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"AVALPBOX4", Limited Edition- 1.000 Copies' 28-Page Hardback-Book: 10" Vinyl, Hand signed Programme, Tour Poster & DVD.

By the time The Beatles travelled to Blackpool for the first time,
they had toured with the legendary American singer, songwriter, Roy Orbison; recorded several BBC radio shows, including Saturday Club, Easy Beat and Pop Go The Beatles; appeared on many, highly popular television programmes; released their debut album, Please Please Me and issued their first three EMI singles, ‘Love Me Do’, ‘Please Please Me’ and ‘From Me To You’.

Their fourth, ‘She Loves You’ had just been recorded and mixed ready for release. It was an exciting time for the band so, when they reached the popular, seaside resort for the first time, on 7th July 1963, optimism was filling the air. This stunning AVA Editions collectors pack contains a 10" Record feat. two appearances made by the Beatles on the ABC television show, Blackpool Night Out; an impressive 28-page book, crammed full of previously unseen colour images of the group and a high-quality reproduction of an original, 1963 concert programme signed by Skiffle legend, Chas McDevitt, who supported the Beatles on several occasions.

Also included is a full colour A3 poster and an exclusive DVD feat. a new, 30-minute interview with him, alongside his previously unseen, candid, colour footage of the group backstage, and in performance at the ABC Theatre in August 1963.

So too is a unique, fully colorized version of their 17-Mins. appearance before the cameras for Blackpool Night Out in August 1965. For Beatles and music fans alike, this pack serves as a wonderful opportunity to own a unique slice of music history.


*** Side A: Recording 19th of July, 1964
*** Side B: Recording 1st August, 1965

Nightports is based on a simple but unbreakable rule of restriction: only sounds produced by the featured musician can be used. Nothing else. These sounds can be transformed, distorted, translated, processed and reprocessed, stretched, cut, ordered and reordered without limitation.

Nightports is about amplifying the characteristics of the musician – celebrating what’s particular about them, finding sounds that nobody else can make, constructing a complex sonic weave that, however radical the transformations, still bears the watermarks of its origin.



“Within the depths of the drum takes, we found hidden melodies, chords, structures and bass lines which we distilled and exaggerated to realise this album,” Slater explains. “On the one hand, this album is fully improvised in that all drum performances were spontaneous, intuitive and responsive; however, they were then subjected to editing and manipulation to arrive at a sound that is neither purely improvised nor constructed.”



Nightports w/ Betamax will be released on CD, digital and limited edition vinyl LP. As with the prev-

ious album, the vinyl is packaged in an intricate die-cut sleeve, designed by Split.



Recorded in one day in February 2018 with The Comet Is Coming’s Betamax at Malcolm Catto’s Qu-

atermass Sound Lab studio.



The Comet Is Coming continue their stratospheric trajectory, this record follows 2019’s Trust In The Lifeforce of the Deep Mystery.

Phil Collins revisits a career that can boast over 100 million sales and numerous worldwide #1 albums. Both Sides will be remastered by Nick Davis, who earned a Grammy nomination for Best Surround Sound album for his work on the Genesis '1970-1975' box set. Davis has also worked on all of the Genesis retrospective reissues.

Entirely curated and compiled by Collins himself, his idea for this release is to examine how his songs have evolved over time, with the majority of the additional content throughout these releases focused on live versions of the tracks. By contrasting the original studio versions of the material with later performances, the series demonstrates how Collins' songs take on a life of their own once they're freed from the confines of the studio.

Originally released in December 1989, '...But Seriously' features many of Collins' biggest hits and was one of its era's biggest selling albums. In the UK, it spent a total of 15 weeks at #1 during an extended run of almost a year in the Top 10 en route to becoming the biggest selling album of 1990. The album campaign culminated with his fourth and fifth BRIT Awards for British Single ('Another Day in Paradise') and British Male.

The #1 Best Selling Track for 2019 in Electronica / Downtempo genre on Beatport, Namito - 'Stone Flower' sees a new vinyl release featuring a previously unreleased, and vinyl only, remix by Satori. It also serves as a teaser for Satori's upcoming full length album on Sol Selectas Records.

