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Miles Davis' Final Collaboration with Arranger Gil Evans Yields Watershed Innovations: Flamenco-Themed Sketches of Spain Spins Graceful Webs of Sound and Emotion Mobile Fidelity's UltraDisc One-Step 180g 33RPM LP Set Brings Out the Record's Full Spectrum of Color: 65th Anniversary Edition Pressed at Fidelity Record Pressing and Strictly Limited to 5,000 Numbered Copies 1/4" / 15 IPS analogue master to DSD 64 to analogue console to lathe Miles Davis and Gil Evans bridged styles and collaborated on high-concept projects three different times during their celebrated careers. For their final act, they created Sketches of Spain, a peak moment in each luminary's legacy.

The transformative album weds Spanish themes, lush orchestrations, romantic timbres, and Davis' lyrical methods in a tender ceremony that resonates more than six decades after its original release. Part of Mobile Fidelity's Miles Davis restoration series, this 1960 landmark has been afforded the ultimate white-gloves treatment for its 65th anniversary. Sourced from the original master tapes, strictly limited to 5,000 numbered copies, and pressed at Fidelity Record Pressing, this UltraDisc One-Step 33RPM 180g LP set dramatically expands the soundstages and eradicates a dryness that many critics found inhibitive to the record's enjoyment. You can now hear the full-range responsiveness of the woodwinds, strings, and percussion, all of which come alive with superior definition and detail.

The beautiful presentation of this UD1S set befits the record's historical importance. Housed in a deluxe slipcase, it features a special foil-stamped jacket and faithful-to-the-original graphics that illuminate the splendor of the 1960 LP. This reissue is made for discerning listeners who desire to fully immerse themselves with the album. And who wouldn't want to go deep with Sketches of Spain? Whether it is the somber mood piece "Concierto de Aranjuez," renowned for Davis' flugelhorn performance, or the folktale-based "Solea," Sketches of Spain transfixes with playing, ideas, and innovations exclusive to this incomparable effort. It's one reason why Mobile Fidelity's engineers took all available measures to insert listeners into the space originally occupied by Davis, bassist Paul Chambers, drummer Jimmy Cobb, percussionist Elvin Jones, and an 18-piece orchestra. The results are as breathtaking as the music.

Multi-note motifs, brief improvisational solos, fanfare sweeps, and contrapuntal exchanges inform flamenco-spiced pieces. Davis' famous Harmon-muted trumpet is complemented by an assortment of bassoons and French horns. Heard together, they create pleasing contrasts and sounds (pp, mf, ppp) that get to what resides at the heart of Sketches of Spain: color. Seldom, if ever, did Davis ever so expressively and liberally paint with color. And in Evans, he has a likewise-minded partner to help draw out tones, shades, layers, and textures. What they achieved continues to draw praise from the global music community in the 21st century. Ranked #358 on Rolling Stone's 500 Greatest Albums of All Time, deemed "a work of unparalleled grace and lyricism" by noted scribe J.D. Considine, bestowed a five-star review from DownBeat, and noted by Q to have taken "jazz in a new direction," the Grammy Award-winning effort has never been better.Miles Davis' Final Collaboration with Arranger Gil Evans Yields Watershed Innovations: Flamenco-Themed Sketches of Spain Spins Graceful Webs of Sound and Emotion Mobile Fidelity's UltraDisc One-Step 180g 33RPM LP Set Brings Out the Record's Full Spectrum of Color: 65th Anniversary Edition Pressed at Fidelity Record Pressing and Strictly Limited to 5,000 Numbered Copies 1/4" / 15 IPS analogue master to DSD 64 to analogue console to lathe Miles Davis and Gil Evans bridged styles and collaborated on high-concept projects three different times during their celebrated careers.

For their final act, they created Sketches of Spain, a peak moment in each luminary's legacy. The transformative album weds Spanish themes, lush orchestrations, romantic timbres, and Davis' lyrical methods in a tender ceremony that resonates more than six decades after its original release. Part of Mobile Fidelity's Miles Davis restoration series, this 1960 landmark has been afforded the ultimate white-gloves treatment for its 65th anniversary. Sourced from the original master tapes, strictly limited to 5,000 numbered copies, and pressed at Fidelity Record Pressing, this UltraDisc One-Step 33RPM 180g LP set dramatically expands the soundstages and eradicates a dryness that many critics found inhibitive to the record's enjoyment. You can now hear the full-range responsiveness of the woodwinds, strings, and percussion, all of which come alive with superior definition and detail. The beautiful presentation of this UD1S set befits the record's historical importance. Housed in a deluxe slipcase, it features a special foil-stamped jacket and faithful-to-the-original graphics that illuminate the splendor of the 1960 LP.

This reissue is made for discerning listeners who desire to fully immerse themselves with the album. And who wouldn't want to go deep with Sketches of Spain? Whether it is the somber mood piece "Concierto de Aranjuez," renowned for Davis' flugelhorn performance, or the folktale-based "Solea," Sketches of Spain transfixes with playing, ideas, and innovations exclusive to this incomparable effort. It's one reason why Mobile Fidelity's engineers took all available measures to insert listeners into the space originally occupied by Davis, bassist Paul Chambers, drummer Jimmy Cobb, percussionist Elvin Jones, and an 18-piece orchestra. The results are as breathtaking as the music. Multi-note motifs, brief improvisational solos, fanfare sweeps, and contrapuntal exchanges inform flamenco-spiced pieces. Davis' famous Harmon-muted trumpet is complemented by an assortment of bassoons and French horns. Heard together, they create pleasing contrasts and sounds (pp, mf, ppp) that get to what resides at the heart of Sketches of Spain: color. Seldom, if ever, did Davis ever so expressively and liberally paint with color. And in Evans, he has a likewise-minded partner to help draw out tones, shades, layers, and textures. What they achieved continues to draw praise from the global music community in the 21st century. Ranked #358 on Rolling Stone's 500 Greatest Albums of All Time, deemed "a work of unparalleled grace and lyricism" by noted scribe J.D. Considine, bestowed a five-star review from DownBeat, and noted by Q to have taken "jazz in a new direction," the Grammy Award-winning effort has never been better.

The mighty Ron Sexsmith, will release his wonderful new album Hangover Terrace. Ron is one of Canada"s most accomplished singer-songwriters. He has collaborated with Daniel Lanois, Mitchell Froom, Ane Brun, Tchad Blake, and Bob Rock. His songwriting appears on albums from Rod Stewart, Michael Bublé, k.d. lang, Emmylou Harris and Feist. Film-maker Doug Arrowsmith made an acclaimed documentary about Ron in 2010 called "Love Shines". In 2017 Ron published his first book, a fairy tale entitled "Deer Life".

