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The American frontier: where burning skies meet sandblasted mesas. Where lost highways stretch into darkness and undisturbed deserts speak a language as ominous as it is otherworldly. This is the tableau of SPIRITWORLD. SPIRITWORLD is also the aural vision quest of Stu Folsom, a Las Vegas native who has taken the intensity of that blasted desert heat and given it voice, howling through the Slayer-like chug of his band’s Century Media debut, Pagan Rhythms. It was that purity of Folsom’s vision that immediately won SPIRITWORLD international acclaim on the limited 2020 self-release of Pagan Rhythms. Even the likes of Exodus/Slayer guitarist Gary Holt and Former Sepultura/current Soulfly leader Max Cavalera raved about the album on social media. Stu and SPIRITWORLD had staked their claim like firebrands and outlaws coming off the deadlands to shoot, ride and speak their truth. Pagan Rhythms is available as Ltd. 180g black Vinyl + CD and Art Print. This Vinyl-Edition features an alternative cover artwork which will be only available for the 1st pressing. Furthermore, the debut-album of SPIRITWORLD is available as Ltd.

-io is the sixth album by vocalist and composer
Haley Fohr, best known as Circuit des Yeux.
A celebrated figure in Chicago’s music community,
she has released acclaimed albums via De Stijl,
Thrill Jockey and Drag City and toured throughout
the world. However, ‘-io’ is Circuit des Yeux’s most
ornate and elaborate work to date - a set of
compositions that nest Fohr’s otherworldly fouroctave voice amid a 24-piece string, brass and
wind ensemble.
The album was put to tape last fall by Cooper
Crain at Chicago’s Electrical Audio studio and
mixed by Marta Salogni (Bjork, Holly Herndon)
with Fohr acting as arranger and producer. Written
in the wake of personal loss and recorded in the
midst of the pandemic, ‘-io’ maps a geography of
grief - a place where “everything is ending all the
time.”
While Fohr’s music has never been short on
ambition, these songs are striking in their brilliance
and strangeness. On '-io', Circuit des Yeux has
delivered a work that is vivid, immense and fully
illuminated.

Following the footsteps of her SUPER MILD split album with TENTENKO (TAL15) from 2019, Tokyo producer KOPY makes a welcome return to TAL with a new EP full of gritty wonders and buzzing rythm structures. Eternal EP presents two of her new tracks plus luminous remix appearances by Elena Colombi, Harmonious Thelonious and Dynamo Dreesen & SJ Tequilla.

KOPY sums it up: "For Fujiko, I had an aggressive spaciousness in mind. The track LOK made me feel like my feet were firmly on the ground."

The pièce de résistance of the entire EP might be the extended reworking by Elena Colombi (Osàre! Editions), who in her debut appearance in the producer's chair offers up a cinematic bricolage, inspired by dreams and scraps of intimate, cartoonish ambiences. The eight minute long journey is full of space, swirling alarm clocks and candid evocations of imaginary creatures and environments crossed with diverse snippets of KOPY’s two original tracks.

Harmonious Thelonious who has already shared the stage with KOPY at Düsseldorfs Salon des Amateurs, contributes a trademark HT remix which combines infectious danceable beats with injections of oddness and raw beauty.

For their KOPY KONTRAST mix DD and SJT drew inspiration from a fulminant Kopy live set in Osaka which they had witnessed while being on a tour in Japan.

The 12"EP is lavishly presented, with a fully illustrated jacket and inner sleeve design by Sarah Szscesny.

Renowned Dutch violinist and conductor André Rieu released this Live album in 1995. It features 12 of his best interpretations of songs from a wide variety of genres. Some of the songs included are “J‘Attendrai”, “The Little Cafe By The Harbour (Het Kleine Café Aan De Haven)”, “Eine Kleine Salonmusik”, “Auld Lang Syne”, “Granada”, “Cielto Lindo” and much more.

The Alice Comedies are a series of Animated/live-action shorts created by Walt Disney in the 1920s, in which a live action little girl named Alice (originally played by Virginia Davis) and an animated cat named Julius have adventures in an animated landscape.

The Magic Clock is a whirlwind mishmash of motifs that 1 draws on an unusually wide range of sources: Hoffman’s The Nutcracker and medieval romances working cheek by jowl with Arabian Nights, Ovid, Midsummer Night’s Dream, Peter Pan, Mallarme’s “Afternoon of a Faun,” and Novalis’ blue flower.