Iranian artist Namito, who has made quite a name for himself over the years in the Techno scene of Berlin, diverges from this tip for 'Stone Flower', putting a new twist on a Persian classic. Creating a hypnotic deep house groove, with ethereal uplifting lyrics, listeners and dancers alike are taken on a journey to a time when Persian culture was at its peak of creativity and freedom.

Namito heard this traditional song at a family gathering in Iran, sung by his 2 sisters Mojgan and Marjan, and was instantly moved by its beauty. He invited his sisters into the studio the very next day to record their vocals, and the result is 'Stone Flower', which pays homage to the Persian tradition, while embracing the modern edge of electronic music at the same time.

For this special vinyl only remix, Satori winds his way deeper down into the electronic abyss, with a reinterpretation that maintains the original Persian vocals, but also blends in elements of an old Afghan interpretation of the same classic song, creating a tougher, club-leaning version.

The artwork by Helia Jamali, also of Persian decent, takes us into the mystical world of ancient scared geometry and displays the beauty of her home country Iran.

Legendary Detroit Techno collective, Scan 7's 'Burdens Down' release from 2017 was a true testament to their brilliant ability to merge the soulful house textures with the analogue mechanics. The addition of Maurice Jackson's outstanding vocal stylings topped off the original with a perfect human element. Following the global success of the original version, Elypsia Records has enlisted some of the scene's top tastemakers to deliver a remix package worthy of the original, featuring that same calculated combination of soul and steel.

Leaders of the Parisian underground, DJ Deep & Roman Poncet, provide the first remix which is all about building incredible tension. A tightly squeezed kick drum, short synth chops and cleverly placed vocal samples drive the groove. As the track grows, additional hats and synths arrive, leading up to a quick break before all the floor-rocking energy bursts free. Big!

Dutch Techno legend Orlando Voorn steps up next for his first of two remixes, this one leaning towards a very House-centric shuffle with warm, friendly key stabs and the full use of Maurice's vocals. A truly joyful work of dance music magic here, with a relentless rhythmic drive keeping the party happening at full force.

Underground Resistance's very own Mark Flash takes the remix responsibilities for the B1 with his gorgeous synth-saturated rework of the original. An energetic and stomping kick drum powers perfectly alongside future-facing melodies which shine brightly on top of the tune. This one is guaranteed to serve as an earworm for days after the party has ended.

Rounding out the EP is the 2nd remix from Orlando Voorn, this time peering into the underground with a stripped back jackin' track utilizing a looped key melody on top of carefully placed vocal samples and claps. Some unexpected synths appear at the second half of the tune, putting a bit of new-age funk into the party stomper.

Following hot on the heels of his acclaimed 2nd album 'Solar Nights' German producer Tim Bernhardt, AKA Satin Jackets, returns to bring some much needed warmth to the winter with the release of the 'Golden Cage' EP.

Featuring three brand new instrumental tracks, the EP sees Bernhardt venture into more introspective territory, eschewing the more upfront pop direction of recent collaboration with Panama, 'Electric Blue', for something softer and more intimate.Â
Easing us into the EP, ''offee and Feels' is both classic Satin Jackets and aptly titled. A comforting blend of warm synth pads, gently unfolding arpeggios and plaintive guitar all wrapped in soft gauzy textures, 'Coffee and Feels' is just the thing to kickstart your day on a mellow autumnal morning.
'Meridian Gateway' meanwhile delivers the kind of optimistic yet wistful melodies that Bernhardt has time and time again shown himself to be a master of. Built around a series of poignant piano notes the track gently unfolds and reveals itself, shimmering like the first frost of the year catching the morning's rays.
Closing the EP we have 'Mercury Moments' which injects the susurration of distant voices into the mix of sparkling melodies, echoing chimes and finger clicking rhythms to stunning, emotive, effect.
Whilst 'Solar Nights' showcased Bernhardt's skill at crafting thoughtful left field pop music and coaxing the best out of lyricists and singers alike, the 'Golden Cage' EP reveals he's still a dab hand when it comes to crafting dreamlike nu-disco, as warming as a mug of gluhwein in midwinter.

