Cerca:scott k

Hell Yeah call upon their merry crew of grown up groove makers to revisit key tracks from Quiroga's widely acclaimed Passages album, with Whodamanny, Jazz N Palms, A Vision of Panorama and My Friend Dario all stepping up.

The original album was noted as Piccadilly Records' Best Balearic Album of 2019 and a year on is still providing solace for us in these strange times. First to add his own spin to it is Periodica associate Whodamanny from Naples, whose magical take on 'Martinica Feelings' made it onto the excellent recent Buena Onda compilation, which is out now. It is a big hearted vocal reinterpretation filled with stomping kicks and twisted synths that bring the funk next to withering sci-fi effects and happy piano chords.

Then, up steps man of the moment Jazz N Palms, a resident at the cult Ibiza venue Pikes and regular at London's Ronnie Scotts. He has recently started his own self titled label and here offers a mad Latin jazz take on 'Africa Addio' that brims with energy and sunshines. The busy percussion will make you move your ass and the whole thing has a sexy 70s vibe.

Saint Petersbourg's very own balearic legend A Vision of Panorama is hailed as the king of the modern balearic sound thanks to EPs on labels like Omena. He takes care of 'The Zoist' with sentimental melodies and sunset grooves to die for. His arching pads speak to the soul and melt the heart.

Last of all, Hell Yeah's very own discovery My Friend Dario (who soon has an EP coming on NuNorthern Soul, recently remixed Calm and Gallo) tackles 'Chiaia Sunset'. The result is a laidback and cathartic track that slowly unfolds on tumbling drums and wooden hits as synths leave vapour trails high up in the clear blue sky above.

These are four more high class remixes that will keep the summer vibes alive long into Autumn.

There is definitely something "afro" inspired about this latest EP from Puma & The Dolphin, certainly in comparison to pretty much everything else I've ever heard from him, which includes a great EP on Canadian imprint Chambre Noir and some stellar inclusions on every one of Dj soFa's highly respected "Elsewhere" compilations.

I'm told that while immersed in domestic life during lockdown in Sofia, Bulgaria, the music evolved to take in what was happening at home and saw the inclusion of toy instruments, his own drum playing, the voices of his children playing and even the family parrots whistling and squawking in the background. These random ambient insertions when seen in the context of the hypnotic and percussive rhythms and timbres throughout are oddly reminiscent of the late, great Francis Bebey who, although culturally and physically a million miles removed, was also known for recording much of his work at home and who also featured the voices of his children playing.

In fact, it is as much the music's playfulness and simplicity that give the pieces their distinctive character, at times echoing the repetition and mesmerism of Raymond Scott's "Soothing Sounds For Baby" series. Yet, childrens' music this is not. There is a mysticism and depth on one hand and a willingness to experiment on the other that reminds me of pioneering experimentalist K. Leimer's early Eno-inspired tape outings as well (see "Supermarket" for example).

I asked Puma & The Dolphin's Nikko Names if he could share the story behind how these six tracks came together. He had this to say:

"This collection of pieces were created during a monotone period of my life which I have overlaid with colour: a time in which I surrender to the beauty of home life - watching my kids play, feeding the birds - entwining these sounds of my surroundings amongst the rhythmic layers of these pieces. Playing the drums to remind us of the next circle dance for four. There is something mystic to travel only in your head; a shamanic trip inside the body with no concepts and answers."


"Good stuff ... digging Am Am Am and Supermarket in particular" JD Twitch Optimo Music / Blackest Ever Black / Strut / On-U Sound

"Cool stuff" DJ SoFa Pingipung / Emotional Response / Kalahari Oyster Cult

MD Records, a small independent label started in 2018, are pleased to present the debut single from “Lost in Rio” on the new MD Gold series imprint.
Their debut single which will be out in August, ‘Little Piece of Heaven’ is a festival summer feel good slice of Latin pop featuring energetic musicianship and the vocals talents of Highland based Miss T.It is also something the guys are, rightly, very proud of.
The vinyl release of this single is presented as a double A side as both sides are phenomenal, with the remix bringing a NYC disco mix, designed purely for dancefloors with thumping bass, chic style guitars and soaring strings, think Studio 54 and the heady crossover soul of Philly meeting the early disco of New York.
Early plays by several funk and soul radio stations (Totally Wired Radio and FACE radio) has attracted interest from DJs keen to feedback with so many positive vibes and offers to collaborate on future songs.
Who Are Lost In Rio:
The band herald from the Highlands of Scotland. Inverness provides the base for a collection of musicians that have made their home here, whether they originated from Manchester, Melbourne, Malaysia or indeed the Highlands! The band has taken the funk and soul sound from their former incarnation, The Leonard Jones Potential (LJP) who were BBC6 Craig Charles Funk & Soul Show favourites with whom they undertook several live interviews on the show with Craig and also a popular live session as well as a number of joint live dates at Kendal Calling Festival, Inverness and Aberdeen. The guys were also asked to undertake some prestigious live work with world renowned DJ Carl Cox, on the bill at his personal request and alongside other acts such as Brand New Heavies, Danny Rampling, Gilles Peterson and of course, Carl himself.
The songwriting team behind all this - Anthony, Andy, Neil and Ruairi quickly set up Lost in Rio upon the demise of The LJP and began collaborating with a number of singers and a rapper (MC Butterscotch). They developed their sound into a smaller, tighter, groove based soul vibe.
From 2017 the grouped honed their sound with a number of live appearances across the Highlands including festivals and supporting acts such as Smoove and Turrell. Utilising guitars, bass, drums, Hammond and percussion, the guys set about leaning on key influences - Acid Jazz Corduroy and Brand New Heavies, dynamite disco guys Chic, Northern Soul, rare soul and a whole plethora of funky hip hop acts - The Allergies, The Herbaliser and Tribe called Quest to write a lot of new tunes. Latin influence comes to the fore in much of the groups new sound, particularly highlighting the impressive skills of Aussie percussionist Andy Pearce.
Live, the band have a good reputation and have been much sought after by promoters. Audiences have loved the tight rhythmic groove that these guys produce, meaning gigs are full of dancing and long encores. Recently the guys have been concentrating on driving up the already high standard of songwriting and production. This hard working band has plenty of material they are eager to share with those ears who are partial to quality funk, soul and pop and are looking for the right partners to work with and spread the message. Future releases will seek to exploit the wordsmith alacrity of MC Butterscotch who as well as Lost in Rio, also features as part of Scottish award winning hip hop act, Spring Break.
MD Records specialise in Unreleased soul and funk on its Yellow Series, contemporary soul and funk artists on the Gold Series, re-issue soul and funk on the Black Series and Missouri Soul and Blues via its Blue Lotus UK imprint.

Veteran NYC based Scottish electronic musician Drew McDowall's latest work is his loftiest, most liturgical, and least industrial outing to date —and potentially the apex of his recent discography.Named after an ancient Greek word for votive offering, Agalmaexudes a hooded, devotional aura, creaking and keeling under vast rafters of stone, stained glass, and shredded wires. It's a music of majesty and mystery but also modernity, McDowall's refined modular system shape-shifting strings, piano, pipe organ, and choral masses into disorienting synthetic mirages of the sacred. He cites the intersection of “joy, terror, and the elegiac” as a centering inspiration –or, phrased more bluntly, “that 'what the fuck is going on' feeling.”



As a career collaborator himself, with stints in Coil, Psychic TV, and countless other shorter-lived partnerships, it's telling that McDowall chose this project to gather such an impressive spectrum of peers. Italian synthesist Caterina Barbieri, American drone organist Kali Malone, prolific multi-instrumentalistRobert Aiki Aubrey Lowe, operatic Humanbeast vocalist Maralie Armstrong-Rial, Saudi producer MSYLMA, and warped futurist beat-makers Bashar Suleiman and Elvin Brandhi cameo across the album's 42 minutes, contouring McDowall's nuanced negative spaces with shudders, shadows, and shivering flickers of serenity. Each of them shines in their spotlight, elevating these elusive alchemical states into surreal revelations of texture and transcendence.



McDowall's original working title for the record is revealing: Ritual Music.He speaks of his creative practice in ceremonial terms, negating binaries by seeking the middle path to anuminousequilibrium that erases the distinction between the inner and outer worlds.These compositions feel similarly processional and intuitive, at the crossroads of holiness and hallucination, the sacred vertigo of yawning naves rising into untouchable night skies. It's a vision of industrial music as enigma and invocation, cryptic hymnals of shroudedbeautysummoned in catacombs and crumbling cathedrals.



Despite its depths, Agalmais also an album of immediacy and emotion. Celestial laments of and for times of unrest and suffering. McDowall characterizes his initial intention for this music as an to attempt to convey experiences he felt incapable of putting into words: “To try and approach sublimity, or at least acknowledge it in some way.”Agalmamore than acknowledges the ineffable –it embodies it.

The planets align this October as the mighty Sun Ra Arkestra, under the direction of the maestro Marshall Allen, release their first studio album in over twenty years, 'Swirling'. Recorded at Rittenhouse Soundworks in Philadelphia, the new recording represents the continuation of a heartfelt rebirth of the Arkestra under Allen's guidance since Sun Ra left the planet in 1993, gaining new generations of followers from their regular touring across the globe. With a big band line-up featuring long-standing Arkestra members including Danny Ray Thompson (RIP), Michael Ray, Vincent Chancey, Knoel Scott, Cecil Brooks, Atakatune (RIP), Elson Nascimento and Tyler Mitchell, the album is a full-blooded celebration of Sun Ra's legacy. Tracks include brand new arrangements of Arkestra staples 'Angels And Demons At Play', 'Satellites Are Spinning', 'Door Of The Cosmos' and 'Rocket No. 9' alongside lesser known gems; the rousing blues 'Darkness' is recorded here for the first time, resurrected from the Ra archives by Marshall Allen. Other highlights include an epic version of 'Seductive Fantasy' (first recorded on Ra's 'On Jupiter' LP in 1979), the freeform sonic blast of 'Infinity / I'll Wait For You' and a first ever recording of the Marshall Allen swing composition, 'Swirling'. "We truly hope that this recording brings much joy to a planet which is so deeply in need of a spirit sound and vibration," states saxophonist Knoel Scott. "We hope it contributes to a change in the ominous direction of man's journey through the cosmos." "This new release is the Arkestra's love offering to the world," concludes Marshall Allen. "Beta music for a better world."

LTD GOLD COLOURED

The planets align this October as the mighty Sun Ra Arkestra, under the direction of the maestro Marshall Allen, release their first studio album in over twenty years, 'Swirling'. Recorded at Rittenhouse Soundworks in Philadelphia, the new recording represents the continuation of a heartfelt rebirth of the Arkestra under Allen's guidance since Sun Ra left the planet in 1993, gaining new generations of followers from their regular touring across the globe. With a big band line-up featuring long-standing Arkestra members including Danny Ray Thompson (RIP), Michael Ray, Vincent Chancey, Knoel Scott, Cecil Brooks, Atakatune (RIP), Elson Nascimento and Tyler Mitchell, the album is a full-blooded celebration of Sun Ra's legacy. Tracks include brand new arrangements of Arkestra staples 'Angels And Demons At Play', 'Satellites Are Spinning', 'Door Of The Cosmos' and 'Rocket No. 9' alongside lesser known gems; the rousing blues 'Darkness' is recorded here for the first time, resurrected from the Ra archives by Marshall Allen. Other highlights include an epic version of 'Seductive Fantasy' (first recorded on Ra's 'On Jupiter' LP in 1979), the freeform sonic blast of 'Infinity / I'll Wait For You' and a first ever recording of the Marshall Allen swing composition, 'Swirling'. "We truly hope that this recording brings much joy to a planet which is so deeply in need of a spirit sound and vibration," states saxophonist Knoel Scott. "We hope it contributes to a change in the ominous direction of man's journey through the cosmos." "This new release is the Arkestra's love offering to the world," concludes Marshall Allen. "Beta music for a better world."

Following up on their debut LP Kick Drunk Love for Marcel Vogel’s Intimate Friends imprint a few years back, we are proud to present the next installment in the sporadic KAMM legacy: Cookie Policies.

Far more sonically rich and musically adventurous than its predecessor, Cookie Policies sees the band make bold strides into new territories where classically hardwired categories such as jazz, indie rock, and electronica melt into one another with immaculate, timeless ease.

The band members’ positions are more clear cut as well this round, with Marc David Barrite (aka Dave Aju, who also did one of his coveted mix engineering jobs on the LP) on prominent lead vocals in many of the pieces, Alland Byallo on trumpet, Kenneth Scott on synth bass, and Marc Smith adding guitar sections while the others shared the arranging and programming duties. This makes for a deeper continuation of the otherworldly combination of their known individual production styles, as well as a musical whole truly greater than the sum of its parts.

