hyper-detailed productions is a kind of meta-narrative.
Working with AI tech collective Birds on Mars and former Soundcloud
programmers Ranny Keddo and Derrek Kindle, the duo collaborated on the creation of bespoke software capable of modelling speech; text and voice from writer and scholar of African Studies Louis Chude-Sokei and DJ/producer Yağmur Uçkunkaya were fed into the software as a model, allowing Toma and Werner to control parameters like speed or mood, thereby creating a kind of speech
instrument they could control and play as they would a synthesizer.
The album’s narrative is quite literally mirrored in the music - the sound of an artificial intelligence growing, learning and speaking. This exploration of artificial intelligence as both a narrative framework and compositional tool, allowing the duo to summon their most explicitly science-fiction work to date. Original artwork by Casey Reas, inventor of the computer graphics language Processing.
Recently, Mouse on Mars received the 2020 Holger Czukay Prize for Pop Music.
Mouse on Mars have been regularly streaming performances throughout 2020, partnering with organizations like Goethe-Institut, Haus der Kulturen der Welt, Conditions of a Necessity and others and will continue these in 2021.
‘AAI’ is available on grey or black double LP packaged in a single sleeve with full colour insert / lyrics. CD comes with 8-panel poster booklet.
“Andi Toma and Jan St. Werner continue to create soundscapes that blur the line between programming and live musicianship, and sometimes between Earth and outer space.” - AV Club
“Enthralling and impossible to categorize.” - Pitchfork
“Sustained and ephemeral electronic sounds conjure unearthly open spaces… It’s not a song; it’s sound as a temporal phenomenon, a few minutes of sculpted attention.” - The New York Times

OMEN Recordings welcomes a new artist for their 17th release. Since the last few months, AAHAN has been storming the world techno scene with his unique style. The Canadian producer contributes two excellent driving tracks, featuring a hard-hitting masterpiece remix by long time running UK techno champ, PERC, plus another rendition by our very own AXKAN.a


We’ll Rave Again - Pushing forward at a tempo that will get you sweatin’, mixed with rolling hi-hats and catchy leads, this will be a favorite to get everyone back on the dancefloor, again.


Crossing The Rubicon - A river of flowing melodies with hard underlining kicks that pulse makes this track sound big and dancers to lose themselves. There’s no turning back.


We’ll Rave Again (Perc Remix)- Storming out of the gates faster than anyone is this rager of a remix. When the hi-hats start to enter you know you’re about to be hit hard with even more. This piece promises to be a dancefloor peak time favorite.


We’ll Rave Again (AXKAN Remix) - Starting with voices from the outerworld and delivering heavy rounded kicks is this beast of a mash-up. Analog noise and crunch take the spotlight.


a2 Crossing The Rubicon

They Say: “Exploring the wide range of moods and sounds produced by percussion”.

We say: MPCs at the ready because this does exactly what it says on the tin, to devastating effect. Oh, and the sleeve is stunning.

Originally released in 1979, Percussion Spectrum was produced by the legendary percussionists Barry Morgan and Ray Cooper. With dope beats taking in diverse styles, from funk and soul and jazz through to Latin, Brazilian, samba and Afro-Cuban, this is an amazing sample source filled with killer drum-breaks and percussion flares. Unsurprisingly it’s one of the most sought-after records from the Themes catalogue.

This library LP is a library in itself, with its mix of short themes of single beats, short breaks and some longer, more fully-formed DJ-friendly tracks. Trust us when we say that this is a box full of percussion firework ready to be thrown onto the dancefloor at the just right moment. We don’t have anywhere near enough space to describe all 34 tracks (there isn’t even enough room on the labels to list them all!) so we’ll pick out some favourites.

Favourites like opener “Impulsion”, a percussive masterclass with drum upon drum upon drum making it feel like a neat prototype to the percussive underscores of Peter Lüdemann and Pit Troja’s eternal The Now Generation LP. And the dramatic “Fast Action” is exactly that, racing along on a rapid roll of congas, cymbal crashes and throbbing kicks. “The Chaser” is classic library cop-funk with dilapidated drum figures, and the outrageously funky “Heat On” is the perfect accompaniment to your wild action sequences.

A real highlight is “Runaway”, and not just because it sounds like nothing else on the record. Here are drums and percussion in that tight funk style that just cries out to be sampled. “Percussion Power” is an extended, near-three minute suite of funky drum solo after funky drum solo that just aches to be looped: open drums to die for people! “Shivers” is a tense, apprehensive underscore with shock stabs that builds to a climax whilst “Drums On Parade” is a showcase of head-nod drums and cymbals in march time. Did someone say “funky”?

Side B starts with a stroll down “Samba Street”. With the noise of the crowd in the background, this is riotous, authentically drawn samba that sounds like it’s been beamed straight in from Rio in full flow. Drop this at midnight and watch the cobwebs fly off any dancefloor. Prefer it without the fake crowd? “Samba Street (b)” has you covered.

The simple, innocent “Child’s Themes” (all five of them) provide a nice, sweet respite from all the funk. Nursery sounds tinged with only a touch of melancholy. The gentle marimba solo of “Tropical Peace” only adds to the sense of serenity we get from the relatively calm second side. The album closes out with a veritable toolkit of tom toms, snare drum rolls, timpani, vibraphones and chiming bells.

Percussion Spectrum is a joyous collection of sounds, as bright, beaming and downright funky as the vibrant cover. The Themes series is known for each record having its own particularly striking sleeve, which was unusual for library records at the time, and Percussion Spectrums’s multi-coloured drumsticks make for one of the most eye-catching.

As with all of our other Themes re-issues, the audio for Percussion Spectrum comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. As usual Richard Robinson has taken the same care with restoring the original sleeve from archive scans. This is another one ticked off the list of library records that should be out there for anyone who wants a copy.

They Say: “New directions in contemporary scoring”.

We say: Contempo is one of the best full album listens in the KPM 1000 library. Succinct smoking soul, super tight breaks and string-drenched sleaze composed by the library master, Keith Mansfield.

The creator of the romping tunes that became the iconic themes to the BBC’s Grandstand programme and their televised Wimbledon Tennis Championship coverage, Keith Mansfield was perhaps KPM’s most prolific artist from the mid 1960s right the way through the 1980s. As well as the sort of pop orchestral sound that is all over these classic library records, he could also turn his hand to raw, edgy rock and funk. Quentin Tarantino is a big fan, going as far as including some of Keith’s work on the soundtracks to Kill Bill and Grindhouse.

Many library records are a game of two halves and Contempo is certainly one of those. The first side cooks on a high funk breaks flame whilst the flip is something altogether more tranquil, yet no less groovy. It lays back with dreamier, post-coital grooves.

Rugged funk opener “The Fix” confidently displays its low slung languid grooves with heavy drums, horns and bass. Smokin’ in slow motion. The punchy “What’s Cooking” follows and has a lighter, more whimsical touch. But the drums still roll and the clavs wiggle in fascinating opposition to those horns. The dark and moody intro to “Cut To Music” gives way to a more inclusive, relaxed funk that’s all irresistible bass and stabbing horns. The mid-tempo “Man Alive” signals the time to really get down. A percussive monster jam. If you can’t strut to this then we really can’t help you! Closing out the A side, fresh guitar licks drip all over the slick drums of “Funky Footage”, with a New Orleans piano vibe coming on to really light a fire.

Whilst the dramatic crime funk of the A side is enough on its own to have earned this record its place in the great library record canon, it’s undoubtedly the more smoothed out B side for which Contempo is rightfully adored and celebrated. It’s so chilled and mellow, with beautifully arranged, sweeping strings, sax solos aplenty and a real 70s soundtrack feel. Think Love Boat, CTI label, Bob James, Grover Washington Jr.-type jams.

The super sleek and sexy jazz funk of “Breezin’” is as light and magical as you’d hope. An open-air masterpiece, its indulgent sound is just a taster of the sophisticated funk to follow. The elegant, romantic feels of “Good Vibrations” (used brilliantly by Odd Future’s Mike G for “Swiss Army”) is a string-drenched, wah-wah fuelled ode to living your best life. Nonchalantly. Whilst it keeps a very West Coast feel, the blaxploitation strut is certainly more Blackbyrds than Brian Wilson. “Sun Goddess” will blow your mind with the sensuous sound of glorious horns and beautiful keys. The luxurious “Love De Luxe” and its horizontal grooves have been much sampled, but here it proves that it doesn’t need any help to get you in an intimate mood. Closer “Snake Hips” is a cool mid-pace slouch. Just divine.

Originally released in 1976 but, like the very best KPM records, wonderfully timeless, Contempo is also no mere LP-length collection of loosely related tracks. This is a rare example of a library record that is a genuinely great listen from start to finish.