Set for release on 17th April, Catching Flies presents 'Silver Linings Remixed', a remix album featuring versions of tracks from his debut album reimagined by DJ Seinfeld, Andhim, Soundbwoy Killah, Laurence Guy, Ron Basejam, Grandbrothers and more.

Support for 'Silver Linings Remixed' so far from Mixmag, DJ Mag, Crack Magazine, Pete Tong, Gilles Peterson, Mary Anne Hobbs, KCRW, Bonobo, Solomun, George Fitzgerald, Mall Grab, Hernan Cattaneo, Kolsch, Nick Warren & more.

George King began Catching Flies in late 2012, drawing inspiration from a wide-ranging palette of music including jazz, soul, hip-hop, house and electronica. His debut album 'Silver Linings' was released in July 2019 and was hailed as "a soundtrack to summertime" by The 405 and awarded Album of the Month by Future Music who described it as "a brilliantly eclectic record…a moving journey that will last long in the memory".

Clash Magazine praised the LP's "killer beats" and "artfully orchestrated introspection" whilst London In Stereo praised its "exceptional production". Other coverage for the album included
The Guardian, Complex, Dazed & Confused and Nowness, with radio support across BBC Radio 1, 6 Music, Worldwide FM and more. Artist support for 'Silver Linings' has come from the likes of Bonobo, Jungle (BBC Radio One Residency), Loyle Carner, George Fitzgerald and Lane 8.





a 1 Opals (Analogue Dear Remix) feat. Analogue Dear

c 3 Kite Hill Theme (Freddie Joachim Remix) [feat. Freddie Joachim]
[d] 4 Opals (Andhim Remix) [feat. Andhim]
[e] 5 New Gods (Ron Basejam Remix) [feat. Ron Basejam]
[f] 6 Satisfied (Soundbwoy Killah Remix) [feat. Soundbwoy Killah]
[g] 7 Silver Linings (DJ Seinfeld's Drum Dream Remix) [feat. DJ Seinfeld]
[h] 8 When The Sun Bursts (Grandbrothers Remix) [feat. Grandbrothers]
[i] 9 Z (Laurence Guy Remix) [feat. Laurence Guy]

Coastlines is the self-titled long player from the new Japanese production unit of DJ and producer Masanori Ikeda and solo artist, session musician and Cro-Magnon keyboard player Takumi Kaneko.

Masanori and Takumi have been part of the Japanese dance music scene for years and Coastlines was born out of their working together on soundtracks for video projects. The pair wanted to make laid-back listening music for now, laying Takumi’s playful keys over Masanori’s widescreen balearic jazz-fusion to conjure beautiful and breathtaking “coastlines”.

A couple of two-track 7"s put out in late 2018 and early 2019 on Japanese house music label Flower Records soon sold out. Those four tracks were expanded to a full album of music, “a joyous, relaxing, summery soundtrack for everyone’s after hours wind down” that was released just in time for summer. It soundtracked many a Be With BBQ in 2019.

The album opens in the horizontal with the sophisticated, cocktails-by-the-pool groove of “Sunset Reflection”. A lush, beatless wonder. Their re-imagining of Ralph MacDonald’s “East Dry River” removes all the original’s bells and whistles (quite literally) and re-gears it with a subtle balearic chug. The result is a percussive gem.

“Coastline” is a beach-jazz noodle. “Drifting Ice” is as chilled and glacial as its title would suggest, yet Masanori’s head-nod slo-mo house beats throb not far below the surface. “My Fire” is another soft killer, all swelling, swirling organ over muted kicks and snares. An elegant boom-bap.

A pair of insistent tunes of the deeply balearic variety raise the tempo, but not by too much of course. On “Woods And My Guitar” a half-heard vocal refrain breathes life into the synthetic xylophone and guitar. Deft piano-work turns “Half Moon Shadow” into lounge-house for the sophisticated beach bum. A classy duo.

The self-assured re-work of Azymuth’s “Last Summer In Rio” is arguably the album’s centrepiece. Ten minutes of casually propulsive slapped bass, steel pans and slick 80s soul beats. Cue the steel drum interlude of “Maracas Bay” before album closer “Down Town” transitions us one with a shuffling, string-hinted hit of ethereal, euphoric piano bliss. Gentle disco for the new decade.