Im Jahre 2018 entschlossen sich im schottischen Edinburgh, fünf Death Metal Lunatics, die Fahne des britischen Bulldozer Death Metal nach den Vorbild der zu Grabe getragenen BOLT THROWER, weiterhin hoch zu halten und gründeten DEATH KOMMANDER. Es folgte eine 4-Song EP (2018) und das Debüt Album "Pro Patria Mori" im Jahre 2021. Aufgrund der Pandemie-bedingten Beschränkungen war es beschwerlich, das Album auch live zu promoten, weshalb man sich auf das Schreiben neuer Songs konzentrierte.

“Great Doubt” is the third full length LP by Danish composer Astrid Sonne. Throughout her acclaimed discography, Astrid Sonne has been carefully crafting different moods through electronic and acoustic instrumental endeavours. On “Great Doubt” this skill is refined, now with the distinct addition of the composer's own vocal in front. The tone of each track is unmistakably Sonne’s, structured around contrasts through an impeccable sense of timing. Lyrics on the album are sparse, merely highlighting different scenes or emotional states of being, leaving the music to fill in the blanks. Yet they also form a pattern of ambiguity, consolidated through the album title, searching for answers through looking at how and what you are asking, questions for the world, questions of love. The viola, a trusted companion since Astrid Sonne’s youth, appears effortlessly throughout the album, fully integrated into the sonic universe; through a pizzicato driven arrangement in the poignant track “Almost” or along with booms and claps in mutated cinematic stabs during “Give my all”, paraphrasing Mariah Carey's 1997 ballad. Yet the string section also gives way to explorations of woodwinds, counterbalancing the bowed movements with digital brass and airy flutes. Finally, beats and detuned piano are fresh additions to the soundscape, cementing how Sonne’s practice is always evolving into new territories. In fall 2022, Astrid Sonne relocated from Copenhagen with its peers of artists such as ML Buch, Erika de Casier and Smerz, to live in London, where musicians of the South-East London scene like Coby Sey, Lolina, Still House Plants and Mica Levi provide a new inspirational framework. “Great Doubt” bears witness to both of those geographical locations, yet finds itself in its own unique space, in many ways due to the presence of Sonne's voice throughout. A voice that has always been present in her work, but never fully explored as a solo instrument before now. Astrid Sonne elaborates on the wish to work more in depth with the voice: “I come from a tradition of choir singing where I’ve used my voice as a way of creating unity with other voices. I’ve disciplined my voice in a certain way and this album is an exploration of me trying to find my own voice as an instrument, as a communicator, as a new way of being honest.” Questions take up a central role throughout the album. The doubt is both a blessing and a curse, always lying in-between, acting as both what holds back and drives forward. A metamorphosis not going anywhere. The great doubt takes place in a space of courage, chances, love, loss, gifts and surprises. Genre: Electronic / Experimental

Third release from the eerie Spooky Wooky label, featuring a split between Lazer Man and R.E.E.S. A France–Uruguay collaboration that delivers the perfect blend of dark sounds. The darkest hours of witchcraft have returned.

Zur Feier des 30-jährigen Jubiläums erscheint das bahnbrechende mit Multi Platin ausgezeichnete Album
und Meisterwerk der Cranberries „No Need To Argue“. Das Album enthält neu abgemischte Remastered Audios vom Produzenten des Originalalbums Stephen Street, 2 brandneue Remixe von Iain Cook
von Chvrches, unveröffentlichte Live-Musik von Woodstock ’94 und das unveröffentlichte Demo des FanFavoriten „Zombie“.

When we did the first ever vinyl reissue of this 1972 masterpiece back in 2012 it sold out so fast and so many lost the chance to grab a copy has translated into continuous messages asking us to do a repressing of this marvel - which we did and, again, it sold like hot bread. So here is a new edition of this UK jazz masterpiece, this time with a twist :

- Silk-screened cover art : we respect the original design, but have upgraded the printing from regular offset to silk screen to give it an artistic touch!

- In adition to the limited black vinyl edition (400 copies), we offer an ultra limited clear vinyl version (100 copies-only!)

One of the big names in UK Jazz, Neil Ardley was offered the leadership of the seminal New Jazz Orchestra in 1964. Under his direction the Orchestra moved though different styles and changes of personnel, bringing in musicians such as Mike Gibbs (trombone), Harry Beckett andHenry Lowther (trumpets) or even Jack Bruce (bass), some of them also contributed with the writing of some original compositions, making the NJO the root from which the UK's 70's jazz scene was to blossom.

By 1972 the NJO was already defunct, but his legacy remained in the works of its members. Ardley's 'A Symphony Of Amaranths' is a perfect example of what was boiling in the UK jazz scene. It was Ardleys tribute to his idols Duke Ellington and Gil Evans, and featured the skills of some great musicians of the scene including Don Rendell,Stan Tracey, Henry Lowther, Harry Beckett, Jeff Clyne & Jon Hiseman. Side B is inspired by the words of Edward Lear, W. B. Yeats, James Joyce and Lewis Carroll that are musicated by Ardley and feature, among other highlights, Ivor Cutler's narration of 'The Dong With A Luminous Nose' and Norma Winstone's vocals on 'Will You Walk A Little Faster'.



Musicians that participated in the recording session :

- Derek Watkins, Nigel Carter, Henry Lowther, Harold Beckett (trumpets)
- Derek Wadsworth, Ray Premru (trombones)
- Dick Hart (tuba)
- Barbara Thompson, Dave Gelly, Don Rendell, Dick Heckstall-Smith (woodwind, saxes)
- John Clementson (oboe)
- Bunny Gould (bassoon)
- Dave Gelly (glockenspiel)
- Neil Ardley (prepared piano)
- David Snell, Sidonie Goossens (harp)
- Stan Tracey (piano, celeste)
- Karl Jenkins (electric piano)
- Alan Branscombe (harpsichord)
- Frank Ricotti (vibraphone, percussion)
- Chris Laurence, Jeff Clyne (bass)
- Jon Hiseman (drums, percussion)
- Eric Gruenberg, Jack Rothstein, Kelly Isaacs (violin)
- Ken Essex (viola)
- Charles Tunnell, Francis Gabarro (cello)
- Ivor Cutler (narrator)
- Norma Winstone (vocal)
- Jack Rothstein, Neil Ardley (conductors)

MEMOTONE, aka Will Yates, has announced details of a new 12-track album, smallest things, set for release on World of Echo on 1 August 2025 on vinyl and digitally.

The album launches today with first track, ‘Time Is Away Theme’, a live favourite that is finally available on album. Watch the video HERE Talking about the release, Will has said, “Staring at a square inch of neglected concrete, I recognise the beauty of existence. Quietly hysterical. While humanitarian catastrophes bubble across the planet, the tides remain in constant and disinterested motion. Your money is worth less than the dusty moss that powders this pavement.