The set starts off with “Bird Call”, whose opening ode to Morricone ok corral-meets-samurai showdown riffs flow into a loose and drifting psychedelic boom bap blip, building until a glorious change-up of key and energy brings the track to its peak and deconstructed back down. “Rachel, the Largest Bullfrog” then takes things in a sweeter, slightly more traditionally-structured direction where dusty indie-folk ballad vibes intersect with an array of twisted cosmic tones, bits of computer keyboard percussion, and deep rolling sub bass. “Buckle Down” then moves things back away from acoustic restraints into a beautiful synth-laden musing on potential regret, with an ultra-potent horn section from Byallo vs a nasty stacked Roland SH-101 finish.

“CCBPGC” cools things off for a few minutes with an ambient field recording slice-and-dice motif, which slowly but surely evolves into a slinking jazz noir groove from another dimension. The more traditional song structures return on the lovely “La Luna”, where Barrite’s pen and soulful voice take to nautical longing themes over apropos waves of sonic textures. The ebb and flow of the verse/chorus sections eventually rise and give way to an absolutely gorgeous denouement. “Shleem” then takes us into pure unadulterated soaring sci-fi soundtrack ambient blast-off bliss, while the epic closing track “The Soft Glow of Electric Sex” gives a hearty nod to early masters of sprawling psychedelic jam sessions, from Pink Floyd and Can to In A Silent Way-era Miles and Liquid Liquid, while bringing it clearly into futurist millennia. The gradual evolution of the piece into its grand finale is the stuff we true music-lovers live and die for. We hope you enjoy the ride as much as we do.

Der Wunsch nach Veränderung regt sich aus dem Inneren. Entweder man hört ihm zu - oder nicht. Aluna hat sich entschieden, zuzuhören. Nach dem vielfachen Lob der Kritiker als eine Hälfte des MultiplatinDuos AlunaGeorge etablierte die Grammy-ausgezeichnete Sängerin, Songwriterin und Produzentin auf ihrem Solo-Debütalbum ”Renaissance” ihren unbestreitbar charakteristischen und unberechenbaren Sound. ”Ich bin eine schwarze Frau, aber ich bin auch eine multikulturelle Frau, und ich habe an vielen verschiedenen
Orten gelebt und Erfahrungen gesammelt, und so dachte ich mir, das ist es, was ich mitbringen werde”, so Aluna. ”Renaissance” stellt den Höhepunkt ihrer Reise als ”schwarzes Mädchen aus einem damals ganz weißen, britischen Vorort” dar, zum Beginn einer regelwidrigen Revolution bei der sich festgefahrene Grenzen zwischen Kultur, Rasse, Geschlecht und Genre auflösen. Aluna war an jedem Aspekt des Albumprozesses beteiligt - vom Verfassen der Texte über Gesang, Schlagzeug- , Keyboard- und Gitarrenspiel bis hin zur Koproduktion von ”Renaissance” zusammen mit Singer/Songwriter Lido. Zusätzlich enthält das Album Feature-Beiträge von Princess Nokia, Jada Kingdom, SG Lewis, KAYTRANADA, Scott Storch, GRADES, Mr. Carmack und Rema. Mit über 2 Milliarden generierten Streams weltweit gehört Aluna zu den erfolgreichsten Künstlerinnen des
Dance & Electronic Genres. Zudem arbeitete sie kürzlich mit Größen wie DJ Snake, Disclosure, Flume, Jungle, Popcaan, oder Cautious Clay zusammen.

From 1963 to 2014: "Peace Chant - raw deep and spiritual jazz" exhibits 51 years of music. A well matched anthology with sounds to dive into, hard rhythms to dance to and vocals to meditate on.

The Tramp Records crew has compiled 9 tracks in nice order and dramaturgy. Some tunes you might have never heard before unless you own one of the rare original vintage vinyl records. Peace Chant is released on two separate LPs with own catalogue numbers and on one CD. Some songs I can't get out of my mind:

The previously unreleased "Don't Give Up Your Smile Today" is opening the compilation. It's from Das Goldene Zeitalter, a band that didn't survive - but whose members had a huge influence on German jazz, soul, afrobeat and funk within the last years merging into groups like The Poets of Rhythm, The Whitefiled Bros., and The Malcouns. Boris Geiger aka. Bo Baral sings a Pharoah Sanders like tune, his voice deeply resonating, the rhythm section heavily grooving.

After the first three woolly recorded tracks Walt Bolen's "Peace Chant" with its dry and funky sounds with flute, two guitars and percussion is quite a pleasure to listen to. Organ and voice are Bolen's who used to play the keys in San Fernando Valley church when he was a child. "Peace Chant" was recorded for his own Ar-Que label in 1972 and is one of the few cuts with him as a leader. He has played sessions and clubs for years and today he is sitting at the church organ again.

This publication's oldest recording dates back to 1963: "Mozambique" by Luna Brothers Trio, a Caribbean and hypnotic instrumental. For my jazz trained ears it is rather unusual that the güiro (the gherkin played with a stick) is being played throughout the entire song. Heavily laid back cowbell, concas and timbales and the slightly detuned piano are wonderful! "Mozambique" sounds like from another star but its origin is Los Angeles, where the brothers Fred and Ricardo Luna had their night club band. You could imagine a bast skirt strip and at the same time the great Raumpatrouille (Space Patrol) landing on German B&W TV screens in 1966.

Hozan Yamamoto recorded crime jazz with the Japanese bamboo flute shakuhachi. He belonged to Tony Scotts "Music for Zen Meditation" in 1964, played with Ravi Shankar, avant-garde jazz bassist Gary Peacock and appeared at Donaueschingen Festival for contemporary music. Tokio university's open minded lecturer recorded the funky and modal "Spotlight on Sapporo" in 1972.

The 7” is arguably one of the 20th century’s greatest art forms (I’m prepared to argue it anyway). What should have been a disposable format, either as the herald for the altogether more serious LP or the truncated version of the extended 12”, ended up a the perfect expression of modern music - tightened up, fat free and to the point.
At some point during a DJ career that’s lasted pretty much the entirety of his adult life, Boca 45 (aka Bristolian Scott Hendy) eschewed all other formats to choose the 7” as his weapon of choice. Embracing and celebrating the limitations of the format (both in terms of record length and the type of music showcased on discs of that size), Hendy set out on a truly singular path for soundtracking parties the world over. In 2015 Banksy personally requested him to DJ with his 45s at the opening night at his Dismal Land Show, now, in his forty fifth year on Planet Earth, he’s made an album that reflects a life well spent flipping through the racks the world over.

On this album he has collaborated with lots of the people that he has previously worked with over the past 20 plus years recording music.

Vocal collaborations come courtesy of Louis Baker (Soul On Top / Move A Mountain) Emskee (Energy Boost / The Roxy) Sergio Pizzorno from Kasabian (White, Blue & Red) & Gee Ealey who i worked with on Malachai (Lonely)

Released via Cactus Jack/Epic/RCA UK. Travis Scott brings us the self titled debut pack from his Cactus Jack label/creative collective. Originally released digitally in December 2019, the project includes the remix to the Billboard Hot 100 #1 Smash “Highest In The Room” as well as features from Cactus Jack label mates and guest artists including Sheck Wes, Don Toliver, Chase B, Rosalia, Pop Smoke and Quavo. Specialist promo/marketing activity.

Grammy/Acadamy award winning producer/songwriter releases his debut album on Columbia Records. A 15 track album available on double vinyl and standard CD. Includes the brilliant new single "Space Inc" which has been 'Tune Of The Week' on Radio 1. Additional radio support across R2, Radio X, 1Xtra, 6Music, ILR network. Collaborators include Ishmael, Jay Electronica, Ty Dolla $ign, Vince Staples, Lianne La Havas, Kool Keith, Dave Bailey (Glass Animals). Renowned hip hop producer Mike Dean (Kanye West, Travis Scott, Nas, Jay Z) helpsd with mixing/mastering. Ads, features, interviews and reviews across all press. Online/social media activity. Poster campaign.

Nimbus Sextet are a major new talent on the UK jazz scene. Led by pianist/keyboardist Joe Nichols, the Glaswegian contemporary jazz outfit play infectiously original music that spans the musical spectrum. Nimbus Sextet’s fresh take on jazz blends instantly relatable melodic hooks with driving grooves, sophisticated musicianship and episodic compositions.
The core of the Nimbus Sextet sound comes courtesy of Joe with long-time collaborators Alex Palmer and Mischa Stevens. The trio met while studying at Edinburgh University and have continued to perform together ever since. Nimbus Sextet was fully formed in 2018 with the addition of Martin Fell and Euan Allardice joining the line-up with James Mackay arriving later.
It was around this point the band started to compose and record the first shoots of what would become Nimbus Sextet’s blend. A decidedly wellbalanced alchemy, arrived at somewhat naturally
by way of the varied musical influences and contributions from each of its culturally diverse members. You’re as likely to hear elements of
Herbie Hancock and Gil Scott-Heron as easily as The Roots and Robert Glasper.

"Minor Planets completes a trilogy of cosmically themed electro-acoustic albums by UK and Berlin based trio Twinkle3, 15 years in the making. This third installment is once again all about the unique synergies the group discover in combining free group improvisation with studio and musique-concrete techniques. The group's combined love of everything from Lee Perry to Noh Theatre via Karlheinz Stockhausen and King Sunny Ade lead them to respond musically to create a single universe where they all coexist and interact. Aleatoric analogue sequencing, chamber-like acoustic improvisation and dub treatments become distilled into a distinct and emotive narrative that takes us on an exhilarating hyperspace cruise to the outer reaches.

Clive Bell is a virtuoso of the Shakuhachi. His aesthetic takes us on a timbral journey between noise and pitch, expressed and phrased rhythmically by the contour of human breath. This creates a perfect context and focus for a music that moves seamlessly between rhythm, suspension, time modulated analogue states, dissonance and melody. Richard Scott and David Ross share a background in acoustic free improvisation and have pioneered new approaches to rhythm using self-designed analogue systems. On Minor Planets these seemingly paradoxical orthodoxies cross-pollinate in a spirit of wonder and optimism to produce original and experimental music that is both life affirming and uplifting.

Album artwork by Benjmain Kilchhofer captures the feeling of peering through the vacuum of space and catching a rare glimpse of the mysterious alien biomes, fossils, and silhouettes cast by dwarf planets, asteroids, Kuiper belt, and other trans-Neptunian objects."

Hotspring presents the LP ‘Obit For Sunshade’ on Mood Hut Records.

Obit For Sunshade is digital technology half buried in the soil, transparent emotion in the intertidal zone; ferns growing by night out of a 4x4 flatbed. Brought to you by Scott Gailey.

The Detroit assault continues with the second release in the WPH U.S. Series coming courtesy of Brian Kage. Brian has been an integral part of the fabric of Detroit’s house & techno scene for as long as you can remember and has released many timeless grooves on his own Michigander label and many other outlets, including the brilliant ‘Shut Your Eyes’ on the Omar S-run FXHE label.

Opener ‘Werkit’ sets the bar high with a chugging groove, mind-melting strings and piano chords, all produced to perfection. The challenge is met by the two remixes. Detroit’s Patrice Scott goes on his classic deeper tangent that never fails to deliver and WPH boss Red D fires up an electro banger reminiscent of 313 staple Aux 88. Brian rounds things off himself in style with ‘Groove La Tape Deck’, a serious slice of hypnotic house music that will make you nod more than just your head. Timeless stuff once again from the WPH camp!

GROUNDSWELLS’ is the third chapter in Wren’s seasonal lore exploration, and their first through Gizeh Records. These six melancholy-shrouded sonic ruminations swell between intimate performances devoid of adornment, and evolving soundscapes of auditory ruin. Tracing an elemental arch, 'GROUNDSWELLS' captures Wren delving into earthen awakenings.

Launching into a monochromatic dirge, ‘Chromed’ announces the LPs stylistic intentions, forgoing the trappings of traditional harmony with deliberate pendulums of pitch and tone. Swarms of percussion drag the track to its conclusion in a collage of insidious feedback, with oscillations sculpted by the record’s producer, Scott Evans of Kowloon Walled City.

Elsewhere, swift variance is displayed in Wrens’ deft handling of genre and form, refusing to be solely one of either. The record courses between rigid post-punk, broad waves of dreaded sludge, and austere choral reverberations. Pulsating Krautrock themes present in their previous work are revisited, with a focus on embracing archetypal motorik technique, as the LP stretches compositions to their furthest tensions through profuse repetition, straining the cracks between.

Inviting physical, elemental surrounds into ‘Subterranean Messiah’, Wren allow space for the sudden cloudburst of Middle Farm Studios in the introductory passage via location recording, embracing the interplay between source and locality. Combined with the painterly fretwork and ghostly chants of Fvnerals, the collaboration seeks an emotive new path of melodic vulnerability. In contrast, the closing elegy is layered with disharmonious cycles of agonised cello from Jo Quail. As with other conclusions on the LP, the track's commitment to strained repetition is rewarded with sonic climaxes of blackened psychedelia, led by stalagmitic spirals of atonalism.

