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The title of Ital Tek's seventh album "Timeproof" reflects what Alan Myson has observed and learned whilst making the album. Firstly, how distorted the perception of time is in the creative headspace - being in the studio creates a timeless environment, one's mind starts wandering and the perception of time is altered. Secondly, the bizarre effect of the last few years of lockdown have somehow infected the title, temporarily contracting our collective notion of time. And thirdly, Alan has learnt how spending time away from the studio can be as effective as being there, giving one space to process. Appreciating the power of being out in nature, putting other things into perspective, refreshing one's ability to approach work with both patience and creativity. Overall "Timeproof" feels more introspective than Alan's last album "Outland". Perhaps because of the time in which it was created or this new relationship to the creative process. The sounds and textures of the record hint at brutality and menace whilst also pulsing and evolving softly with a more refined interior life. It's expansive and elegant, neatly balanced between light and dark, more mossy and dreamy than the extremes of "Outland".

When making the album, Alan spent about a year or so working quickly and intuitively, churning out ideas, sketches and sound experiments without any attempt to finish or perfect anything. "I let it settle until I was ready to return to this body of raw material with fresh ears some months later, sometimes barely remembering what or how I’d done much of it." Over the course of another year he dived into the details, rendering all of this rough material and sound into something with form. Alan also visited older material and ideas, trying out, reworking and sampling, building it into this new body. The finished album feels open, with a gentle intuition that feels as if it's guiding you through.

Chichi Music is proud and happy to present second wax joining four different styles of music coming across the dancefloor. ChV002

includes (in alphabetical order) tracks from Arturo Gioia, Enzo Leep aka Giralda, Lukea and Miguel Seabra.

This vinyl represents a journey from minimal music through break-beat to finally rominimal!

With Cruisin', their second album for Telephone Explosion, Toronto's Bernice distils their playful sense of composition resulting in the most affecting collection of their young career. Across fifteen tracks, a special kind of contemporary, jazz-inflected pop unfolds, miraculous for being both fun and musically adventurous, all in the name of emotional resonance. Each groove in the bassbin is matched by a little scratch at the listener's heartstrings. The album was recorded at home with Phil Melanson (Sam Gendel, Andy Shauf) and Thom Gill (Beverly Glenn-Copeland, Joseph Shabason), led by songwriter and vocalist Robin Dann (Martha Wainwright) and producer Matthew Pencer, with additional contributions from longtime members Dan Fortin and Felicity Williams (Bahamas) being captured remotely.

Throughout their eleven years as a group, working at the intersections of several scenes and spotlights (many of which begin and end at Toronto's beloved Tranzac Club), Bernice have developed an idiosyncratic musical language that feels immediately inviting and wonderfully refreshing. The group's two previous releases, Eau De Bonjourno (2021) and Puff: In The Air Without A Shape (2018) received generous nods from both Stereogum and Pitchfork, who described the music as "unusually mesmerizing". With the songcraft a little more crystalline and the vulnerability notched up, Cruisin' feels like the right record to open Bernice up to a much wider audience.

Development of the album began in Spring, 2021 during a writing retreat at the family farm in Bond Head, Ontario. Members of the band luxuriated in slow time, tinkering with lyrics and melodies, sharing meals, knitting. From this communal gathering, the concept of 'dedication' emerged as a guiding theme. Specifically, developing songs in an almost epistolary form; as love letters or check-ins for friends, community members, pets and other more elusive acquaintances (a longtime working title for the project was 'Songs For People').

Lead single 'Underneath My Toe', one of the first pieces developed under this theme, finds the group at their most graceful and direct. Beginning with songwriter/vocalist Robin Dann singing simply 'Hi / I miss you all the time', the composition proceeds to shift subtly between soft jazz balladry and low-bit funk, revelling in the intimate beauty of a long-time-no-see letter to a dear old friend.

Though being a band that so deeply values the art of fartin' around, Bernice couldn't settle on such a straightforward approach. During the creative process, a clarifying question arose: 'Can you cruise to it?'. This somewhat ambiguous aesthetic criteria became a guiding light for the album. 'Sure, it's a beautiful song about building trust with a new nonagenarian friend... but can you cruise to it?'.

Case in point, both follow up singles, 'No Effort To Exist' and 'Second Judy', fall into a more nebulous, bewildering category of song. Undoubtedly affecting, emotionally charged, existentially searching, yet also undeniably juicy. Drum patterns skitter into place while synth tones shift on a dime to meet thematic twists. There's errant whistling and curious overdubs. Then in come elegant backing vocals, elevating the narrative while an unlikely, left-field groove is established. Miraculously, the listener is not just moved, but Cruisin'.