As with all of our KPM re-issues, the audio for Contempo comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And as usual, the sleeve reproduction duties were handed over to Richard Robinson, the current custodian of KPM’s brand identity.
: Contempo (KPM) (LP)

Legendary Chicagoan General Juke aka Gant-Man returns with Distorted Sensory, his brand new acid house adventure. A longtime veteran who's been behind the decks since before he was even a teen, he's been an essential part of Chicago dance music history since the Dance Mania days in the mid 90s, and a major pioneer in jumpstarting the juke movement that followed. This new single, and his debut solo releaseon the Teklife imprint explores the time honored tradition of jacking, channeling the very essence of house music though a modern lens. Employing an enigmatic 303 bassline that mutates and breathes as if it were alive, Gant plays malicious melodies that run up and down octaves in a freaky, hallucinatory manner. Squelchy synth movements are met by eerie FM tones, reminiscent of Cajmere's classic Chicago staple the Percolator. A rugged 909 drum kit bangs the track along in true jacking fashion, making it the perfect tool for shaking the floors of dark, sweaty warehouses. In addition to the original, two of the UK's finest contribute remixes as well. Hyperdub boss Kode9 puts things into overdrive with his 160 BPM warped vision of Gant's acid, sliced up to appeal more to the footworkers and fans of psycho tempos. Dubstep pioneer Loefah strips back the original percussion and lets the 303s float over a cloud of deep sub bass, adorned with lovely splashes of rolling snares and micro percussion. With an array of stone cold classics under his belt, from ghetto house anthem Juke Dat Girl to his brilliant collabs with the late DJ Rashad Heaven Sent and Juke Dat Juke Dat, Gant-Man is a true renaissance man. For over 20 years, he's consistently shown the world the complexity that makes up his city's dance culture, never sticking to one area or tempo. Distorted Sensory is a beautiful celebration of Chicago house music, a return to its true raw design, and a reminder of just how timeless an art form it really is.

Repress

Berlin-via-Warsaw high roller of the new generation of techno VTSS aka Martyna Maja returns with a mesmerising 6-track EP titled ‘Borderline Tenderness’, this time from Berlin-Milan label VEYL run by Alex Knoblauch & Maenad Veyl.
Following a tremendously acclaimed collection of releases showcasing her fresh take on dance floor belters through Intrepid Skin, REPITCH, HAVEN and also featuring on KAOS, Monnom Black and Hellcat; this new record expands her horizons to different sides of her odd electronics as in ‘Woah’, while also giving a proper dose of her well-known craft to incorporate hardcore, EBM and acid influences on cheeky techno grooves.
Collaboration with friends and colleagues is key for VTSS in order to evolve. Consequently the EP includes a handful of features from the likes of LSDXOXO, contributing vocals on ‘Goin Nuts’, which is also available as a bonus instrumental version. As well, MOTZ boss Jasmine Azarian appears with spoken word on ‘To Whom All Lovers’ and the blazing ‘MDM508’ with Sonic Groove affiliate Crystal Geometry crown the record of a well-deserved head-bitch in charge.
Cover image taken out of the distinctive world of Tomaso Lisca.

Acid Steve's Avinit label was founded to celebrate the concept of free parties and the culture of acid techno. This release continues the theme in typical brain-melting ribcage-rattling style. We're talking pounding kickdrums, frenzied 303s and standout synths, all surging throughout. A 4-tracker for playing in dark warehouses, sweaty raves, or when driving past VIP nightclubs.

Bad Boy Pete delivers a strident call to reject elitist superclub culture with an standout vocal over thunderous percussion and bubbling acid lines.

Biri 'N' Chris Liberator unleash a snarling beast of mind-twisting 303s and warehouse-ready 909s from the fiery depths of the acid techno underground.

The Geezer serves up a masterclass in rolling techno with uplifting synths swarming all over his trademark relentless rhythms.

Acid Steve brings growling acid, thumping kicks, and a defiant vocal celebrating the underground scene's unrelenting spirit of resistance

For the next release in the Dispatch Blueprints series, we present another two tracks of retrofuturism from the producer of the first two Blueprints instalments, Kid Drama.


Featuring the Commix remix of 'Impulse 1' taken from the very release, and the rolling, funk-led 'Black Widow', this two-track release perfectly captures the essence of the Blueprints series - celebrating the classic sound of drum and bass, enhanced with modern production techniques.

These two tracks have both been receiving heavy DJ support, a testament to this talented producers skills.

The debut mixtape from Bad Boy Chiller Crew, includes the hits ‘450’, ‘Guns Up’ and ‘German Engineering’.
The debut mixtape from Bradford’s Bad Boy Chiller Crew (BBCC). With over 150 million+ organic streams on their own channels, a feature-length fly-onthe-wall VICE documentary and broadsheet tips for 2020 stardom, the group already have a formidable fanbase and infamy to be reckoned with. In fact, they’re already a fully-fledged organic phenomenon.
MCs Kane, GK, Clive are deeply influenced by the ‘bassline house’ clubbing heritage they grew up around in the North of England as well as emergent UK and US rap. The boys’ have created something of their own new sound, lacing pacey 4x4 bass-quakes with a frantic lyrical fire that veers from infectious
ear-worm hooks to wry observational punchlines. Think The Streets meet T2’s ‘Heartbroken’.
Embracing the term ‘charva’ as a way-of-life, together they channel the nuances and absurdities of northern street life into hugely addictive tunes. These lifelong friends are already celebrities around their Yorkshire locale, with a rabid social media following that devours both their singular brand of bassline-rap bangers.
12-inch gatefold LP on heavyweight 180-gram vinyl. Includes BBCC kingsize rolling papers. A2 fold out poster. Full lyrics and unseen images

Los Saicos created a raw, wild and visceral sound, the Southern Hemisphere equivalent of the garage rock that was coming out of the US and their anthem 'Demolición' is one of the most insane '60s punk songs of all time. Unavailable on a 45 for over a decade, here it is again! The archaeology of rock'n'roll is much like any other form of digging. Significant finds demand the re-addressing of previously considered certainty. You can hear direct links to both The Stooges and The Cramps here and several more equally enthralling combos. The latter spawned several generations of individuals who would dig deep to previously (mostly) unheard seams of music and other forms of culture that have since become part of the mainstream fabric. When Los Saicos' front man Erwin Flores was asked how aware he and his friends were of what was happening in Britain and the US at the time, here's what he had to say: "We knew the Beatles, they were our idols. We heard the Rolling Stones after recording 'Demolición' and also Bob Dylan and others. The primitive nature of our songs is something that came spontaneously out of my head. The band had no problem with assimilating and arranging it. We thought of ourselves as bad boys and that must have been a driving force." "Primitive to the point of primordial, Los Saicos are an important benchmark. Not were. Who ever thought there could be a combo out there in Peru that would make The Sonics sound like Simon and bloody Garfunkel? There is quite possibly some other music out there, someplace, that could well make us re-address this consideration, but until then, cherish this short course of Saicotherapy."

Baroque Sunburst co-founder and Honest Jon’s team member, Big Hands displays his potent production prowess on the next Oscilla Sound release with three tracks touching on organic soundscapes, illbience and muddy bass oddities. In the old city of Lakamha ancient tombs stand tall and ruined, woven with moss. Birds as old as time beat their wings over tropical forests; their cries bouncing off wet rock lassoed with carvings of Mayan symbols. ‘1346’ begins with stirring synths and dub-echoing, low frequencies encompassing both spatiality and aberration before the heads-down atmospheric roller ‘Calix’s Head’ lays down sharp, acid flutters and ghostly ripples. ‘Louis H theme’ is an ode to the radical minimalist composer Moondog (Louis Thomas Hardin), whose experiments with polyrhythms continue to influence numerous generations of musicians. The track features swampy bass that balances weightlessly with the hypnotic sonics and breezy rhythms.

Belgium’s sophisticated yet sometimes worldweary indie superstars return with their fifth album and follow up to 2019’s ‘Fever’.
Further pushing on from ‘Fever’’s shift into more soulful waters, ‘Sand’ presents a more cohesive body of work that flirts with a soulful indie vibe and an at times almost slow disco undercurrent, the two singles ‘Losers’ and ‘On A Roll’ perfectly capturing the mood.
Back when you could go to gigs the band were at the point where they were selling out the Scala in London and commanding decent size crowds regionally (especially Brighton, Bristol, Manchester and Glasgow)

Originally released on Celluloid Lunch (Canada), really excited to do the Euro edition. Drawing influence from the looser end of the Ork records catalogue, the sensitive side of Ohio’s proto-punk scene and the grittiest and most sluggish tangent of 70’s power pop, Itchy Self’s debut 12” is an exploration of fully formed songs treated with spontaneous delivery. The group got together in early 2020 for 3 practices and a recording session and here are the results, laid out in their raw form. This is cross-generational racket n roll music that wears its heart on its loosey goosey sleeve. ‘B what you B’ is a life affirming testament to living against the grain that calls to mind the Modern Lovers’ aggressive positivity. Title track ‘Here’s the Rub’ is a barrage of abstract lyrics and skronky shred. ‘God Bless the Ego’ is an ode to the looseness and blurry eyed lucidity of indie rock’s forbearers such as Chilton, Kilgour, Pollard and Malkmus. ‘Reprobate’ is a Stones style ballad that channels the Saints and Johnny Thunders in equal measures. ‘Playing MTV’ is an audacious end remark to the record, that rips on classic Velvets strut and testifies it’s own ridiculous merit through boastful and catty lyrics. All in all, of course, it’s only Rock n Roll. This record is 1 part follow up to the Protruders “Poison Future” 12” on Feel It records (2019) and 1 part the first chapter of a new and exciting group formed in Canada’s capital of de-proffessionalized rock music. Recorded to 1/4 inch tape by Scott Munro (Preoccupations) and mastered by Mikey Young (Total Control), this record should provide a concise opening statement to anyone with the least bit of concern about Itchy Self. You’re gonna need an ocean of calamine lotion. Sorry State Records

In early 2018, Nathan Jenkins returned from the coast of Arrábida to his new home studio in a cottage tucked behind the grand hotel setting of Wim Wenders’ Lisbon Story. Breaking for lunches under a Datura tree in the garden and a far cry from the Finsbury Park basement flat he rented the previous year, a set of recordings followed that galvanised into an EP - ‘We Had A Good Time’. Music informed by out-of-town trips in a 1987 Renault 9 Super, Pitchfork attributed “remarkable healing powers” to lead song ‘Hula’.

