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A band who have never stood still creatively, EBM is a breathlessly heavy step up and Editors’ most leftfield material yet – a thrilling, unrelenting thrust of full-bodied electro-industrial rock. The album title is an acronym of Editors and Blanck Mass, but also a knowing reference to Electronic Body Music, the potent sound that originated in the 1980s and which has hugely influenced Editors’ new material, where the synths of bands like Nitzer Ebb, Front 242 and DAF hammer darkly amongst smoke machines, strobe lights and the smell of leather.

A band who have never stood still creatively, EBM is a breathlessly heavy step up and Editors’ most leftfield material yet – a thrilling, unrelenting thrust of full-bodied electro-industrial rock. The album title is an acronym of Editors and Blanck Mass, but also a knowing reference to Electronic Body Music, the potent sound that originated in the 1980s and which has hugely influenced Editors’ new material, where the synths of bands like Nitzer Ebb, Front 242 and DAF hammer darkly amongst smoke machines, strobe lights and the smell of leather.

LP with Digital Download Card

"Honestly, this album from Sam Redmore is having it" - Craig Charles

"Very clever. Very Nice." – Fatboy Slim

"Totally loving this. It's been on repeat since I heard it." – Nemone

"Amazing. Where can I get all your stuff?" - Jazzy Jeff

Having established himself first as a DJ and then as a remixer, Sam Redmore is now very much making himself known as an original producer of quality global grooves that can light up any dancefloor, carnival or party.

After garnering early support for his remixes from the likes of Gilles Peterson, Quantic, Nightmares On Wax, The Nextmen, Lauren Laverne, Danny Krivit and Craig Charles, Sam has built a name for crafting soul-drenched remixes of the classics, with his army of fans eagerly awaiting every new re-work.

Signing to Jalapeno Records for his debut album of original material, Sam has kept the eclectic tastes of all his fans satisfied with a series of very different singles showcasing the wide range of styles he is known for - all picking up rave reviews and a very wide spread of radio support including Radio 1 / 6 Music / Radio 2 / Jazz FM / Worldwide FM in the UK as well as hitting Number 1 most added on US college radio charts (world).

The single Nagu in particular has become a mainstay on daytime 6 Music but each successive release has been finding new fans. From his killer cumbia covers (Tears / Just Be Good To Me) through to the afro-house exuberance of One More Time and leading neatly up to Just Can't Wait, an extremely soulful disco house floorfiller, this is an album with broad appeal both in the UK and overseas.

In the meantime, Sam has been honing his live shows throughout 2022, with festival bookers keen for a piece of the action. Boomtown, Wilderness, Green Man, Kendal Calling and a whole host of others have seen what the punters at Mostly Jazz, Funk & Soul Festival saw last summer, when Sam debuted his live show on the main stage of a key festival on the Saturday afternoon. Anyone who was there and saw the audacious 12-piece live ensemble playing their first show knew they were seeing something special.

Rot-schwarz und orange-schwarzes marbled Vinyl. "Black Screen Records freut sich den rifflastigen Metal-Soundtrack zu Awe Interactives Rhythmus-Shooter BPM: Bullets Per Minute auf Vinyl zu veröffentlichen. Der von Joe Collinsons und Sam Houghtons im Home-Studio komponierte Soundtrack erscheint auf limitiertem marmoriertem Vinyl und kommt in einem Gatefold Sleeve mit Key Art von Jacob Briggs und enthält den Bonus Track "Yggdrasil's Roots" von Reuben Hawthorn."Als wir den Soundtrack während der Pandemie Zuhause remote komponierten, hätten wir nicht damit gerechnet, dass er so ein breites Publikum erreichen würde. Es freut uns sehr, dass so viele Leute unsere - offen gesagt ziemlich alberne - Musik genießen. Wir sind stolz auf die Zusammenarbeit mit Black Screen Records und freuen uns auf das Ergebnis, das in unseren Augen die einzig wahre Art ist, den Soundtrack zu BPM: Bullets Per Minute zu hören. Das BSR-Team hat während unserer Zusammenarbeit dafür gesorgt, dass sowohl Mastering, Artwork und Verpackung exzellent sind. Wir wünschen euch viel Spaß bei eurer Reise zurück nach Asgard, jetzt geschnitten auf 33RPM!"- Joe Collinson & Sam Houghton"

In January 1959, Lester Young was in Paris for a series of concerts at the famous Blue Note Club. He plays with Rene Urtreger on piano, Kenny Clarke on drums, Jimmy Gourley on guitar and Jamil Nasser on bass. On March the 4th, 1959, Eddie Barclay decides to record Lester at Studio Barclay, which will be his last album.

This legendary recording session is poignant and moving in line with the from Coleman Hawkins ‘Sirius’ and the last recording of Billie Holiday. Lester Young is reduced but the grace and genius are still there! Some days later, March 15, 1959, Lester succumb at the Alvin hotel, a few hours after arriving in New York. A heart attack had just one defeat all musicians nicknamed ‘Prez’, The President.

2 tracks lifted from RBB’s 2015 “Rhymes, Beats & Brass (Remixed)” digi-LP make it to vinyl for the first time - two superb remixes from 2 superb producers Chris Read & Sam Redmore – what’s not to like ?

In association with DJ Amir’s 180 Proof Records, BBE Music continues its exploration of rare gems from the Strata Records catalogue, with previously unreleased Sam Sanders album ‘Mirror Mirror’. A collector’s dream come true, this is musical treasure is so rare that the recordings on this album have never before seen a proper release and even the cover art had to be created from scratch. An almost unbelievable fact, given that it ranks as one of the strongest releases in the already air-tight era of Strata’s Detroit. Although he’s been compared to John Coltrane, Ornette Coleman and Joe Henderson, saxophonist Sam Sanders stands out as one of the most unique phenomena to come from the Motor City. Sanders’ approach to life was so 'out there' that one might say his relative obscurity was a personal choice. Sanders caught glimpses of fame early on performing with several internationally known acts and subsequently, he also learned a bit about what the Record Industry’s primary goals were. Realizing that he did not share them, Sanders chose instead to walk his own path. This drive for artistic freedom turned out to be a double-edged sword: while it allowed Sanders to produce some of the most electric jazz, funk, and soul to come from Detroit, it also meant that most of his recordings were never widely released, if they were released at all. Drawing on his experience with Motown acts like Stevie Wonder and Smokey Robinson, Sanders incorporated a fresh soul sound into recordings that would have otherwise been categorised as jazz. As such, 'Mirror Mirror' moves seamlessly between spirit and style: The album starts on the street with “Inner City Player,” a superfly breakdown of a Detroit hustler’s life, before moving into distinctly abstract territory with the melancholy “Face At My Window.” The experience is held together by a no-nonsense rhythm section featuring the aggressive drumming of Jimmy Allen and the intensely focused bass playing of Ed Pickens. Perhaps the most straightforward jazz song on the album, “Lover’s Gain” showcases Sanders at his freewheelin’ best. And if there was to be any doubt that 'Mirror Mirror' can get funky as hell, look no further than the wah-wah guitar and early synth sounds of “Funk’ed Up,” easily the greasiest cut on the album. 'Mirror Mirror' is remastered from the original reel to reel master tapes.

Sam Cooke was such an important pioneer of soul music that he was commonly known as the king of the genre. His distinctive emotive voice is one of the most easily recognizable of all in popular music and his work paved the way for countless other giants, including Otis Redding, Marvin Gaye, Curtis Mayfield and Al Green, among many others. A native of Clarksdale in northwest Mississippi that was raised in Chicago, he was the fifth of eight children born to a Pentecostal minister. Beginning his career with his siblings as The Singing Children, he led gospel group The Highway QCs in his teens and then joined The Soul Stirrers, reaching greater glory upon going solo in the mid-1950s, when he scored the first of many number-one hits for the short-lived Keen label, and then reached a wider audience upon switching to RCA in 1960. My Kind Of Blues was recorded for the label in 1961 (just as Cooke was launching his own SAR Records imprint), being a collection of show tunes and jazz standards, delivered in a soulful blues style by Cooke atop lush orchestration, arranged and conducted by trumpeter and bandleader, Sammy Lowe. Highlights include a soave version of Duke Ellingston’s “I’m Just A Lucky So And So,” a cool cut of “Nobody Loves You When You’re Down And Out,” a stirring take of George Gershwin’s “But Not For Me” and a lovely rendition of Irving Berlin’s “The Song Is Ended.”