As former Test Pressing scribe Dr. Rob observed on his ever-reliable Ban Ban Ton Ton blog, the Coastlines fusion is very much in conversation with their 80s counterparts, both at home and along the coastlines of different continents. So among the nods to revered Japanese artists like Hiroshi Sato, Sakamoto and Casiopea, there are also hints of Marcos Valle and Mtume, of the aforementioned Azymuth. “The production though is very much now, not then. Not retro, just proper”. We couldn’t put it better ourselves.

Coastlines was originally a CD release only available in Japan, with HMV putting out a super-limited vinyl version a few months later for Japanese Record Store Day. But this music is just too good, so when Be With was asked via Ken Hidaka to take care of a vinyl version for the rest of the world it wasn’t a tough decision.

Mastered by Simon Francis and cut by Pete Norman, just 500 copies of this double LP have been pressed by the good people at Record Industry.

After the successful first volume of their split collection, Lucretio
and Marieu a.k.a. The Analogue Cops come back on Memento with a
breathtaking four tracks E.P..
Lucretio delivers two cuts written and produced with the extraordinary
Kyma workstation: “Ghetto Stab” is an heavy DanceMania influenced
party banger while “Any Idea” is a deep techno journey into the realms of spectral manipulation.
Marieu brings in all the hardware horsepower romanticism with “Tab and Rub” and “The Restored Text”; the first being acid excursion into the memories of the earl From days, the second interpolating massive kick drums and saturated harmonics with frantic vocal samples.
A record not to be missed!

Supported by: Rhadoo, Ame (Kristian), Dj Ralf, Marco Faraone, Arnaud Le Texier, Ilario Alicante, The Wasp, Shlomi Aber, Richie Hawtin, Joseph Capriati, Maceo Plex, Marco Carola, Francesco Farfa..

In about 2003 I did some work for Deepfunk and Northern Soul Legend Keb Darge and as was the way back then I received payment in vinyl. Included in the pile was this little Detroit number which I instantly fell in love with.

In 1980 David Mcmurray and Adell Shavers and David McMurray, who went on to be a member of 80's hit band 'Was Not Was', wrote and produced this Amazing Detroit Modern/Boogie 45 which for some reason suffered the same fate of many of "AOTN" releases and disappeared from history. But thanks to the generation of collectors before me this gem sat safely in Northern collection such as Keb's for years waiting for its day in the sun. It only got limited play but recently the record has had a resurgence in popularity and value which it deserves.

After a tip off about Jason Stirland, from Soulstax Records, I found David McMurray and it was wonderful to find he was keen to help me bring this wonderful 45 back into the limelight. So here we are...

Unreleased album from 1981, a collaborative project by David Behrman, Paul DeMarinis, Fern Friedman, Terri Hanlon and Anne Klingensmith recorded at Mills College in 1981.

Previously known only to cognoscenti through an obscure self-released three-track 7”, this is the first publication of the complete album, an outrageous confection that mixes art-song and theatrical monologue with live electronics. Starting life as a performance art piece described by the artists as ‘Western Performance Noir’, the record centres on a series of texts written by Friedman and Hanlon in which female narrators comically embody a series of iconic roles (The Recording Artist, The Former Movie Star, and The Rancher). Other lyrical themes include recurring references to the notorious cannibal pioneers, the Donner Party, an ironic take on Japanophilia, and the luscious “Archetypal Unitized Seminar,” a satirical poke at self-help culture, whose lyrics are rendered in Indian raga style to the accompaniment of electronic glissandi and toy noisemakers. Delivered by Friedman, Hanlon, Klingensmith and special guest Maggi Payne in forms ranging from spoken monologue to Country & Western waltz, the texts are accompanied by instrumental and electronic contributions by Behrman and DeMarinis. Musically, She’s More Wild is truly unique, demonstrating these two pioneers of live-electronic performance adapting their signature processes to something approaching a ‘pop’ format: we hear the gliding, frequency-sensitive electronics familiar from Behrman’s classic On the Other Ocean and the mutant hacked Speak n’ Spell heard on DeMarinis’ Songs Without Throats propelled by drum machines and twisted into song forms. Perhaps comparable only to the David Rosenboom and Jacqueline Humbert’s contemporaneous Daytime Viewing in its interweaving of performance art tactics, high-tech electronics and pop sensibilities, She’s More Wild is an essential document, both immediately gratifying and ultimately thought provoking.