Throughout the LP, Wren draws from their long-standing apologue, with a partnership of vocalists showcasing a lyrical and vocal interplay thick with a dense lore new to their compositions. 'GROUNDSWELLS' brings Wren to an equinox in their earthly contemplations. Ruminating on the decaying inanition that engenders renewal, this record is a revelry in the cyclical, repetitious infinity of planetary permanence.

“After a banner year that witnessed Lafawndah release her first album Ancestor Boy, the debut of her soundsystem Fara Fara, and further incursions into film, contemporary art and fashion, the ceaseless artist returns with another plot twist: The Fifth Season.

Inspired by her encounter with author NK Jemisin’s Broken Earth trilogy, Lafawndah both pays homage to and extends further the elemental, emotionally charged myths of Jemisin’s books. These are stories where a broken heart can tear apart a continent. In contrast to the precision- tuned industrial productions of Ancestor Boy, The Fifth Season breathes a different kind of volatility. Inviting a new degree of spontaneity and freedom into her process, Lafawndah’s collaborators - Theon Cross (tuba), Nathaniel Cross (trombone), Valentina Magaletti (percussions), and Nick Weiss (keyboards) - encircle her confrontational character studies with iridescent, cinematic chamber-bass moves.

These are torch songs for when it rains ash, creation ballads for when the earth turns inside out. Ghosts of Art Ensemble of Chicago and Rahsaan Roland Kirk color the air, yet Lafawndah’s mastery of pop songcraft, vocal production and razor-honed clarity of purpose cut through. In addition to the Lafawndah originals, The Fifth Season features interpretations of hybrid-folk godfather Beverly Glenn Copeland’s “Don’t Despair” and acid-impressionist prodigy Lili Boulanger’s “Old Buddhist Prayer.” Album highlight “You, at the End” deploys a poem by poet-performer Kae Tempest to aching, rift-tearing ends, and french dream-trap wraith Lala &ce features on “Le Malentendu”.

The Fifth Season anchors Lafawndah as a descendent of forebearers Brigitte Fontaine and Scott Walker - a born theatric whose acid humor warps the sub-continental undertow of her emotive storytelling. Lafawndah’s elementalism on The Fifth Season finds her imagination more agile than ever, and recent live shows have evinced a drive to push these compositions further out, deeper, and more aflame.”

Pittsburgh Track Authority is back. After a five year hiatus from releasing music--during which time PTA maintained focus on expanding the catalog of their labels Pittsburgh Tracks, Love What You Feel, Machine Age Records, and Sleeve -- Preslav and Adam are back with a rejuvenated outlook on music and a renewed sense of purpose. The new album titled PA System is a collection of house and techno written to serve as a document of the past 18 months. As always with PTA, friends near and far, old and new, were a part of the writing process and the album includes collaborations with C. Scott, Santiago Salazar, Stuart Bogie, Nic Offer, Samurai Velvet, John Hall, and Kenny Peagler.
Released by:
Pittsburgh Tracks

One of the most successful German jazz musicians, Nils Wülker has won multiple awards, and collaborated with the likes of Jill Scott, Craig Armstrong, OmaraPortuondo (Buena Vista Social Club), and Peter Vettese.



“Go” is Nils’ excursion into the world of electronics. The recording is "maximally not live" with analog synthesizers, the arpeggiator, the organic loops and beats.



In contrast it presents some of his most beautiful compositions so far - and his most dynamic trumpet playing beyond his live albums and concerts.



Recorded with members of his live band, as well as American trumpeter Theo Croker on "Highline", their remote duet.

Rare musical magic from the Bruton library catalogue – ambient, spacey, pastoral and electronic. Music by John Cameron, Alan Hawkshaw, Fran-cis Monkman, Brian Bennett and more – all total masters of the scene. All very cool. All very now. All will sell very fast.

Over the last three decades Jonny Trunk has collected and written about library music. But he’s never had a great deal of luck with the Bruton catalogue. By this he means that he’s never stumbled across a massive stash, or lucked-out buying a huge run for practically nothing –that’s the kind of thing that used to happen in the 1990s and the early noughties if you were out there looking hard for library music. But he did manage to get about 25 in one hit about 20 years ago when the BBC shut down their “TV Training Department” near Lime Grove and also when a box of Brutons ended up being dumped at a hospital radio, and they didn’t want the records, so Jonny got a call.

There are lots of Bruton albums in existence – over 330 LPs in the vinyl catalogue, issued between 1978 and 1985. That’s a lot of music to wade through if you are looking for sublime modern day sounds. For many years now the “trophies” from the Bruton catalogue have been the beat or action driven LPs – the two Drama Montage albums (BRJ2 and BRJ8) have always been the big hitters, and others such as High Adventure (BRK2) too.

But Jonny has always found himself drawn to the lime green LPs, the pastoral, peaceful albums (The BRDs), which were full of the kind of gentle, lovely music that would turn up in Take Hart as Tony was paint-ing a woodpecker or a badger or an Autumn tree. The other Brutons he likes are the orange ones (The BRIs) simply because they are full of ex-perimental futuristic electronics and would remind him of 1980s ITV backgrounds. This LP series includes Brian Bennett’s cosmic classic Fantasia (BRI 10). Jonny has been knows to refer to this style of library music as “Krypton Factor library”, because it’s exactly what that strange but successful 1980s TV quiz show sounded like.

In recent years as interest in library music has expanded, we’ve watched
the price of a handful of Brutons really going through the roof - not the just the action and drama ones, but the more esoteric and experimental LPs too – like the BRDs and the BRIs. Jonny gets the vibe that people fi-nally want to hear this other more interesting and experimental side of the Bruton catalogue. So what better time than now to put together a compilation of such sublime period sounds.

Not only does this album bring together a set of fabulous cues that would cost the average man in the street a month’s wages (if the origi-nals were all wanted and if you could even track them all down), but it also chops out the need to listen to other tracks on library albums that are nowhere near as good.

The cues here all date from between 1978 and 1984. They come from the BRD, BRI, BRH, BRJ, BRM, BRR and BRs catalogues.

The composers are all legends within the genre, and here, were doing what great library composers do best – fulfilling a brief and utilising modern studio equipment to both commercial and beguiling effect.

in a trio of records by Andrew Wasylyk which unearth and reshape the landscape of Eastern Scotland as shimmering and inventive instrumental music.

Where Themes for Buildings and Spaces (2017) toured the architecture and industry of Dundee, evoking a place caught between decay and regrowth, the Scottish Album of the Year Award shortlisted The Paralian (2019) explored the littoral exchanges between sea and shore on the North Sea coastline.! !

Fugitive Light And Themes Of Consolation carries a trace of this arc on a return upriver, drifting back inland along the River Tay's inner estuary: a record of the low light on winter fields, empty suburban streets at dawn, the deep clear waters of the quarry excavated to build the city.

Ten songs circling landscapes for meaning, channelling half-heard melodies and misremembered memories; caught somewhere between settling down and setting out towards the shining levels of the estuary and beyond.! ! The record is threaded with the influences of people, place and musical lineages – David Axelrod, John Barry, Virginia Astley, Mark Hollis, Alice Coltrane – yet as with all of Andrew's solo work it has a deft, clear voice all of its own. Recorded between Summer 2019 and January 2020, Fugitive Light…

displays his talent as a multi-instrumentalist and composer: all hushed drum grooves, rolling waves of plucked acoustic guitar, cascading upright piano, Bob James-inspired Fender Rhodes, rippling clàrsach harp, and ECM-worthy electric guitar motifs. As on The Paralian, string arrangements are by fellow Tayside musician Pete Harvey, known for his work with King Creosote, Modern Studies and The National Theatre of Scotland.! !

Released via the Epic/Firebrandz label, this is the 8th studio album from US hip/hop/singer/songwriter/producer/former Dungeon Family member. A 21 track album on standard CD & double LP (was released digitally earlier this year). Collaborators include Drake, Travis Scott, Young Thug, Da Baby, Lil Baby and more. Specialist radio support. Online/social media activity. Video plays across MTV/Vevo/Vimeo/YouTube. Streaming playlists. Ads, features, interviews and reviews across all press outlets. Poster and database campaigns.

Volume 2: Another healthy dose of iconic reworked, retouched and edited tracks steamily rising up from the unique and magic poolside of Pikes Hotel (Ibiza). Trusted taste that sees Jazz N Palms warm-up the monthly exclusive Ronnie Scott's (London) jazz concerts held at Pikes.

Jazz music fused sartorially with Latin, funk, rock and international sounds to be enjoyed under the palms and sun of the Mediterranean sea.

Big Crown Records is proud to present Adult Themes, the latest full length offering from El Michels Affair. This album takes the band's "Cinematic Soul" aesthetic literally and sends the listener on a journey through a whirlwind of moods and energies. With their 2005 debut album Sounding Out The City, EMA spearheaded an instrumental funk / soul movement that inspired a slew of bands and even lead to the creation of a few independent record labels. El Michels has since lent his signature sound to artists from Adele to Dr John, Lana Del Rey to Aloe Blacc, and a who's who list of others. In 2016 he co-founded Big Crown Records and has since produced the lion's share of its output. A short stint as the touring band for Wu Tang Clan in 2007 led to the cult classics Enter The 37th Chamber (2009) and Return To The 37th Chamber (2017). Adult Themes marks the long awaited, highly anticipated return to an album of original compositions from El Michels Affair. In 2017 in between producing, playing, and recording on other artists' records Leon Michels began creating compilations of short interludes intended to be sampled by hip hop producers. Some of these wound up becoming songs by Jay Z & Beyonce, Travis Scott, and Don Toliver. These minute-long snippets were inspired by the dense moody work of `60s composers like David Axelrod, and Francois de Roubaix, as well as Moondog's brand of classical jazz. Michels was having so much fun creating these instrumental / orchestral nuggets that he decided to expand on some of the ideas and create what would become the soundtrack for a movie that has yet to be made, an imaginary film entitled "Adult Themes." The album plays like the colors on an artists pallet. Songs like "Rubix" and "Villa" are densely orchestrated with the hard-hitting drums that El Michels Affair is known for. On "Life of Pablo", Leon's son makes his first appearance on record and intros a song with an epic arrangement and a moving mood. "Hipps" is a drum heavy ballad that could've easily fit on EMA's debut record, Sounding Out the City. Other compositions like "The Difference" and "Kill The Lights" are bare, melodic mood pieces with sparse drums and sophisticated chord movement. All of these tunes come together to make perfect backgrounds for dialogue and action. One of the beautiful things about instrumental music is that the listener can decide what the narrative is. With Adult Themes El Michels Affair has created a "choose your own adventure" in musical form.

Something a little different from Athens of the North, Crisrail (Chris Rael) is an almost-LP of mad out there funky post punk from Silver Spring, Maryland, USA. Rated and played this out for some time but it has remained mostly under the radar due to scarcity. I could compare it to The Cure but it's so much more. 500 ONLY

"Playing instruments didn't come naturally to me, but I loved it so much I kept doing it and got better. When I started composing seriously in my early twenties, I didn't have much confidence in my voice or instrumental abilities, but my imagination was on fire and I was determined to create music that sounded like nothing else. I would find my place in the constellation of sound by carving a niche that was so unique, musical virtuosity wouldn't be a factor. I was inspired by Tom Scott of the Muffins, Maryland's legendary progressive jazz quartet, and owner of Black Pond Studios in Rockville, where Game of Music was recorded. It was my first solo release; I played everything except Tom's horn and flute parts. Lacking confidence to perform, I was very much a studio rat and became facile at overdubbing solo tracks. New music reviewers praised it at the time, but its distribution was limited and it's been out of print for decades. Listening now, it's more musically muscular than it felt to me at the time. It's incredibly gratifying that more people can hear it again, thanks to Athens of the North." - Chris Rael

Alastair Galbraith is considered nothing less than a genius around these parts. A New Zealand underground legend active since the '80s, his solo works have seen release on Siltbreeze, MIE, Emperor Jones and Grapefruit Records while his own labels, Xpressway and Next Best Way have released the likes of The Dead C and Damo Suzuki. His list of collaborators reads like a who's who of freeform musicianship: Peter Jefferies, Bruce Russell, Robert Scott (The Clean; Flying Nun) and Maxine Funke to name but a few. Seconds Mark III is Galbraith's first solo album since Mass (2010) and is a collage of pensive, longing and almost forgotten pieces stitched in his inimitable style. A thrilling addition to A Colourful Storm's ever-expansive catalogue. 21-track LP

Luar Domatrix (Rudi Brito) is perhaps more recognizable as half of the artsy-duo Yong Yong that emerged in 2012. After a long season spent in Glasgow, and with editions by Naivety (Naive’s sublabel of Inês Coutinho aka Violet) , Sucata Tapes (Discrepant) and with a track inserted in a VA from 12th Isle, comes back to Lisbon (his hometown) clearly soaked by the sounds of the Scottish industrial center.