Lykke Li returns with her fifth studio album, ‘EYEYE’.
The LP is an eight-track story about lust, attraction,
attachment and rejection - the landscape of love. The
songs are inhabited by moving images that neither
start nor end. Each film functions as a visual loop,
concise as a haiku, yet continuing in perpetuity. The
result is a somatic, repetitious experience.
Compounding chapters between a dream and reality.
 Lykke Li creates connection with the depth of emotion
in her lyrics and her consistency has made her an
iconic staple in music with a decade spanning career
having created her own lane when it comes to genre
and songwriting.

 In addition to selling out shows across the world, she
has performed on The Late Show with Stephen
Colbert, Conan, Jools Holland, and received praise
from The New York Times, NPR, Pitchfork, The Fader,
Complex, Rolling Stone and more. Last year, Lykke
featured on Mark Ronson’s critically acclaimed single
‘Late Night Feelings’ and joined him for a live
performance on The Tonight Show with Jimmy Fallon.
Outside of music, she starred in the Terrence Malick
film ‘Song to Song’ and also co-founded the female
owned Yola Mezcal brand, which brought the inaugural
all-female music and arts festival Yola Día to Los
Angeles and featured performances from Megan Thee
Stallion, Cat Power, and Courtney Love.

 180g heavyweight black vinyl housed in tip-on outer
sleeve and printed inner.

19 tracks by Croteam’s in-house composer, Guest appearances by Nine Inch Nails guitarist Robin Finck and the band Undercode, Translucent yellow discs, Original artwork by Tom J Manning

Sam Gendel and Antonia Cytrynowicz didn't set out to make a record – it just happened. LIVE A LITTLE, a collection of songs resulting from one late summer afternoon in Gendel's Los Angeles home, is less an album and more a moment. The ten tracks here were recorded mostly in one sitting, fully improvised, in the order in which they appear. It was the first and last time the songs have been played – a snapshot of an idea, an artifact of inspiration, at once both a beginning and an end. At the time of recording, Cytrynowicz was only eleven years old. The younger sister of Gendel's significant other and creative partner Marcella, Cytrynowicz is an artist in her own way. She has no formal musical training, but is the product of a creative family and is someone who makes art the way many kids do – in the purest way, simply because they are moved to. On LIVE A LITTLE, she spontaneously crafted all the melodies and lyrics on the spot as Gendel played alongside her. Cytrynowicz's musicality is sophisticated, strange, and other-worldly, and the resulting record is experimental jazz colliding with some sort of fantasy universe. Because of that, LIVE A LITTLE is a stand-out amidst Gendel's extensive and varied catalog. Over the years, the multi-instrumentalist has been known for his prolific musical output as both a sought-after collaborator and as a solo artist. During 2021 alone he collaborated with Vampire Weekend, Maggie Rogers, Moses Sumney, Laurie Anderson, and Mach Hommy, as well as released Notes With Attachments with Blake Mills & legendary bassist Pino Palladino. In the same year he also released the 52-track Fresh Bread, as well as the follow-up to the acclaimed Music for Saxophone & Bass Guitar with Sam Wilkes. Then Mouthfeel / Serene, AE-30, Valley Fever Original Score, and singles "Isfahan" and "Neon Blue." LIVE A LITTLE, though, exists on its own island. For one, the majority of Gendel's work under his own name skews instrumental, but here the playfulness of his saxophone and nylon-string guitar work alongside the twinkle of Cytrynowicz's voice. It’s the sound of unapologetic imagination running amok – and really, more than anything, the sound of having fun. Cytrynowicz is the ideal collaborator for Gendel, who throughout his career has remained largely unconcerned with the pageantry and presentation of the music business, instead focused solely on the music-making itself. Here, he found the purest sort of writing partner – he admires Cytrynowicz' "supreme openness," explaining: "Whatever is happening, she's there with you. We really meet right where we are. She's all ears, I'm all ears. I don't even know how to explain what it is. It just works out somehow." LIVE A LITTLE is a series of "what ifs" cascading into one another, off-kilter and experimental, a kaleidoscope of spontaneity and imagination. It's a sweet distillation of the musical present, of daring to follow through on an impulse – what happens when a project is helmed by someone who doesn't have time for second thoughts or self-doubt. The moment is the thing, and LIVE A LITTLE just happens to capture it.

“‘Delilah’ is one of the best singles of the year: its combination of urgency, dissonance, vocal phrasing, lyrical empathy and a formidable rhythm section add up to something that’s incredibly powerful and instantly addictive.” - The Sunday Times (Breaking Act)
“Anorak Patch and fellow female-fronted acts such as Wet Leg are here to shake up the maledominated post-punk scene” - The Independent

Aged between just 15 and 18, Anorak Patch have been quick to grab the attention of tastemakers across the UK, and now they finally announce their debut EP, ‘By Cousin Sam’, released via Nice
Swan Records.
‘Cousin Sam’ is about burying your cousin at a funeral - a bleak topic that isn’t a reference to anything, set to an almost psych slow tempo with haunting vocals that end up erupting together. Effie’s vocals have been compared to that of The Pretenders, Blondie and even early Bloc Party.

Fueled on pizza and the spirit of dance music, Chef Sam O.B. has lovingly cooked up four courses for our aural connoisseurs to enjoy: "Just A Slice."

Like any good pizza, it all starts with the dough, and "Making Dough" gets us right on track. Borrowing elements from house classics of the past, it rises on a jackin' groove complete with a funky fermented low-end and dashes of vocals from the chef himself.

"Le Sauce" offers a tangy burst of flavor atop our dough foundation; a sort of subtle and seductive palate that only the most refined of sauces can provide. Twists and turns await as the layers of seasoned live instrumentation unveil themselves (best enjoyed past dusk).

Next, as you might have expected, is "Cheezin'" - many people's favorite part of a pie. This one is sharp; bursting with mouthwatering umami energy and, like any good chef, O.B. has added just enough to leave you wanting more of the catchy interwoven melodies and rhythms sprinkled within.

Finally, it's time to grab a piping hot "Just A Slice" out of the oven - an amalgamation of all groovin' ingredients added thus far and the title track. A bubbling and elastic bassline pairs with the percussion of various textures and savory synth lines, combining for a well-balanced meal sure to keep your senses engaged.

A satisfying listen, "Just A Slice" would do, but feel free to indulge in multiple spins.

This spring, Atomnation is to serve up three remixes from Sam Goku's cultured East Dimensional Riddims album. The original full length landed in spring last year, and now contemporary innovators Lauer, Paula Tape and Ineffekt all offer their own unique versions.

Goku sees this remix EP as a way of showcasing the sort of tunes he plays in his mixes, most recently for the RA podcast series as well as for Ransom Note and Live At Robert Johnson. The Chinese-born but long Munich-based artist is an assured DJ who unites his different heritages when he plays. He's someone who taps into the similar emotions and motivations of east and west and does so with a nuanced, storytelling brand of house and techno that is warm and uplifting.

‘This Here Feels Good’ is the sound of an artist using music as
their second language. With all music self-produced / written,
Kay Young is defining an original generation of Black British
Music.

Moving between tightly rapped verses and glorious vocal
performances, often within the space of one track as well as
across the whole EP.

The release is a stunning collection of songs which expands
upon the sonic blueprint Kay has already laid out, that caught
the attention of Jay Electronica and Jay-Z, who later signed her
to Roc Nation.

She delves deeper into dance and soul while continuing to
explore themes of familial legacy and cultural relation, keeping a
perfect balance between lyrical vulnerability and musical uplift.

Live TV performance for Other Voices (Dec 2021), TV
performance for BT Sport (May 2021), Clash New Gen Artist
(autumn 2021), plus performances last year at Boiler Room
Festival, South Facing Festival, BBC Intro Live Summer By The
River, Live at Leeds Festival and more.

Supporting Jay Electronica for UK tour.