After leaving London for a spell in Portugal, Nathan lost his taste for the night life and drew a line under a long-running NTS radio show. Much of the time spent abroad was dedicated to a longstanding collaboration with Westerman, whose album they recorded in a remote part of the Algarve countryside in 2019. Nathan’s own discography opened in 2007 with ‘Pet Sounds: In The Key Of Dee’, before pivoting in a more electronic direction via ‘Get Familiar’ and ‘Young Heartache’. From the sampledelia of 2011’s ‘Too Right’, the new wave and rave of ‘Say Arr Ee’ to the Robert Wyatt-influenced ‘Love Me Oh Please Love Me’, he’s mapped a deliberately peculiar path. 2015’s ‘Rooster’ was Eno & Byrne’s ‘Bush Of Ghosts’ given a shangaan-electro lick and clip. While Nathan’s partnership with fellow out-there pop auteur Jesse Hackett, as Blludd Relations, staggered like a half-cut Prince.

Collaged, rhythmic alternatives. Syncopated avant-garde sambas. Off kilter Sci-Fi jazz. Think Asha Putli in the spot at the Star Wars cantina. Arty, angular. Rich, but uncluttered. Frenetic, electric, blurring the boundaries between what is sampled, what is played. Nathan’s is a wilfully weird Pop, showcased in 2016 on his album ‘Loop The Loop’. Wayward but woven with hooks that come out of nowhere. Lyrical, often beautiful, solos on violin, oboe and desiccated guitars. Songs that demonstrate a nose-thumbing playfulness, a refusal to sit still. Where there’s always the urge to interrupt a carnival beat with a burst of galloping horse hooves. Or juxtapose ambient chords with a kazoo.

A roll call of Nathan’s broader musical adventures encompasses work with Paul Epworth, Sampha, Westerman and Nilüfer Yanya. Commissioned remixes reach from Dita Von Teese to Model 500, Tricky, Todd Terje and Lee “Scratch” Perry. Solo efforts gracing labels Honest Jon’s, R&S, Young Turks, Whities and The Trilogy Tapes. ‘Blue Pedro’, on the latter, making it into Crack Mag’s Top 100 Tracks Of The Decade.

In 2012 Nathan started his own label, DEEK Recordings, assuming the role of inhouse producer to collaborators. The imprint’s tagline and aesthetic - Pop, not slop! - is illustrated by an ongoing playlist of the same name and further explored in a series of compilations where Nathan and friends cover and reinterpret unsung ‘unclassics’ from alt. country to obscure 80s European arthouse scores, bouncing between Captain Beefheart, The Pixies, Sade and Mazzy Starr. DEEK’s roster is equally eccentric, non-linear and pop-literate. Laura Groves and Nautic - the realization and crystallization of a shared love for the Cocteau Twins.

12” pressed on crystal clear vinyl.

The first Prestige release for 2021 is delivered by London-based, Italian bred HLZ! Emilio has been on the map for a min, and we are more than thrilled to finally lock in a project in the form of a versatile 3-track EP offering. As his talents have been revered with all the top labels and DJs across circuit, Prestige is chuffed to deliver this unquestionable slapper of a 12".

As the Lead track, 'IN BETWEEN' takes listeners on a journey thru a deeper palette, HLZ is able to turn out with casual grace. Liquid gold best describes such a superb composition. Rolled out drums + classic bassline hook = sure fire integrity.

Riiing the alarm! 'DUB SUNRISE' hits different and not what you'd typically expect from mans. Only meant to be heard on a proper rig, HLZ channels the natty spirit and nails this iteration of the dub wise vibrations.

Third tune might as well be a title cut, 'NEON UNDERWATER' is simply pure rudeness. The track perfectly fits its title, as you instantly catch that murky, immersed feeling upon first listen. Another sound you may not be accustomed to hearing from HLZ off rip, from a label that frequents the roads less traveled.

PMG017 will be a vinyl feature with full color sleeve on March 5th, digital to follow suit 1 week after release. The heaviest of players showing full support; likes of Doc Scott, Craze, Flight, Ulterior Motive, and more. We're very excited to finally share with you all, such an astounding drop from the renowned Prestige Music Group.

Blackpool based noise rock and punk trio ‘Those Fucking Snowflakes’ are a vibrant clash of political punk, hardcore rock and math rock that has been getting 6music play from the likes of Tom Robinson and Gideon Coe and has a two page feature in the next issue of Vive le Rock magazine as well as props from Jason Williamson of Sleaford Mods.

The band formed as a means to scream the dread and horror faced in these confusing times of our modern society. From the current mess of the UK political system to the intolerance of, well, everything. From race and gender to such simple items as Greggs releasing a Vegan Sausage Roll, the band are shouting about it backed with a tight unique sound and occasional off kilter humour.

‘deploying 1000 volts through the civility of discourse’


The band have self released two EP’s - ‘U Ok Hun?’ and ‘Straight Wealthy White Male Suffrage’ on their own label ‘The Recording Industry Is Dead, Records’.

BirdPen - All Function One, an album about isolation, the fear of going outside in an uncertain world, virtual sex, deep fakes, digital sadness and living a hollow cyber life. Musically flowing with soundscape guitars, soaring melancholic strings, rolling heavy bass, kraut drumbeats, subtle electronics and emotionally performed meaningful lyrics. An album fitting with the times and the current un-certain, sometimes lost world.

Until Now, Jilala has been a much sought-after phantom in relation to their better-known musical and spiritual contemporaries, The Master Musicians of Jajouka. Culled from three and a half hours of 1965 recordings by writers/artists/poets Brion Gysin and Paul Bowles, the first batch of Jilala recordings were released on a 1965 LP that was scarce even upon its initial release. The second batch of Recordings, which this LP has drawn from, came in the form of a CD by Baraka Foundation in 1998, which is also now long out of print. The Jilala brotherhood -- like the better-known Jajouka culture -- has pre-Islamic roots in Sufi mysticism that span across northern Africa from Morocco to India. Jilala shares the kinds of small, portable instruments historically favored by nomadic cultures. Even among the more ardent aficianados of "world music" these recordings have seldom been heard. In the original liner notes Ira Cohen provides a breakdown of the Jilala ensemble: "The instruments used are the shebaba, a long transversal cane flute, which leads the way; the bendir, a handheld drum resembling a tambourine without cymbals; and the karkabat which is a double castanet made of metal. On this record there are usually three flutes, six drums and one pair of castanets." In conjunction with the qraqaba -- an iron analog to the wooden castanets featured heavily in the Flamenco music of the Roma people that also flourished over the centuries mere miles to the north in southern Spain. These bendir drums provide a range very similar to that covered in contemporary popular music by the bass drum, snare, and cymbals that make up standard drum kit. The Trance-inducing grooves were major influences on such bands as Led Zeppelin, Agitation Free, Can and the Rolling Stones. The collective rhythms are often reminiscent early hip hop. oFirst time these tracks appear on vinyl - Pressed on 180 Gram Black Vinyl o Recorded by Brion Gysin & Paul Bowles in Morocco 1965 o Limited Edition of 300 Copies - DMM: Direct Metal Mastering o New Liner Notes by Peter Wetherbee o Contains insert of original liner notes from 1965 Jilala LP o Long out of print in any format for over 20 years.

Bobby Would LP#2. Wistful waltztime psychobeat for warding off / wallowing in the 2020-21 Weltschmerz. Swelling and smearing the vision of 2018’s skeletal rock’n’roll heartbreaker Baby, most of the songs here are ballads – minimalist, ultra-hypnotic but lavishly melodic space-punk lullabies and bright, bruised expressions of jingle-jangle mourning. Highs, lows and heavenly blows. BW’s guitar is, more than ever, a thing of fearsome and filigree beauty, moving effortlessly from misty, mellifluous DIY pop-dreams to wailing vertiginous whiplash leads and dazed, epiphanic, angels-wept metha-drone, ringing in infinity - and tethered to this earth only by his beloved monotone, numbed-out, serial-killer croon. Spinning in its own orbit, but with recognisable dabs - perhaps - of Phantom Payn / JG39, Les Rallizes Denudes, Gary War, Peter Gutteridge’s Pure...and of course Bobby’s own work in Heavy Metal and Itchy Bugger.