“Baía Stamina”, produced in Glasgow, is strongly inspired by the local club scene and evokes the utopia of a heavenly bay somewhere in Italy. Although always looking to bend the barriers of that “squarish” side of dance music, “Baía Stamina” is a dance record. It starts with “Bo Teias”, a track full of percussive elements and unusual sound effects that presents itself as a hymn of the “Baía Stamina” - pure boilling energy. “Take” is the least functional theme on the record. Metal percussion layers are overlapped over a string, creating a certain unrest and discomfort. A vocal incites consumption ("Take, Take, Take") to the point that a pad clears the way for liberation creating a more relaxing and dreamy ambience.

Closing the A side “Bo Teias” gets a remix from the Glasgow duo General Ludd, with whom Rudi used to live. In this version, and as the name implies, “Bo Teias (Gen Ludd Disco Problem Remix)” moves the focus away from the dance floor, ands transforms itself into a rhythmic exploration over the void, punctuated by some recognizable elements. “Outra Face” is a track made to blow up soundsystems! Anchored in distortion and in a broken beat led by the kick of the infamous TR-808 there is an almost epic vibe to it, that shows the confidence that Rudi Brito has acquired in his relaxed production style. “Heavven” closes the record in a completely British tone. The soulful vocal reminiscent of some garage tracks, echoes Bristol production and a time when dubstep producers decided to lower their bpms to something closer to the house. Without ever rushing the theme moves through different sonic landscapes and electronic glitches until a Portuguese voice announces “Acabou-se a brincadeira” (“Playtime is over”). This is peaktime; it's time to go dancing.

Never a dull moment on Neroli: after a string of releases from the likes of Fred P, DEGO, Patrice Scott, Chaos in the CBD and Trinidadian Deep it’s now the turn of PATRICK GIBIN together with KAIDI TATHAM.
The duo has been already responsible for some heat on Patrick’s own Blend It label, and here they are teaming up once again for a whole EP.
This time they enroll New Jersey majesty JOSH MILAN of Blaze/Element of Life fame on vocal duty with extra the help of Dawn Tallman on backing vocals and they turn the song ‘Love To The World’ into a modern day Classic…..Anthem Alert! But there’s more evidence of brilliance from Gibin and Tatham with the boogie ‘Groove on’ and JazzFunk House joint ‘Don’t Be Rude’ where mr keyboard Kaidi lets loose on Bass and Guitar!

The latest project by belgo-moroccan producer Reda Senhaji, alias Cheb Runner, focuses on breeding a new style of music between electronics and Gnawa. Taking inspiration from New Beat to Techno, Acid House and Gabber, the grooves are relentless, stiff and club oriented, relying heavily on analog synths and drum-machines. The sound is darker, more experimental and mature than his previous Gan Gah project.

Cheb Runner digs into the acoustic sounds of his youth, for an organic feeling of warmth and celebration. The syncopation of the classic Gnawa percussions, the “Tagnawit”, its groove is undeniable. Featuring two traditional Gnawa singers based in Brussels, Mâalem Driss and Mâalem Hicham, the EP is a reunion for the belgian Gnawa scene, keeping the vibe alive.

In a world of dematerialized culture, we tend to forget where we come from : by putting Gnawa music at the center of his production, Cheb Runner creates a bridge with the past. The young producer is a son of Gnawa himself, this is the music he grew up with and played as a kid.
Now he brings it to the club scene; Cheb Runner’s first EP is experimental, brutal, innovative. Getting past definitions and genres, it opens new horizons for North-African producers, showing them how to use their roots to make new beats. It encourages both tradition and modernity in Music. In 2019, Gnawa music, dance and culture was added to the UNESCO Intangible Cultural
Heritage list, demonstrating both the relevance of the genre and the necessity to preserve it.
of the genre and the necessity to preserve it.

Cheb, the Arabic word for “young boy”, is traditionally used to describe the young generation of Raï singers – like Cheb Hasni, Cheb Mami or Cheb Khaled. It means the new generation is here, to create something new with something old. The reference to the Ridley Scott movie Blade Runner is just that: while the Cheb comes from the bled, a moroccan village in the Agadir region, the beats come from the club scene of an industrial city, like Berlin, Detroit or Molenbeek/Brussels.

Cheb Runner takes you on a trip through space and time, as well as to pass on ancient rhythms to inspire the next generations.

2x12"

Parisian label Another Moon are pleased to announce the imminent release of the second collaborative album by Scott Monteith aka Deadbeat and Paul St Hilaire aka Tikiman entitled 4 Quarters of Love and Modern Lash. When asked about about the album's motivations and production process, Monteith had the following to say: “I first heard Paul's voice back in 1996 when I stumbled upon the first Burial Mix 10 inch in a local shop, and it would be no exaggeration to say it has echoed in my mind ever since. We began working together in 2008, and it's fair to say the experience of performing and learning from him has left an indelible mark on my artistic process and my outlook on life in general. He is possessed of a truly electrifying spirit. I’ve had a folder on my hard drive called “For Tiki” for 14 years now, for those more often than not late night studio moments when I stumble upon a rhythmic or musical phrase and hear that unmistakable voice bubbling up in my mind. When that folder fills up with enough of those little magic moments I know it's time to call him, though strangely enough, he more often than not ends up calling me around those times. Such is his deep universal awareness.” “I wrote the initial sketches for what would eventually become this new album over the course of last year to a large extent as a way of trying to process what I perceived as a creeping darkness and sickness in both my own life and the world in general that desperately needed exorcising. When I received his initial responses I nearly fell off my chair. It goes without saying that Paul is a lyricist and poet second to none, and anyone familiar with his enormous body of work can attest to that. And yet, there was something in these latest pieces that hammered the proverbial nail clean through the wood. They perfectly captured this sense of rising tension, of a world that was getting almost psychedelically weirder and darker by the day, and both held a mirror up to this and offered some much needed release. Little did we know, nor could we possibly have imagined, that by the time the record actually hit the shelves, things would get exponentially weirder and darker still.” “It is my great hope that at some point in the coming months we will be able to get back on the road and share these new pieces with people in a live setting, as performing with Tiki is truly one of my greatest joys, and I think it’s where the fire in our work together truly burns brightest. In the meantime, it is my great hope that these 4 long form meditations might provide a little solace for people in their isolation, be it quietly, eyes closed lying on the coach, or cranked up, full on raving in their living rooms.”

A Selection of the most iconic Tracks emanating from the unique-
and magic poolside of Pikes Hotel (Ibiza), reworked, retouched & edited for Maximum Aural Pleasure!

"Jazz N Palms" is the brand commissioned to warm up the monthly exclusive Ronnie Scott's (London) jazz concerts. Jazz Music fused with Latin, Funk, Rock & international Sounds, to be enjoyed under the palms- and sun of the Mediterranean Sea...

Harlem River Drive is a group that launched the careers of Eddie and Charlie Palmieri, two giants in the field of Latin fuelled jazz fusion. Comparisons have been made with the work of groups they inspired including War and Funkadelic from first recording and performing in the early 70s. Both idle Hands' and Seeds of Life' come from the group's self titled debut album released by Roulette in 1971. Drums are by one of the most prolific players of the day Bernard Purdie (Gil Scott-Heron, Aretha Franklin, Roy Ayers among many more), another high profile musician Cornell Brown on guitar with Randy Brecker on trumpet for Seeds Of Life'. Both tracks have been released before on 7' vinyl, now extremely rare, Seeds Of Life' appearing here on 7' for the first time in full length version

Emerging from the epic Scottish house and techno scene of the 90s, George Thomson started his musical adventures as a promoter, bringing to Scotland DJs from Chicago, New York, Toronto, Paris and London to play at the legendary Tribal Funktion parties in Edinburgh.

Aside from co-founding Edinburgh's Underground Solushn record shop, he also started producing his own blend of techno and house in the mid-nineties. This led to a string of releases with seminal labels such as NRK, Stickman, 2020 vision, Crosstown Rebels, Tirk and more recently Greco-Roman and Output Recordings. His various monikers from then and now include Plastic Avengers, George Demure and more recently the George part of of Jeanga and George.

After a move to London in 2000 his George T moniker began a long hiatus. Nothing was heard until Joe Goddard released an EP of rediscovered hidden gems on Greco-Roman in 2017. This awoke the fire within and he’s back today with the first new George T material in 19 years.

The Midway EP was recorded in North London over a period of 2 years, using only analog gear and embracing memory, movement and the moment. These four tracks are a love letter to club life, both then and now. This love is best demonstrated with the four accompanying short films using either nightclub footage from 1996, slow motion lido footage or Bauhaus triadic ballet inspired time lapse choreography.

Big Crown Records is proud to present Adult Themes, the latest full length offering from El Michels Affair. This album takes the band's "Cinematic Soul" aesthetic literally and sends the listener on a journey through a whirlwind of moods and energies. With their 2005 debut album Sounding Out The City, EMA spearheaded an instrumental funk / soul movement that inspired a slew of bands and even lead to the creation of a few independent record labels. El Michels has since lent his signature sound to artists from Adele to Dr John, Lana Del Rey to Aloe Blacc, and a who's who list of others. In 2016 he co-founded Big Crown Records and has since produced the lion's share of its output. A short stint as the touring band for Wu Tang Clan in 2007 led to the cult classics Enter The 37th Chamber (2009) and Return To The 37th Chamber (2017). Adult Themes marks the long awaited, highly anticipated return to an album of original compositions from El Michels Affair. In 2017 in between producing, playing, and recording on other artists' records Leon Michels began creating compilations of short interludes intended to be sampled by hip hop producers. Some of these wound up becoming songs by Jay Z & Beyonce, Travis Scott, and Don Toliver. These minute-long snippets were inspired by the dense moody work of `60s composers like David Axelrod, and Francois de Roubaix, as well as Moondog's brand of classical jazz. Michels was having so much fun creating these instrumental / orchestral nuggets that he decided to expand on some of the ideas and create what would become the soundtrack for a movie that has yet to be made, an imaginary film entitled "Adult Themes." The album plays like the colors on an artists pallet. Songs like "Rubix" and "Villa" are densely orchestrated with the hard-hitting drums that El Michels Affair is known for. On "Life of Pablo", Leon's son makes his first appearance on record and intros a song with an epic arrangement and a moving mood. "Hipps" is a drum heavy ballad that could've easily fit on EMA's debut record, Sounding Out the City. Other compositions like "The Difference" and "Kill The Lights" are bare, melodic mood pieces with sparse drums and sophisticated chord movement. All of these tunes come together to make perfect backgrounds for dialogue and action. One of the beautiful things about instrumental music is that the listener can decide what the narrative is. With Adult Themes El Michels Affair has created a "choose your own adventure" in musical form.

Four peak time, dancefloor remixes of tracks housed on SIRS outstanding debut LP ‘Banana Hard & Disco Kisses’ from the likes of Austin Ato, Yam Who?, Danilo Braca and SIRS himself.

First up on remix duties, Scottish goldenboy Austin Ato takes the sunset funk stylings of ‘Nightwind’ and flips it into a club ready house bumper, fitting perfectly with Hava Izmailova’s dreamy vocals. Rework don and Midnight Riot head honcho Yam Who?, then gives the Stee Downes vocal number ‘Forever’ a first pumping disco makeover that’s got future anthem written all over it.

On the flip side SIRS offers up a new tribal interpretation of ‘Turkish Disco Folk’, doubling down on the Middle Eastern influences yet with a tougher rhythmic side that will spice up any set its slipped into. Finally, NYC-based Danilo Braca inserts an acid injection into ‘If I Can´t Have You’ alongside a dose of sultry strings, ready made to warp any dancefloors out there.

Sepultura’s acclaimed 1989 album, Beneath The Remains, marks the band’s major label debut on Roadrunner. Widely regarded today as a thrash-metal classic, the album perfectly distilled the Brazilian band’s potent mix of piercing melodies and pummelling rhythms.

In December 1988, brothers Max (guitar/vocals) and Igor Cavalera (drums), Paulo Jr. (bass) and Andreas Kisser (guitar) recorded Beneath the Remains in Rio de Janeiro, Brazil with producer Scott Burns. Soon after it's release in April 1989, the album was hailed by fans and critics alike for standout songs like “Inner Self,” “Primitive Future” and the title track. The album has been remastered especially for this collection.

The Deluxe 2CD Edition also features nine unreleased “mixdown” recordings taken from the Beneath the Remains sessions at Nas Nuvens Studios in Rio de Janeiro. Highlights include versions of “Lobotomy” and “Mass Hypnosis,” as well as instrumental versions “Slaves Of Pain” and “Sarcastic Existence.”