“uplifting groove” - The Fader

“pertinent, powerful lyrics” - Cool Hunting

“Young will undoubtedly keep shining” - Line of Best Fit

“Pure and bright promise.” - Beats Per Minute

“Kay Young finds a balance between smooth vocals and hardhitting lyrics” - Gigwise

“one of the UK’s most promising up and coming talents.” - Alfitude

“...an extremely exciting future ahead.” - CLASH Radio - 6 Music, BBC Radio 1, BBC Radio London, BBC 1Xtra, Amazing Radio A-List.

Freerotation resident Sam Watson drops his second ep for Third Ear. Techno. Coordinates: Hard. Trippy.

orange marbled vinyl

"How does it feel to reminisce? That was something I wanted to try to capture in soundwaves. I tend to reminisce a lot. About the good and bad parts in the past, and everything in between. I try to remember which specific parts in my life made me who I am today. Thinking about those events is going to make me feel a certain way, and i wanted to try to convert these feelings into songs.

Reminiscing to me, is also a very visual experience in my head. So I decided to take sounds that were close to me from the past and make something cinematic that still works as a full song. I've been using a lot of granulated sounds, which is almost like a shattered memory reconstructed into a new one, as your feelings can change recovering the same memory. So you can close your eyes and go on your own reminiscing journey, discovering loads of layers weaved through these soundwaves."
- Sam A La Bamalot

Limited edition 2000 copies.
•Cut by Kevin Gray at Cohearent Mastering.
•Plated at Quality Record Pressing (QRP).
•180 gr vinyl pressed by Optimal in Germany.
•Deluxe high-gloss flipback album jacket.
•Double insert using an original photo by JP Leloir from the concert.
•Each record has been visually checked to prevent defects.
Donald Byrd’s residency in Paris in 1958 to study with composer Nadia Boulanger gave rise to one of the greatest bands of his career with Bobby Jaspar on tenor sax and flute, Walter Davis, Jr. on piano, Doug Watkins on bass and Art Taylor on drums.

Sam Records is proud to present this previously unreleased concert by the Donald Byrd/Bobby Jaspar Quintet recorded during the evening dedicated to ‘Modern Jazz’ during the 1st and only Cannes Jazz Festival on July 11th 1958. The initiative for this festival was taken by Yvonne Blanc, a lady of good society who played the piano and lived between Paris and Cannes.

This festival was organised in partnership with the festival of Knokke-le-Zoute, in Belgium.

Recorded in Cannes, France, July 11, 1958.

Donald Byrd (Trumpet)

Bobby Jaspar (Flute/Tenor saxophone)

Walter Davis Jr. (Piano)

Doug Watkins (Bass)

Art Taylor (Drums)

Sam KDC presents the first Auxiliary 12" EP of 2022, entitled Shedding Skin, a varied four-track odyssey that goes far and beyond the conventions of techno and 170 bass music. The EP opens up with the ominous underworld tones of Silver Serpent. Menacing snarls of metallic synthesis set against the backdrop of frenetic hi-hats and slow pulsing heavyweight bass make this a surefire way to inject something unique into any DJ set.

False Idols then takes things a step further with its relentless percussive torrent, set against a sea of uneasy undertones that wash in and out of proceedings. Prophecy Unfurling introduces breakbeats to devastating effect, as the journey continues underground. Dystopian pulses of synths interacting with the breaks play off each other in a distinct fashion that has become a trademark of Sam's after 2019's Omen Rising LP on Horo.

Finally, Sam brings it all to a head with the uptempo frenzy of Bloodstone. It's been a while since Sam has toyed with this tempo, but Bloodstone shows just why he's revered as one of the true innovators of 170. An almost playful bouncing ring-modulated bass tone sets the scene for Sam's now trademark ominous dark palette to paint a truly captivating picture for the listener. Shedding Skin shows an artist at the top of his craft truly doing his own thing.

Sam Evian knew he wanted to leave New York City almost as soon as he arrived, more than a decade ago. An upstart songwriter and producer, he, of course, loved its creative wellspring—the ideas, the instrumentalists, the energy. But he’d grown up in the woods of upstate New York and, later, along the coast on the rather empty eastern end of North Carolina. The city was expensive, anxious, and unsettling, however inspiring it could be. So in the Summer of 2017, he and his band decamped to a rented house upstate to cut his second album, the magnetic You, Forever. He then realized he could no longer resist the urge; two years ago, Sam and his partner, Hannah Cohen, split from the city, building their refuge in the quiet of a Catskills town. That reflective, relaxing environment inexorably shaped Time to Melt, his third LP and debut for Fat Possum. A glowing set of soulfully psychedelic pop gems, Time to Melt is a testimonial to the life and wisdom to be found when you give yourself the mercy of space..

On the heels of his breakout year, Swiss indie rocker Sam Himself - New Yorker by choice, ‘Fondue Western’ baritone by trade - prepares to release his debut album, Power Ballads (October 8th). The Brooklyn-based songwriter, performer and multi-instrumentalist has been sounding the bell for his first LP with a number of singles.
This full-length debut follows last year’s acclaimed Slow Drugs EP, the artist’s third which earned him the Swiss National Broadcasting Service’s Best Talent Award in 2020 and a nomination in 2021 for a Swiss Music Award, the most prestigious national prize of its kind in Sam’s home country.
Power Ballads marks the latest collaboration between Sam and his longtime producer, mixing engineer Daniel Schlett (The War On Drugs; Iggy Pop), as well as mastering legend Greg Calbi (Bruce Springsteen; David Bowie). Sam plays most of the instruments on Power Ballads himself, with producer Schlett adding sounds, textures and of course his singular mixing style (as heard recently e.g. on Iggy Pop's cover of The Velvet Underground's European Son).
Sam Himself is set to tour in support of his debut album well into the spring of next year, with some 30+ European dates in Switzerland, Germany, Austria, the Netherlands and beyond (US-dates in planning).

Driven by support from the likes of Gilles Peterson, Quantic, Nightmares On Wax, The Nextmen, Lauren Laverne, Danny Krivit and most prominently Craig Charles, Sam Redmore has built a name for himself over the last few years for crafting soul-drenched remixes and reworks of both solidified classics and lesser-known material.

Having spent so much time re-working the classics it is no surprise that production values are high when it comes to his own original music.

At the start of 2021 Sam signed to Jalapeno Records, giving everyone involved cause for celebration after a difficult year and his debut album is slated for May 22.

Many of the album tracks were purpose-built for inclusion in his DJ sets - which can range from cumbia, afrobeat, samba, funk and reggae through to house, broken beat, disco and everything in between…

On The One will be the first single to drop from the album and features the inimitable vocals of poet and rapper Mr. Auden Allen as well as the soul drenched horns of Renegade Brass Band. Debuted on BBC 6 Music when Sam performed a guest mix in April this year, it seemed the perfect track to debut from Sam's new record.

"Live in Paris" - Nathan Davis, (sax); Georges Arvanitas (p, org); Jack Diéval (p); Jacky Samson, Jacques Hess (b); Franco Manzecchi, Charles Saudrais (dr)

Style is not a given. Not many musicians reach the level of artistic personality where you can unmistakably recognize them. It takes character, roots, honesty, soulfulness. Nathan Davis had style.

His tone on tenor was unique. So was his soprano sound and his distinctive approach to flute. His musical world was equally original and knew no boundaries.

This concert in Paris is audible proof that as a performer, his fluid phrasing, distinct articulation, booming bottom register, growls and shrieks were fuelled by tremendous drive and furious invention - the man was on fire!

These live sessions demonstrate the limitless invention of Nathan’s solos. Holding no punches, weaving signature phrases, shouts and riffs into his solos, he was a fierce and fervid performer. With a sort of hollow resonance at the heart of his reedy and warm sound, Nathan Davis was a highly original artist, from an era when having a distinct sound on your instrument was the grail of jazz artistry. Harold Land, Jimmy Heath, John Gilmore, Paul Gonsalves, Charlie Rouse, George Coleman, Booker Ervin, Clifford Jordan ... Jazz is made of such giants and Nathan Davis was one of them.