Thumbing Thru Foliage is a blunted journey through YUNGMORPHEUS’ mind where personal lyrics intertwine with socio-political themes and tongue in cheek humour. Produced entirely by ewonee. Lead single ‘Fistfulofgreens’ grooves on a g-funk-esque plain and is an assured mission statement - “original man who got the game plan, I aint switching my hands inside these strange lands” whilst also sharing some intimate insight “I don’t ever answer questions that the feds askin, they were cuffin’ my mama, you know I had to blast them”. Second single ‘Sovereignty’ takes a more soulful turn with ceremonial strings and r&b samples ringing under braggadocious bars. Third single ‘Middle Passage’ is a more introspective cut - sombre vocal and piano loops are juxtaposed with neck snappin’ energetic drums. Describing the project in his own words, YUNGMORPHEUS says, “Peace peace, I consider this album a call to action of sorts. The world is rife with distractions and oppressive tactics but niggas move through it nonetheless ! Respect to ewonee for providing a beautiful backdrop for me to get some much needed shit off my chest. Maneuver through the foliage yall... Power to all black people ! Salute to those who listen”. ewonee adds, “Growing up like we did in this corporation Neegas deal with a lot. Usually gotta go through the mud to get to the greens. Good comes with the bad and vice versa, learning how to adjust is a must. Hope y’all get that from this. Roll up count up and mount up. PEACE”. YUNGMORPHEUS is an American rapper and record producer, originally from Miami but now based in LA. He has released music on Leaving Records and Rap Vacation as well as collaborating with Pink Siifu, Fly Anakin, Koncept Jack$on and Ohbliv. Previously supported by Okayplayer, XLR8R, Bandcamp, DJ Booth, Tiny Mix Tapes, Earmilk, BBC6 Music, Dublab, NTS and Worldwide FM. ewonee is an American Multi-instrumentalist, Producer, Beat-maker & Audio engineer from New York. Part of the Mutant Academy crew and also involved with the Beat Haus Show, ewonee has previously produced & collaborated with the likes of Your Old Droog, Fly Anakin, Reginald Chapman and Koncept Jack$on.

Rebuke returns to Drumcode with a trio of timeless dancefloor weapons.
The Irishman’s ‘Rattle’ was a standout of 2019, judged by DJ Mag as their no.22 top track of the year and is etched in the Drumcode discography as one of the most original releases to date. A valued part of Adam Beyer’s extended collective; he would have made his Drumcode event debut at WMC in Miami this March. Without a doubt, a sophomore EP was always on the cards.

‘Instatik’ kicks the work into gear, a rugged, reverb-heavy cut with industrial drums that pump like pistons and an undulating synth effect that makes you feel like you’re on a turbo-charged rollercoaster. ‘Livewire’ has the trademark Rebuke brain-scrambling stamp on it, a flurry of steelyard percussion bring the track to life, before a low-end melody swells to attention, rubbing shoulders deliciously with driving drumlines, for an uplifting second half. The title track ‘Obscurity’ is a dark slice of techno funk, filled with synapse-tickling arpeggios, before a rollicking groove takes hold and launches the track home at full-flight. Another thrilling and innovative release to add to the Rebuke canon.

“I think 2020 will go down in history as the craziest year of our lifetime. The future is still pretty unknown right now and things are drastically changing week to week. With that in mind, I felt ‘Obscurity’ would be a fitting title for my second Drumcode EP. It represents the state of being unknown, unclear or difficult to understand – feelings I’m sure most of us are going through right now. Most the tracks aside from ‘Livewire’ were written in quarantine; ‘Livewire’ was written right before the virus shut the world down, in a hotel room in Lima, Peru in January. This EP is my favourite to date as I think it shows a different side to my musical palette, whilst still developing the signature sound heard in all my music.” – Rebuke

Funkiwala Records presents the third in the series of "Lokkhi Terra meets"albums, with the London fusionistas creating another unique sound-clash, this time with ex-Fela Kuti keyboardist and legendary UK Afro-beat ambassador Dele Sosimi, and members of his critically acclaimed Afro-beat Orchestra.

This particular collaboration has been bubbling away for a few years now, teasing audience expectations with a handful of sold out shows each year in between both bands busy schedules.
Featuring the two pianos of Kishon Khan and Dele Sosimi – Cuban percussionists/vocalists Geraldo De Armas (Yoruba Andabo), Oreste Noda (Ariwo), Javier Camilo (Ibrahim Ferrer) - a horn section led by Justin Thurgur (Bellowhead) featuring Yelfris Valdes (Sierra Maestra) and Graeme Flowers (Kyle Eastwood) to name a few – this is an All-star cast.

Kishon Khan's Lokkhi Terra have over a number of years now been quietly establishing themselves as one of London's more unusual heavyweight outfits, described as "Stunning Headliners… A majestic multi-cultural blend of sounds… effortlessly builds bridges between rolling Indian raga rhythms, Afro-Cuban grooves, Acid Jazz/funk and free flowing improvisation" (Timeout London). Included amongst the band members are London's top Cuban musicians, adding their infectious rich musical history to the city's melting pot.
When the band wanted to explore Cuban links with another of their favourite traditions, Afrobeat, who better to bring in then one of the Afrobeat originators – maestro Dele Sosimi – "Sosimi creates some of the most bewitching grooves in modern African music" E Jazz News.
Bringing together two Yoruba speaking musics - with different accents, from different sides of the Atlantic - Havana meets Lagos in London – A Cuban-Afrobeat-Experience. CUBAFROBEAT.

Main Source’s paean to the simple pleasures of relaxing with friends is built over two tried-and-tested samples. The dreamy, swoony sounds of Vanessa Kendrick’s timeless ‘90% of Me is You’ is ever-present during this stone-cold classic, while Sister Nancy’s unmistakeable ‘Bam Bam’ lends several elements to the mix. Throw in some Skull Snaps and Sweet Charles and you’ve got the perfect soundtrack for a roll call of Large Professor’s nearest and dearest.

There are plenty of reasons why so many regard ‘Breaking Atoms’ as an all-time classic album, and the sheer variety of singles lifted from it is chief among them. Large Professor was happy to roam over varied topics at a time when many rappers had a manic focus on one thing.

And where better to hang out with friends than at a barbecue? ‘Live at the Barbecue’ is rightly regarded as one of the best posse cuts of all time, and famous for showcasing the debut of one Nasty Nas. While he delivers a dope verse full of quotables over drums from Bob James’ oft-plundered ‘Nautilus’, credit is also due to the other guests. Fatal and Akinyele aren’t disgraced in this company, and Large Professor tops it off with a rare verse of pure brag-rap.

An undisputed entry in the pantheon of head-nod hip-hop, this is its first official UK release, and another debut on 7”.

• Samples Sister Nancy’s unmistakeable ‘Bam Bam’

• Taken from the all-time classic album ‘Breaking Atoms’

• Features the debut of Nas

The roots of hard rock act Tucky Buzzard lie in psychedelic group, The End, who supported The Rolling Stones on an early tour, leading Bill Wyman to produce their sole LP. The band then morphed into Tucky Buzzard, now with scorching lead guitar licks and Hammond organ parts to the fore, and Wyman still on board as producer and manager. For their final album, Buzzard, released on Deep Purple’s Purple imprint in 1973, there is a mix of hard-edged blues rock, with a fine interpretation of perennial classic, “Who Do You Love,” and wistful originals like “Hanging On In There.” As ever, Wyman’s sterling production and presence on acoustic and electric piano makes this one a must for all Stones fans.

Definite reissue of this No Wave classic, originally issued in 1979. Previous reissues of the Contortions and James White albums on Infinite Zero have been deleted for the better part of a decade. These are all officially sanctioned by the originating label, Ze Records; packaged in fold out digipaks, with deluxe 20 page booklets. The 21st century has produced a new generation of young contenders of all kinds, who have, within months, spread a new string of names across the planet such as The Rapture, Playgroup, LCD Sound system, Liars, Yeah Yeah Yeahs, Radio 4 and the likes, just to name a few. Once again the heat was initiated in NYC, even though its Lower East Side epicenter 'cleaned up' by Giuliani and Bloomberg, has moved a few blocks east and across the river to Brooklyn and Williamsburg. It might be wise to remind the younger ones among us that the origins of this new musical cycle is for the most part rooted in the No Wave movement of which James Siegfried aka James White, aka James Chance is undoubtedly one of its most prominent figures. New York City was hands down the artistic telluric center of the second half of the 20th century, especially from the 70's, on. Rising from the ashes of the Velvet Underground, a slew of local bands redefined the aesthetics of rock'n'roll which the merchants of the temple hastened to rename under various designations, such as punk, new wave, no wave, jazz-funk or even disco and disco-punk without forgetting to mention the original Electro designation pioneered by the band Suicide. One of the indispensable and emblematic figures of the mid-'70s is of course James Chance.