The studio tracks are complemented by unreleased recordings of the band performing live on September 22, 1989 at the Zeppelinhalle, West Germany. The concert features songs from Beneath the Remains (“Primitive Future” and “Inner Self”) and the band’s previous albums (“Troops Of Doom” and “Escape To The Void”), along with covers of Black Sabbath’s “Symptom Of the Universe” and the Dead Kennedys “Holiday In Cambodia.”

Founded by the Cavalera brothers in 1984, the group recorded two full-length albums – Morbid Visions (1986) and Schizophrenia (1987) – before signing with Roadrunner Records in 1988. Since then, Sepultura’s dynamic studio recordings and intense live performances have earned it fans everywhere.

The current version of Sepultura (Derrick Green, Paulo Jr., Andreas Kisser, Eloy Casagrande) released a new album, Quadra, on February 7 and will tour the U.S. this spring. Former members Max and Igor Cavalera – who perform together in the band Cavalera Conspiracy recently completed a sold-out European tour in December 2019.












k 2) Inner Self (Mixdown) Instrumental
[l] 3) Stronger Than Hate (Mixdown) [Instrumental]


[o] 1) Sarcastic Existence (Mixdown) [Instrumental]
[p] 2) Slaves Of Pain (Mixdown) [Instrumental]

[r] 4) Hungry (Mixdown) [Instrumental]

If you do not know the basics, you cannot do the math - Belgian underground DJ mainstay Red D is starting Red Basics as a means to provide an outlet for his solo work. Forever inspired by a wealth of music from around the world the city of Detroit is where he always ends up and that is exactly the inspiration you will hear on this maiden release of the series. ‘Red Basics 1’ is a deep percussive house excursion with hints of Patrice Scott and Marcellus Pittman and ‘Red Basics 2’ moves into Robert Hood-styled gospel techno territory. Detroit love is where it’s at!

A1 - Bitch - Late Nite 'DUB' Addict (Original Mix)
Is a Deep / Jackin House track with driving drum parts, deep old skool organ stabs, with lots of MPC style swing. The track is an energetic groover that could well be another hit for the (Late Nite 'DUB' Addict) who owns / runs (Digital Label) (DEEP 'N' DOPE RECORDS (UK).
If you like artists / DJ's such as (DJ Sneak / Phil Weeks / Black Loops / Dub Striker / Dumuir / Demuja / Kerri Chandler /Todd Terry / Kenny 'Dope' Gonzalez / Justin Martin / Scott Diaz / Sebb Junior + Filta Freqz) This track might be for you.


A2 - Fight For Your Rights - Late Nite 'DUB' Addict (Original Mix)
Fight for you right is most definately got the potential to become a future house anthem.
The track has allready recieved support and airplay from (London's Own) FANTASY FM
+ Groove City Radio (Scotland / Glasgow). This can only be described as deep / classic (U.S) style Garage / House / Banger, This Deep Underground but classic house track carries an abundance of energy, the track contains spoken vocals from a influential but controversial leader which gives the track an edge which just help build atmosphere and builds tension in the track - But definately in a good way. This track is a stand out groover that screams Anthem.
If you like DJ's like (Kerri Chandler / Mr V, Karrizma / Phil Weeks / Black Loops, Art Of Tones / Sebb Junior / Louis Vega, Mood II Swing / Dub Striker / DJ Pierre / Andres /Dan Shake then this energetic / warm (90's) style classic house number will be right up your street


B1 - Confessions Of A 'DUB' Addict - Late Nite 'DUB' Addict (Original Mix)
This track is a minimal style (Deep House) track that has been influenced by the early (Rave) era and early (Chicago + Detroit) House + Techno scenes. The track has a slightly darker edge but still remains jumpy and is definately made for the danecfloor in the early hours of the morning, and has a certain wharehouse 'Feel' to it. The track contains bleeps, stabs, and 808 + 909 compressed drums. The track contains poly rythums and drums which evolve and give alot of movement within the track. This is another "Big Track" from the (Late Nite 'DUB' Addict) that has also recieved support from the (legendary) FANTASY FM.


B2 - Heroes In Our Own Home - Late Nite 'DUB' Addict (Original Mix)
The (Late Nite 'DUB' Addict) states it is no secret that his productions are heavily influenced by the (U.S) Garage / House scene of (New York) in the early (90's).
An era that he said was huge in the way the house scene defined the (Deep House + Classic House) scene that is still massively current today. The DJ / Artis's that has influenced him the most from this era is (Todd Terry / Kenny Dope / Dennis Ferrer /
DJ Sneak / Mood II Swing + MK + Kevin Saunderson. This Hip / House track is the
(Late Nite 'DUB' Addicts) take on the Garage House scene / Hip House scene of
this special era!!!

"BRUK" is a new platform for fresh variations on the soundsystem ethic, in particular where high-end sound design intersects with formidable bassweight. It's an artist-focused endeavour geared towards producers with range, depth and ingenuity in their sound.

The first transmission comes from "FFT", the latest alias from accomplished producer Josh Thompson. Thompson established the Super Hexagon label with long time friends J. Wiltshire and Arthur Scott-Geddes and he's also released on heritage label R&S (as Alma Construct) and the excellent offbeat techno upstarts Power Vacuum, and more recently developed the FFT moniker via essential drops on The Trilogy Tapes as well as Super Hexagon.Thompson helps launch BRUK with a two-pronged attack that shows off the breadth of his artistic scope.

The lead 12" is a dynamic club release that pivots between razor-sharp drum programming, hyphy synth acrobatics, breakbeat science and dub-loaded atmospheres. If there's one constant that runs through all Thompson's work, it's a resounding confidence with melody, and that comes through even in the rowdy chops of "Month" – a track that exudes hope even in its gnarliest bars. From the dreadweight minimalism of "Fask" to the expansive electronica shock out of "Sacrifice (The Truth Mix)", this is a head-twisting release that feeds into the vital new energyreverberating around the 150+ axis.

Accompanying that 12" is a cassette album which provides that polar opposite side to FFT – a collection of compelling beatless ruminations under the banner of Total Self-Fulfilment. Gliding from low frequency industrial textures to expressive synth modulation, this is far from static music, even as it moves without the aid of a traditional rhythm section.

It's a strong first chapter for BRUK, with future releases lined up from artists similarly poking at the fabric of contemporary club music to find their own unique spaces for expression.

UPSIDE DOWN SMILE WAS RECORDED AND PRODUCED BY EWA JUSTKA AND BY SELF-DESIGNED, SELF-MADE, SELFSELFSELF, ODD LOOKING SLIGHTLY DYSFUNCTIONAL SYNTHESISERS AND BY A TRANCE PURPLE KILLER ROLAND JP8080 AND BY HIS BROTHER VIRUS AND SOME OTHER ROLAND BROTHERS NO SISTERS INCLUDED DURING THE TIME WHEN EWA JUSTKA WHO CURRENTLY LIVES IN GLASGOW, GOVANHILL, ALLISON STREET, WHERE RECENTLY HER PASSPORT WAS STOLEN DUE TO THE BURGLARY, WHERE SHE LIVES IN JOY, ALTHOUGH SOMETIMES THE FLOOR GETS WET DUE TO THE LEAKING WINDOWS AND SOMETIMES ONE CAN FIND DEAD PIGEONS LAYING ON THE STAIRCASE BUT IT'S NICE AND COSY AND EWA JUSTKA HIGHLY INFLUENTIAL PERSON IN THE DEEP DARK TRANSISTOR LADDER CIRCUITS LIVES SINCE SHE IS STUDYING PHD AT EDINBURGH COLLEGE OF ART WHERE SHE THINKS A LOT ABOUT IMITATION IN SYNTHESISER DESIGN AND FILTERS AND VCOS AND FORMANTS AND ACID AND HARDCORE MUSIC AND TWIN T FILTERS AND OPERATIONAL AMPLIFIERS AND SHE TURNS KNOBS AND THINKS AND THE UPSIDE DOWN SMILE ALBUM WAS MADE IN THE DEPTH OF THOSE THOUGHTS QUITE OFTEN SAD THOUGHTS UPSIDE DOWN SMILE IS A BIT OF A CYNICAL SMILE BUT AN HONEST SMILE CYNICAL BUT HONEST UPSIDE DOWN SMILE IS A SMILE THROUGH TEARS BUT TEARS OF JOY SCOTTISH JOY UPSIDE DOWN SMILE IS UPSIDE DOWN ACID ONE COULD SAY UPSIDE DOWN SMILE COULD BE INTERPRETED AS A SAD SMILE BUT IT IS A SMILE IN THE END OF THE DAY

Dom (and his Roland s760 sampler) was once described by seminal magazine NME as the “Ridley Scott” of drum and bass. His epic early records helped form the blueprint of the scene today.

Originally releasing on No-U-Turn in 1994 and credited as one of architects of “Tech-step”. Dom was signed by the legendary Moving Shadow label in 1996 where he released 3 solo albums and a plethora of singles becoming their most prolific and influential artist in the history of the label.

Well known for his early alliances with school friends “Optical” and “Matrix”, Dom started his own label DRP (Dom & Roland Productions) in 2006 to collaborate with like-minded artists. Now 15 years in with an enviable roster from “Noisia” to “Amon Tobin” it is now the main home of Dom’s work.

Lost in the Moment is Doms 7th Album. In his own words “I wanted to make an album that gets back to the core of the elements I love about drum and bass. The timelessness of simple tracks! A sense of being lost in the subtlety of evolving soundscapes, rhythms and loops which hint at more complex detail and emotions. These are the things I find harder to find in this era of instant gratification and easily consumable music.”

Dom’s previous album Last refuge of a Scoundrel was signed to Metalheadz in 2016. It sold out on its first day. Mixmag gave it 10/10 and named it album of the year. It was runner up in DJ Magazines “Best of British” category across all genres.

Vinyl includes mp3 coupon. Shabazz Palaces' Black Up, the group's Sub Pop debut, was recently hailed as one of the best albums of the decade by outlets like Pitchfork, Gorilla Vs Bear, and Variety. Pitchfork summed it up thusly: "Black Up is drowned in murky instrumentals and bombastic, introspective rhymes. The sounds flirt with jazz but also root themselves in a firm understanding of silence, or the sparse magic of simplicity. The songs teem with unexpected climaxes...From great mystery exploded an album of impossible vision." That "impossible vision" has continued to confound and engage Shabazz Palaces fans over the course of four acclaimed albums and two EPs. Each release feels like an evolution, letting the music speak for itself, while slowly revealing more about its creator. With The Don of Diamond Dreams, the group's fifth album, that spirit remains, this time embracing modernism in hip-hop and rap. Featuring 10 tracks in 43 minutes, the album features the highlights "Fast Learner (ft. Purple Tape Nate)," "Chocolate Souffle," "Bad Bitch Walking (ft. Stas THEE Boss), and "Thanking The Girls." It also features contributions from singer/keyboardist Darrius Willrich, Seattle's OCnotes (who collaborated with Shabazz leader Ishmael Butler on the Knife Knights project), Los Angeles musician Carlos Overall, and bassist Evan Flory-Barnes. The Don of Diamond Dreams was recorded throughout 2019 and produced by Shabazz Palaces at Protect and Exalt: A Black Space in Seattle, mixed and engineered by Erik Blood at Studio 4 Labs in Venice, California, and mastered by Scott Sedillo at Bernie Grundman Mastering in Los Angeles.

LP SKY BLUE VINYL/LOSER-EDITION

Vinyl includes mp3 coupon. Shabazz Palaces' Black Up, the group's Sub Pop debut, was recently hailed as one of the best albums of the decade by outlets like Pitchfork, Gorilla Vs Bear, and Variety. Pitchfork summed it up thusly: "Black Up is drowned in murky instrumentals and bombastic, introspective rhymes. The sounds flirt with jazz but also root themselves in a firm understanding of silence, or the sparse magic of simplicity. The songs teem with unexpected climaxes...From great mystery exploded an album of impossible vision." That "impossible vision" has continued to confound and engage Shabazz Palaces fans over the course of four acclaimed albums and two EPs. Each release feels like an evolution, letting the music speak for itself, while slowly revealing more about its creator. With The Don of Diamond Dreams, the group's fifth album, that spirit remains, this time embracing modernism in hip-hop and rap. Featuring 10 tracks in 43 minutes, the album features the highlights "Fast Learner (ft. Purple Tape Nate)," "Chocolate Souffle," "Bad Bitch Walking (ft. Stas THEE Boss), and "Thanking The Girls." It also features contributions from singer/keyboardist Darrius Willrich, Seattle's OCnotes (who collaborated with Shabazz leader Ishmael Butler on the Knife Knights project), Los Angeles musician Carlos Overall, and bassist Evan Flory-Barnes. The Don of Diamond Dreams was recorded throughout 2019 and produced by Shabazz Palaces at Protect and Exalt: A Black Space in Seattle, mixed and engineered by Erik Blood at Studio 4 Labs in Venice, California, and mastered by Scott Sedillo at Bernie Grundman Mastering in Los Angeles.