Ionisation is the first LP by Italian poet Adriano Spatola. Born in Yugoslavia in 1941, by the age of 23 he became a major force in the Italian avant-garde. “Towards Total Poetry,” Spatola’s critical study on the state of modern poetry, spells out his position: “to become a total medium, to escape all limitations to include theater, photography, music, painting, typography, cinematographic techniques, and every other aspect of culture, in a utopian ambition to return to origins.” Graphic poetry (cut-up zeroglyphs), volatile and beautiful prose (particularly his books The Porthole and Majakovskiiiiiiij), and of course sound poetry, represented here for the first time. Spatola was the editor of many underground publications: Baobab (a legendary audio-cassette magazine), Tam Tam, and Edition Geiger. Each of his pursuits spread the margins of the format, all done with a relentless, piercing curatorial eye.

Spatola has dark, drunken wit in spades. In his sound poems, an even more saturated persona is conjured. A desperate humor sneers through this LP, a humor that has surrendered to the severe joke of life long ago - lashing out on syllables and ingrown word games. Particularly, his classic “Aviation/Aviateur” (akin to his “Seduction/Seducteur,” & “Violacion/Violateur” etc.). Read by lesser performers, these pieces would falter and float by in the trough, though Spatola’s bull-like confidence tears through. “Poker Foundation” features the poet hysterically singing “the play of the words” over a classical radio piece, mocking and squawking against the string swells. Steve Lacy plays scissors, knife, and saxophone on “Hommage à Eric Satie,” a piece originally recorded for the luxurious Cramps LP boxset Futura. Collaborators Gian Paolo Roffi and Paul Vangelisti are also featured across the collection.

The LP concludes with the titular work “Ionisation,” recorded just days before his premature death in 1988. Feeling his sinking health, his belly in the quicksand, he prefaces the piece, “a funeral march for my body.” He proceeds to scrape and pound the microphone on his chest, face, and clothing. This thick pumping of Adriano’s torso rapping across the speakers abruptly stops after two minutes. A piercing moment.

I was born the day after Adriano died, which has some poetic meaning to me, naturally. I am indebted to him, his sickly sweet manner. The opportunity to publish these largely unknown sound works is an honor which brings a warmth to my torso. Much appreciation goes to Giovanni Fontana (poet and dear friend of Adriano), who helped produce this edition with me. “Every single word has been a tempest of gestures.“

Sean McCann, January 2020

It would be fair to say that Leng co-founder Paul “Mudd” Murphy is a born collaborator. Since first donning the Mudd alias at the dawn of the century, Murphy has released numerous collaborative albums and singles with regular collaborators Ben Smith (as Smith & Mudd) and Kevin Pollard (Mudd & Pollard), as well as playing a key role in “super-groups” Paqua and Bison. “Susta”, which marks his first single on Leng since 2009, sees Murphy add some new names to his growing list of collaborators. It was made in cahoots with singer/songwriter David Harks, a regular Satin Jackets collaborator who also appeared on Jack Cutter’s superb “Serpent Strut” cut on Murphy’s Claremont 56 label.

“Susta” is a bubbly, evocative and ear-pleasing chunk of mid-tempo nu-disco pop featuring lead vocals from Jaanika Leino AKA JaneLy – a former X-Factor Finland contestant whose sultry and evocative voice simply soars above Murphy and Harks’ sparkling, life-affirming instrumentation. Rich in twinkling synth solos, rich Clavinet lines, chugging arpeggio lines and eyes-closed piano, “Susta” is a strong song that will squat inside your head and stay there for days.