It's certainly not worth a life. We are the smallest things, along with everything else." Will Yates has made music as Memotone since 2007. He operates in the tradition of what Robert Fripp has called 'a small, independent, mobile, and intelligent unit.' If you book him, he will come. When he arrives, he will have everything he needs to make his complex, engaging music: a clarinet, a guitar, synths, samplers and pedals, quickly unpacked in the corner of a club, gallery or village hall. Starting small, he will build layer upon layer of melody, accompanying himself and cutting across himself, creating a music that avoids cliche and moves beyond easy description. His recordings have followed the same trajectory. Moving quickly, he has released fifteen or so albums across various labels (including Trilogy Tapes, Discrepant, Soda Gong). Taken together, these recordings are the sound of a skilled, inventive composer pushing at the edges of what he wants to listen to himself. It is possible to hear a variety ofinfluences in his music: folk and jazz forms, the textural inventiveness of British DI electronica and Chicago post-rock and the blurred sci-fi brass of Jon Hassell are all discernible. But mostly, Will's work seems to stem from a constant drift between long hours in his home studio, and time spent outside in the woods and hills around his home in Wales.

Listening to the album, lushness creeps in at the edges, tiny green shoots appear on what might at first appear to be bare soil. smallest things sheds the skin of Will's previous recordings, removing the electronics and the looping and layering of previous work, to create something almost entirely acoustic. But don't be fooled into imagining music that's folksy, pastoral or twee. Opening track 'I Could See the Smallest Things' is a statement of intent. Widely spaced guitar is underpinned by earthy cello and sleepwalking clarinet, making a gorgeous threadbare pattern, which recalls a Morton Feldman miniature or a Morandi still life.

Beyond the skill involved and the years of self-taught music making that have gone into putting this record together, it is Will's close, careful attention and his talent for existing, observing and creating in the moment that make his work special. Memotone will perform at World of Echo’s annual birthday celebration on 8 Nov Expected Music, when they take over Walthamstow Trades Hall for an inter-genre, day-long investigation into some of the more outré manifestations of the contemporary worldwide underground.

"Tonky" ist Lonnie Holleys fünftes Studioalbum und enthält Gastauftritte von Isaac Brock, Angel Bat Dawid, Billy Woods, Alabaster de Plume, Mary Lattimore und anderen. Bei der Leadsingle "Protest With Love" ist Jacknife Lee, der auch das gefeierte Vorgängeralbum "Oh Me Oh My" produziert hat, als Bassist, Keyboarder, Synthesizer, Schlagzeuger, Programmierer, Flötist, Percussionist und Sänger zu hören. Weitere Mitwirkende sind The Legendary Ingramettes am Gesang, Kelly Pratt an den Bläsern und Flöten, Jordan Katz an den Bläsern und natürlich Holley am Gesang. Holley fordert die Zuhörer auf, "mit Liebe zu protestieren" und "die Liebe zu deiner Waffe zu machen". Es gibt Dichter wie die große Mary Oliver, die vorschlagen, dass die Hauptfunktion des Menschen, wenn er sich durch die Welt bewegt, solange er Leben und die Fähigkeit hat, sich durch die Welt zu bewegen, darin besteht, dem Aufmerksamkeit zu schenken, was andere törichterweise als klein oder alltäglich bezeichnen mögen. Das Gehirn und das Herz sind beides Gefäße, die so viel Platz haben, wie man ihnen zugestehen möchte, und zu leben bedeutet, Sammlungen von gefundenen Zuneigungen zu schaffen. Die Geräusche der geliebten und vertrauten Häuser, die Bewegungen der Bäume und der Menschen unter ihnen, die Art und Weise, wie jemand, den man verehrt, einen ein paar Sekunden lang umarmt, bevor er sich aus der Umarmung löst und in einer überfüllten Fußgängerzone verschwindet. Wenn wir unser Leben, unser Schaffen und unsere Liebe auf diese Weise betrachten, bedeutet das, dass wir, zumindest für einige von uns, durch die Aussicht auf das, was als Nächstes kommt, vorwärts getrieben werden können. Welchen Moment wir festhalten und in unsere überquellenden Taschen stecken können. Die Arbeit von Lonnie Holley ist ein Werk dieser Art von Anhäufung und genauer Aufmerksamkeit. Das Vergnügen, einen Klang zu finden und ihn gegen einen anderen gefundenen Klang und einen weiteren zu pressen, bis der Hörer, bevor er es merkt, von einer Klangsinfonie überflutet wird, die sich anfühlt, als würde sie sich zusammenfügen, während sie über einen hinwegspült. "Tonky" ist ein Album, das seinen Namen von einem Spitznamen aus der Kindheit hat, der Holley anhaftete, als er einen Teil seiner Kindheit in einem Honky Tonk verbrachte. Lonnie Holleys Leben des Überlebens und der Ausdauer erforderte - und erfordert zweifellos immer noch - eine Art Erfindung. Eine Erfindung, die auch in Holleys Liedern reichhaltig und präsent ist, die auf "Tonky" voll und eindringlich sind, einem Album, das mit seinem längsten Lied beginnt, einem neunminütigen, erschöpfenden Marathon eines Stücks namens "Seeds", das mit einem einzigen spärlichen Klang beginnt und sich dann ausdehnt. Gesänge, schwache Tasten, Streicher und als Krönung Holleys Stimme, die nicht singt, sondern klar und deutlich von der Arbeit auf der Erde erzählt, als er jung war, und von der Gewalt, die er dabei ertragen musste, als er blutig und mit Schmerzen von Schlägen ins Bett ging. Der Song weitet sich zu einer Metapher über den Ort aus, über das Versagen des Zuhauses oder eines Ortes, der einen beschützen soll, der nicht das hält, was er zu sein vorgibt, selbst wenn man unermüdlich daran arbeitet, daran arbeitet, daran arbeitet, etwas Sinnvolles daraus zu machen. "Seeds" gibt nicht nur den Ton für ein Album an, das sich um Wiedergeburt, Erneuerung und die Grenzen von Hoffnung und Glaube dreht, sondern unterstreicht auch, was Holleys größte Stärke als Musiker ist, nämlich sein Engagement für Fülle und Großzügigkeit. Er ist ein unglaublich begabter Geschichtenerzähler, der sich der mündlichen Tradition verschrieben hat, so dass viele Hörer völlig zufrieden wären, wenn sie zu Füßen einer Lonnie-Holley-Platte säßen und seinen robusten, ausladenden Erzählungen lauschen könnten. Aber "Tonky" ist ein Album, das sowohl klanglich als auch in Bezug auf die vielen verschiedenen Künstler, die auf dem Album vertreten sind, einen Platz bietet, an dem sie sich zu Hause fühlen können, ganz gleich, wie sie die Zeit verbringen, die sie für einen Song brauchen.