“I was born here” said Alice Cooper, “and so was the sound and spirit of Alice Cooper.” Named for the city that launched the original Alice Cooper group, “Detroit Stories” followslast year’s “Breadcrumbs” EP as a modern-day homage to the toughest and craziest Rock n Roll scene there ever was. Alice Cooper and Bob Ezrin gathered some legendary Detroit musicians (Wayne Kramer, Johnny “Bee” Badanjek, Paul Randolph and many more) in a Detroit studio to record “Detroit Stories”, Alice Cooper’s new album that celebrates that spirit for a new era. Finally, it would not be a proper collection of Detroit tales if it didn’t include a few songs featuring the Original Band members, Mike Bruce, Dennis Dunaway and Neal. Joe Bonamassa also makes an appearance on the intro track “Rock ‘n’ Roll”. If 2019’s “Breadcrumbs” EP laid down the trail to the city, “Detroit Stories” drives like a muscle car right down Woodward Ave. Discover Detroit Stories as they were meant to be told. Available across 5 formats: CD / CD+DVD / 2LP Black, Boxset. Boxset inclues CD, T-shirt, Face Mask, Torch Light, 3 Stickers. Expected reviews across the broadsheets and tabloids. Daily Mail already picked this album as one of their 2021 albums to look out for! Current single playlisted at BCR2.

• Around the second anniversary of Chas Hodges’ passing, his son Nik began going through Chas’s multitracks and picking the pieces that he felt his dad would’ve considered finished and ready to be heard by all. Back in 2007, Chas had bought himself a digital hard-disk multi-track “portastudio” recorder, which allowed him to make fully-produced recordings rather than just rough demos, playing all the instruments himself.
• So here are fourteen previously unreleased wonderful gems – ten original songs and four covers. The originals include instant classics like “Street Games” and “Rock ‘n’ Roll Allotment”, as well as two songs written with the “Only Fools And Horses” West End musical in mind, “Trigger (Is What I’m Known As)”
and “What You Got You Gotta Show It”.
• The standard “I Can’t Give You Anything But Love” is given the unmistakable Chas Hodges treatment, and the album ends with his touching rendition of The Beatles/John Lennon classic “I’m So Tired”.
• The artwork includes personal notes by both Chas’s wife Joan and son Nik, as well as previously unseen photos.

Breaks 'N' Pieces returns with another cut of bass driven dance music from rising producer DJ Sunroof.

Australian DJ // producer DJ Sunroof has had a killer year with notable dance discs on imprints such as Nerang, 3 Feet Deep and contributing to the recent Breaks 'N' Pieces Vol.3 various artists release to top. His debut full vinyl EP via rising UK label Breaks 'N' Pieces hits the stop, weighty breaks meet chest rattling bass on this 2-step laden cut.

Recorded on November 13th 1990 in Santa Cruz, CA, where the band were rehearsing for their upcoming Weld tour, Neil Young and Crazy Horse played a club show at The Catalyst which is now released here for the first time.
The show comprised three different sets along with a 12 minute encore of Cortez The Killer and all 3 sets including that encore are brought together here in over 2 hours of music.

Said to be one of the great live shows that Neil Young and Crazy Horse performed, the album includes live versions of songs from their Ragged Glory album, released just prior, along with classics from across their catalogue.

Recorded on November 13th 1990 in Santa Cruz, CA, where the band were rehearsing for their upcoming Weld tour, Neil Young and Crazy Horse played a club show at The Catalyst which is now released here for the first time.
The show comprised three different sets along with a 12 minute encore of Cortez The Killer and all 3 sets including that encore are brought together here in over 2 hours of music.
Said to be one of the great live shows that Neil Young and Crazy Horse performed, the album includes live versions of songs from their Ragged Glory album, released just prior, along with classics from across their catalogue.

Ultra rare 1979 KBD-style punk rock from Piteå – a small town situated in the very north of Sweden. Rock Set are buzzing of small town boredom and fuck authority attitude. The name Rock Set was inspired by UK pubrockers Dr Feelgood’s Roxette -a few years before Per Gessle took the Roxette moniker to the top of the Billboard chart. “Piteå Kommun” never reached the Billboard chart but over time it has generated a cult following amongst punk rock aficionados all over the world. Original copies are nowadays changing hands for hundreds of dollars. A fact easily understood when hearing Rock Set’s perfect mixture of punk-, mod- and garage-rock.
In the late fall of 2020 OTD traveled to Piteå in order to find the members of Rock Set. A license deal was made and in true OTD fashion the sound recordings were remastered and carefully restored. Many photos from the band members’ private photo albums are seen on the printed inner sleeve. Liner notes by Peter Kagerland. Turquoise vinyl.
File under: ”beyond essential to any serious rock’n’roll fan”.

Vampa were just kids, 13-14 years old, when they recorded and released their raw and very Iron Maidenesque 45 back in 1982. DIY all by themselves… The lyrics (sung in Swedish) is the ultimate hate for school-anthem. The boredom and frustration of (barely) teenage kids totally sick of school and its teachers has rarely been captured in a better and more enjoyable way. Even though the lyrics are in Swedish the language that grabs the listener as the needle is dropped into the groove is universal. Original 45 is near impossible to find. On The Dole Records found the members, got loads of rare photos that fills up the printed inner sleeve.
Comes with new original artwork by Swedish artist Oscar Nordblom, the guy behind the notorious Jobcentre Rejects-drawings
File under: ”beyond essential to any serious rock’n’roll fan”.

Repress

Diamond Life are pleased to welcome new wave junglists L Major and Decibella to their roster of talent, from outta London.

Mouse on Mars, the Berlin-based duo of Jan St. Werner and Andi Toma, approach electronic music with an inexhaustible curiosity and unparalleled ingenuity. ‘AAI’ (Anarchic Artificial Intelligence) takes their fascination with technology and undogmatic exploration a quantum leap further.
Emerging from a primordial ooze of rolling bass and skittering electronics, hypnotic polyrhythms and pulsing synthesizers propel the listener across the
record’s expanse. Hidden in the duo’s hyper-detailed productions is a kind of meta-narrative.
Working with AI tech collective Birds on Mars and former Soundcloud
programmers Ranny Keddo and Derrek Kindle, the duo collaborated on the creation of bespoke software capable of modelling speech; text and voice from writer and scholar of African Studies Louis Chude-Sokei and DJ/producer Yağmur Uçkunkaya were fed into the software as a model, allowing Toma and Werner to control parameters like speed or mood, thereby creating a kind of speech
instrument they could control and play as they would a synthesizer.
The album’s narrative is quite literally mirrored in the music - the sound of an artificial intelligence growing, learning and speaking. This exploration of artificial intelligence as both a narrative framework and compositional tool, allowing the duo to summon their most explicitly science-fiction work to date. Original artwork by Casey Reas, inventor of the computer graphics language Processing.
Recently, Mouse on Mars received the 2020 Holger Czukay Prize for Pop Music.
Mouse on Mars have been regularly streaming performances throughout 2020, partnering with organizations like Goethe-Institut, Haus der Kulturen der Welt, Conditions of a Necessity and others and will continue these in 2021.
‘AAI’ is available on grey or black double LP packaged in a single sleeve with full colour insert / lyrics. CD comes with 8-panel poster booklet.
“Andi Toma and Jan St. Werner continue to create soundscapes that blur the line between programming and live musicianship, and sometimes between Earth and outer space.” - AV Club
“Enthralling and impossible to categorize.” - Pitchfork
“Sustained and ephemeral electronic sounds conjure unearthly open spaces… It’s not a song; it’s sound as a temporal phenomenon, a few minutes of sculpted attention.” - The New York Times

The ultimate pressings of the Beach Boys discography from Analogue Productions!
Original mono mix produced by Brian Wilson
One of 10 titles featuring 33 1/3 mono and stereo remastered editions: Surfin' USA, Surfer Girl, Little Deuce Coupe, Shut Down Vol. 2, All Summer Long, Today!, Summer Days (And Summer Nights!!), Beach Boys Party!, Pet Sounds and Smiley Smile
Mastered by Kevin Gray at Cohearent Audio, most from the original master tapes or best sources available
Lacquer plating by Gary Salstrom and 180-gram vinyl pressing by Quality Record Pressings!

"It was Pet Sounds that blew me out of the water…I love the album so much. I've just bought my kids each a copy of it for their education in life. I figure no one is educated musically 'til they've heard that album." – Paul McCartney

"All of us, Ginger (Baker), Jack (Bruce), and I consider Pet Sounds to be one of the greatest pop LPs to ever be released. It encompasses everything that's ever knocked me out and rolled it all into one." – Eric Clapton

"For those in search of an original mono in pursuit of sonic quality, search no more. This Analogue Productions pressing is now the definitive pressing and the one we chose to feature at our Classic Album Sundays events to honour the 50th anniversary of Pet Sounds, an album that helped change the course of pop music." — Colleen ‘Cosmo' Murphy, Classic Album Sundays

"Overall though, this new reissue is the best sounding of all. The bottom end has more weight and solidity and the instrumental separation and front to back layering is nothing short of astonishing compared to the pleasing mush offered up by other editions. ... Pet Sounds belongs in every serious rock record collection and if you're going to have but one version this one from Analogue Productions is the one to have." — Music = 11/11; Sound = 11/11 - Michael Fremer, AnalogPlanet Read the whole review here.