SAM DEES was born in Birmingham, Alabama in 1945 and was an accomplished R&B songwriter, producer and label owner. He recorded his first single in 1968 for Shelby Singleton’s ‘SSS International’ label featured here – “Lonely For You Baby”. Despite many attemtps at solo success, on an array of labels, Dees was destined to failure finally settling for a career writing for other artists. However, the first is usually the best, and eventually “Lonely For You Baby” was embraced by the UK soul scene and remains a floor-packing anthem. We also

Keaton Henson’s ‘Fragments EP’ was made as a
companion piece to last year’s ‘Monument’ album,
written and recorded at the same time.
 ‘Monument’ is a fragile, meditative and emotional
unravelling of grief in the aftermath of losing his
father, and for all its hushed acoustics, ‘Monument’
cocooned its emotion in some beautifully tender
melodies and acute observations. It’s a warm and
relatable listen.
 On ‘Fragments EP’, whilst the lyrical themes and
subjects may stray from ‘Monument’’s poignant
subject matter, in its sound and atmosphere, it
feels suitably entwined.
 The eight tracks that form the EP orbit a sweeping
kaleidoscope of sonic shapes, shades and
textures. Keaton’s voice offers lyrics in an almost
frozen romanticism. It’s a voice that sounds rooted
in turmoil but also of strength. A happy sadness.
Bleakly beautiful.
 Julien Baker shares a mic from across the ocean
in Australia on ‘Marionette’. A songwriter of due
reverence herself, Baker and Keaton share an
affinity with the power of hushed words, fizzing
melodies and an innate wisdom.
 ‘Fragments EP’ and ‘Monument’ are two fine
bodies of work by this singular, unique British
artist, and two empathetic records of sorrow and
strength.

Nearing 100,000 UK sales for their breakthrough album ‘The Race
For Space’, indie phenomenon Public Service Broadcasting return
with their fourth album, ‘Bright Magic’, the follow up to 2017’s ‘Every
Valley’, which entered the chart at Number 4 on release.  Inspired by the Rory McLean book ‘Berlin: Imagine A City’ and named
after a collection of short stories by Alfred Döblin, the record
celebrates one of the greatest cultural capitals of the world, Berlin.  Written and recorded entirely at Hansa Studios in Berlin, the album is
split into three parts - Building A City / Building A Myth / Bright Magic
– and Side B of the album is a homage to Side B of David Bowie’s
‘Low’. Side A of the record includes the singles ‘People, Let’s Dance’
and ‘Blue Heaven’.  The album features guest appearances from Berlin legend Blixa
Bargeld (The Bad Seeds, Einsturzende Neubauten), Andreya
Casablanca of Berlin band Gurr and Berlin Based artist EERA.  Hansa is world renowned as the studio responsible for classic albums
including ‘Low’ and ‘Heroes’ by David Bowie, ‘The Idiot‘ and ‘Lust For
Life’ by Iggy Pop and Depeche Mode’s third, fourth and fifth albums
‘Construction Time Again’, ‘Some Great Reward’ and ‘Black
Celebration’.  The artwork is designed by Berlin artist Torsten Posselt, who has a
long relationship with the Erased Tapes label, designing art for the
likes of Nils Frahm, Olafur Arnalds and Rival Consoles, among
others.

Repress

Orange Vinyl

Marc Moulin’s debut LP Sam Suffy (1975) is a compelling and unique mosaic of jazz, soul, and electronic elements that employs sampled sounds and sequencers to startling effect, vividly anticipating the music of the not-so-distant future.

While rooted in collective improvisation, cuts like the opening “Le Saule” and “Le Beau Galop” foreshadow the emergence of house music via their underlying electronic motifs; even more impressive is the five-part, 17-minute epic “Tohubohu,” a remarkable update of Musique Concrète sensibilities that creates drumbeats from water drops and pits trumpeter Richard Rousselet against a herd of hippos.

But for all its complexities and innovations, Sam Suffy is above all a sublime listening experience, closer in spirit and scope to trip-hop than the more abstract fusion classics it follows

Sam Suffy is released as a limited edition of 1000 individually numbered copies on translucent vinyl.

Blue Vinyl

Acid banger from Poland, in association with Stay up Forever.
Cut by Lawry !! LOUD !!

Sam Prekop's eponymously titled LP is a study in pop nuances. Simultaneously transporting the listener from mild climes and swinging palms to darkened skies and wind blown steppes, the record will be easily recognized by fans of The Sea and Cake. Known to many as the singer and main songwriter for said group, Mr. Prekop is assisted on this release by Chad Taylor (Chicago Underground Duo), Josh Abrams (ex-Roots, Town and Country), Jim O'Rourke (Gastr del Sol) and Archer Prewitt (The Sea and Cake). Those expecting to find more of the computer beats and trickery found on The Fawn and Two Gentlemen are in for a surprise. Whilst prevalent on "Faces and People" - (a lucious groove overlayed by cornet and guitar), the computer takes a back seat to real strings, drums, piano, electric piano and organ as well as electric and acoustic bass. The subtle grooves, a trademark of The Sea and Cake records, are still present here as Sam and his band blend West African rhythms with a bit of soul, jazz and pop. The resulting record is something wholly original, elegant and earthy. A cauldren, if you will, of sweet smelling and enlightening stew. So line up, grab a spoon, and dig in. All the ingredients and intoxicating aromas necessary for an auditory feast are contained within.

Limited coloured marbled vinyl edition of this album
Sam Cooke is considered one of the „fathers“ of soul. Already as a child he performs together with his
siblings. His first successes came with the band The Soul Stirrers. His first hit was as a solo artist with You
Send Me. Cook wrote his own songs and founded his own label, which signed musicians such as Bobby
Womack and Johnnie Taylor. He himself celebrates his greatest successes at RCA with world hits such as
Cupid, Bring It On Home To Me and Wonderful World. The last proves to be an evergreen until today;
whether in the jeans advertising of Levi‘s or through successful cover versions of Herman‘s Hermits, Bryan
Ferry or Otis Redding.
At the age of only 33, Sam Cooke dies. The motel manager Bertha Franklin shoots him in the Hacienda
Motel in Los Angeles and later claims self-defense. The exact circumstances of his death remain unclear
to this day. Posthumously, Sam Cooke receives all the major awards. A small excerpt: He is part of the
Rock and Roll and the Songwriters Hall of Fame, he was also awarded the Grammy Lifetime Achievement
Award. Rolling Stone magazine lists him 16th among the 100 greatest musicians of all time and fourth
among the best singers of all time. What A Wonderful World...

Legend’ is a label hurled around all too frequently these days,
but one singer to whom the term can legitimately be applied is
the late Sam Cooke, whose ability to incorporate gospel, folk,
R&B, show tunes, blues and pop into a magnificent and
seamless blend was truly unique.Today Sam Cooke is regarded
as one of the handful of artists who single-handedly created the
soul music genre, and this 3LP Platinum Collection is the proof.

If you're a fan of early Fleetwood Mac/Steamhammer's first album/Foghat before they turned r'n'r, this may be your cup of tea. The band released just a couple of albums before splitting up and this, their first, is the one to have. Definitely a must!

Outside Ludlow / Desert Disco is the first major solo release from Australian performer-composer Sam Dunscombe, now based in Berlin after residing for the past decade in San Diego and Tokyo. A virtuoso clarinettist who has performed in composed and improvised settings with artists such as Klaus Lang and Taku Sugimoto, their practice also embraces computer music, lo-fi electronics and field recordings, in addition to their long-term commitment to archiving, studying and performing the work of Romanian spectralist composer Horatiu Radulescu.
The two side-long pieces presented on this LP began from a chance encounter in a specific geographic location (documented in the photographs that grace the record’s sleeve). Exploring California’s Mojave desert with a friend, Dunscombe made the unlikely discovery of a tangle of quarter-inch tape snared on a cactus. The digitised version of this tape, variously edited and processed, as well as Dunscombe’s own transcription and embellished performance of some of its material on Hammond organ, makes up one of the main ingredients of the LP’s first side. The other is a field recording of the area outside the ghost town of Ludlow, where the tape was found, where haunted silence is punctuated by freight trains and clusters of explosions from gold mines and the local marine corps. Far from any kind of documentary approach, the resulting composition reaches back to the smeared atmospherics and overdriven tape crunch of Hands To, Small Cruel Party or Joe Colley, before the Hammond organ rises up to cast a spectral shimmer reminiscent of 1960s tape music classics like Arne Nordheim’s ‘Warszawa’.