‘Absurd Matter’ is a labyrinthine sonic conundrum that spirals around the two poles of extreme noise and hiphop. It's Berlin-based Italian producer Shapednoise's first album in four years and confidently advances his narrative into the next chapter, building on the groundwork of his prior abstractions to emerge with a coherent genre-warped fusion of urgent rap, crushing bass weight and idiosyncratic sound design. After spending years scrupulously deconstructing club music, Nino Pedone has rebuilt it brick by brick in his image.

The album is the first release on Pedone's brand new imprint WEIGHT LOOMING, a multidisciplinary label platform that's set to explore the depths of bass music, textured noise and abrasive transcendence. It follows a slew of acclaimed releases for Numbers,
Opal Tapes, Type and his own Cosmo Rhythmatic label, and forward thinking collaborations with Kenyan beat alchemist Slikback and Hyperdub-signed Angolan producer Nazar. Pedone's most ambitious project to date, ‘Absurd Matter’ taps into kinetic energy from a hand-picked selection of collaborators, including New York rap duo Armand
Hammer, French DJ/producer Brodinski, Bruiser Brigade's ZelooperZ and vanguard Philly poet, musician, and activist Moor Mother.


On ‘Family’, Billy Woods and Elucid weave a dismal, apocalyptic landscape with their razor-sharp anecdotes. The duo’s macabre imagery is given artificial life by Pedone's industrial scrapes and rattles that curl around their worlds like thick smoke. It's still rap, just about, but lodges itself in the back room of a factory, machines running themselves to an early death. Pairing with techno-rap trailblazer Brodinski, Pedone edges further towards the sound system, spatializing rhythms in four dimensions around Detroit rapper
ZelooperZ's playful expressions. This is the Italian producer's sci-fi tinged liquefaction of radio echoes, a way to fire familiarity into the void and sublime the human voice into weightless mist. When Moor Mother arrives shouting "me me me" on the aptly-titled 'Poetry', it sounds as if all of Pedone's loose threads are being tightened into a knot. His misshapen neo-grime beats sound like a broken jet engine, but smartly cede power to Moor Mother's resonant rhymes. "You can't cancel me" she assures. ‘Absurd Matter’ is a defining personal development for Pedone that not only appraises his career so far, but diverts its logic into frighteningly new sonic territory. From great loss, the producer has determined his work's cardinal themes, and sounds more strident and far heavier than ever before.

Saxophonist Sahib Shihab might not enjoy the reputation of some of his peers but he was a fine jazzman. For this legendary album he worked with a small but hugely talented collective of peers that included Francy Boland on piano, Fats Sadi on vibes, Jimmy Woode on bass, and Kenny Clarke on drums. The one of a kind sound they cooked up back in 1970 has endured to this day but has always been hard to find and expensive. This reissue rights that wrong and reminds what a classic it is.

DJ Support: Support by Kenneth Bager, Colleen "Cosmo" Murphy, Phil Mison, Chris Coco, Erki Pruul, Steve Cobby, Max Essa, DJ Gripper, Phil Cooper, La Guardia De La Luz, Johan Blende, Bill Brewster, Mike Salta, Pete Herbert, DJ Dribbler / For Mankind and many more.



Greek duo Bonnie & Klein serve up an Aegean musical escape with their new Glam Pulse EP on Hell Yeah.

George Fountzoulas and Thanasis Skouzis are lifelong Balearic brothers who offer up their own soul-stirring take on the sound on labels like Music For Dreams and NuNorthern Soul. They are inspired by the sunsets and seas of their homeland and bring great imagination to their melodies as this new outing proves.

'Glam Pulse' sets a gorgeous tone from the off with wavy grooves and a peppering of percussion. As well as some singing guitar riffs, sundown synths and shimmering chords make this a steamy and seductive gem. 'Haleakala' is another perfect soundtrack to lazing on the beach and watching the sun sink into the sea while new age motifs wash over you and carry away your woes. Proggy guitars speak to the soul on 'Horizon Avenue' as woody xylophones and wispy leads ride on dubby bass and 'Sunion' closes with hints of melancholy - a lament for the final dance of a long hot summer with lingering trumpets lodging deep in your heart.

Bonnie & Klein tap into real Balearic magic on this EP and effortlessly transport you to a sandy paradise.

DAYBREAKERS are back from their first dive into the Music Station catalogue and hop from New Jersey to land in Germany’s Black Forest region for 002, more specifically they arrive into a basement in Freiburg.

In 2008, Rainer Trüby started on an album that ended up getting lost due to a crashed macbook. Two tracks were saved from this lost album and see the light of day 17 years later. After playing one of these tracks “Schoko-Bolla” in the woods at “Root Down With Love” at We Out Here 2024, miche and Rainer decided it was finally time to take this secret weapon for a full release.

The A Side is “Schoko-Bolla” features a looping brazilian vocal from an all time great, building gently into a real groove and the B side, a deeper than deep house track with latin elements. House deeper than the Neckar river, perfect for any dancefloor.

Don't miss out, buy or cry.

After early remix collaborations, Felt Sense Recordings presents Rudolf C’s first extended player on the label — four cuts of deep space minimal tech and strung-out psychedelia.

Mastered & cut at Dubplates & Mastering, DE
Artwork by Louis Marlo

Things just get heavier and heavier in Scott ‘Wino’ Weinrich’s career and his short-lived classic band The Hidden Hand is no exception. Formed in 2002 and already disbanded in 2007 the trio featured Wino, Bruce Falkinburg on bass/songwriting/vocals and drummer Dave Hennessy.
If The Obsessed, St. Vitus, Shrinebuilder, Probot and Spirit Caravan aren’t enough to bring Wino's CV to legendary status, stop reading now.
LINER NOTES from WINO:

"When I returned from California after The Obsessed Columbia record deal fell apart, I didn't have any gear at all and after we put together (SHINE) which became Spirit Caravan, I was hustling to put a guitar rig together. I discovered ATOMIC MUSIC a super cool store in MARYLAND that encouraged trades, and had a lot of cool shit there,we had met another cat Sonny, who being the gregarious friendly cat he was befriended us (the band) and introduced me to his friend who's recording studio shared space with Atomic Music, Bruce Falkinburg and Phase recording studio. Bruce was a very interesting and hyper intelligent guy, bassist, knowledgeable in all things but specializing in recording rock music. We had decided to diversify our recording process and parted ways with one of my old friends Chris Kozlowski and PolarBearLair studios who had recorded everything Spirit Caravan had done so far.