BLACK BONES are back to outdoor digging it seems, coming over all Balearic for this, their 7th outing !

Not a cm of precious vinyl wasted again as we get another indispensable 4-tracker deftly combining excavations from the Scottish highlands, a buried blue beat classic, and some more of their expertly unearthed idiosyncratic pop from the tiled discoteca's of yore...

Limited, hand-stamped vinyl 12"

Scottish trumpeter Malcolm Strachan is a founder member of top UK funk/jazz-funk band The Haggis Horns as well as being one of the busiest session musicians in the UK today. In a professional career spanning 20 years, he's recorded with the likes of Mark Ronson, Amy WineHouse, Corinne Bailey Rae, Jamiroquai, Martha Reeves and The Vandellas, Jesse Glynne, The Craig Charles Fantasy Funk Band, Black Honey, The New Mastersounds and Blue Note saxophone legend Lou Donaldson. Now he's finally releasing his first solo album, aptly titled "About Time", on Haggis Records and he's going back to his original roots... Jazz.

The album is a collection of original compositions, all written and arranged by Malcolm, which are firmly rooted in the classic acoustic modern jazz style typified by the great 60's and 70's recordings on the legendary Blue Note Records label. A nice variation of themes and tempos feature throughout the album. From full-on latin vibes to beautiful ballads, soul jazz grooves to cinematic soundtrack flavours, all woven together by a great group of experienced musicians.

Malcolm's core quartet is himself on trumpet/flugelhorn, fellow Haggis Horns members George Cooper (piano) and Erroll Rollins (drums), plus Courtny Tomas on double bass. Featured guests are Atholl Ransome on tenor sax (The Haggis Horns), Rob Mitchell on baritone sax (Abstract Orchestra) and Danny Barley on Trombone. Strings are courtesy of Richard Curran and the percussionist is one of the finest session players in Europe, Karl Vanden Bossche (Incognito, Robert Palmer, Joss Stone, The Gorillaz, Sade, Blur - He and Malcolm met while touring with Mark Ronson)

Malcolm's love of jazz comes from his parents. Aged 7, his jazz musician father gave him a trumpet. From then on, jazz was his life. His musical education came via music teachers, youth jazz orchestras and jazz summer schools but mostly from his dad's record collection listening to Art Blakey and Dizzy Gillespie records and learning to improvise and solo by ear. At 18, he enrolled at Leeds College of Music and quickly immersed himself in the city's vibrant acid jazz, funk and soul scene and from making his recording debut in 1999 with The New Mastersounds, jazz was his musical passion but took a back seat to funk/soul/pop which were the day job. Until now.

Jazz is back. The wait is over. It really is "About Time" for Malcolm Strachan.

"Aporia" is a New Age album from Sufjan Stevens and his step-father and record label co-owner, Lowell Brams. In the spirit of the New Age composers who sanded off the edges of their synths' sawtooth waves, "Aporia" approximates a rich soundtrack from an imagined sci-fi epic brimming with moody, hooky, gauzy synthesizer soundscapes. The album may suggest the progeny of a John Carpenter, Wendy Carlos, and Mike Oldfield marriage, but it stands apart from these touchstones and generates a meditative universe all its own. This is no mere curio in the Sufjan Stevens catalog - but a fully realized collaborative musical piece. Stevens and Brams recorded "Aporia" over the course of the last several years during Brams' visits to Stevens' home in New York with the help of several frequent Asthmatic Kitty collaborators, including Thomas Bartlett (Doveman), D.M. Stith, Nick Berry (Dots Will Echo), John Ringhofer (Half-handed Cloud) drummer and longtime collaborator James McAlister, keyboardist and trombonist Steve Moore (Sunn O)))), guitarist Yuuki Matthews (The Shins) and vocalist Cat Martino.

The next release on Visions Rec. is the first part from a four volumes serie of collectable 12 “ called THE EVOLUTION.Phase one presents here 4 artists providing one track each going from deep house to broken soul courtesy of our favourites Producers : Patrice Scott, Kai Alçé, Hanna and Reekee.Tracks are a natural Evolution of what Visions Recordings is constantly developing, a sound that goes from jazz to deep techno keeping the soulful vibe and a dance feel to it with confirmed and new music producers.These tracks will be released first on vinyl and will surely make dancers happy .This 12 inch is a nice way to have a 4 tracker choice to mix in your dj sets .Another great release for Visions Recordings in 20120. Watch out for more goodies in the near future .

First time on vinyl. Recorded for DC's Black Fire Records in 1976, Theatre West's music never made record until now. Selected works taken from the master tapes of James "Plunky" Branch (Oneness of JuJu, Experience Unlimited etc). Hailing from Ohio and resident in DC, Theatre West was made up of musicians from Slave, Gil Scott Heron's Midnight Band, The Fabulous Originals, Malone & Barnes and others. Serious jazz-funk-soul selections via the vaults of Plunky and Black Fire Records.

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.

Following on from Myele Manzanza's acclaimed 2019 jazz album, 'A Love Requited', we have a 2020 addendum to that project; an EP of remixes by a set of diverse musicians from all corners of the globe.

Detroit legend Theo Parrish starts off the proceedings. Theo & Myele have previously worked together on various projects over the years, such as with live outfit, The Unit, whilst Myele's 'Surgery Session' of Theo's track 'Moonlight' was picked up by The Vinyl Factory last Summer as well. On his remix of 'Itaru's Phone Booth', Theo maintains the tempo & structure of the original track, whilst tempering the horns and adding some spaced-out keys & a little low end theory to the equation, making this a flip seasoned with Theo's unique flavour.

Mark de Clive-Lowe follows with the most uptempo track on the EP, a delightful bruk refix of 'Big Deal'. Fellow New Zealander, regular collaborator (notably on Manzanza's sophomore album 'OnePointOne') and hugely respected musician in his own right, MdCL delivers a hefty groove direct for the clubs; heavy drums & sci-fi synths lead the way atop of the original's powerhouse horns, switching up with some MAW-esque 4/4 tribal business to close out.

Cardiff's finest, Earl Jeffers & Don Leisure, aka First Word label-mates Darkhouse Family, kick off the flipside with their take on the appropriately titled 'Family Dynamics'. Fresh from their solo & combined projects (producing for Kamaal Williams, running house label Melange, and creating beat-tapes like Halal Cool J & Shaboo), the duo turn out some punchy boom-bap vibes which pulsate throughout the track, accompanied by some sweet vocal hooks, transposing the original into a plucky heads-down neo-soul tinged stomper.

Borrowed CS is another New Zealand artist that's been bubbling away in the underground NZ electronic scene for several years now, as a DJ and a musician. He ends this selection of remixes, taking the original jazz components of 'Pencarrow' and transforming it into a synth-boogie lead piece of brooding broken beat - a 'Clear Path Depiction' even.

Released on Worldwide Award-winning UK label, First Word Records, the original album was also co-produced by another antipodean label-mate, Ross McHenry, who released a new album recently.

The son of a Congolese master percussionist, Myele Manzanza's roots in jazz and African rhythm are well established. Adding his long-time influences of hip hop and dance music into the mix, this EP exemplifies his approach to fusion, and his persona as an ever-evolving artist, drummer & composer. Since his days as part of Electric Wire Hustle, he had his debut release on BBE, has released three solo albums, and done tours & collabs with folks like Jordan Rakei, Miguel Atwood-Ferguson, Recloose & Amp Fiddler. Since moving to London from New Zealand late last year, he has already shared stages with Hiatus Kaiyote, The Bad Plus & Alfa Mist, rocked The Jazz Cafe & Ronnie Scott's, and ably demonstrated his DJ side-hustle chops at stations like Soho Radio, Worldwide FM & NTS, as well as behind the decks in a few danceries across the capital, and behind his drum kit daily.

Already hard at work on brand new material, expect to catch Myele Manzanza live at various shows & festivals across the UK & Europe this coming Summer.

'A Love Requited - The Remixes' is available on 12" vinyl & all digital outlets from March 6th 2020.

After contributing with a remix in 2018, made of concrete invite Johannes Volk for a full-length artist release. A scene veteran, Volk is known for his releases on Jeff Mills’ Axis Records, Patrice Scott’s Sistrum or Steffi’s Dolly imprint or for his live appearances in staple clubs Berghain, Tresor, Panorama Bar, Golden Pudel, or Corsica Studios to name a few.

Opener 'Soldered Minds' introduces a dense, energy-filled dynamic that’s both impactful and intriguing. Label chiefs Rebar give the track a 'Hum' remix treatment, adding layers of sizzle and flow that transform it into an afterhours-ready alternative. Undulating basslines stand at 'Magma In Slo-mo’s base, a track that offers a solid anchor and great tool for the dancefloor. The haunting, glitch-laden 'Asphalt Flowers' brings unpredictability with its jittery, uneasy atmosphere that, if played at the right time, is the perfect trigger for a descent into dance delirium.

The third installment of the Baast album series "Trident" sees the band heading into the direction of electronic soundscapes, delving deeper into soundtrack and ambient textures more so than previous albums "Dimension" and "Bazaar".
R. Scott Dibble and the inimitable DJ Johnny Basil remain at the helm with a round of uber talented guest artists who've contributed in the past along with some new players, heavy on talent but even more so on the vibe that's captured in the recordings.

We are proud to welcome Fear-E for his Dark Entries debut ‘Grey Skies In A Dear Green Place’ out February 28th. Fear-E is the moniker of Scott McKay a Glasgow based DJ and producer. Scott has already made a name for himself as one of Glasgow’s most technically-gifted and diverse selectors over the past decade. Then a slew of releases on the home-grown Dixon Avenue Basement Jams and Super Rhythm Trax introduced Fear-E, equally skilled studio operator, to the world.

‘Grey Skies In A Dear Green Place’ contains six club-ready tracks to “smash sound systems and illuminate sweaty warehouses.” The title is a reference to a nickname that Glasgow has, coming from Cumbric, means 'green hollow' or (dear) 'green place'. Layering cut-up vocals with warm thumping beats, Scott creates a stripped-back yet deeply jackin’ vibe. Call these tracks what you will, “acid attacks”, “club destroyers”, “pickle ticklers?!” All songs have been mastered by George Horn at Fantasy Studios. For the cover, Scott commissioned legendary Detroit illustrator Alan Oldham, who’s artwork has graced established an identity for Transmat and DJAX-UP-BEATS, to create a futuristic portrait of Glasgow in black & white and with green kryptonite flourishes by Eloise Leigh.d

Alabaster DePlume is a Manchester UK-born, London-based bandleader, composer, saxophonist, activist and orator.
He's a resident at the legendary London creative hub Total Refreshment Centre, a recording artist for the off-grid Scottish Hebridean island label Lost Map, and now the latest arrival into Chicago-based International Anthem's growing family of progressive musical explorationists.

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,

On October 4th Erased Tapes present Handfuls of Night — the highly anticipated follow-up to Penguin Cafe’s much applauded 2017 album The Imperfect Sea — inspired by the Antarctic, Arthur Jeffes’ journey following in Scott’s footsteps and our penguin friends that reside there. Using gut-stringed violins, viola, cello, bass, percussion, upright and grand pianos, synthesiser, harmonium and more, Arthur Jeffes and his cohorts have crafted a vivid series of panoramic sonic landscapes, that are as rich in cerebral poignancy as they are in emotional depth.

Bookended by the atmospheric ambient piano pieces ‘Winter Sun’ and ‘Midnight Sun’, the album traverses glacial minimalism with ease, combining their signature contemporary classical panoramas, such as the melancholic yet upbeat lead track ‘At the Top of the Hill, They Stood...’ and the colossal cinematic piece ‘Chapter’, with the crystalline folktronica on ‘Pythagorus on the Line Again’ — a re-visiting and continuation of the Penguin Cafe Orchestra’s 1993 Union Cafe song on the principles of harmonics.

LP IN STOUGHTON JACKET, PRINTED INNERS, OBI STRIP WITH FOUR OF SAMANTHA KEELY SMITH'S INCREDIBLE CONSCIOUSNESS MEMORY LANDSCAPES GRACING THE ALBUM SLEEVE.

The Pyroclasts album is the result of a daily practice which was regularly performed each morning, or evening during the two week Life Metal sessions at Electrical Audio during July 2018, when all of the days musical participants would gather and work through a 12 minute improvised modal drone at the start and or end of the day’s work. The piece performed was timed with a stopwatch and tracked to two inch tape, it was an exercise and a chance to dig into a deep opening or closing of the days session in a deep musical way with all of the participants. To connect/reconnect, liberate the creative mind a bit and greet each other and the space through the practice of sound immersion. The players across the four pieces of Pyroclasts are Tim Midyett, T.O.S., Hildur Guðnadóttir, and as always Stephen O’Malley & Greg Anderson.