On ‘Desert Disco’ (its title perhaps a clue to the content of the mysterious tape), Dunscombe zeroes in on a single fragment of the tape, accompanying it with analogue synthesis to craft an immersive work based on a single chord. Throughout the course of this work, the monolithic opening sonority gradually splits apart, revealing an infinity of rhythmically phasing lines that swarm like a cloud of insects and patter like falling rain, placing Dunscombe’s piece in a lineage of patient electronic exploration that includes landmarks like Costin Miereanu’s Derives and the contemporary work of Jim O’Rourke.

Limited edition vinyl with images by Sam Dunscombe and design by Lasse Marhaug. Mastered by Joe Talia at Good Mixture, Berlin.

Sam Goku returns to Atomnation with a stunning debut album titled East Dimensional Riddims. The 11 tracks record is a journey into his hugely characterful club sound complete with ambient and subtle use of instruments from his Chinese heritage. Sam Goku - born Robin Wang - was born in Düsseldorf, yet his upbringing was Chinese for the most part. It is the contrasting influences of those two cultural backgrounds that play out in his music and lend it a truly unique character. The album is a fine fusion of East and West, house and techno, power and emotion that really showcases the unique production talents of Sam Goku. Following up on the EPs Tanggu, Every Step and Paradise Drum, this new album is the sound of an artist evolving, maturing and finding his own sound. It’s a cohesive work that is as emotional as it is physical and thought provoking.

Wah Wah 45s make a welcome return to the world of re-issues. Having started out over two decades ago releasing dance floor funk from Benny Poole, Cheyenne Fowler and The Googie Rene Combo, and later re-releasing obscure Kompa-funk from Haitian pianist Henri Pierre Noel, they now turn their attention to an overlooked early 90s acoustic soul gem.

About thirty years ago, music teacher and budding producer Alex Boyesen found himself working as part of the Haringey Music Workshop - a community programme and outreach project funded by the local council in Haringey, North London (coincidentally the area in which the Wah Wah head office is now based!).

"Anyone could come and get lessons for free - ranging from piano, sax, guitar, drums, bass, singing and workshops including choral, jazz band and more." Alex Boyesen

It was during that time that Alex came across a young Sam Edwards.

"One day I went into one of the rehearsal rooms and there, by herself, was this girl playing a piano and singing. It was the most incredible voice I had ever heard."

Before long, the pair were playing all over London as a duo with Alex on guitar and Sam on vocals.

"Sam had never had professional training, she was simply an utter natural."

The Haringey Music workshop was connected with other projects in the borough, in particular a community project called the Selby Centre. Here they ran training programs for young people and one of these was a music business course. The idea was that they found an artist, recorded them and then promoted them. One way or the other they ended up picking Alex and Sam to be on their roster.

"My good friend Nixon Rosembert was brought in to oversee the recordings and they hired the Islington Music Workshop to do the recording. We got musicians from the Haringey Music Workshop to play on the sessions and spent a day recording two songs -American CarsandLife. The training workshop had created a label called Progression Music and out the record went."

Three decades later and out of the blue Alex started to get interest again in the record he'd almost forgotten about all those years ago. It had become something of a sought after gem on Discogs, and there seemed to be an interest in that 'acoustic soul' sound once again.

"I got three people asking if they could re-release it and finally here we are with Wah Wah 45s doing the business after all these years."

It was Hospital Records and Wah Wah 45s founder, Chris Goss, who first brought the idea of releasing this record to the table.

"This is a really special record for me, picked up 30 years ago, from a young James Lavelle at Honest Jon's in Ladbroke Grove. Sam Edwards would go on to perform and write songs with North London's Izit, the acid jazz collective fronted by Tony Colman - with whom I have built a music company, these past 25 years. Alex Boyeson worked with Tony at the Haringey Arts Project, who produced a one-off vinyl release of Alex's two compositions back in 1991. Thanks to Alex and Tony, we have been able to clean-up the original audio, uncover photos and lyric sheets to present, with real love and affection, these two lost gems from a bygone era." Chris Goss, Feb 2021.

The project was then expanded by Dom Servini, who got heavy disco legend Ashley Beedle and co-label owner and erstwhile producer Adam Scrimshire in to take on remix duties.

"When approached by Dom Servini to reworkAmerican CarsI had no idea about the history of the original song. After a good listen myself and studio partner Darren Morris set to work and all I can say that it was a lovely experience keeping the vibe of the original but giving it a spaced out feel in true Afrikanz On Marz fashion." Ashley Beedle, Feb 2021.

"Remixing without multi-tracks always brings a bunch of challenges, getting the balance between the bass and drums in the original and what you want to do with your own version. The song really dictates certain things to you.

But it was such a pleasure to explore that with this beautiful song and vocal performance. So many ways to approach it. I just wanted to draw out more of the melancholy in the original and make it an absorbing experience." Adam Scrimshire, Feb 2021.

Perhaps the last word should be given to Alex himself, who's very much enjoying the new lease of life that his music with Sam is getting.

"As I write this we are trying to locate her, she's somewhere singing something, that's all she ever did. Thanks for being part of my life Sam and I am so glad that this small bit of that time is being remembered." Alex Boyesen, Feb 2021.

Tenor saxophonist Barney Wilen was not quite 21 years old at the time of this meeting with Milt Jackson, Percy Heath, and Kenny Clarke, three veterans of the Modern Jazz Quartet. But the young man is surprising mature and confident throughout the session, interpreting several of Django Reinhardt's compositions, along with a few by his French contemporaries and a pair of his own works. What's surprising about this session is the rare opportunity to hear Jackson exclusively as a pianist, as his playing is a bit more reserved than on vibes. The leader digs into his rhythm section's element with his original "B.B.B. (Bag's Barney Blues)", giving them a full chorus before making a convincing statement himself. The quartet's fluid arrangement of Thelonious Monk's "Epistrophy" swings. Percussionist Gana M'Bow is added for both "Swing 39" and "Minor Swing" to add an exotic touch. Barney Wilen easily holds his own on his first major meeting on a record date with major American jazz stars.

Miles Davis recruited Wilen for his European tour dates at this time (1957), a measure of Davis’s estimation of the young Barney.

Sam Gendel’s new album, DRM, is the follow-up to his Nonesuch debut, Satin Doll, released earlier this year. DRM features Gendel’s solo musical experiments with vintage instruments such as a forty-year-old Electro Harmonix DRM32 drum machine, antique synthesizers, and a sixty-year-old nylon-string guitar — accompanied by his voice. While Satin Doll was a futuristic homage to classic jazz, DRM includes just one cover song: Lil Nas X’s ‘Old Town Road’, which Gendel interprets as an instrumental, playing the melody on an old German analogue synthesizer. The album’s accompanying short films were directed by Marcella Cytrynowicz and filmed at various locations around Gendel’s home state of California during COVID lockdown.



“I’m imagining people listening to DRM and thinking, ‘What the hell is this?’, like they’d just encountered some sailing ship in the sky,” Gendel says of the new work. “I imagine it as if someone many years into the future listened to the popular music of today and then tried to recreate it, without any of the tools or the understanding. Stylistically, it’s not too far from so much contemporary pop-rap music that you hear on the radio. A lot of those electronic backgrounds and instrumentals you hear today are tending towards something really out-there and experimental. It’s rhythmic and pointillistic, collaging different, seemingly unfitting elements together in cool ways. The visuals aren’t necessarily dictated by the music, but they both share the same slightly surreal feel, like I’m a video game character, inhabiting all these different backgrounds,” says Gendel.



Gendel is best known as a world-class saxophonist — it’s the instrument with which he’s led most of his bands, as well as the instrument on which he’s guested with the likes of Vampire Weekend, Ry Cooder, Moses Sumney, Sam Amidon, and Louis Cole’s Knower — but DRM is saxophone-free. “There was no active effort on my part not to include it; it just wasn’t part of the equation when I started recording it,” he says. “I just found a formula, working around this DRM32 drum machine, and rolled with it. I don’t consider myself just a saxophonist, I’m just someone who works in music.”