"What I can say is that Kevin Gray has been able to extract every last bit of information from whatever tape is in the box, and present it in a way that is pleasing and natural to the ear. ... in my opinion, the Analogue Productions pressings are now THE definitive issue of each Beach Boys album, and will be my reference copies until if and when something better comes along — which may be never." — Lee Dempsey, Endless Summer Quarterly, Summer 2015 Edition

To meet the standards of Analogue Productions, our Beach Boys album reissues had a mission to achieve: Present the band's music the way that Brian Wilson — famed co-founder, songwriter and arranger — intended. Mono mixes created under Wilson’s supervision were how the surf rockin’ California crew rose to fame! And we’ve got ‘em!

For the early part of the Beach Boys' career, all of their singles were mixed and mastered and released only in the mono format — they didn't release a single in stereo until 1968. In those days, hits were made on AM radio in mono. And the mono of those times worked well for Wilson, who suffers from partial deafness. In fact, for their first 13 albums, Wilson originally turned in all the final mixed Beach Boy albums to Capitol Records only in mono. The mono mixes were where Wilson paid intense attention, and the dedication paid off!

We’ve taken 10 of the most classic, best-sounding Beach Boy titles ever and restored them to their mono glory!

But there’s no disputing that the close harmonies and one-of-a-kind rhythms of hits like “Surfer Girl,” “In My Room,” “Little Deuce Coupe” and more lend themselves naturally to stereo. So we’ve got your 2-channel needs covered with prime stereo mix versions as well.

Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in "old school" Stoughton tip-on jackets, these time honoured favourites shine brighter than the originals!

Pet Sounds is famous for its use of multiple layers of unorthodox instrumentation as well as other cutting edge audio techniques for its time. It's considered the best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound.

Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. "Wouldn't It Be Nice," "God Only Knows," "Caroline No," and "Sloop John B" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as "You Still Believe in Me," "Don't Talk," "I Know There's an Answer," and "I Just Wasn't Made for These Times." It's often said that this is more of a Brian Wilson album than a Beach Boys recording (session musicians played most of the parts), but it should be noted that the harmonies are pure Beach Boys (and some of their best).

VH-1 named Pet Sounds as the No. 3 album in the Top 100 Albums in Rock 'n' Roll History, as judged in a poll of musicians, executives and journalists. It's been ranked No. 1 in several music magazines' lists of the greatest albums of all time, including NME, The Times and Mojo Magazine. It was ranked No. 2 in Rolling Stone's 500 Greatest Albums of All Time list.

"New York City’s layers of continuous noise have become the backdrop to a rising four-piece that NME already calls “one of New York’s most exciting new bands.” Just like the city, The Muckers’ sound is equal parts vital and timeless, resolute and vibrant.

As The New York Times tells the story, lead guitarist and vocalist “Emir Mohseni, was inspired by the Strokes to pursue a career in music — a passion that brought him to New York all the way from his native Iran.” The move, profiled across acclaimed publications, from Rolling Stone to Billboard, only marked the beginning of the band’s story. Upon landing in this new environment, Mohseni met the three guys that would become his closest friends, and build with him the vitalizing sound and enrapturing live show that The Muckers are garnering early praises for: Anthony Azarmgin at the bass, Chris Cawley on rhythm guitar, and John Zimmerman behind the drums.

Blue Vinyl

babycasey is the debut album from composer, producer, artist Casey MQ. Across 13 songs, the record is an examination of identity formation through the prism of pop. Punctuated by original songs Casey recorded as a child, the album examines pop archetypes while reveling in the pure catharsis of the medium. babycasey is a radiant, deft statement from a crucial new talent - a gorgeous reckoning, and an honest reconciliation of ambition, queerness and artistry. A fall limited-vinyl release follows a successful summer rollout of the album.

It’s hard not to notice such an unforgettable sleeve, and if the music it protects is half as memorable as the artwork, you know you just have to hear it. We don’t think you’ll be disappointed because yes, this is the majestic 1971 album Un Muñeco De Madera, courtesy of the shadowy Sola, and it sounds exactly as you’d want it to. Originally released on RCA in Mexico, it’s kaleidoscopic Acapulcan-funk.

The album’s endless grooves are propelled by softly rocking, quasi-library funk breaks. Vocally, Sola is in step with the 60s French pop-chanteuse style, but of course her lyrics are delivered in sensuous Spanish. Her voice is beautiful. Pillowy soft and tender, it can suddenly explode in mystical anger. These are ten tracks of moody, mysterious vibes that stir the spirit and sooth the soul.

The LP was written, arranged and directed by prolific Spanish composer Manuel Alejandro, the man behind an incredible number of now classic Latin love songs from the 60s, 70s and 80s. As for Sola herself, next to nothing is known about the Mexican singer except the occasional whisper heard in only the darkest corners of the annals of music history. It’s said that upon growing disillusioned with the music industry she ended up in a convent of Carmelite Sisters. Fitting perhaps, given that Un Muñeco De Madera is a spiritual wonder of a record.

Much-loved single and title-track “Un Muñeco De Madera” opens the album. It introduces us to Sola’s sparkling Latin-funk, bursting with swaggering grooves sewn by tight drums, sweeping strings and lush keys. It’s followed by the serene but melancholic bossa groove of “Oye Mamá, Oye Papá” and the strings and guitar of “He Bajado Al Infierno” that hold up vocals reaching for an eternal truth. With full-on soundtracky feels, the rolling keys underpinning the Morricone-esque soundscape of “En Ellos Creo” will give you goosebumps. The gorgeous “Soy Rebelde” (“I’m Rebellious”), sets its gentle, piano-led delivery in delicate contrast to the lyrical sentiment.

Perhaps Sola’s most well-known track, the exotic bossa of “Tabu, Tabu”, is a formidable groove. Elegant bongos, prominent bass, delicate acoustics and a persistent flute blend with Sola’s unique voice; sinuous, sassy and forceful at the same time. The stunning “La Última Palabra”, while not literally the album’s last word, is nevertheless a stirring statement of strutting Latin soul, with more musical ideas packed into this one song than the entirety of most long-players.

If you hadn’t decided already, the final two tracks that are the funk-fuelled “Bada-Bada-Ba” and the horn-heavy percussive masterclass “Únete A Mi” will leave you in no doubt that this is one very special record.

Mastered with great respect by Simon Francis, cut by the master Pete Norman and with that sleeve lovingly restored by the Be With team, this re-issue ensures that Un Muñeco De Madera now sounds, looks and feels as beautiful as it deserves to.
: Un Muñeco De Madera (LP)

Three years in the making only to be held up nearly another whole year due to COVID, this dark brooding monster of an EP by Brussels based Strapontin, aka multi-disciplinary artist Patrick Belmont, is finally seeing the light of day.

Clocking in at over 35-minutes the record is almost album length and spans a multitude of depths and moods with elements of techno, new wave, rock 'n' roll, house and tribal…...all glued together with a sleazy atmosphere reminiscent of the electronic body music pioneered by Strapontin’s Belgian forefathers Front 242 and their German peers DAF.

Add to this a heads-down-no-nonsense darkroom beast of a remix by techno maestro Sascha Funke and the package is complete.

Strapontin provides us with some insight:

“It started with a desire to move away a bit from my 'dancefloor' side and go into more undefined fields, I wanted to work with blurry sensations that I can't understand. I like mixed feelings. Dramatex 300 is made of that ambivalent mood. The voice is saying 'I'm feeling empty' and 'I'm feeling healthy' at the same time. I like that paradox. Eunuque is a song but is also a character I will develop in a short movie (which will act as the 'music video' of the song). The Eunuque is a character full of anger yet he doesn't want to fight nor has he a target to aim at. A restrained aggressivity is boiling inside him/it that has no opportunity to escape from the body and gain release. The song is the fever he feels from these inner battles. I think Le Bain d'Huile and Anti-sceptical have the same slow and angry feeling. I'm proud of these tracks because they are a bit mysterious to me and it feels like they controlled me more than I controlled them.”

Getting plays from Monika Seta & Alexis Le-Tan

In collaboration with Brooklyn-based artist RDO/ATK, Sophia Saze makes her long-awaited return to her Dusk & Haze imprint with four slamming cuts on a release entitled ‘Stalker’.

Born in Tbilisi and now residing in Philadelphia after years living a nomadic lifestyle, Sophia Saze began her creative journey in her formative years with classical music and dance training. With a solid and natural musical foundation, Sophia became engulfed by electronic music leading to the launch of her Dusk & Haze imprint in 2017, before dropping a remix of Heathered Pearls on Ghostly International and the release of her much lauded debut album on Kingdoms. ‘Stalker’ sees her team up with old friend RDO/ATK who has been soaking up the dancefloor since the early 90s. With much of his influence stemming from the early east coast rave and club scene, his sound maintains a homage to the past without getting stuck in it. A sucker for a dirty 303, a breakneck amen, or a crushed 909, RDO/ATK’s style spans across genres from jungle to acid to broken beat and everything in-between.