Paul Dessau was a German composer and conductor. He composed operas, scenic plays, incidental music, ballets, symphonies and other works for orchestra, and pieces for solo instruments as well as vocal music.

The music is conducted and produced by Hans E. Zimmer, who conducted an extensive repertoire including Die Zauberflöte, Le Nozze di Figaro, Euryanthe, Jenufa, Ariadne auf Naxos, Salome, Der Rosenkavalier, Der Friedenstag, Die Meister-singer von Nürnberg, Lohengrin.

An invitation to multi-cultural musics reunited around the Carribean Islands. From Haïti to the Bahamas, passing by the French West Indies this journey explores traditional rythms from Soca, Calypso or Biguine. Musicians as Gordon Henderson, Max Cilla or the band Skah Shah knew how to use Soul, Funk and Disco influences to create a unique groove with multiple faces.

The latest entry in the ongoing series of exciting collaborations sees the Turkish free form ensemble KONSTRUKT live on stage with THURSTON MOORE.

# 5 in the continuing series of KONSTRUKT collaborations on KARL is a live document of the concert by the Turkish freeform group with THURSTON MOORE. KONSTRUKT, the Istanbul based free jazz / freeform group founded and led by UMUT ÇAĞLAR and KORHAN FUTACI, are known for their openness to and interest in collaborations – and regularly meet up and perform with new partners that range from JOE McPHEE, WILLIAM PARKER, AKIRA SAKATA, MARSHALL ALLEN, EVAN PARKER, ALEXANDER HAWKINS, KEN VANDERMARK or OTOMO YOSHIHIDE. This latest release sees the quartet join forces with one of the indie rock icons: THURSTON MOORE, who besides his decade-long main band SONIC YOUTH always found time and inspiration for solo projects and collaborations of different kinds.

"Turkish Belly", recorded live at SalonIKSV in Istanbul in february last year, is as adventurous and daring as one will expect from such a pairing and a highly rewarding experience for the fans of KONSTRUKT and those of MOORE alike.

[a] 01: Yapayalnız (Gezerler Sokaklarda) [Live] [feat. Thurston Moore]
[b] 02: Sis (Live) [feat. Thurston Moore]
[c] 03: Kurtadam, Pt. I (Live) [feat. Thurston Moore]
[d] 04: Kurtadam, Pt. II (Live) [feat. Thurston Moore]
[e] 05: Zor (Live) [feat. Thurston Moore]
[f] 06: Uğultular (Live) [feat. Thurston Moore]

“The album is a celebration of the natural world, an attempt at immortalising the deep, transcendent feelings I have when I’m outdoors. In times of heartache, grief, deep love, or confusion, I look to the natural world for answers. I’ve learnt to breathe out, and tune in. This is what came through.”

Reissued as an LP for the very first time, “Catch As Catch Can” is pressed on limited edition blue vinyl, remastered from fresh transfers of the original analogue tapes. The original artwork has been faithfully recreated, with the inner sleeve featuring a stunning portrait shot of Kim plus full lyrics.

The Bluetones’ second album “Return To The Last Chance Saloon” was preceded by another Top 10 single “Solomon Bites The Worm” in February 1998. Featuring some orchestral arrangements, the album was released in March, going straight into the Top 10 of the album chart. Two more hit singles were taken from the album: “If…” and “Sleazy Bed Track”.
There was an extremely limited edition version of the vinyl release of the album – a gatefold sleeve with two opening ‘wild west’ saloon doors affixed to the inside of the gatefold sleeve. Demon Records is very proud to recreate this edition!

Previously only available as an ultra-rare USB drive release, Demon Records presents the first reissue of ‘Live At
The Hotel Utah Saloon’.
Recorded in 2007, the album captures an intimate solo performance by Black Francis at San Francisco’s historic Hotel Utah Saloon venue. Featuring renditions of songs from across the Black Francis / Frank Black catalogue including ‘Headache’, ‘I Heard Ramona Sing’, ‘All My Ghosts’ and ‘Wave Of Mutilation.
This reissue features a brand new remix of the complete show by Jason Carter and is pressed on two 140g red vinyl.

A GROOVY SELECTION IN THREE ORIGINAL VINYLS TO DISCOVER THE GOLD NUGGETS OF FUNK, SOUL & HIP-HOP ! Selection by the journalist Olivier Cachin and illustrations by the artist LAZOO.