Therein lies the marvel of Bernice: they remind us that the rec room funk of Mario Kart 64 need not exist in mutual exclusivity to a rich tapestry of human emotions. Even as we live through this most cursed timeline, we can look into the heart of things, dwell on the challenges we're called to witness, and find a little levity to carry us through; grab a lil' mushroom and cruise the existential soup.

As some of you may know, Alice Coltrane was a legendary pianist, composer, spiritual leader, and the wife of John Coltrane, the most venerated and influential saxophonist in the history of jazz. In 1967, four years after meeting John, he died of liver cancer, leaving Alice a widow with four small children. Bereft of her soul mate, Alice suffered sleepless nights and severe weight loss. At her worst, she weighed only 95 pounds. She had hallucinations in which trees spoke, various beings existed on astral planes, and the sounds of “a planetary ether” spun through her brain, knocking her into a frightening unconsciousness.

The critical event of this period was not that Alice fell into the nadir of her existence, but rather that she experienced tapas, a vital period of trial. These tapas (a Sanskrit term she used to describe her suffering) helped prepare Alice for the spiritual ally she found in Swami Satchidananda, an Indian guru, with whom Alice made her first trip to India. On her second trip there, Alice had a revelation instructing her to abandon the secular life and become a spiritual teacher in the Hindu tradition – so she moved out West – eventually opening the Shanti Anantam Ashram on 47 acres she’d bought in Agoura Hills, California.

Mammal Hands announce spell-binding new album 'Gift from the Trees', their fifth studio album, pointing to subtle shifts and exciting new departures for the unique trio
"We're at a point now where playing and writing together can sometimes feel almost telepathic, that as individuals we can tune in to a collective resonance..."
Mammal Hands fifth album 'Gift from the Trees' offers a fresh perspective on the unique trio's singular music. The first to be recorded in a residential studio, the band enjoyed the opportunity to go late into the night searching for a deeper, more organic experience, closer to both their writing process but also their trance-like live performances. While some of the music was pre-composed and had even been performed live, the band also enjoyed the opportunity to improvise ideas in the studio. Drummer Jesse Barrett explains:
We wanted to have a more immersive experience that felt closer to our writing process. One thing that was really important to us was feeling free to jam out ideas as they came to us. We're at a point now where playing and writing together can sometimes feel almost telepathic, that as individuals we can tune in to a collective resonance and just follow that thread where it wants to go. Sometimes it's something as simple as a rhythmic, textural flow, like in Sleeping Bear.
There was also a conscious decision to move away from the sound and ambiance of the recording studio, with the band opting to engineer the record with their go-to live engineer Benjamin Capp before mixing the sessions with Greg Freeman in Berlin. The idea was to try and capture more of the energy of the band's captivating shows, saxophonist Jordan Smart explains:
Considering the group of tracks we had, it made sense to try and capture this process as organically and honestly as possible, and so a change in studio environment felt like the right move to us. Some of the tracks have a raw joy and energy that came with being able to play together again after a long period of time of having been apart, and capture that feeling of just being happy to be in a room with our instruments altogether again.
Whereas for pianist Nick Smart there was also the chance to really go deep into the band's music:
The new studio environment really opened us up to different ways of working and thinking because we could record at any hour of the day or night. I think this allowed us much more freedom to try unusual ideas and push elements of the music to extremes because we had the time to really focus in on the detail and work on things without time pressure. With some tracks, we were trying to find the boundaries of our playing ability and push beyond that point. With others, it was just getting into the right mindset and putting as much energy and emotion into the take as possible.'
The Welsh environment outside the studio doors seeped into the music presented on Gift from the Trees, with two recording sessions (one in winter and one in the spring) bringing different moods: one bleak and wintery, the other more hopeful and bright – an energy that permeates through tracks such as Kernel and Dimu.
Gift from the Trees opens with wonderfully elevating The Spinner which grew from one of Nick's piano parts and was developed and arranged into a complete tune without losing the feeling of constant flow and motion. It is almost like a dance, with the interaction of different melody parts and the doubling of certain parts melding together and fitting into the overall energetic flow, while Jesse's drums are both floating and deeply melodic. Riser aims to capture the band's raw energy and intriguingly is influenced by both breaks and modern drum production but also minimalist classical composition. Nightingale features the band at their most delicate and lyrical – a band favourite it draws heavily on modern folk with a beautifully realised melody that came unforced to pianist Nick Smart before being jammed out together. It was recorded early one morning, bringing an extra light and brightness to this beautiful performance.
Another album highlight is Dimu which utilises one of drummer Jesse Barret's favourite rhythmic devices from the Tabla repertoire and draws inspiration from Indian, Greek and Arabic music as well as modern folk arrangements. Dimu starts with saxophone over a bed of drones and percussion and moves through many different sections that frame and present the melodies in unique ways. The beguiling, intimate Deep within Mountains aims to place you in the room with the band as they play; it was recorded late at night to capture a dreamlike, liminal ambiance. The piano solo really reflects this mood and energy while the tenor is some of the softest and closest on the recording. Elsewhere, the remarkable Labyrinth started with what Nick describes as "some weird recording on my phone from a soundcheck, where Jordan was playing some crazy sounding bass clarinet part and I quickly recorded him", giving birth to a captivating, complex slice of propulsive 'almost' contemporary classical that like so much of the music on Gift from the Trees really couldn't be any other band than Mammal Hands.
Finally, the album draws to a close with the glorious Sleeping Bear, a tune that was wholly improvised in the studio. Nick and Jesse entered a simple but 'weird' locked groove and Jordan improvises melodies over the top. The track came about without any planning or thought; it was one of those special things that came by surprise and the band felt offered the perfect ending to their latest gift to us all: a deeply enthralling album that captures so much of what makes Mammal Hands a special band while mapping out new routes and paths for their beautiful, beguiling music.