The EP kicks off with a dynamic, jungle roller entitled ‘Stalker’ featuring old-school, amen breaks, stirring yet intriguing synths and hefty bass shatters balancing styles of glitch and funk together with pure class whilst ‘Fucking Crazy B’ lays focus on cold, syncopated grooves, chopped up shrieks and screams from a video of a traumatic personal incident and shimmering pads moving into ominous territories.

On the flip, ‘Talk To You In Your Brain’ delivers relentless kicks and spiralling acid squelches peppered with chilling vocal samples and frazzled fx that pulsates strikingly throughout until ‘Acid B’ rounds off proceedings with an effervescent, warehouse techno cut as the electrifying modulations bounce gracefully off the menacing percussion and slashing, 303 tones.

Born in Newtownards, County Down, Northern Ireland, singer/songwriter/guitarist Ricky Warwick was cut from the cloth of a mill workers’ jacket. Raised on a diet of Patsy Cline, Johnny Cash, Thin Lizzy, Stiff Little Fingers, Motown and everything in between. Saving his money from a newspaper round and a little help from his father, Ricky got his first electric guitar at age 13. “That cheap electric guitar changed my life....it saved me, it was more than just notes on a fretboard, it was the deepest breath of life I ever experienced.“ explains Warwick.
At age 14 Ricky and his family relocated to Strathaven, Scotland. It was here that Warwick fully immersed himself in the sonic seas of Rock n Roll. Writing and practicing every free moment he wasn’t working on his father’s farm, Ricky got a call to join acclaimed U.K. Punk/Folk band New Model Army as rhythm guitarist on their 1987 ‘Ghost Of Cain‘ World Tour. Following New Model Army, Ricky went on to form The Almighty in Glasgow who enjoyed ten top forty singles and four top twenty albums in the U.K. during the late 80’s/early 90’s, touring worldwide with such iconic bands as The Ramones, Motorhead, Megadeth and Iron Maiden.
In 2002, after relocating back to Ireland, Ricky recorded his first solo album ‘Tattoos & Alibis‘ in Joe Elliott of Def Leppard’s studio in Dublin with Joe also handling production duties. It marked a shift in direction “I realized that I didn’t need to yell over a wall of sound to make my point...less is more, stripped back instrumentation could achieve the same goal just as effectively. I learned so much making that record, primarily about myself”. Warwick would go on to release two more solo albums between 2002 -2010 and tour globally opening for the likes of Def Leppard, Cheap Trick, Bryan Adams and Lynyrd Skynyrd.
In January 2010 Ricky received a call from his old friend Scott Gorham who was spearheading a reformation of Ireland’s favourite sons Thin Lizzy and wanted Ricky to front the new line up. ”I was shocked, terrified, excited and extremely humbled when I got that call. Phil Lynott was my hero and Thin Lizzy were the soundtrack of my life. I realized that I could never hope or even dare to try and stand in Phil’s shoes. All I could do was try and stand beside them and sing his songs with as much heart, soul and passion possible. In late 2012, with a necessity to write and perform new material, out of respect for the Thin Lizzy name, Black Star Riders were born. Warwick is the frontman and main songwriter for the band and 2013 saw the release of Black Star Riders acclaimed debut album


‘All Hell Breaks Loose‘.

Black Star Riders have now released four critically-acclaimed and commercially successful albums, the most recent being 2019’s ‘Another State Of Grace‘. They have achieved two U.K. top 15 albums and one U.K. top 10 album as well as mainstream radio play which includes claiming two “singles of the week” on BBC Radio 2.
Following 2016’s lauded ‘When Patsy Cline Was Crazy... And Guy Mitchell Sang The Blues’, Warwick is getting ready to unleash his 5th solo album in 2021. Titled ‘When Life Was Hard And Fast‘, it was recorded in Los Angeles and produced by Keith Nelson (ex-Buckcherry), who also co-wrote the majority of the songs on the record with Warwick. “Keith Nelson and I share a passion for good, honest, rock ‘n’ soul. Making the album with Keith who shares a similar outlook and work ethic as myself was a no brainer ....also the fact that he has a killer collection of vintage guitars contributed greatly”
“I wanted to create an album that had the simplistic melodies of Tom Petty and the Heartbreakers charged with the electric hedonistic fury of Johnny Thunders And The Heartbreakers. Recording the album as live as possible with a full band was requisite to achieving the desired effect”. Xavier Muriel (Ex-Buckcherry) on drums and Robert Crane (Black Star Riders) on bass completed the core band and turned in stellar performances, giving the songs a real lease of life.
Also, once again, Warwick tapped some of his closest friends for guest appearances on the record, including Andy Taylor (Duran Duran & Power Station) Luke Morley (Thunder), Joe Elliott (Def Leppard), Dizzy Reed (Guns n Roses). Ricky also duets with his daughter Pepper on the song ‘Time Don’t Seem To Matter‘. “I can’t wait for people to hear this album and to hit the road touring it whether it’s with my band The Fighting Hearts or just myself and my acoustic - it will be amazing. I’m grateful that after 30 years of making records my appetite for writing and playing is the same as it was that day all those years ago when I got my first electric guitar”
For those intrigued by the album cover, it depicts a crash scene from the famous Ards TT Motor Car Race in County Down Northern Ireland. The race ran from 1928 until 1936 was watched by over 250,000 spectators annually. The embankment in the photograph that the spectators are on is actually a field belonging to Ricky’s Great Grandfather’s Farm, which he grew up on for the first fourteen years of his life.

Old, but still functioning computers are simply scrapped, made redundant and without remorse left to corrosion and an existence without a task and no perspective. That this doesn’t need to be so, and that even computers with limited storage capacity can still take on a function in society, is illustrated by Alexei Shulgin’s outdated 386, now serving as a musician. Performing Classic Rock's Biggest Smash Hits! The Clash! The Doors! The Sex Pistols! Hendrix! and more... gone digital, gone to 8-bit computerized chip-music with a singing computer, with all the charme available to a text-to- speech- programm.

Created by Russian artist Alexei Shulgin, 386 DX was “the world’s first cyberpunk band.” Known for its live performances on city streets and in nightclubs, the performer is a dingy, singing PC that runs Windows 3.1, equipped with a vintage sound card and loaded with MIDI files of drums, guitar, and synth and accompanying lyrics.

The ironic comment delivered by Shulgin and his singing computer is well within the context of the performances by the 386 DX rockband, with which he “toured” Europe in 1998 and performed on nearly 60 occasions. This one- man-one-computer-show was based on a similar idea as his current installation: Shulgin presented himself as a performer carrying a keyboard, and by simply hitting a key elicited the text-to-speech singing, accompanied by very simple music and a few Seventies-style visual effects.Alexei Shulgin simply is the King of Cyberpop.

In a world of announcements of announcements, Gatecreeper are firing no warning shots before dropping their new release. “I think the social media environment has just fried our attention spans,” vocalist Chase Mason says. “Trying to hold someone’s attention for two or three months with a typical album roll-out doesn’t seem feasible with everything else currently going on in the world.” That’s not the only reason An Unexpected Reality comes with no pre-release hype whatsoever. “It’s meant to be listened to as a whole, so we didn’t wanna break it up or release a couple songs ahead of time as ‘singles’ or whatever,” Mason clarifies. “We also didn’t wanna treat it like it’s our next full-length. Because it’s not.” Written, recorded and now released during the Covid-19 pandemic, An Unexpected Reality is Gatecreeper like you’ve never heard them before. Exploring both ends of the tempo spectrum, the release offers two opposing sides of the band’s musical personality. Side one consists of seven short, sharp shocks that have a total running time of less than seven minutes. Inspired by grind, punk and hardcore, tracks like “Starved,” “Rusted Gold” and “Amputation” are some of the fastest offerings the Arizona death metal squad has ever recorded. Side two is the exact opposite.

Like Chuck Berry and Little Richard, it was success in the
pop field and crossing over to the white teenage audience.
That helped establish Bo Diddley in the rock & roll charts,
but his blues roots are clearly evident on this collection. For
however successful he got on the pop charts, Bo always
stuck close to his blues heritage. Among the songs you can
listen to here are I'm a Man, Road Runner and You Can't
Judge A Book By Its Cover. His blues roots are clearly
evident on this collection.

Rolling through life, an open mind like an ocean, an infinite ride that comes furiously crashing to a halt. This is Whitney K’s ‘Two Years’, a deep dive into the Canadian songwriter’s journey through vulnerability, change and ultimately letting his guard down. Whitney K is the wandering stalwart Konner Whitney, a White- horse Yukon resident who has spent time in Vancouver, Montreal, Burnaby and Los Angeles. We met the character in 2016 through his intoxicating 4-track recorded manifesto ‘Goodnight’, a head on collision into 24 hours of illusioned romance and modern day escapism.

Fast forward to 2021, lift those curtains, aptly titled ‘Good Morning’ is the opening track on ‘Two Years’, a different cracker, a deliberate record about transformation, where to put it simply, Whitney K has arrived. Enlisting the aid of main collaborator and bandmate Josh Boguski, the focus has been shifted, folklore and realism becoming reckoning and truthfulness, what was outsider folk is now political poetry, life in motion delivered through a freeway ridden baritone voice that transforms the mundane into extraordinary.