Our advice is to welcome it in – it’s as joyous and life-affirming a track as Leng has ever released. It’s accompanied by a predictably strong remix by British electronic music veteran Andrew Meecham (Bizarre Inc, Chicken Lips etc.), who dons the now familiar Emperor Machine alias to deliver a dub for the ages. Combining his own analogue and modular electronics with snippets of Leino’s vocal and some of the warmest instrumentation from Murphy and Harks’ original mix (think Clavinet and Rhodes for starters), Meecham offers up an epic slice of electronic dub disco that bubbles away for ten mesmerizing minutes. It’s a superb interpretation of a high quality cut.

Rejoicer is a Tel Aviv-based musician making cosmic jazz-tinged electronica. 'Rejoicer' has collaborated with Mndsgn, Georgia Anne Muldrow and Dudley Perkins, as well as being a member of the band Buttering Trio and running the Raw Tapes label.

Several tracks on ‘Spiritual Sleaze’ include vocals, with featured guests including iogi, KerenDun, Nitai Hershkovits, Jenny Penkin and Sam Wilkes. Key tracks from the album have had videos made by visual collaborator Jengo, who will also tour with Rejoicer to perform their live A/V show in 2020.

Rejoicer cites Sun Ra, Aphex Twin, Steve Reich, Dabrye, Eric Satie, Wu Tang Clan and Scientist among his musical inspirations. For fans of Kiefer, Mndsgn, Teebs, Flying Lotus, BADBADNOTGOOD, Thundercat, Shigeto.

Press - Reviews & features in 405, RA, Faze, Clash, Mojo, Electronic Sound, Stamp The Wax, Mixmag, Faze, Musikexpress, Jazz News, Tsugi. / Online - 6 Music, Worldwide FM, NTS, Radio Nova, ByteFM, EGO FM, Triple J, Double J.

Any botanist will extol the virtues of cross-pollination, and musical hybrids are a Growing Bin speciality. For the latest release Parisian outfit Maât splice jazz with Balearic, dub, house and Afro to create a free thinking LP dedicated to world fusion fore-runners Codona.

If Singu found calm amongst the chaos of Tokyo for ’Siku’ (GBR017), then Maât map out a Sunday stroll through the sun dappled streets of the Parisian banlieue on ’Solar Mantra’. Humming reeds converge into a pre-dawn chorus before dewy sequences and drifting syncopation signal sunrise over La Vilette, a perfect place to start ‘The Walk’. Skirting the Périphérique, the Parisian ensemble pick out a street percussionist by Boulevard d’Algérie then detour to Pré-Satint-Gervais to draw a bassline out of the Metro Area, adding an Environ cool to the uptempo ‘Jaki & Bryn’. With icy bells, brooding guitars and melancholic vocals, ‘Feuglace’ transports Miko’s garten to the 20th arrondissement while the polyrhythmic patter and micro-tuned guitars of ‘Solar Mantra’ see out the A-side with a fourth world hymn.

Chakras cleansed and ready for a B-side rebirth, Maât take us dancing through Père Lachaise via organic house bomb ‘Quetzal Pacino’, an emotive exploration of rhythmic mallets, dreamy pads and propulsive bass, which moves like the Innerzone Orchestra re-arranged by Jon Hassell. Rest comes with the soothing pianos and swelling sine waves of the pastoral ‘Clarière’, a hazy homage to the noon sun on a clearing. Circular motifs, limber grooves and dubby bass mean we’re on the move again, slipping into Montreuil with the echo-drenched scat and firm back beats of ‘Mount Beuvray’, before ‘Llomé Dub’ takes us home in time for a cool beer and much needed smoke on the balcony. Acoustic guitar, lilting piano and a gorgeous female vocal ride the punchy bass and clattering drums to perfection, keeping us company until the day fades into a contented haze.

Patrick Ryder

+ Bonus 7" 400 ltd!

Christina Aguilera, Donny Hathaway, and Gregory Porter. If you are curious to learn how these three names are connected with Movements Vol.10 then all you got to do is to keep on reading.

Those of you who have been enjoying Tramp Records' Movements series from the very beginning know that this series is not just about funk. It actually covers a wide spectrum of genres: early Rhythm & Blues, Soul-Jazz, Latin-Soul, heavy James Brown-style Funk, and mid-70's pre-Disco. The track listing is, as on all previous volumes, selected in chronological order.