Under-recognized trumpeter Johnny Coles recorded only one album for Blue Note but 1963’s Little Johnny C is a little-known treasure of the catalog featuring Coles at the helm of a dynamic sextet with tenor saxophonist Joe Henderson, alto saxophonist Leo Wright, pianist Duke Pearson, bassist Bob Cranshaw, and drummers Walter Perkins & Pete La Roca.

This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

The second in Jazz Room's occasional Pure Latin releases this Underground Masterpiece first emerged in 1980 and is an outstanding example of the Classic Era Nu Yorican El Barrio Underground Sound! If you dig the Tata Vasquez LP on Jazz Room then this is for you.

Featuring the Afro-Cubano Salsaero Jazz Heavyweights of the day including Chocolate Armenteros, Jose Mangual, Mauricio Smith and Orestes Vilato and a huge seven man Percussion Section it really blasts out the Afro-Latin message.

A part history of the Afro-Cuban Music Journey from the Hinterlands of Cuba via Havana and eventually arriving in Jazz Age New York it is a welcome addition to the Jazz Room Catalogue (as well as being Jazz Room Head Honcho's favourite albums).

Floor filler cuts for Latin Lovers with "Esa Brujeria" always turning up the heat.

Seems our favourite light-fingered Norwegian Cut-N-Paste maestro has been busy of late !

With his Cosmic Oslo debut about to land, we're treated here to a SUPER Limited 4-way of secret weapons from the cupboard of delights...

As ever with Rune, we're going off-piste, but into nevertheless inviting dancefloor territory.

A 70's cheeser hides in plain sight until the last minute pay off alongside a slick, mid-Eighties Japanese gem on the A.

On the B, another Japanese favourite is reworked for maximum dancefloor derangement while an Iberian throbber finishes us off in fine style !

Be quick !

Alone was Modern Talking's eighth studio album and the follow-up on their comeback album in 1998. Their comeback was well celebrated, because this album topped the charts once again. The album was supported by two singles, “You Are Not Alone” and “Sexy, Sexy Lover”, which charted at #7 and #15 in Germany. The album itself debuted atop the German Album Charts and remained there for four consecutive weeks. Alone was eventually certified platinum in Modern Talking's home country.

Alone is available as a limited edition of 1500 individually numbered copies on yellow & black marbled vinyl and includes an insert. The run-out groove contains secret inscriptions.

The stunning sophomore album from fast-rising post-punk favourites ACTORS! Featuring singles Love U More, Only Lonely, Cold Eyes, and more, Acts of Worship is ACTORS' second album. Available worldwide on Artoffact Records! This first pressing vinyl edition is pressed on black vinyl.