I hired Bruce to record the version of Darkness and Longing that was our song on the Sixty Watt Shaman -Spirit Caravan split single. We liked what he did on that recording and decided to record more with Bruce at Phase and so we did ;the last SC single -" So Mortal Be/ Undone Mind" and recorded three tracks that were eventually released on "The Last Embrace." Bruce and I had firmly cemented our friendship and when shit fell apart with Spirit Caravan , we decided to form a band. Out of a very interesting list of possible band names Bruce's idea" The Hidden Hand " seemed to resonate the most and once Bruce had recruited Dave Hennessy (guitarist for OSTINATO) to play drums it was ON. Over the next couple years and a couple different drummers, The Hidden Hand would record one single, one split ep ,one compilation song and Three full length albums. Knowing Bruce, and working with everyone in The Hidden Hand realm enriched my life greatly . Bruces enthusiasm, knowledge, creativity, intellect and musical abilities remains an inspiration. Thanks Bruce, Sonny, Louis and Eric and all at ATOMIC MUSIC, Dave Hennessy,Matt and Jeremy Osinato ,Evan Tanner, J Robbins, Mcarthyism records, Andreas at Exile from Mainstream records, Greg Tubevision, 930 club ,Black Cat, Gussound, Diana W, Woody, Stinking Lizaveta, Jadd Schickler and Meteor City, Southern Lord records and extra special thanks to Gianluca and Improved Sequence for keeping this music alive!"
Wino - summer 2024

Things just get heavier and heavier in Scott ‘Wino’ Weinrich’s career and his short-lived classic band The Hidden Hand is no exception. Formed in 2002 and already disbanded in 2007 the trio featured Wino, Bruce Falkinburg on bass/songwriting/vocals and drummer Dave Hennessy.
If The Obsessed, St. Vitus, Shrinebuilder, Probot and Spirit Caravan aren’t enough to bring Wino's CV to legendary status, stop reading now.
LINER NOTES from WINO:

"When I returned from California after The Obsessed Columbia record deal fell apart, I didn't have any gear at all and after we put together (SHINE) which became Spirit Caravan, I was hustling to put a guitar rig together. I discovered ATOMIC MUSIC a super cool store in MARYLAND that encouraged trades, and had a lot of cool shit there,we had met another cat Sonny, who being the gregarious friendly cat he was befriended us (the band) and introduced me to his friend who's recording studio shared space with Atomic Music, Bruce Falkinburg and Phase recording studio. Bruce was a very interesting and hyper intelligent guy, bassist, knowledgeable in all things but specializing in recording rock music. We had decided to diversify our recording process and parted ways with one of my old friends Chris Kozlowski and PolarBearLair studios who had recorded everything Spirit Caravan had done so far.

I hired Bruce to record the version of Darkness and Longing that was our song on the Sixty Watt Shaman -Spirit Caravan split single. We liked what he did on that recording and decided to record more with Bruce at Phase and so we did ;the last SC single -" So Mortal Be/ Undone Mind" and recorded three tracks that were eventually released on "The Last Embrace." Bruce and I had firmly cemented our friendship and when shit fell apart with Spirit Caravan , we decided to form a band. Out of a very interesting list of possible band names Bruce's idea" The Hidden Hand " seemed to resonate the most and once Bruce had recruited Dave Hennessy (guitarist for OSTINATO) to play drums it was ON. Over the next couple years and a couple different drummers, The Hidden Hand would record one single, one split ep ,one compilation song and Three full length albums. Knowing Bruce, and working with everyone in The Hidden Hand realm enriched my life greatly . Bruces enthusiasm, knowledge, creativity, intellect and musical abilities remains an inspiration. Thanks Bruce, Sonny, Louis and Eric and all at ATOMIC MUSIC, Dave Hennessy,Matt and Jeremy Osinato ,Evan Tanner, J Robbins, Mcarthyism records, Andreas at Exile from Mainstream records, Greg Tubevision, 930 club ,Black Cat, Gussound, Diana W, Woody, Stinking Lizaveta, Jadd Schickler and Meteor City, Southern Lord records and extra special thanks to Gianluca and Improved Sequence for keeping this music alive!"
Wino - summer 2024

Silence present a reissue of legendary live album from Sweden's own Woodstock, Gärdesfesterna, the start of the Swedish alternative music movement. It's hard to imagine an album with a greater symbolic significance than the 2LP set "Festen på Gärdet", recorded at the second of the two festivals held at the Gärdet field in Stockholm in 1970, with Träd Gräs Och Stenar and especially Bo Anders Persson as the driving force behind them both. Those festivals are often regarded as the starting point of the music movement. It's convenient having a fixed date of course, but as with any historical event, it was the product of a process, with one thing evolving into something else. So while the date isn't historically valid, the Gärdet festivals' importance to the music movement is unquestionable. This was the first time that several of the soon to be most important bands presented themselves to a larger audience. Most bands didn't have a record contact at the time, and some of them would never get one, such as Det Europeiska Missnöjets Grunder and Låt Tredje Örat Lyssna In & Tredje Benet Stampa Takten.

Artist, illustrator and bestselling author Matt Sewell is an avid ornithologist. He also plays the guitar in Sewell and the Gong, a music project with producer Chris Tate.

Their new album is a sonic journey into a whirling world of wild woods, dancing in the mud, late night pastoral adventures and some sort of 21st century hedonism connected to ancient rituals the mark the passing of seasons. It’s a glorious noise to get lost in.

The discovery of Doris Dennison's score represents a genuine musicological breakthrough—what once would have been "a tree falling in the woods" thirty years ago now holds the potential to render "a thunderous clap in our minds." While researching Anna Halprin's lesser-known collaborators, scholar Tom Welsh uncovered the archives of AA Leath, one of Halprin's principal dancers. Buried within these materials was Dennison's handwritten score for Earth Interval, dated May 1956. Born in Saskatchewan, Canada, in 1908, and raised near Seattle, Dennison (1908-2009) encountered John Cage while teaching Dalcroze eurythmics at the Cornish College of the Arts. She joined Cage's earliest percussion quartet—alongside Margaret Jansen, the composer and his wife Xenia—in the group widely regarded as having performed the first complete concert of percussion music in the United States. This historic December 1938 concert was followed by tours and the landmark May 1941 performance at the California Club, comprising Cage and Lou Harrison's Double Music, the premiere of Cage's Third Construction, and Harrison's 13th Simfony.

As Bradford Bailey observes in his extensive liner notes, Earth Interval demonstrates "an extraordinary balance of elements that imbues the piece with a sense of clarity, directness, and constraint that is both distinct and ahead of its time." The work's most remarkable innovation lies in its approach to extended techniques, particularly Dennison's notation for the central movement: "In 2nd movement, 1st player lowers + raises a gong into a tub of water while beating." This technique, absorbed from Cage's experimental vocabulary, generates what Bailey describes as "fields of acoustic abstraction that bend and warp time through sustained resonances, beat, and space." The temporal sophistication of these manipulations anticipated Karlheinz Stockhausen's Mikrophonie I (1964) and Annea Lockwood's water-based sound investigations by over a decade. After joining Mills College as dance accompanist, Dennison maintained crucial connections to the Bay Area's experimental scene, collaborating with figures like Merce Cunningham and programming Cage's music throughout the 1950s.