DRM was recorded in one sixteen-hour session, and then manipulated by Gendel with electronic percussionist Philippe Melanson. It was mixed by Blake Mills, and mastered by Grammy-nominated engineer Mike Bozzi. Gendel’s previous discography includes 2018’s Music for Saxofone & Bass Guitar with bassist Sam Wilkes, 4444, and Satin Doll, which the Los Angeles Times called “a woozy, blissfully twisted album.” He also performs on two other Nonesuch releases this month: Joachim Cooder’s Over That Road I’m Bound and Sam Amidon’s new self-titled album.

The first opus... we missed that one last year. Too good not to finaly get some.

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)

It doesn't happen too often that you come across someone with Sam's composure and artistry at such a young age. 22 year old Sam De Nef has been in music for a while as lead singer of indie outfit 'Danny Blue and the Old Socks', but It wasn't until last year he started thinking of a solo career. Influenced by a generation of songwriters he listens to every day, Sam felt an urge to follow his own path and write genuine songs he could play all by himself and at any time, unadorned and without pretence.

He started recording demo's during the March lockdown, swiftly landed a record deal and started recording his debut with Nicolas Rombouts (Dez Mona, Ottla, Stef Kamil Carlens) and PJ Decraene (Rhinos are People too) - also his live band - in an old house in the French Vosges mountains.

The first tracks he released did not go unnoticed at national radio, press and streaming playlists alike. Sam is a prolific writer and lyricist, he recorded a 7 track debut mini album, expected in February. We are instantly struck by his stunning vocals, his versatility and maturity as a songwriter, embracing the classics but never without transcending their influence.

Sam De Nef's first solo project is a vehicle to tell his own stories and write songs that come to him in the most natural way. His debut mini album is an inspired collection of visceral folk and singer songwriter tunes, drenched in nostalgia. He's inspired by the likes of Dylan, Jack Kerouac, Leonard Cohen and Karen Dalton, but displays a unique voice and decidedly steers clear of platitudes.

"On my first trip to Serbia, visiting my girlfriends family, I discovered a whole new world in music. People played their songs around the diner table. What I saw was a family sharing food, alcohol and stories everyone could relate to. This experience opened up a new window, the wind blowing inspiration. I want to tell stories and touch people with simple songs and colorful language."

There is a directness and intimacy throughout each of the record's 23 minutes, which both sparks universal melancholy and makes Sam De Nef's debut very personal.

Listening to Magic Sam playing and singing from a twenty first
century perspective shows distinctly how he was pushing the
blues in a rockier direction and influencing many subsequent
players. During the sixties he attracted many new fans with two
fine albums on Delmark Records that have remained very
collectable. This fine album represents the first phase of his
career and captures his distinct guitar playing with its crisp and
sometimes choppy attack. He was very much a second-wave
bluesman on the Chicago scene, but obviously had so much to
offer in terms of taking the blues in new and exciting directions.

Superb epic acid tribe renewer... A modern and sophisticated sound. Defenitly full of story-telling.

One of the best record on this label.. .and in this style !

A folk/bluegrass troubadour from Vermont who delves into shape-note traditions and Appalachian ballads and makes it all beguilingly his own. His guitar lines have the fancy fingerwork of a crack banjo player and his banjo lines have the tugging suspensions of a jazzer.’ – Guardian

‘Amidon is a rare Americana artist whose … signature banjo-strewn style … and disparate mix of influences play into a sound that is at once archaically rootsy and savvily refined.’ – Wall Street Journal

Sam Amidon considers his new self-titled album the fullest realization to date of his artistic vision. It comprises his radical reworkings of nine mostly traditional folk songs, performed with his band of longtime friends and collaborators. Amidon produced the record, applying the sonic universe of his 2017 The Following Mountain to these beloved tunes, many of which he first learned as a child. ‘Pretty Polly,’ for example, was one of the first traditional tunes he learned to play, and ‘Time Has Made A Change’ is a song that his parents – singers who were on the 1977 Nonesuch recording Rivers of Delight with the Word of Mouth Chorus – sang around the house when he was young. Amidon will perform two concerts at Kings Place in London on October 3. A limited number of tickets will be available in the venue, as well as tickets to stream the event from home. Further details are available here.

Amidon and his frequent band of multi-instrumentalist Shahzad Ismaily and drummer Chris Vatalaro were joined in the studio by Belgian guitarist Bert Cools (who played on his last EP), as well as Amidon’s wife, Beth Orton, who adds vocals on three songs. Acoustic bassist Ruth Goller and saxophonist and labelmate Sam Gendel also play on the album, which was mixed by Leo Abrahams. Sam Amidon was mostly recorded live in the studio. Amidon arranged the songs, which are traditional tunes, with the exception of Taj Mahal’s ‘Light Rain Blues’, Harkins Frye’s ‘Time Has Made A Change’, and ‘Hallelujah’, which is an 1835 William Walker shape-note tune using earlier words by Charles Wesley, found in the Sacred Harp collection of early American folk-hymns.

Sam Amidon is Amidon’s fifth recording on Nonesuch and follows the 2019 EP Fatal Flower Garden (A Tribute to Harry Smith). Additional recordings include his 2017 album The Following Mountain and Kronos Quartet’s Folk Songs the same year, on which he was a featured singer along with Rhiannon Giddens, Natalie Merchant, and Olivia Chaney; Lily-O in 2014; and his label debut, Bright Sunny South, in 2013.

In these dark times of Covid we still have our music. We have the sounds to soothe us, distract and take our minds away from the chaos and uncertainty.
We can't dance like we used to but we can hear and feel. Our release must be found in another way, we must look within. We find solace and grant ourselves space and time in the music.

Sam McQueen (Indio co-producer with John Beltran, Indigo Aera, Delsin Records, Furthur Electronix) presents his debut album Dreams In Sepia for Mojuba sub label a.r.t.less and hits us with a real time soundscape of the moment, an epic-like document of these times. The rhythms are subtle, sometimes broken, the time structures often complex, this is not primarily dance floor orientated music. These sounds are way more cerebral, for the heads. They reflect perfectly the complexities of life we are experiencing in 2020.

The edges are rounded with occasional strolling bass lines and comfy chords. Slabs of keys and spaced out female vocals like a psychedelic journey that scares you at first yet comforts you soon after. Sam McQueen's mediatory sounds give an overwhelming sense of the moment. The music makes you take time out and listen. Its purposeful manner suggests there are more hours in the day, like time slowing down a pause, like the sun slithering slowly behind the horizon. These are sunset sounds for dark back-rooms.

Daytime or night, it works. This is the soundtrack for the other room, the deeper sounds not designed to make you dance. This music doesn't get in your face, it creeps up and smacks you on the ass. There are elements of early nineties UK Techno, a warmth and delicateness that pervades a distinct lack of four four dance floor in the beat structures, a softer tone throughout than the harder Detroit techno sounds of the same era but still nods and acknowledgements to the D in the layout and way the sounds present themselves. Think John Beltran, Symbols and Instruments, Black Dog or Kirk DeGiorgio, mid 90s Berlin sounds from Basic Channel / Rhythm & Sound, but in lockdown. Music for today's modern lacking landscape. The sounds often familiar, analogue, the drums, hi hats and snares, shimmer, jazz style. They accentuate and push the rest of the elements around them.
?In a bygone era this would be crudely classed as Chill Out music. In 2020 Covid era its about how it makes you feel as you relax and really listen to it. It is about emotion and empathy, a oneness, a new unknown and a deeper train of thought for the listener. Much like 2020, Sam McQueen lays the pieces round the edge of the jigsaw and lets you fill in the rest.

Sam Gendel’s Nonesuch Records debut, Satin Doll, was recorded in Gendel’s native California, and is a futuristic homage to historical jazz. The album features three musicians — Gendel on saxophone, Gabe Noel on electric bass, and Philippe Melanson on electronic percussion — engaging in simultaneous synchronized sonic construction/deconstruction of jazz standards, including Miles Davis’ ‘Freddie Freeloader’, Charles Mingus’ ‘Goodbye Pork Pie Hat’, and Duke Ellington’s ‘Satin Doll’.

Sam Gendel is a musician and producer living in Los Angeles, CA. He is most known for his work with the saxophone, though he is proficient on multiple instruments. His work is diverse and includes significant collaborations with a wide range of artists including Ry Cooder, Blake Mills, Sam Amidon, Perfume Genius, Moses Sumney, Knower, Vampire Weekend, and inc. no world. Gendel’s previous discography includes the critically praised Music for Saxofone & Bass Guitar with bassist Sam Wilkes and 4444.