Following the 70s Peruvian cumbia compilation by Ranil last year, Analog Africa returns to Latin America to highlight the work of one of Perú’s undisputed masters of the electric guitar: Manzanita. This 13th release in the Limited Dance Edition Series includes 14 mostly instrumental compositions of electrifying Peruvian cumbia and guaracha. Manzanita's unique guitar lines rest on confident foundations that shifts gears effortlessly. Limited Edition LP in Gatefold Cover pressed on 180g high quality virgin vinyl

"I was in Lima, hanging out with collector-extraordinaire Victor Zela, who had spent the previous few years pouring his passion for Peruvian Cumbia into the blog „la cumbia de mis viejos“, a trove of incredible music. But after the birth of his first child, his priorities shifted and he decided to part with some of his rarest LPs. I was one of the lucky few given an early chance to examine his treasures, and when I picked up the album Manzaneando com Manzanita, Victor said: “Take it! its one of the best LPs ever recorded in Perú … easily in the top five”. That was all the encouragement I needed … two years later many of the songs from that masterpiece have made it onto Manzanita y su Conjunto, a compilation of electrifying Cumbia sides from Manzanita’s golden era.

Berardo Hernández – better known as Manzanita – first surfaced during the psychedelic Cumbia craze. At the head of the scene were the magnificent Los Destellos, whose leader, Enrique Delgado, was such a six-string wizard that other guitarists found it impossible to escape his shadow. But when Manzanita arrived, his electric criollo style sent shockwaves through Lima’s music scene and posed a serious threat to Delgado’s dominance as king of the Peruvian guitar.

Manzanita had come to Lima from the coastal city of Trujillo, five hundred miles up the coast – a place where Spanish, African and indigenous populations had been living and making music together for centuries – and came of age at a time when the first wave of psychedelic rock from the US and UK was starting to sweep the airwaves. But the sounds of Cream and Hendrix disappeared from the radio just as quickly in 1968 when Juan Velasco seized control of the country in a military coup. The new regime, which favoured local traditions over cultural ‘imports’ from the north, was a blessing in disguise for the Peruvian music scene.

Record labels flourished as new bands, raised on a hybrid diet of electric guitars and Cuban rhythms, rushed in to fill the vacuum created by the lack of imported rock. A new genre, known as Peruvian cumbia, was born and Manzanita quickly became one of its most original voices.

Starting in 1969, Manzanita y su Conjunto released a steady stream of singles that used Cuban guaracha rhythms as the foundation for dazzling electric guitar lines. After countless 45s and several years on the touring circuit, the band signed to Virrey, an important Peruvian label, and recorded two LPs acknowledged as masterpieces among aficionados of tropical music. Most of the songs on Analog Africa’s new compilation Manzanita y su Conjunto are drawn from those legendary sessions of 1973 and 74.

Although he scored a few more hits in the later 70s, his dissatisfaction with the music industry caused him to withdraw from the scene for several years; and when he finally retired for good, the golden age of Peruvian cumbia was a distant memory. But when Manzanita was at the top of his game he had few equals. Victor Zela was right: this is some of the best music ever recorded in Perú."

A GROOVY SELECTION IN THREE ORIGINAL VINYLS TO DISCOVER THE GOLD NUGGETS OF FUNK, SOUL & HIP-HOP ! Selection by the journalist Olivier Cachin and illustrations by the artist LAZOO.

Indie Retail Exclusive Water Spirits color vinyl LP More Energy Fields, Current is a definitive new peak in the recorded continuum of prolific producer/percussionist Carlos Niño. Featuring contributions from more than a dozen exciting voices in the creative music constellation of Los Angeles (of which Niño's has been a central force for over 2 decades), including Sam Gendel, Nate Mercereau, Jamael Dean, and Jamire Williams, the album collects 10 pristine gems of collaborative communication helmed by the Southern Californian sage, elegantly presented in his unique "Spiritual, Improvisational, Space Collage" style. The album is ripe with "ambient" passages that function like open portals between moments of consonance and clarity, and epic post-hip hop opuses like the heavy/heady "Thanking the Earth." But even in the occasional absence of drums, there is a powerful pulse implicit in the program's frequency of consciousness. It's a testament to Niño's foundations as a DJ. His distinct ability to craft a kinetic, cinematic sonic experience from dozens of independent, often rhythmically-ambiguous improvisational memories is more fluently displayed on More Energy Fields, Current than anything we've heard from him to date. It resonates, lucidly, with the way Niño's mentor Iasos - who is known to the world as an original founder of New Age music - has described his work: "Real Time Interactive Imagination, Flow Texturization." On More Energy Fields, Current, Niño immerses us in the watery depths of his world, spiriting us like a submarine through exotic nether-leagues of untouched sound. And when we arrive at the final, bookending piece "Please, Wake Up." (an extended version of the opening theme, featuring saxophonist Shabaka Hutchings), it's like a return, safely to shore.