Comprising three movements—Land Form, Air Tide, and Earth Play—Earth Interval is scored for recorder, drums, gongs, maracas, muted gongs, and bowl gongs. In total, the piece is just under eight minutes: "a fleeting glimmer of moment in time, a life spent at the cutting edge, and a singular creative vision that packs a powerful punch." When viewed in historical context, placed in contrast to roughly contemporaneous avant-garde percussion works by Cage, Harrison, Louis Thomas Hardin (Moondog), and Harry Partch, or important precursors like Edgard Varèse's Ionisation (1931) and Henry Cowell's Ostinato Pianissimo (1934), it's clear that Dennison was following her own path. Earth Interval is not derivative. It is a precursor to what was yet to come, alluding to developments of avant-garde and experimental music that wouldn't begin to appear on the cultural landscape until the 1970s and '80s, with the emergence of Post-Minimalism and more idiosyncratic artists and ensembles like Midori Takada, Ros Bandt, Peter Giger, Frank Perry, Christopher Tree, Michael Ranta, Gamelan Son of Lion, and Niagara.

This recording by Chicago's Third Coast Percussion, captured in March 2022, represents the first complete documentation of this pioneering work. The ensemble's interpretation reveals the piece's remarkable contemporaneity while maintaining its historical specificity. Where Cage, Harrison, and Partch employed "self-consciously off-kilter polyrhythms," Dennison's rhythmic sensibility anticipates minimalist developments by nearly a decade, yet integrates "forceful rests, as well as sharp shifts in sonic character, tempo, and meter, that break the momentum and breathe a sense of life into the piece's structure." This positions her work closer to Post-Minimalism decades before its emergence. The architectural approach demonstrates Dennison's understanding that "the composer almost entirely disappears" in favor of phenomenological listening experience, creating what might be called an egoless music that places its realities and meaning entirely in the ear of the beholder. The present recording, realized by Chicago's distinguished Third Coast Percussion ensemble, represents a significant achievement in experimental music scholarship and performance practice. As specialists in the Cage tradition and contemporary percussion repertoire, Third Coast Percussion approached Earth Interval with the historical sensitivity and technical precision required to illuminate Dennison's subtle compositional innovations. The March 2022 recording sessions, engineered by Colin Campbell, capture both the work's intimate chamber music qualities and its bold exploration of extended techniques. The ensemble's interpretation reveals the piece's remarkable contemporaneity—its ability to speak directly to current musical concerns while maintaining its historical specificity.

This recording serves multiple scholarly functions: it provides the first complete documentation of Dennison's compositional voice, offers insight into the broader network of experimental music practitioners surrounding Cage and Harrison, and demonstrates the sophisticated level of compositional thinking that was occurring within the Bay Area's dance-music collaborations of the 1950s. The work's emphasis on phenomenological listening—what might be called an "egoless" approach to musical experience—places it within a lineage of American experimental music that prioritizes perceptual process over compositional personality. The work's original obscurity—limited to AA Leath's performances at venues like the 1957 Pacific Coast Arts Festival at Reed College—paradoxically allowed it to remain "entirely on its own terms," free from the constraints of historical categorization. Drawing on Jacques Derrida's Archive Fever, the argument emerges that "the archive can acknowledge, celebrate, and resurrect" overlooked voices, transforming our understanding of experimental music history. The present Blume edition, featuring Third Coast Percussion's authoritative interpretation, includes a lavishly illustrated 16-page booklet designed by Bruno Stucchi / dinamomilano, containing complete scholarly apparatus, historical photographs, and detailed production notes. This recording enables "cross-temporal intersectionality," allowing Dennison to "belong to a newly formed and more dynamic understanding of the present and past," demonstrating how forgotten voices can reshape entire historical narratives when given proper scholarly attention and performance advocacy.

The Making Of Five Leaves Left tells the story of how Nick Drake’s debut album ‘Five Leaves Left’ came to be released in 1969. This Nick Drake Estate authorised 4LP edition comprises over 30 previously unheard outtakes from the sessions, compiled across three discs. The final disc to complete the package is the original Joe Boyd produced album. The whole set has been mastered by John Wood. Accompanied by a 60 page book printed on special textured paper stock, written by Neil Storey in collaboration with Richard Morton-Jack, complete with full track recording details, charts and recording history. This Nick Drake Estate authorised 4CD edition comprises over 30 previously unheard outtakes from the sessions, compiled across three discs. The final disc to complete the package is the original Joe Boyd produced album. The whole set has been mastered by John Wood.
Accompanied by a 60 page book printed on special textured paper stock, written by Neil Storey in collaboration with Richard Morton-Jack, complete with full track recording details, charts and recording history.

Relay For Death is the noise project of the twin sisters Roxann and Rachal Spikula. Their hermetic works consistently reflect a bleak nihilism, all the while carving an autonomous space for survival as the rest of the existence crumbles. Previous works have been published by Hanson, No Rent, Total Black, and RRRecords.

The twins offered the consideration that "Mutual Consuming comes from a concept in the philosophies that underpin traditional Chinese medicine theory, where the two opposing states (yin and yang) are 2 states on a continuum and their interactions produce an infinite possible number of states of aggregation. Within this interplay, there is a dynamic balance that is maintained by a constant adjustment of their relative levels. So an excess of yin consumes yang and vice versa." We asked if this has anything to do with the concept of the Ouroboros, to which they responded, "we hadn't thought about Ouroboros, but the eternal cycle of things makes sense too. The gorge fest of existence." Does this relate to previous works? The twins concisely respond to that question in a rare interview in Untitled, "No."

Mutual Consuming is a dire piece of isolationist thrum, spectral caterwaul, and heavy gloom through an oblique and abstracted coupling of electronics, noise, and ominous field recordings. As immersive as Thomas Köner’s haunting ambience but fully entrenched in the industrial meditations of MB. Originally published as part of the instantly out of print boxset, On Corrosion - a 10 cassette anthology from 2019 that was housed in a handcrafted wooden box and featuring full albums from Kleistwahr, Neutral, Pinkcourtesyphone, Alice Kemp, She Spread Sorrow, G*Park, Relay For Death, Francisco Meirino, Fossil Aerosol Mining Project, and Himukalt. The collection stood as the 50th release for The Helen Scarsdale Agency.

Award-winning producer and composer Giorgi Koberidze offers up a head-spinning debut of Georgian modern classical music shot through with 360° electroacoustic textures.