The founder of Modern Obscure Music (MOM) presents this release which culminates a creative process that has led him to work during years with labels as respect- ed as Hivern Discs of John Talabot to Mathematics Recordings of Hieroglyphic Being.
Pedro Vian surprises us with a an album that is impossible to categorize into a single musical style. This LP guides its audience through musical scenes typically attributed to the artist, with atmopheric tracks like Pandora or Paradiso (available on the digital version). But it also travels through abstract, sonic labyrinths in songs like Maia or Nine is Nine, accentuates the rhythm with techno tracks such as Le Fou, Invisible Objects or Indian Strings, and even submerges us into the depths of pop with 801 Nite, where Pedro Vian collaborates with the young and talented singer of Mourn (Captured Tracks/USA) Carla Pe´rez Vas. Another cut that resonates is the influence of the Cocteau Twins.
Beautiful Things You Left Us For Memories is the most mature work signed by Pedro Vian, where he clearly manifests all of his influences and distances himself from the introspection prominent in his last EP’s, where he collaborated with artists like Inga Copeland from the Hype Williams Duet, or Pye Corner Audio. This is a bold move forward on an international trajectory that has received robust recognition from specialized, international critics.The new project will be published through a digital version with twelve originals; and through a reduced vinyl version where photographers Adria Can~ameras, artist Irene Royo and graphic designer Marc Monguilod have collaborated, and audio engineer Josh Bonati has mastered the sound. This is a kaleido- scopic work, adamantly supported by artists like Gold Panda, Laurel Halo, Barnt, bRUNA, and the north-american producer Chris Taylor (Grizzly Bear) among others

With this collection of deeply personal tracks, I wanted to reconnect to my inner emotions and to my love of melody, showing my most introspective and passionate side. Locking myself away in my studio, surrounded by vintage analog machines and acoustic instruments, my desire was to create a late night journey of contemplative experiences in music.

Drifting away from the harder, dancefloor oriented sound, this concept album reveals a thoughtful observation on the state of our world today and on these times of turmoil and uncertainty, ending with a positive message of hope and peacefulness".

Mavericks of the musical landscape, Brooklyn’s finest genre-defying duo Dave + Sam release their anticipated debut album ‘No Shade’ on Classic Music Company this spring, a thirteen-track narration of the 21st century experience, told through the eyes of vocalist Dave Giles II and production maestro Sam O.B. With the aim to package love, empowerment and socio-political commentary into a collection of tracks that never compromise on groove or soul, this enchanting album never loses sight of its message as it journeys from deep Chicago house and otherworldly melodies to funk-laden jams and adventurous studio experimentation.

Hinged tightly by the soulful nuances of Moodymann, Mos Def and Gil Scott Heron, Dave’s captivating spoken word delivery is purposeful and considered, as Sam weaves rhythms and grooves so deep you can get lost in them – the two musical narratives working in perfect harmony. Impassioned cuts like ‘Facts’, ‘Worth It’ and ‘Sauce’ leverage hip-hop’s tradition of battle rap against white supremacist rhetoric, a message that remains ever more relevant in today’s political climate. Title track ‘No Shade’, ‘Day One (Oh Baby)’ and ‘Can’t Get Enough’ allow stories of love and loss to unfold to the listener, while the stripped-back grooves of ‘Round The Way’ and ‘You Da Shit Girl’ add another dimension to the album. Featuring a number of collaborators such as Chicago legend Mike Dunn, powerhouse vocalist Ramona Renea and fellow Brooklyn natives Cor.Ece and LATASHÁ, ‘No Shade’ is an evocative, powerful and joyful experience when played in its entirety.

Recorded in Brooklyn’s Bedford Stuyvesant, a neighbourhood bearing the scars of over-policing and encroaching gentrification, the vibrancy of the community and its unyielding history of creative expression shines through on the album’s entirety. As products of such environments, Dave + Sam’s music is resilient, revolutionary and organic in equal parts. An homage to their mutual reverence for early Chicago house and the golden era of underground parties in New York, ‘No Shade’ is a riveting body of work ready for you to lose yourself in.

Danny Krivit's fine re-edit of Gary's Gang classic "Let's Lovedance Tonight" first surfaced on Nervous Records back in 2007, and has been something of an in-demand item with disco DJs ever since. This, then, is a more than welcome reissue. The genius of Krivit's scalpel job is that it merely emphasizes the sections of the original that dancefloors want to hear; specifically, the acoustic guitar and organ-heavy groove, killer drum breaks and winding saxophone lines. It's simple but devilishly effective.

"Let’s Do It" by Convertion is another era defining soul-infused disco classic from the Sam Records catalogue. Danny Krivit similarly works his magic bringing out those elements that make the track – originally produced by Greg Carmichael and featuring the legendary Leroy Burgess on vocals – such a must-have item for all collectors.

Sam Goku's music showcases bonds of ambient, acic, house, techno and melodies. It's perfect for both club environments and home listening. The modern production style in combination with old-school elements/non-repetitive vocal sample work give Goku's music a unique, trippy twist that is topped off with Chinese percussive instrumentation.

Sam went into an almost psychotic state when making music. He wasn’t himself. He was immersed in the creativity to such an extent that it was almost like a psychotic trance. Here’s an example. He found all this giant kelp down at Western Port bay and he would bathe himself in it for weeks. He would replenish the water and put salt in the bath, but leave the kelp in there. I used to ask Julie, his partner and wife, “How’s everything going?” and she’d say, “Just go and have a look at the bath.” - Tony Rogers

Sam Mallet could have pursued a career as a French literature professor in Paris, but decided his true calling was to remain in Australia, dedicate himself to his music and find the plateau; a word he used to describe the sensory worlds residing in music. Under the influence of Eno, Jon Hassell, Arvo Pärt, John Coltrane and Robert Fripp, Sam explored a wide variety of musical styles and put them to service soundtracking the time based works of his peers. He crafted spatial ambience, somber jazz, and drum computer driven rockers for short films and experimental video works, television shows (including the original Australian Wilfred series), feature films and live theatre. The avant garde Anthill Theatre, known for its departure from conventional staging practices and having a keen eye for talent, enlisted Mallet to provide soundtracks for approximately 40 productions throughout the 1980s and early 1990s.

Sadly, Sam passed away in 2014. A crucial piece of his legacy is undoubtedly the body of work he produced during his life, and the archive of recorded works is vast and deep. Sam seemingly saved everything, from fragments to finished pieces; and often repurposed previously released tracks by collaging them into new pieces. He self released a small number of cassettes and CDs from the mid 1980s onward, the contents of which were culled from soundtrack work and original pieces, but the majority of his music was experienced only within the ephemeral live performances.

Wetlands is the product of countless hours spent with this archive by Rowan Mason (Sanpo Disco/Recurring Dream) and Tony Remple (Musique Plastique), offering a dynamic survey of Sam’s work, and housed in a jacket evoking the minimal design and colour palette of his earliest cassette releases. Two selections of Sam Mallet’s music were featured on the compilation Midday Moon (also produced by Rowan), released last year by Bedroom Suck Records. Along with Left Ear Records’ Antipodean Anomalies, Midday Moon has served to highlight outlier musics and scenes from Australia and New Zealand, and Wetlands plunges deeper into the catalog of this obscure yet groundbreaking artist.

New Critical

Sublunar Records, the label run by Sciahri and Dagdrom, starts 2019 with his tenth re- lease.

'Corpora' is a new trilogy project whose elements will see the light throughout the year.

Part I involves Nuel, known for his collaboration with Donato Dozzy on the Aquaplano project and author of for two genre defining album on Further Records.
His contribution 'Intarsia' is a polyrhythmic mixture of ascending synth spirals where every element is tuned for maximum clarity and impact.
Then Sam KDC, an integral part of ASC's cutting edge Auxiliary label and regular on Geoff Presha's Samurai and Samurai Horo, comes in with 'Skirmish', a ritualistic experience where a memorable melodic figure is surrounded by delicate drum patterns. On the B side co-founder Sciahri releases all the tension with 'Linfa', pushing his signature sound into heavy atmospheric disturbances where distorted grooves bounce among skittering bits of percussion.