Written with a libidinal urgency that has come to characterize Kool Keith’s legendary lyricism, “Keith’s Salon” explores our current obsessions with luxury, beauty, and notoriety. But rather than fetishize the beautiful dum-dums who walk red carpets in black Prada gowns,

Kool Keith's most recent studio album shifts our attention to the work and workers that underpin our fantasies of American excess and the good life.

As such, the album is also a timely meditation, during quarantine, on the economic precarity many of us now find ourselves in. Having doubled-up with Triple Parked, the production team of avant-techno maven Bruno Pronsato and Benjamin Jay, “Keith’s Salon” moves between halcyon sonics and atonal warlord dystopia, while keeping beats minimal for Kool Keith to spread extra ketchup on the hamburger. An album at once topical and futuristic, lush and bizarre, "Keith's Salon" is about the business of making people beautiful. It's time to work.

If there’s ever been a way to describe David Allan Coe, it’s got to be his ability to defy categorization. With over six decades of following his musical muse wherever it’s led, this craggy voiced outlaw has crossed the panorama of American roots music. As well as being a singer, guitarist, songwriter, David is also a magician and a ventriloquist, deep sea treasure hunter, and movie star. His movies included Stagecoach, The Last Days Of Frank and Jesse James, Lady Grey, Buckstone County Prison, Take This Job and Shove It, to mention a few. David signed with Sun Records in 1968 and recorded his first album Penitentiary Blues, all songs that David had written in prison. In 1973, Columbia Records bought David’s contract from Sun Records and he recorded his first Columbia album, titled “The Mysterious Rhinestone Cowboy”, several years before Glen Campbell had a hit with the song, “Rhinestone Cowboy.” Much has been written about David’s past and his lifestyle, but not much about his achievements over the years. From performing on Farm Aid to touring with Neil Young, Kid Rock and Willie Nelson. David’s song, “Take This Job and Shove It” has received multi-million airplays certificate from BMI. His “Greatest Hits” album is multi-platinum and his “First Ten Years” album is gold. David has had sixty three songs on the Billboard Singles Charts, including, “Mona Lisa Lost Her Smile”, “The Ride”, “Please Come To Boston”, “Willie, Waylon and Me”, “Jack Daniels If You Please” and “You Never Even Called Me By My Name” to name a few. David has written songs for Johnny Paycheck, Tanya Tucker, George Jones, Willie Nelson, Leon Russell, Charlie Louvin, Del Reeves, Tamy Wynette, Melba Montgomery, Stoney Edwards, The Oak Ridge Boys and Kid Rock. Both “Would You Lay With Me” and “Take This Job and Shove It” are multi- million seller songs penned by David. Johnny Cash has also recorded David’s songs including “Would You Lay With Me” on his chart topping album entitled, Cash. David has been through a lot in his life but has managed to put his past behind him and move forward with his life. This album was recorded in 2001 live from the Iron Horse Saloon in Daytona, Beach Florida and includes the only recorded version of, I’m An Ohio Boy.

Repress

Released in August 2020 to much acclaim, as well as receiving many accolades as one of the best albums of 2020, Duval Timothy present Help (2021 edition).

This new and limited edition will be released independently by Duval Timothy’s Carrying Colour label, fashion brand and shop. It comes on 2 x 140g milky clear vinyl, with new 2 x 12" square posters and shrink-wrapped.

Help was recorded in London and Los Angeles, and reveals the artists' experience traversing the meshes of the music industry, mental health, YouTube self-help videos, and the healing he discovered through friendship and collaboration. Co-produced by Rodaidh McDonald (King Krule, The XX) and Marta Salogni (Bjork), with collaborations from Lil Silva, Melanie Faye, Vegyn, Desta Haile, Mr Mitch, Dave Okumo, and Twin Shadow amongst others.

Duval Timothy is a multidisciplinary artist, whose practise is centred around colour and involves the use of music, photography, textiles, painting, sculpture, design, cooking and video. In between delivering a celebrated cookbook for Penguin Books, and an interactive installation at Tate Modern Turbine Hall, Duval makes music, which is sampled by the likes of Solange and Loyle Carner and collaborates frequetly with cktrl, Vegyn, Kwes, and Mr Mitch.