GRAMMY® Award nominated producer/songwriter/performer Maggie Rogers releases a special collection of archival music: Notes from the Archive: Recordings 2011-2016. The 16 track collection features newly remastered versions of tracks from Maggie’s early albums including Blood Ballet (2014), The Echo (2012) and six previously unreleased songs. After graduating from NYU’s Tisch School of the Arts, Rogers released her EP, Now That The Light Is Fading and was quickly tipped as an artist to watch. Rogers’ 2019 Capitol Records debut album, Heard It In A Past Life entered Billboard’s Top Album Sales Chart at No. 1, debuted at No. 2 on the Billboard 200 Chart and received widespread critical acclaim from the likes of NPR, The New York Times, Rolling Stone, Pitchfork, TIME Magazine, Vogue and many more. Some of her television performances include “Saturday Night Live,” “The Tonight Show Starring Jimmy Fallon,” “The Late Show with Stephen Colbert,” “Today,” and “Austin City Limits.” Rogers has sold out headline tours across North America and Europe, performed at major festivals worldwide and was nominated for a GRAMMY® Award for Best New Artist. She is currently at work on her next album.' Pressed on two colour LPs, with two printed sleeves, a gatefold jacket with an overall matte finish and each print element has an additional metallic finish, plus a sticker.This remastered album includes previously unreleased tracks.

We’ll forever remember the summer of 2020. In March the world was hit by the Covid-19 pandemic. All over the world cities and countries went in lockdown, bars and venues were closed and live music stopped altogether. After three months of total isolation and not being able to jam or play at Missy Sippy Blues & Roots Club in Ghent —or any other place for that matter— Tiny Legs Tim and his friends decided to book a weekend at The Yellow Tape studio. They wanted to capture the emotional high of finally playing together again. A simple live setup, a 60’s Faylon mixing desk and an old 24-track tape machine were used to record this outburst of musical joy. During that weekend Tim and his musicians reached that point of ‘locking together’ they experienced so often playing late nights at a packed and steamy Missy Sippy. Imagine when four musicians act as one in an energetic dance with the audience, led by the sultry beats of the drums (Bernd Coene), the dirty grooves of the bass (Mattias Geernaert) and the inciting dialogue of the guitars (Toon Vlerick & Tiny Legs Tim).
At the moment these kind of scenes and carefree celebrations of life and music seem like a thing of a long gone past, but as Tim puts it: “We’re always ready to roll, call us when it’s over.” In the meantime, the listener gets a first-hand experience of the positive energy and joy of making music on the spot with a selection of spontaneously arranged songs: some new, some old and one cover by the late RL Burnside.

Hoshina Anniversary returns from forever for a majestic dance. This is his second offering for the ESP Institute. Side A’s Karakuri contains all the elements of Hoshina’s signature sound; bouncy staccato bassline, minor chords and organ stabs, a Chick Corea-inspired Rhodes that walks all over the place, all tracked along sparse bits of Japanese percussion and cymbal that juxtapose organic texture with precision-machined timing. The lead keys feel at first as if they’re freeform, however, Hoshina’s obsession with order becomes apparent as the bars develop and his systematic control and repetition is revealed. On side B’s Michinoku, we’re treated to a deep and slow burner. A roller of a beat based on 808 toms and a pishy snare sets the somewhat bumpy base for this groove, and again the meat of the rhythm is built with dirty chords, this time on the upstroke, in an almost Reggae style. What the flipside taught us about Hoshina’s controlled chaos, is here again the lesson and perhaps even moreso. The voice of the track remains the Fender Rhodes, played in brief but wild phrases and arranged into patterns upon which Hoshina builds layers over some 8+ minutes. There is a deep and dark mood throughout both sides of the record, but perhaps more sultry than devilish, and one that listeners educated in the stoned arts will appreciate. These two songs have built the end into the beginning.

Green Vinyl

Next up on Just Jack Recordings, long time, Detroit, underground hero - Gari Romalis delivers two super deep, grooving bumpers on the A. Lush chords, chunky beats and rolling melodies are the name of the game, whilst on the flip the energy gets taken down a notch with broken beats, fuzzy bass and filtered samples coming together for a blissed-out jam.

Die großen Hits der legendären Band REDNEX jetzt als VINYL erhältlich!

Rednex landeten einen Nummer Eins Hit nach dem anderen. Ausgezeichnet mit Goldenen Platten, feierten sie ihren größten Erfolg mit dem Super Hit „Cotton Eye Joe“. Neben diesem Song, ließen Songs wie „Spirit of the Hawk“ und „Wish You Were Here“ ebenfalls die CD Player und Radios heiß laufen. Einfach eine unvergleichlich gute Band, der wir hier eine Greatest Hits & Remixes widmen.

Born in Croydon, UK in 1960 and working in Switzerland for decades, Michal Turtle has led a storied career as a composer, arranger, technician and producer, consistently aligned with some
of the most exciting bands and projects within the realms of pop and experimental music. A figure as masterful in the realm of expansive ambient recordings as advertising jingles, it’s only in recent
years that Michal’s solo productions have gained acclaim and a cult following that continues to grow ever wider.
Turtle made a long-awaited return earlier in 2020 with the extended ‘On a Canvas Lived a Baby’, a one-sided twelve of new material released on Planisphere Editorial. Now, the Basel based label
invites a diverse and international cross-section of electronic musicians to reinterpret the artist’s back-catalogue, each delivering a thoughtful remix driven by the same sense of curiosity,
exploration and genre-blurring that Turtle himself helped pioneer. Each track on the remixes collection was originally recorded between 1980 and 1985, in between Turtle’s regular tours with established bands. Opening the collection, Laurel Halo adopts her LH alias for a textural and tripping revisit to ‘Phantoms of Dreamland’, transporting the haunting original to a hyper-detailed alternate dimension. Zoning back in, Neue Grafik finds typically eclectic form with ‘Men in Green’, turning the dials and blending ideas as if tuning between the emerging musical scenes that defined Turtle’s early-eighties life in Camden, London. In stark contrast, avant-garde polymath Felicia
Atkinson designs a ‘Fennel and Moon’ version, weaving between earthy field recordings and an aching piano line, conjuring an almost ritualistic atmosphere, far from the city. Radical musical turns continue to define the collection as son of Detroit, Jimmy Edgar takes
‘Rainwater Fijit’ down a dark, damp tunnel, expanding on the pitter patter of Turtle’s more outlandish studio experiments, blending vocal experiments with fresh funk. Colombian experimentalist Lucrecia Dalt pulls further bizarre shapes from a patchwork of samples, a heaving,
gasping industrial shuffle, before French producer D.K. returns a stronger rhythm, both building on Turtle’s lovingly naive tributes to the legacy of sample culture and his trusty ARP2600.

Ostgut Ton mainstay and Panorama Bar resident Nick Höppner proceeds to sensitively rewire ‘Maid Of The Mist’ into a blossoming, introspective celebration of melody and ambience, an
almost weightless experience that lends itself well as a breather before Luca Duran’s analogue, acid-tinged take on Spookie Boogie takes Turtle’s esoteric touches back into the direction of the
funk and italo records at the heart of his initial inspiration.
The Remixes final chapter continues to expand in distinct and wide-reaching sonic directions. London’s Object Blue seems to slow time itself across her sublime interpretation of ‘Ball Of Fire’.
Initially Turtle’s tribute to Howard Hawks 1941 film classic and the legacy of old Hollywood, worlds further collide into rolling, weightless bliss.

Fellow Swiss citizen Mehmet Aslan stirs an enchanting, percussive mystery that unfolds with great
pleasure on El Teb, while Parco Palaz conjures not one but two radically different remixes of ‘Are
You Psychic?’, demonstrating both their imaginative nous, as well as the depth of Turtle’s legacy.
Finally, an irresistible vocal contribution from Oso Leone adds even further colour and joy to ‘Maid
of The Mist’, sending off this ambitious collection on a transformative, dream-pop high.
With further details set to be revealed, there is an ongoing development focused around the
accompanying art and visuals. The Peruvian born and now Amsterdam based graphic designer
Jonathan Castro leads the art direction, along with visual artist Chris Harnan. Both artists look to
explore the intersection between sound, imagery and its reorientation, exhibited through the
musical contributors and visual translation.

“I am happy and honoured to have been the spark for this remarkable compilation.
The magnificent work done by this collection of very special people speaks for itself, so listen and
be transported. It has been half a lifetime since my original tracks were written, and I am gratified
to know that they are somehow still relevant enough to be reworked and reinvented.”

• Joe Brown is the English musician who has being working as a rock and roll singer and guitarist for more than six decades and continues to play over 100 shows every year. Often described as a ‘musician's musician’, Brown is admired by fellow artists and fans alike.
• In the early 1960s the hits began to roll in for Joe and his backing band the Bruvvers with tracks such as ‘A Picture Of You’, ‘It Only Took A Minute’ and ‘That’s What Love Will Do’ – all of which are included on this new Gold collection. Brown’s career continued to grow throughout the 60s and included headline British tours that featured the Beatles, Del Shannon and the Crystals.
• This new compilation features 16 of Brown’s best loved tracks pressed on 180g heavyweight gold-coloured vinyl, housed in a printed inner sleeve