For this, our 10th jubilee album, we go back in time more than 60 years. The Frankie Greer Quartet opens the set with their beautiful composition "Spooky". Just as sweet is "Early in the Morning" by the Bill Beau Trio which was recorded in 1958. What Eunice Haze, Phylis Hendricks and the Eddie Buster Band have in common is the fact that each of them has recorded only one 45rpm single in their musical career.

Johnny Spinosa's "Come On" is a fierce Rhythm 'n Blues monster of the highest order. The same goes for The New Philadelphians. No one would question if "The Mustang" was announced as an unreleased Blue Note recording by Lou Donaldson from 1968. Cleveland Eaton, who became one of the most versatile and best jazz bassists in 1970s, started out with his band The Kats in the late 1960s. "Under the Covers" was arranged by none other than Donny Hathaway (of "The Ghetto" fame) with who he has worked closely together in his early days.

Probably one of the finest and most sought after versions of "Coming Home Baby" out there has been recorded by a german dude and bis band, Ronny Pellers Satin Sound. Another excellent cover version is delivered by The Lido which should leave any latin-jazz fan speechless. "El Mexicano" is an inconspicuous little groover while the next two tunes by Herb Crawford's Jazz Ensemble and The Runningboards are more in the soul-jazz vein. Listen to the dummer on "Louisville Assembly Plant" who goes nuts!

Canadian born, Berlin based producer Aquarian makes his full length album debutThe Snake That Eats Itselfon Bedouin Records.
This record follows his collaborative EPs with Deapmash as 'AQXDM" and is his first solo release since his 2016 experimental mixtape for Quiet Time. Nearly five years in the making, 'The Snake That Eats Itself' is Aquarian's most complex, diverse and emotive work to date, plunging his trademark UK sound-system/techno hybrids into a self-contained, cinematic universe streaked with heavy influences from industrial, IDM, drone and dark pop music.

It's written in Brooklyn, New York, in a deeply transitional, yet seemingly endless period preceding his relocation to Berlin, the title of the album refers to the Ouroboros, a mythological serpent symbolizing the cycle of birth and death and infinity itself.
'The Snake That Eats Itself' pits Aquarian's most abrasive and brutal moments next to his most wistful and introspective.

Viscerally thick layers of tape saturation envelop the album as sludgy synths ooze against brittle atmospheres; breakbeats fragment, explode and disintegrate into swarms of delay and noise; scorched, metallic percussion - sampled from a year-long demolition and construction project next to his apartment - forge the rhythmic backbone of the album. These elements, however, seamlessly make way to startlingly crystalline and shimmering ambient passages, offering a sense of reprieve and balance.

Dr Rubberfunk might not be medically trained, but he does know a thing or two about treating your ears, as he returns with his fourth album 'My Life at 45'. The eagle eyed will have spotted the connection to the good Doctor's second album – 'My Life at 33' - and fans can do their own maths as to when they should expect the final RPM-punning release in the trilogy.

Having established himself in funk, soul, blues and jazz circles with a ton of high calibre releases, the good doctor holds a reputation for quality productions, with a hands-on approach, both in front of, and behind the mixing desk, as an accomplished multi-instrumentalist and producer.

The new album brings together stunning vocals from John Turrell, Izo FitzRoy and Stephanie Whitelock, whilst the instrumental tracks, showcasing the talents of long-time collaborators Jim Oliver, Jonathon James and Ben Castle, make it clear just what a crack production outfit the Doctor has put together. Got a lovely quote from Fatboy Slim: "Very soulful. Doesn't sound too retro. Just fabulous...."

UK Radio support has come in from BBC Radio 2 and 6 Music from Craig Charles (Spot play Trunk of Funk feature), Huey Morgan, Rylan and Paddy O'Connell. US Radio on KCRW from Jose Galvan, Karene Daniel and Garth Trinidad.