“My vision was big,” says Brighton-based singer Macve of the road to her second album. “I knew I wanted to do something more expansive than my first record.” With reach, feeling, storytelling power and a stop-you-dead voice, Macve sizes up to that mission boldly on Not The Girl. Following on from the rootsy saloon-noir conviction of her 2017 debut, Golden Eagle, Holly sets out for

deeper, often darker territory with a firm, unhurried sense of direction on her second record: on all fronts, it’s an album that looks its upscaled ambitions in the eye fearlessly.

For Macve, the combination of influences such as Nancy & Lee with time spent touring helped widen her horizons. “I wasn’t afraid of trying new things, and I wanted to explore sounds and develop my skills in production, composing and engineering. When I wrote the songs on Golden Eagle I had never toured, it was just me in my bedroom playing acoustic guitar. I then got the chance to tour the world with a band and sing with a symphony orchestra with Mercury Rev in 2017. My little world grew and I realised there was so much for me to learn about how I can use my skills as a singer and writer. I didn’t want to limit myself – I wanted to push my boundaries.”

At every turn, Macve’s powers of evocation are matched by the depth and strength in her voice. Witness the meeting of a plangent pedal-steel with her elastic vocal on the atmospheric “Be My Friend”, or the sultry verses and soaring chorus of “You Can Do Better”, which bring to mind a prairie-sized Mazzy Star. Guest guitarist Bill Ryder-Jones’ spacious contributions help enhance its sense of space. “Bill was an important part of the story of this record,” says Holly. “I love his playing – it helped create that kind of heavy, lazy, dreamy sound I’m such a fan of.”

Elsewhere, rich seams of contrast and counterpoint emerge. The Velvet Underground-ish “Sweet Marie” is epic drone-country, “Little, Lonely Heart” a symphonic waltz around the rootsy stuff of bad love, jealousy, and guilt. “Who Am I” merges a Phil Spector-ish wall of sound with a grunge-y melodic insouciance, while “Daddy’s Gone” finds Macve reflecting on the death of her father over Memphis soul-style backing, rendering complex emotions with controlled reserves of detail and drama before a roistering climax.

“My vision was big,” says Brighton-based singer Macve of the road to her second album. “I knew I wanted to do something more expansive than my first record.” With reach, feeling, storytelling power and a stop-you-dead voice, Macve sizes up to that mission boldly on Not The Girl. Following on from the rootsy saloon-noir conviction of her 2017 debut, Golden Eagle, Holly sets out for

deeper, often darker territory with a firm, unhurried sense of direction on her second record: on all fronts, it’s an album that looks its upscaled ambitions in the eye fearlessly.

For Macve, the combination of influences such as Nancy & Lee with time spent touring helped widen her horizons. “I wasn’t afraid of trying new things, and I wanted to explore sounds and develop my skills in production, composing and engineering. When I wrote the songs on Golden Eagle I had never toured, it was just me in my bedroom playing acoustic guitar. I then got the chance to tour the world with a band and sing with a symphony orchestra with Mercury Rev in 2017. My little world grew and I realised there was so much for me to learn about how I can use my skills as a singer and writer. I didn’t want to limit myself – I wanted to push my boundaries.”

At every turn, Macve’s powers of evocation are matched by the depth and strength in her voice. Witness the meeting of a plangent pedal-steel with her elastic vocal on the atmospheric “Be My Friend”, or the sultry verses and soaring chorus of “You Can Do Better”, which bring to mind a prairie-sized Mazzy Star. Guest guitarist Bill Ryder-Jones’ spacious contributions help enhance its sense of space. “Bill was an important part of the story of this record,” says Holly. “I love his playing – it helped create that kind of heavy, lazy, dreamy sound I’m such a fan of.”

Elsewhere, rich seams of contrast and counterpoint emerge. The Velvet Underground-ish “Sweet Marie” is epic drone-country, “Little, Lonely Heart” a symphonic waltz around the rootsy stuff of bad love, jealousy, and guilt. “Who Am I” merges a Phil Spector-ish wall of sound with a grunge-y melodic insouciance, while “Daddy’s Gone” finds Macve reflecting on the death of her father over Memphis soul-style backing, rendering complex emotions with controlled reserves of detail and drama before a roistering climax.