Giorgi Koberidze is an electronic and classical music composer from Georgia. He currently serves as a professor of music at Tbilisi State Conservatoire, as well as at Ilia State University, and the private music school "303 Herz". Giorgi's work is rooted in the Georgian musical tradition, cross-pollinating indigenous instrumentation with electronic and western classical timbres. He recently won first prize in the Tbilisi Conservatoire Composers Awards, and received Georgia's most prestigious cultural gong, the Tsinandali Award.
The Album was premiered in Georgia at the Kutaisi Film Festival, and later showcased at the Tbilisi Film Festival. Working from graphic scores, Giorgi's ensemble includes strings, woodwind and traditional instruments from the Caucasus (doli, chuniri). Fleeting voices, field recordings and skittering percussion converge to paint a storied map of Tbilisi, and its surrounding terrain of forested polyphony and microtonal peaks and crags.

Each listen of the album is projectively rich, like a dizzying series of sonic inkblot images. The piece is designed to be absorbed in the surround sound of darkened movie theatres, conjuring a multiverse of narratives in the half-light of sensory acuity. At home, Giorgi invites listeners to set aside time to experience the record in a dark, comfortable space absent of external stimuli.

This album was made with the support of the Tbilisi State Conservatoire. The recordings were funded by Nicolas Jaar. Thank you. We are beyond proud to present this incredible project.

Recommended for fans of Pierre Bastien, Roméo Poirier, Jan Jelinek.

Sudd WAX is a vinyl only label of Sudd Records.

Remastered previous release from Reggie Dokes exclusive in Sudd WAX 11th Catalog, Vinyl Version.
Combined with a new unreleased track, Electronic Dreams reborn into a 2025 Revision.

Listen to the Motorcity’s born artist gems, much influenced by Hip-Hop, House and Techno.

The band has shared bills with Billy Strings, Sierra Hull, Sarah Jaroz, Della Mae, Tony
Trischka, Michael Daves, earned spotlights from The Bluegrass Situation, Bluegrass
Today, Folk Alley, WFUV, American Songwriter, and spent fve weeks atop the Roots
Music Report Traditional Bluegrass Song Chart. Their frst album in four years,
Homegrown features three Woody Guthrie songs (including Woody's iconic "Pastures
of Plenty"), a Woody Guthrie/ Arlo Guthrie cowrite, and songs by Peter Rowan and
John Hartford."

A warm breeze drifts through the open cabin of the boat, carrying the scent of salt and sunwarmed teak as it stirs the linen curtains. The man moves easily, bare feet against the wooden floor, the slow rhythm of the harbor rocking beneath him. He flips through his records with a knowing touch, pulling out a favorite—something smooth and mellow, with buttery vocals and melodies that drift like a sailboat on calm waters. The needle drops, and honeyed guitar riffs spill into the air, effortless and sunlit. He reaches for the bottle of rum, the ice in his glass chiming softly as he pours, then adds a squeeze of lime, a lazy stir. Outside, the water glows in the last light of day, golden ripples stretching toward the horizon. He leans back against the cushioned bench, drink in hand, the music swirling around him like the evening breeze—unhurried, weightless, exactly where he wants to be.


Small Talk brings together a carefully curated selection of long-forgotten, yet remarkably smooth and captivating soft rock and AOR tracks from the ‘70s and ‘80s, compiled by Brandon McMahon. These lesser-known songs are drenched in lush harmonies, dreamy guitar riffs, and mellow rhythms, capturing the essence of an era without the mainstream recognition. For those with an ear for the obscure and a taste for the subtle, Small Talk offers a fresh perspective on an era’s most overlooked gems.

Scavenger tones and scrambled cassette residue drift across the surface of Compressed Knowledge, a quietly astonishing new work by Philadelphia-based sound artist Tyler Games, operating here as Radio Species. Following releases on Regional Bears, Irrational Tentent, and his own now-defunct Born Physical Form imprint, Games works in a space between musique concrète, tape collage, and microsound, using an economy of gesture to create a suite of fundamentally elusive compositions. Harmonic loops stutter and fold in on themselves, hazy rhythms break free from their clocks, snatches of speech cut out mid-thought as a layer of room tone and tape gunk holds everything in suspension. There’s a sense of broadcast without a source, flickering across half-tuned frequencies––hinting at formal structures while continually slipping away from them. The result is not archival in the traditional sense, but archaeological: these tracks are partial objects, pulled from the noise floor of memory. In its refusal to resolve into stable meaning or musical form, this is work that draws from traditions of sound ethnography, experimental documentation, and concrète montage––where listening itself becomes a mode of speculative reconstruction.

Itchy-O is an experiential performance ensemble that has mesmerized audiences across the U.S. and beyond since 2009. The beating heart of this fifty-plus-strong performance troupe is a batterie of percussionists accompanied by an orchestral arsenal of avant-instrumentation. Weaving a synergistic spell, the ensemble dismantles assumptions of traditional performance models to break down the barriers between audience and performer, administering a bombast of ceremonial chaos; baptizing the audience—body, mind, and collective spirit—in an elaborate, pan-sensorial ocean of music, mystery, and transcendental spectacle.
Itchy-O has shared the stage with legends such as David Byrne & St. Vincent, while luminaries like JG Thirwell and Dan Deacon have opened for the humbled brigade. Over the years, they have energized crowds as the opening act for a slew of iconic artists including DEVO, Beats Antique, and Wooden Wisdom (Elijah Wood). Their unforgettable private engagements include a legendary performance at Maynard Keenan’s Merkin Vineyards while delighting festival audiences at Riot Fest, Biennial of the Americas, the Underground Music Showcase, and Tasmania’s world-renowned Dark MOFO with enveloping processionals, pop-up performances, and staged spectacles.
In 2024, itchy-O debuted Söm Sâptâlahn, a sold-out collaboration with the Fiske Planetarium. Named for an epic set of custom-crafted gongs cast from six hundred pounds of reclaimed brass at the School of Mines and tuned to a bespoke seven-tone scale, this project birthed this latest double album. Accessible, mysterious, and meditative, it is a bold addition to the itchy-O catalogue, sure to appeal to connoisseurs of the experimental, the contemplative, and the avant-garde.

Legally Blonde - The Musical (Original Broadway Cast Recording), brings Elle Woods' journey to life with energetic and memorable songs including Omigod You Guys, So Much Better, and There! Right There!. The musical earned seven Tony nominations, including Best Original Score, with its unique blend of humor, heart and empowerment. The Original Broadway Cast Recording remains a cross-generational fan-favorite for its catchy tunes and uplifting message. On Hot Pink Vinyl.

Flexout Audio is thrilled to announce the upcoming release of 'Digital Nature,' a brand-new 6-track solo EP from the exceptionally talented Arkaik. This release holds particular significance as it marks a decade of Arkaik's invaluable contributions to the Flexout Audio family, solidifying his status as a true veteran of the label. 'Digital Nature' is not only a celebration of his enduring legacy but also serves as the exciting introduction of his brand-new alias, Peter Outlaw, offering listeners a fresh perspective on his evolving sound.