Sometimes you produce a track with nothing but a dancefloor and a good sound system in mind. "Twelve Inch Jams" is offering you just that - strictly two A side tunes for the floor cut at 45 revolutions per minute. Jazz & Milk pays tribute to this classy release format with their new 12" vinyl series. Each record comes in a hand silk-screened printed and stamped sleeve!

The dreamteam of the highly successful first installment (JAMS001) teamed up again to share their love for raw and sample-based house music tunes produced on the MPC. Label artist Sam Irl and the man behind Jazz & Milk, Dusty never fail when it comes to layering colorful sample fragments and enriching them with raw beats and deep synthesizer chords.

"Broken Spell" starts off with a super moody atmosphere that slowly opens up until it reaches its energetic peak with bright synth stabs and a smooth bassline before colorful arpeggios are drifting the track into other spheres. "Love Prelude" has a rather dreamy vibe but its deep chord progressions and rough bass drums and claps create a truly unique contrast and a hypnotic atmosphere on top of it, while a later incoming bouncy bassline and dubby sample parts eventually pull you in cosmic dimensions!

Sam McQueen's 2004 EP Sephoria is next up to get the Delsin remaster, recut and reissue treatment. The Chicago native has released music as Indio with the likes of John Beltran and also appeared on the Indigo Area label. Across six cuts here -two of which have new titles- the little known producer mixes up. There is serene ambient landscaping on the 'Inception' and the beatless 'Graduated Frequencies', which resonates with exquisitely melancholic synths, then 'Simple Pleasure' is a celestial world of wiry synths and warm solar winds and 14 days has pillow drum programming and soft focus chords that sooth the soul. 'Yemia' is another symphony of chattery drum hits, meaningful chords and real astral techno beauty and 'Outer Drive' closes down the epic space voyage with delicate melodies and melancholic synths that encourage you to lay back and gaze into a starry night sky.

Known for a broad swath of genre-obliterating club tracks on crucial labels including Critical, Exit, and 50Weapons, Sam Binga approached us earlier this year with a radically different kind of project, a collaboration with Welfare, true junglist and label boss at D&B bastion Rua Sound. The result of their team-up is Conamara Fieldworks. Its unique inspiration and patient process are best described by the duo themselves:

"In early November 2016, we set off through the bleakness of an Irish November into the wilderness that is Conamara, County Galway, Ireland, with about half an idea of what we wanted to do. Our friend Laney had been kind enough to allow us the use of a 300 year old cottage overlooking the sea, itself belonging to her family through generations which she was bit by bit restoring to its former glory. The isolation was perfect - very little in the way of creature comforts, no network coverage, but plenty of turf for the stove and Guinness for the belly.

Our routine for the next few days consisted of trudging the length of the rugged coastline in search of interesting sounds we could potentially process into usable elements for some kind of dub/dub techno-inspired composition...This took us inside tidal caves and abandoned ruins, across sheep fields, up and down mountains and winding country lanes, in and out of the odd pub, under upturned boats and (carefully) across huge washes of seaweed-covered shoreline. Using our handheld recorder (shouts Danny Scrilla for the lend) we assembled a palette of varied noises, constantly battling with the peaking and distortion created by the incessant Atlantic gusts.

Each evening, following some intense huddling around the stove and vital Irish home cuisine and stout, we'd examine and dissect what we had collected that day, sometimes discovering the most interesting material firmly planted in the background of the soundscapes. A certain amount of (but not too much) processing later we had the bones of a few short loops of each sound which made some kind of musical sense when played alongside each other.

Binga suggested staying true to the craft and keeping the rawness to the foreground by attempting to develop the loops into full compositions via live desk mixing, arrangement and effects. We said our goodbyes to Conamara and a month or two later said our hellos to the Dubkasm shedio. Following a crash course from the dynamic duo, we set to work for the day, learning as we went along and enjoying to the full the unpredictability, intuition and sheer vibes a dubbing session can bring, particularly in a studio kitted out with some fine analogue gear which undoubtedly helped us to keep that damp, saturated feeling that Conamara had sown."

The resulting collection of music speaks for itself, and does so in its own language. It is meditative, deeply textural, and richly saturated, with awesome sound design, generous bass weight, and dubwise finesse. Referencing ambient, concrete, and dub techno while never letting any genre dictate its path, Conamara Fieldworks is a deeply rewarding and intensely involving listen. A restrained yet transporting remix from the one Ossia completes the set.

With its lush live string and horn section, Can't Stop Loving You when originally released in 1990 was an immediate favorite in the UK, and represented famed House Producer Marshall Jefferson's movement toward utilizing live instrumentation in his productions. The track was released right around the time the Kiss FM London launched as a legal radio station, and Richard was support talent at the radio station launch party in Hyde Park London that was headlined by fellow Chicagoans Ten City.

The track also represented one of the last releases on the relaunched Sam Records imprint, before Michael Weiss ceased releasing new titles on Sam and started Nervous Records.

Krystal Klear has shown a unique ability to recognize sonic elements trends from past eras, and re-shape them to work for today's club crowds. With his two versions, he has done a masterful job remixing this early 90's dance classic.

Zodiak Commune Records proudly presents the fourth release of the White Cyclus serie. We are also proud to spin off this release on our first sublabel called Zodiak Commune Records KORE. This sublabel contains the Acid(core) and Tekno related tracks.

We introduce you to the common player in the scene and founder of Dosis Decibel Records finest Sam. C. He is known for his typical sound of hybrid acid and breakbeats.

Other heavyweights are the members of BangBass and the talented Ling Ling. They know best how to take you on a true KORE-trip!

Sam. C - Ecto
Deep and atmospherical! From the founder of Disis Decibel Records.

Sam. C - Tekno Fear
Acidbreak! From the founder of Disis Decibel Records.

BangBass - Spaghetti Cowboy
You can hear right from the start you are dealing with Acid from BangBass!

BangBass vs Ling Ling - Bang Ling
Energy is building op to the maximum level Acid from the combined forces Italy and Austria.

The new Dosis... With one side of pure mental Nederland thinlaced sound acid.
And the flip... ahh... the Flip ! Brilliant psychedelic Acidcore Drum &bass masterpiece ! A rare style !

BIG UP !

The optimum effect of Music of the Five Elements will be achieved if each side of this recording is played through, from beginning to end without interruption. Music of the Five Elements, when used as a meditational or body work tool, rather than entertainment, will increase in effect over time. Overplaying or improper use, however, may eventually diminish its designed effect'
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Music is the healing force of the universe. It's an ancient idea bandied about by Pythagoras and Plato. In the last century, music as medication has been explored by musicians as diverse as Albert Ayler, Spacemen 3 and Pauline Oliveros. Nowhere did this concept gain more traction than in the so-called realm of New Age Music, an entire movement of synth droners and echoey flautists recording home-baked healing mantras on 4-track. In recent years, thanks to cassette collecting devotees and open-minded music journalists, New Age has shed its flowing robes and is being mined for the truly incredible music that swells under its pastel surface. Musician/acupressurist Sam McClellan's 1982 Music of the Five Elements is one of those revelatory discoveries, an unrivalled work of intense research and focus, simultaneously a near perfect work of art and a scientifically sound elixir for body and mind.

After studying electronic composition at Hampshire College with Randall McClellan (no relation), Sam McClellan became intrigued with the possibilities of healing through music. He explored this idea by applying the ancient Chinese philosophy of medicine to the principles of musical composition. Using the pentatonic scale (the traditional scale of Chinese music), McClellan related each of the notes to one of the five elements (Wood, Fire, Earth, Metal Water), and created five variations for each. He experimented with tempo, beat, pitch, duration, and sound quality, studying the effect on people's energy levels. Using the results of his tests he developed a comprehensive theory of sonic healing and spent the next year composing an album designed to help people achieve inner balance, reducing anxiety and energy depletion.

Music of the Five Elements is not only the acoustic massage' that McClellan set out to make, but is a fully realized and peerless piece of music. Taking cues from Minimalism, American Primitive guitar (Fahey & Basho) and even psychedelia, the album is a continuous sound voyage for voice, synthesizer, guitar, bowed bass, piano, effects and ciao (Chinese flute) all played by McClellan himself. Although divided into sections, the journey is best undertaken as a whole, without distraction.