The music on Pyroclasts is inextricably woven to Life Metal. It exists on the very same tape reels, was explicitly recorded by Steve Albini. The brightness and vividity of that glorious session glares through these four tracks, the precision and radiance, prismatic lustrousness of the saturation, the elemental sculptural shapes, the abstract renderings. It is a sister, or perhaps a shadow album. Or perhaps the now apparent miasma or aether. But it also exists in a form of a pause, a time space which exist in between and around the compositional structures of Sunn O)))’s titanic works. 

For the listener or recipient/participant there are deep rewards within the patience of pulling down the walls and letting the music feel, and feel the music. To be immersed will reveal great detail and colour, clarify image, encourage a depth of focus and stillness which may lead to a quite profound experience. Sitting inside the space of time. A deep form of elementalism, even atomism, and connection with presence moment, time and reality.

Sunn O))) would invite their audience to consider these points of perception when experiencing and listening to Pyroclasts. Sunn O))) would also invite and encourage the audience to use Pyroclasts as a lens to review and reexperience the complexity of the Life Metal album, and even to interrupt its sequence with Pyroclasts. This elaboration can bring the astute listener both abyssal, hallowed rewards.

Pyroclasts was recorded and mixed by Steve Albini at Electrical Audio on two inch tape July 2018, and mastered by Matt Colton through all analogue AAA process at Metropolis July 2019.

Stephen & Greg would like to dedicate this album to the memories of Ron Guardipee, Kerstin Daley & Scott Walker.

Hotly-tipped Glasgow duo Manakinz are next up on Jasper James’ budding imprint Mitchell Street Records with a vigorous three-track dispatch.

Behind the duo is Jasper’s father and house music legend, James ‘Harri’ Harrigan, and venerable selector Affi Koman. Both are steeped in Glasgow’s rich musical history, with Harri being one of the legendary faces behind Scottish institution Sub Club with its world-renowned flagship residency Subculture, and Affi Koman is known for his lauded Sunday Circus residency.

Established in late 2018, the duo’s productions have bagged support from a long list of respected artists, including Andrew Weatherall, The Black Madonna, Levon Vincent, Ashley Beadle and Bill Brewster.

“A week after I got these tracks, I dropped the A-side ‘Snakehips’ at a Boiler Room gig and the reaction was amazing. Approval doesn’t get much better than spinning it through a road test and I’m looking forward to kicking 2020 off with this killer EP. ” – Jasper James

The EP leads with ‘Snakehips’ a frisky peak-time brew loaded with propellant, tribalised drums and a soulful vocal cut set to stir. On the B side, ‘Yamaha Rumba’ runs with the headiness, amplifying the atmosphere with a maelstrom of synths and skittering keys, and it hits the spot with the release of a lustful, lascivious female vocal. ‘Partizan’ completes the package, giving listeners a robust, heavyweight club track.

Fresh off a collaborative release on Underground Quality under Grand Combo with DJ Jus-Ed and a solo EP on Patrice Scott's Sistrum, Henry Maldonado (p/k/a Son Of Sound) returns on his home-grown District 30 imprint with 4 tracks of deep, New York City grit in Machines On The Dresser.

They Say: “Descriptive scores for scenes of visual impact”.

We say: Arguably the single greatest album in KPM history. An ensemble piece of staggeringly heavy works from none other than Brian Bennett, John Scott, Steve Gray, Jim Lawless and Johnny Pearson.

For our immense pleasure, Visual Impact includes the insanely ace “Nuplex” by Brian Bennett, a nagging, sweeping, punchy funk piece that exists in a world of its own. If you don’t know, get to know - the record’s worth getting for this track alone. The same goes for the beautifully paced, string-drenched, horn-fed LP opener “Canaveral Scape”, courtesy of John Scott. Truly sublime. Other highlights on the A-side include Bennett’s easy, bass-heavy jazz groover “Sequence Of Events” and the spare, building, undercover funk of Steve Gray’s aptly-named “Low Profile”.

The B-side is straight-up fantastic. The percussive, vibey exotica of Jim Lawless’s “Keeping Pace” is followed by five tracks of slick, weighty funk breaks from Johnny Pearson. Check the pure groove of “Jaguar” with its head-nod drum break intro, the creeping piano-strings combo and… er… giant neck-snapping breaks of “Giant’s Causeway”, the speaker-smashing progressive bass groove of “Fugitive”, the tense "Rock Climb" and the sheer heft of "Heavy Load". Library largeness. If that isn’t enough, John Scott’s incessant “Flight Of The Phoenix” ends the session, brilliantly pilfered by M.O.P. for their much-loved “We Run New York”.

Originally released in 1976 but wonderfully timeless, Visual Impact is a rare example of a library record that’s genuinely great listen from start to finish. Just too good…

As with all of our KPM re-issues, the audio for Visual Impact comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.

And don’t worry! Those KPM stickers aren’t stuck directly on the sleeves!

• B Boy Records was a significant player in the development of hip-
hop in the 1980s, but a very short lived label shrouded in mystery.
• This double LP selects the best of the independent label, from the
beginning of the label to including past icons and future legends,
hard-hitting drum programming, synthesize and sampled beats
overlaid with fierce battle rap swagger. This is a snapshot of hip-hop
history.
• The label is best known for issuing the hugely influential Boogie
Down Productions LP Criminal Minded, which is included twice on
this release with ‘The Bridge Is Over’ and ‘South Brox’
• Other highlights include JVC Force’s enduring classic ‘Strong
Island’, DJ Scott La Rock (founding member of BDP) & D-Nic and all-
female rap Sparky D, 5 Star Moet.

Scott Boutin aka Blue Soul has been with us since the label was in it's infancy. This 3 song 12" properly showcases Bluesoul's otherworldly dub house acid disco sound that is uniquely his own.
Mastered by Dietrich Schoenemann at Complete.

Gang Starr is undoubtedly one of the most revered, beloved and influential groups in Hip Hop. Over the course of their distinguished career, they became a cultural institution and a brand you could ultimately trust. With a handful of indelible classic albums on their resume, DJ Premier and Guru’s catalogue has not only persevered but mastered the test of time. Simply, Gang Starr did not follow trends, they created them.

Second phantasmagorical audio outing from former Seefeel andLoops Haunt members, Mark Clifford and Scott Gordon. 'Two' expands the duo's unique take on spectral synthesis incorporating a diverse amount of approaches to experimental sound. Twoexpoundsa hybrid mix of acoustic based audio design, ambient tonality, sound effects, music, abstraction and world's hybrid video game soundtrack.

There is something of an onomatopoeia quality to the release as the six tracks take on the character of their individual title. Silt, Dapple, Overcurve, Scutter, Strain and Plates appear as extremely well executed versions of the inferred intent of their namesake. This inquisitive approach will appeal to those interested in the more exploratory end of sound production providing hope as newly formed methods and colours are exposed from the duo's contemporary audio tactics.

Seasoned veterans can lie in a bed of laurels whereas 'Two' is an exemplary release revelling in the enthusiasm that comes from the joy of unabated exploration.

Microdosing is a series of compilation 12”s selected by Julienne Dessagne aka Fantastic Twins, and designed in collaboration with French visual artist Geff Pellet. Microdosing is a collective experiment aimed at helping you fighting back your modern obsession with happiness. You may deserve a nice day but the day does not need a nice you, nothing should be forced, everything is permitted. Microdosing will provide you with sonic healing weapons on regular basis and at irregular dosage. Those doses will favour psychedelic social techniques against self help tyranny, creation over soma, provoking over numbing, our outer-selves over our inner-selves. Microdosing refuses the fatality of the pleasure principle. Life is a struggle, time to embrace it. —— “The cure 4 pain is in the pain” The Microdosing community is an endless Tibetan geometric tattoo on a thousand backs, a black well opening on infinite space. Let us embrace the void in our lives as it is fruitful. Cooper Saver hails from L.A, a city of fallen angels. “Phase 0” is a demonic weapon of choice, its beauty rising from urban ashes. Borusiade’s “Worlds” is an industrial mantra, tribal rhythms driving you through the seven circles of agony, the voyage being the destination itself. Zillas On Acid’s “S-Test” slowly pours acid into your retina, its groove showing you that the blind are the true see-ers. Scott Fraser’s “Deliria” concludes this chapter with the serenity only known to true martyrs. This is not a soothing piece, just the realisation that peace comes from eternal damnation. Microdosing is happy to lead you through the dances that know no threshold. To the chant of “the only cure for pain is in the pain”, you will travel further through an empty eternity. (Ivan Smagghe)

The new album 'Aesthesis' from Shapednoise aka Sicilian artist Nino Pedone is out in November 2019 on Numbers.
Over the nine tracks and thirty seven minutes, there’s a controlled collision of noise and metal with rave and hardcore. Pedone’s penchant for the peak energies of gritty techno and modern rap/trap bleed through, with earth-shattering blocks of bass and beats conveyed within his practice of sonic sculpture. ‘Aesthesis’ melts these sounds down, evolving them into something new of his own - a complex, hybrid being designed to be played loud. The first listen, CRx Aureal, is one of the most arresting cuts from the record: a nightmarish thrill embracing a sense of constant movement, with intense shards of sound ricocheting and morphing, forged together through a series of metallic refrains. This flirtation with the extremes of sound has engulfed Shapednoise’s entire creative output and lifestyle - from his albums and EPs over the last decade, to his two labels Cosmo Rhythmatic and REPITCH, having recently dropped critically acclaimed releases by King Midas Sound, Shackleton & VTSS. Pedone describes ‘Aesthesis’ as “informed by a set of key elements that intwine all the tracks together, like steps in a long research process. It is intended as a sensory experience where the senses act as an interface, sound as space.” His experimentation with unorthodox rhythmic structures and radical cinematic design reveals actions grounded in direct experience, but “inspired by a kind of speculative realism”. In seeking to master the wild heights of noise and the weight of subsonic frequencies, Shapednoise aims to “generate a sense of unreal-yet-tangible space and time, where the physicality of the music builds up a place that exists between people and objects, rather than the other way around.”

A series of artistic collaborations are heard throughout the album - from the caustic R&B of album opener 'Intriguing (In The End)' which features vocals from multimedia artist E. Jane's alter ego MHYSA (of NON & Halcyon Veil), to Justin K Broadrick (founding member of Godflesh and ZONAL) on 'Blaze', and album closer 'Moby Dick'; a collaboration with Scottish legend Drew McDowall (ex-Coil and Psychic TV member), and Rabit (founder of Halcyon Veil).

Crepuscule presents The Scottish Affair (Part 2), a vibrant live album by iconic Scottish guitar group Josef K recorded at the historic Beursschouwburg arts centre in Brussels on 8 April 1981.
Pressed in a limited edition of 1000 copies in clear vinyl, the sleeve features original 1981 poster artwork by designer Jean-Francois Octave printed in black overlaid with metallic gold pantone. The inner bag includes period flyers and images, as well as quotes by Paul Haig, Malcolm Ross, Alan Horne, Michel Duval, Annik Honore, Allan Campbell and Bert Bertrand.
Best known for their association with Postcard Records, Josef K also recorded two singles for Belgian indie Les Disques du Crepuscule (Sorry For Laughing; The Missionary), and also taped studio album The Only Fun In Town in downtown Brussels. The group first performed in the city on New Year’s Eve 1980, playing a riotous show with Orange Juice and Marine at legendary warehouse venue Plan K, and resumed their ‘Scottish affair’ with Crepuscule the following April, cutting their album in a matter of days and performing at the Beursschouwburg as well as a small youth club in Lier three nights later.
 At the Beurs show Jokay rattled off 10 songs in just half an hour, with journalist Bert Bertrand noting “several good reasons to get excited” about the visiting quartet. Adds guitarist Malcolm Ross: “We played four dates in Holland on our way to Brussels and then recorded the album in about five days. So we were pretty tight and Paul was in good voice.”
 Recorded from the mixing desk, all 10 songs have now been newly re-mastered for issue as a vinyl only album, The Scottish Affair (Part 2).

Yoshi Wada's Lament For The Rise And Fall Of The Elephantine Crocodile, originally released in 1982 on India Navigation, remains one of the most remarkable flowers to grow in the rarefied air of American minimalism – akin to Terry Riley's Reed Streams and Pauline Oliveros' Accordion & Voice, yet with a wild, liberated energy all of its own.

After graduating from Kyoto University of Fine Arts with a degree in sculpture, Wada moved to New York City in 1967 and quickly fell in with the community of artists known as Fluxus. In the early '70s, he began building his own instruments and writing musical compositions, studying with La Monte Young and Hindustani singer Pandit Pran Nath.

Recorded during an epic three-day session in an empty swimming pool in upstate New York, Wada's first album brings together two of the oldest drone instruments – the human voice and bagpipes – to simple and glorious effect. A visit to the Scottish Highlands spurred Wada's interest in bagpipes, which the composer integrated into these sparse, otherworldly sounds heard on Lament.