WW Specialist plays have come in on WWFM, JazzFM, Radio Krimi, Solar Radio, Radio 1 Prague, WMPG, Milk n Chocolate, Rai 1 Italy, KaneFM, Cannibal Radio, Radio Z Nurenburg and Radio Nova Portugal

Press: Bandcamp: New & Notable, 45Live, Sphere Of Hip Hop, Word Is Bond, The Dutch Guy, Last Day Deaf, Monkeyboxing, Flea Market Funk, Staccatofy, The Find Mag.

DJ support from Fatboy Slim, Laurent Garnier, Dj Yoda, Renegades of Jazz, DJ Andy Smith, Auntie Flo, Doc Scott, Smoove, Chicken Brothers, Crazy P, Satin Jackets, Marc Hype, Mr Benn, Mat The Alien, Basement Freaks, Renegades Of Jazz, The Allergies, Hint,

When Elena Colombi launched the Osàre! Editions label in the autumn of 2019, she explained that the label would become home to bold, daring, future-facing music rooted in experimentation and free-spirited musical abandon. These are all descriptions that could apply to the label’s latest release, a retrospective album of little-known works by Greek musician and producer Thanasis Zlatanos.

Many will not have heard of Zlatanos, or Nekropolis, the band he fronted alongside dear friend and regular collaborator Trygve Mathiesen, yet the music he made during the 1980s was otherworldly, intergalactic and undoubtedly alluring. These songs and instrumentals made extensive use of analogue synthesizers and lo-fi drum machines, as well as Zlatanos’s trusted Gibson Les Paul guitar and his own distinctive voice.

Stylistically, the musician and producer refused to settle on a specific sound, preferring instead to create inspired, often mind-altering pieces that join the dots between wave music, skewed leftfield pop, ambient, prototype electronic and Madedonian folk music. Operating for much of the period from a crumbling house earmarked for demolition, Zlatanos kept up a daily music-making vigil that resulted in a vast vault of music, most of which has remained unissued since the 1980s.

The breadth of and width of Zlatanos’s distinctive approach is laid bare on Retrospective, a compilation album prepared by Colombi and the artist himself that draws on tracks from his numerous albums, those by Nekropolis – whose sophomore set “The New Europeans” was banned in Norway – and his epic archive of previously unheard material.

The artist’s singular but wide-ranging musical vision is free for all to see across the 13 tracks stretched across the vinyl version of the album (digital buyers also get a further four superb cuts). It veers attractively from the ghostly, traditional-meets-futuristic new age electronica of “The Crystal Sight (Excerpt)” and the doom-laden coldwave throb of “Master Chameleon”, to the undulating, soft-touch creepiness of “Surreal Moment”, the Vocoder-laden operatic poignancy of “The New Barbarians” and the squally guitar solos and effects-laden electronics of “The Light”.

Words from the artist___:
"I live in the Internet. Visits from outer space make me compose. I breathe here. I am the master chameleon, the psychedelic clown. I am not here anymore, neither in the picture, nor the reflection. Our bed is a boat that takes us tomorrow without us.

Here is an album of dreams and digital emotions. Analogue recordings made with a Prophet, a Moog Rogue, a tape recorder and a Gibson Les Paul guitar.

As far as I can remember I have always been in a recording studio. I listen to, understand and live my life through songs and music. I have worked alone and with friends such as Trygve Mathiesen. Although I am a guitarist, I continue to work with synthesizers on music that blends elements of Macedonian folk music, recordings from the streets and embryonic electronic sounds.

Some of my albums have been critically acclaimed, others banned by radio stations. For years I worked on endless recording sessions in a crumbling house that should have been torn down. The music on this retrospective compilation was recorded at various points between 1982 and the present day. Some of the compositions first appeared on previous albums, while others have never been released before. They were sat on tapes waiting for a saviour. Now that saviour has arrived and they can be free.

For further proof of Zlatanos’s unique sonic approach, check the startling contrast between the bass-laden slacker pop headiness of “No Expectations” and the spacey ambience of “The Dead Don’t Remember”. Considered together, the selected pieces and those elsewhere on Retrospective forms a snapshot of a genuinely unique and visionary musician, composer and producer. It’s a celebration of someone whose work has previously been overlooked."