British sci-fi romantic comedy Timestalker is written and directed by Alice Lowe who also stars in the film alongside Aneurin Barnard, Tanya Reynolds, Kate Dickie, Jacob Anderson and Nick Frost.
The album features the film’s original music composed by Toydrum (Prevenge, Slow Horses, Platform 7, Three Pines, Deep Water, The Banishing).

The Modern Jazz Quartet, known for its sophisticated and elegant approach to jazz, consisted of pianist John Lewis, vibraphonist Milt Jackson, bassist Percy Heath, and drummer Connie Kay

Here are Some key points about the album: "Fontessa" is regarded as one of the Quartet's essential recordings, praised for its elegant performances and refned compositions. The album refects the commitment to creating jazz that is both accessible and artistically ambitious. Critics and jazz enthusiasts often highlight the interplay between Milt Jackson's vibraphone and John Lewis's piano, supported by the solid rhythm section of Percy Heath and Connie Kay. The title track "Fontessa" is a suite in several movements, showcasing the band's ability to merge different musical themes seamlessly; the album includes notable covers such as "Angel Eyes," "Willow Weep for Me," and "Over the Rainbow" all of which are given the Modern Jazz Quartet unique treatment with a mix of lush harmonies and sophisticated improvisation. The album, released in 1956, signifcantly contributed to the evolution of jazz by demonstrating that it could be a serious, artful genre capable of sophisticated expression. The Modern Jazz Quartet infuence extends beyond jazz to classical and popular music, and "Fontessa" remains a testament to their innovative spirit and enduring appeal, a key album in their discography, exemplifying their unique sound and artistic vision.

The Reds, Pinks & Purples is a San Francisco indie band led by Glenn Donaldson (The Ivy Tree, Skygreen Leopards, Art Museums and Painted Shrine). For fans of_ Guided By Voices, The Chills, Teenage Fanclub, The Shins, The Replacements, Leonard Cohen, The Go-Betweens, Robert Wyatt. Having penned over 200 songs in the last six years, The Reds, Pinks and Purples release a collection of tracks previously unreleased on physical format that continues to romanticise the wonders and woes of the world. With song titles that read like chapter sub-heads for a post-Douglas Coupland novella, 'The Past Is A Garden I Never Fed' takes The Reds, Pinks and Purples central orator Glenn Donaldson through the turmoil of small talk and everyday water cooler moments with a fine sense of pathos and irony. Set to a soundtrack that swerves between the dark days of Television Personalities and Byrdsian twang to the Jarvis Cocker-styled rhetoric and vocal tenderness of 'Richard In the Age Of The Corporation' with hints of everything from Husker Du's fuzzed splendour to the chiming majesty of The Chameleons it's an empowering listen. The pathos and irony of the glorious track 'The World Doesn't Need Another Band' sets out the band's store, it's a measured and quietly outspoken rant at lacklustre opposition peppered with a gorgeous guitar break. Meanwhile, 'I Only Ever Wanted To See You Fail' rumbles with an Eddie And The Hot Rods pre-punk riff before dissolving into a tale of self-doubt and remorse, bemoaning others' good luck. 'Toxic Friend' is from the book of the TVP's Daniel Treacey with an upbeat chorus that smacks of all that was good in old school indie in a hail of fuzzy logic and guitars. From humble beginnings as a home recording project, The Reds, Pinks and Purples has blossomed into a sporadic live unit with tours on both sides of the Atlantic and appearances at Pitchfork Fest London and Woodsist Fest as well as support slots for indie legends such as Destroyer, Guided By Voices, and The Feelies. "Donaldson's best work hides allure within a bigger picture, like a jangle-pop egg hunt" Pitchfork.

Devendra Banhart's first release on XL, critically acclaimed album released September 13, 2005

After several killer EPs and tracks on labels such as Tresor, Multi Culti, Hard Fist, or Playground Records, Antonio De Oto aka A-Tweed finally delivers "Spring Music" his first solo LP via Abstrakce Records, changing perspective on his music and way of producing. A minimal approach, where echoes and reverbs become some of the main characters of the full journey, mixing up weird acid, experimental downbeat, electro, dub, and tribal vibes across a wide range of tempos.

Slow-motion beats pulse beneath swirling acid lines, while dubby echoes and reverberations sculpt a landscape that is both immersive and mysterious. A-Tweed’s meticulous production draws from the label’s tradition of organic textures and ambient vibes, yet carves a distinct path balancing deep bass, shimmering synths, and a subtle sense of psychedelia that lingers long after the needle lifts.

A cohesive journey, crafted for those who seek introspective voyages without giving up new forms of dancefloor communion. A manifesto about the power of slow rhythms, dub sensibilities, and acid-tinged experimentation, out of any hype and trend, aiming for a distinctive sound. An essential addition to the ever-evolving Abstrakce catalogue. The spring has just arrived.

“Recorded at BBC Broadcasting House and partially aired on BBC Radio 3’s Late Junction, the first studio encounter between London-based duo Exotic Sin and Swiss percussionist Julian Sartorius is now published in full on this album from Sagome.

Winding through six distinct and interconnected paths, the trio effortlessly create a shared language in this expansive improvised session.

Listening back two years later — the session was recorded on March 24, 2023 — it’s evident how they build at a relaxed pace, offering space for the listener to enter into their evolving sound. Anchored by piano, delicate wood, metal, and air instruments, a fluid system of interactions develops: repeating, deepening, but not fixating. The direction of travel is not cyclical or linear and the pace insists on forward confidently, avoiding the trap or comfort of recurring motifs.

Percussion is not a timekeeper, but a key element, introducing new textures that even on the final track Path 6, trace out a horizon that feels more like a blurred beginning than a definitive end.

In Session, Exotic Sin moves into a lighter, perhaps more playful language for improvisation than on their debut album Customer’s Copy. This could be influenced by Sartorius’ tactile approach to sonic materials or the more stripped-back nature of the improvised session, with less emphasis on synthesised and electric sounds. While the emotional imprint from their debut album—murkier and insistent—remains, it has been aired out to dry. In Session, their sound-world is broad and moves with levity.”

Andrea Zarza Canova – April 2025


Music by
Kenichi Iwasa (electric and acoustic percussion, trumpet, horns, thumb piano, effects).
Naima Nefertari (piano, Yamaha keyboard, flute, bells, percussion).
Julian Sartorius (drums, percussion).

Recorded and mixed live for Late Junction at BBC Broadcasting House, London, on the 24th of March 2023 by Joe Yon and John Boland.
Mastered by Giuseppe Ielasi.
Produced by Silvia Malnati at Reduced Listening for BBC Radio 3.
Extracts from the session were played on Late Junction on the 14th of April 2023.
Artwork by Josef William Back.
Graphic design by Nicola Tirabasso.