"That swimming pool was quite hallucinatory," recalls Wada. “It was another world. I felt it in terms of resonance. I slept in the pool, and whenever I moved, I woke up because of the reverberations.... The piece itself is an experiment with reeds and improvisational singing within the modal structure."

This first-time vinyl reissue is limited to 750 numbered copies. Comes with poster.

Neurot Recordings are proud to reissue the landmark collaboration Neurosis & Jarboe, which was originally released in 2003. This latest version is fully remastered and with entirely new artwork from Aaron Turner.

Very limited silver metallic and black swirl 2LP - Non-Returnable

Steve Von Till explains the idea behind the remastering; "Bob Weston (Chicago Mastering Service, and member of Shellac) worked closely with Noah on making these new versions sound as good as the possibly can. Noah has the most trained critical ear for fidelity out of all of us being an engineer himself. We recorded this ourselves with consumer level Pro Tools back then, in order to be able to experiment at home in getting different sounds and writing spontaneously.  The technology has come a long way since then and we thought we could run it through better digital to analog conversion and trusted Bob Weston to be able to bring out the best in it....This new mastered version is a bit more open, with a better stereo image, and better final eq treatment."

He continues about the original artwork..."Aaron felt he could create something that would unify the energy of both Jarboe and Neurosis in an elegant manner.  We let him do his thing and I think it definitely adds to mystery of the album and sets it apart from the rest of our catalog."

When two independent and distinct spheres overlap, the resulting ellipse tends to emphasise the most striking and powerful characteristics of each body. Such is the case with this particular collaboration between heavy music pioneers Neurosis and the multi-faceted performer Jarboe (who performed in Swans and who has collaborated with an array of people from Blixa Bargeld, J.G. Thirlwell, Attila Csihar, Bill Laswell, Merzbow, Justin K. Broadrick, Helen Money, Father Murphy, the list goes on...) The musicians pull from one another some of the most harrowing and unusual sounds ever heard from either artist at the time - a sentiment which also rings true to some 15 years later.

Neurosis & Jarboe opens with a high-pitched whirring sound winding up as Jason Roeder's ominous tom-drum beat and Noah Landis' slinking synth line writhe in unison until Jarboe drops in, drawling in her characteristic, corrupted Southern belle voice, "I tell ya, if God wants to take me, He will." From there on in, the album is a series of abrupt shifts and cleverly juxtaposed themes that flows in a rhythm of its own. The sinister and ethereal sounds, vocal coos and electro-pulses of "His Last Words" seem like the perfect soundtrack to a David Lynch film. On "Erase," song parts are dissected and grafted one atop the other, continually building tension as Jarboe wails and yelps with Banshee fervor.

The project began with the artists working in seclusion, recording the elements that would best highlight their own characteristic integrity and personality, rather than either attempting to mimic one another's familiar elements. As recorded ideas were passed back and forth, the collaboration proved to bring out the most unhinged and urgent talents of all those involved.

Throughout the album, that signature "Neurosis note" - the sound of something simultaneously recoiling and erupting, the apocalyptic tone announcing the birth of a new world - reaches its apex and becomes evermore icy and eviscerating. Guitarists Steve Von Till and Scott Kelly trim their tones for cleaner, chorus-drenched effects layered between the thunderous distortion blasts of bassist Dave Edwardson. Likewise, Jarboe's operatic wail and other vocal contortions sound perfectly suited to the eruptive emotional fray of the music.

The collaboration is a deeply textured mosaic that is a culmination of merged aesthetics from two major influences on free-thinking sounds. It unlocked the hidden potential of electronic music as a new force in heavy rock. At a time when groups like Oneida, Wolf Eyes and Black Dice were beginning to experiment with technology in making mind-numbing leaden electro-drone freed from any essence of "dance music," Neurosis & Jarboe redefined all notions of their past - and outlined the course of heavy music to come. It's interesting to look back through the lens of this release, and think about these ideas and concepts in the present.

Neurosis & Jarboe remains the meeting point of all art that takes us beyond ourselves.

Lanark Artefax releases a new EP titled ‘Corra Linn’ on 24th October via Numbers, l-a-n-a-r-k. net .

It is the Scottish producer’s first solo output since his breakout record on Whities in 2017, which included the ethereal ‘Touch Absence’. The three-track EP arrives after last year’s remix of Björk and an extensive period touring his internationally acclaimed live A/V show.

Recorded sometime in the last year and a half, the three tracks across ‘Corra Linn’ materialise like a cascading data flow; combining lazer sharp digital synths and hyperspatial sound design with scaled up, spine-tingling choral melodies, time-refracted field recordings and ethereal childlike vocal arrangements.

The EP’s title track, ‘Corra Linn’, takes its name from a waterfall in the Lanark area of Scotland, the water of which flows into one of the oldest hydro-electric power stations in the UK. The artwork accompanying the EP is a photomicrographic image of Lanarkite; a rare and precious mineral form. Almost all significant occurrences of Lanarkite were discovered deep within the Leadhills in South Lanarkshire, but it is said that an unknown, but large, quantity of it was once unearthed at the base of Corra Linn waterfall.

Visit the Lanark Artefax web portal l-a-n-a-r-k . net to explore the digital archive accompanying the release.

Kusht surfaces with a playful release full of tottery synths, crisp percussions and mind-bending samples.
On this 6-track LP released on almost occult YNFND from Germany's ever rainy baltic coast, the Scottish producer easily blends bluesy guitar riffs
with wailing electronic pads. 
Shuffled backbeats melt with ominous samples into a sticky glue, trapping every listener into a bouncy dance.
Kusht can already look back on a vivid and versatile back-catalogue but still manages to top it off with a many-sided and thought-out work of art in his signature style. 
This 12" full of folkloristic beats has what it needs to become one of this year's secret weapons, with early support of some of Germany's acknowledged tastemakers.

TROY TOWN are back with their 3rd release and itʼs another dance floor focussed EP from a South East London mainstay. El Prevost has been a fixture of the underground London dance music scene for nearly 20 years - his first label, Linx Recordings, was at the forefront of the garage and grime crossover at the turn of the millennium signing early tracks by Kano, Wiley and Pay As U Go Cartel. However, over the past decade his productions in the world of house, garage and techno have brought him widespread respect amongst discerning A&Rʼs and DJs such as Third Ear Recordings, Patrice Scott and Ricardo Villalobos whilst building his own label and party series ‘No Speakersʼ. This EP is unmistakably indebted to the sounds of London but equally doesnʼt sound like anyone else out there at the moment. ‘A Little Politicalʼ, dripping in dub effects and toughened up with the immense delivery of poet Kyla Jenee Lacey, is full throttle and combines consciousness with a determination to fill dance floors. The broken beat influence of Ladbroke Grove and the Co-Op collective is given a hefty rejuvenation on ‘Nu Jazzʼ. ‘Wheelʼ and ‘Acid Tonerʼ are heads-down, deep and dubby. Both tracks that would ramp up the temperature in dark basements like Plastic People circa 2011.

It seems KPM have long been fans of Smith and Mudd and, after being introduced to each other by mutual friend Andy Allday, the peerless Balearic maestros were invited to contribute to the library label’s digital-only “Album Shorts” project. The results are predictably wonderful.

With past projects under our belt working with everyone involved so far it made perfect sense for Be With to take on the vinyl release of this instant library classic. But why is it called “Tea With Holger”?

“Holger” is of course Holger Czukay and the whole LP is dedicated to Smith and Mudd’s time spent with him and Ursa Major at Can’s famous Inner Space Studio in Weilerswist, near Cologne.

When not recording it seems they spent a great deal of time sat around being entertained by Holger’s stories and drinking many cups of different sorts of tea from all over the world. These moments provide some their fondest memories of their visits:

“Looking back, it was pretty incredible that we spent part of our lives with Holger in one of the most magical places we’ve ever known, Inner Space Studio. We have our memories and, of course, the Bison album we made with him. But to honour the time we spent with him, we wanted to dedicate an album to him called ‘Tea With Holger’. The names of the tracks are about that time.”

The album was recorded over several years in London, Margate and Gorthleck, a small hamlet in the Scottish Highlands. Mike Piggott, who played with Bert Jansch, handled the strings and played violin whilst Sam Creer lent his virtuoso cello work to the proceedings. The sessions employed a key recording technique from their time with Holger: hit record and play. They wanted to capture magical improvisational moments live and not do the work later on in editing.

In their own words (and in classic library record sleeve style) these tracks are collectively described as “Balearic themes including breezy soul, sun-dappled melodies, warm pianos and sweeping strings”. You want to hear this, right?

The album is vintage Smith and Mudd. The gentle piano ushering in opening track “The Gardener” is soon joined by low, bubbling drums. When the time is just right, lush guitars glisten above a Welsh language vocal that floats like silk. Easy as a sea breeze. “Innerspace” is of course a nod to Can’s aforementioned studio. Dark, heavy piano meets rolling drums before warm chords and luscious strings take over, gliding over moody grooves to drive you home. Closing out side A, “Weilerswist” delivers more beautifully rolling piano and guitars over thumping cellos and building drums.

Side B opens with the full, string-enhanced version of “Away From Me”. This is Smith and Mudd’s prefered version and it’s only available here on this vinyl issue. For us it’s the standout on this all-highlight album. Tribal tones, piano and cello set a melodic staccato for violin to soar over while rolling piano lines and gospel organ chords descend into a drum drop that leads to a glorious vocal lead finale.

Distant synths introduce sun-drenched guitars and uplifting strings in “Kölner Street”, before a spacey Moog solo leads to a spellbinding, sci-fi drop. The sunshine returns before the track ends. The album closes with “Tea With Holger”. Airy vocal swells are punctuated by plucked cellos and picked guitars, all wonderfully warmed by a soulful piano.

Cut by Pete Norman and pressed in the Netherlands by Record Industry, “Tea With Holger” comes in a classic KPM green sleeve complete with track descriptions from Smith and Mudd themselves. The finishing visual touches come courtesy of Richard Robinson. We’ve given this record the same care and attention as we give to each our KPM re-issues, and it’s just as essential.

Swedish composer and multimedia artist Marcus Fjellström's debut Miasmah release follows two critically acclaimed full length albums on Lampse (2006's 'Gebrauchsmusik' and 2005's 'Exercises In Estrangement'). In addition Marcus has had several commissioned works requested, leading to him working with, among others, the Swedish Royal Ballet, the Scottish Chamber Orchestra, numerous ensembles, soloists and filmmakers including 'Salad Fingers' creator David Firth. Currently based in Berlin, Fjellström's compositions often combine aspects of modern classical composition and arrangement and more avant forms of music, be that acoustic or electronic.

'Schattenspieler' (which translates as 'Shadowplayer') takes the form of eleven compositions which explore ambience and melody, texture and silence. Haunting synth and orchestral instrument-based audio constructions, flowing from one moment to the next - the fleeting ghosts of Fjellström's melodies rise, only to be buried under a claustrophobic clutter of percussion and creaking background noise. These pieces do indeed feel like you're listening to something more implied than obviously stated, as if Fjellström wants only to expose us to the shadow of the music - the implication being perhaps a more terrifying experience than to be confronted outright…listen to 'Schattenspieler' and you may find your mind starts to play tricks on you…

The undeniably Angelo Badalamenti-esque descending synth strings of opening track 'The Disjointed', lay the foundations for Fjellström's 'Schattenspieler' album; music resting somewhere between the unsettling horror soundtracks of Jerry Goldsmith, the elevating melodies of Cliff Martinez, and the subtle audio constructions of Miasmah label mates Kreng and Jacaszek. Marcus' wide ranging abilities in composition and his willingness to let go of accepted form and function makes 'Schattenspieler' a perfect choice of release for the Miasmah label. The suspense laden 'Antichrist Architechture Management', with its harrowing and tense undertones, weaving synth lines and a wash of static hiss and flicker, is a particular standout track. Despite it's a strangely oppressive sound, shafts of light grace 'Schattenspieler'; pieces such as 'Untitled 090616' find gorgeous melodies are boxed in by unsettling arrangements and sparse background ambience. There is a coldness to many of these compositions - not without emotion, but somehow remorseless. 'Schattenspieler' is, for the main part, a defiantly bleak journey.

Vinyl edition ltd. to 300 copies, purple vinyl, incl. 8-page 12" booklet with drawings by Marcus Fjellström.

FETISH features legendary POISON IDEA members Steve “Thee Slayer Hippy” Hanford and Eric “Vegetable” Olson, and later-era Poison Idea guitarist Brandon Bentley.
Engineered by legendary producer Billy Anderson (Melvins, Neurosis, Cattle Decapitation, Sick of it All, High on Fire, etc.)
It also includes 3 of the members of the Portland punk rock machine that is LONG KNIFE, Colin Jarrell, Scott Goto, and Chris Reid.
With a single already out and a vicious onslaught of new material put together, we here at Blackhouse are honored to be putting out their debut full length album, “WORLD EATER” in its entirety in physical form.