Boppin’ In Baltimore: Live at the Left Bank is a previously unissued recording of saxophone master Sonny Stitt captured live at the Famous Ballroom in Baltimore, MD on November 11, 1973, for the Left Bank Jazz Society. Recorded by Left Bank founder Vernon Welsh, Boppin’ In Baltimore is an official release in cooperation with the Sonny Stitt Estate and features an all-star rhythm section of pianist Kenny Barron, bassist Sam Jones and drummer Louis Hayes. The deluxe limited-edition 180-gram 2-LP set includes an extensive booklet with rare photos by Christian Rose, Raymond Ross, Tom Copi, Burt Goldblatt and others; liner notes by acclaimed jazz critic Bob Blumenthal; and interviews with Barron, Hayes and saxophone icon Charles McPherson, Muse Records founder and producer Don Schlitten, and an archival interview with Sonny Stitt himself from the early 1970s conducted by Marc Vasey in Canada. The vinyl edition is mastered for vinyl by legendary mastering engineer Bernie Grundman.

For polymath artist Wesley Joseph, writing a song is like shooting a film - he sees in terms of scenes and colors, lighting the proper mood, drawing the right emotional arc. Music and filmmaking are Joseph’s two great loves. Film came first—he started making DIY videos at age 12 to entertain himself and his friends growing up in a small town in the UK. “There wasn’t really much happening,” he remembers, “and from a young age it created this mindset that doing everything myself was the only way to do it.”

But when he moved to London to study as a filmmaker, he discovered something in the freedom and independence of city life that demanded to be captured in song, and found a crew of collaborators—including A.K. Paul, Dave Okumu, Joy Orbison, Leon Vynehall, Lexxx, Loyle Carner and his childhood friend Jorja Smith—to help him do it. The result was his breakthrough single ‘Ghostin’’ and the 2021 debut ULTRAMARINE - released on his own imprint EEVILTWINN - a deeply textured collection of avant-R&B and soulful future-pop that stretched from psychedelic ballads to hard hip-hop bars (often in the span of a single track) and crystallized the mood of a young cohort trying to find love and live their dreams while the world is falling apart. Whilst his collaboration with Loyle Carner on single ‘Blood On My Nikes’ lead to him featuring on the artist’s critically acclaimed - and #3 charting album - earlier this year.

Now the nascent auteur returns with his Secretly Canadian debut GLOW, eight more songs of love, loss, anxiety, and joy about coming of age at a time of unprecedented change. Showcasing his range across songwriting, performing, and production—not to mention his flawless transitions between singing and rapping, between character studies and raw emotional honesty—it’s a stunningly beautiful work that makes it clear Joseph’s on the path to becoming a world-changing talent.

GLOW opens with the title track’s warm analog synths and cascading vocals that channel the harmonious Northern soul Joseph’s dad raised him on, a shimmering bed of clouds for the project’s opening credits. But like any good director, he quickly deepens the mood, drawing together disparate influences and emotions to build a unique sonic world spilling over with synchronicities and juxtapositions. “MONSOON” conjures nocturnal hedonism at the same time as it contemplates grief.

As on previous projects, Joseph is providing his own visual accompaniments for GLOW, creative directing its artwork and adding to his growing filmography as a director—he’s repped by the renowned production company Stink—with its first video. “COLD SUMMER” finds Joseph singing from a supervillain’s perspective over woozy film-score strings, and the concept bleeds over into its video accompaniment, a cryptic post-post-Tarantino film shot in Kazakhstan.

“I've never really seen them separately,” Joseph says of music and film. “They kind of just constantly drift into each other. And when they come together, it's like it was meant to be in my head the whole time.
It’s usually hyperbole to call an artist as young and new as Joseph “visionary,” but it’s undeniable that he has a vision, one that transcends old ideas of genre and medium, one that seems to get bigger and richer every time he steps into a studio or behind a camera. GLOW is one of the deepest and most satisfyingly cinematic listening experiences of the year—and Wesley Joseph is just getting started.

2023 Repress

Now in 2017 and after six years of touring the planet with the live band, Shpongle return with a new 6th studio album,- 'Codex 6'. Though much has changed, music production isn't something for just enthusiasts anymore, and the tools needed to make an entire album in your bedroom or on a laptop are becoming increasingly available and affordable... yet this just makes Shpongle's return all the more welcome. In a time where more and more focus is put on commercialization and churning out quick hits and floor fillers, Simon and Raja's latest work on Codex 6 is a welcome breath of fresh air wedded to nostalgia and the future at the same time, and proves that the group isn't ready to become stagnant anytime soon.

2023 Repress

Ultimate Aaliyah is the second and final compilation album by R&B singer Aaliyah. Originally released by Blackground Records in only the UK, Australia, and Japan, the 2005 double album features one disc of Aaliyah's greatest hits and one disc entitled "Are You Feelin' Me?" containing material from soundtracks and featured work with labelmate Timbaland.

• 180 GRAM AUDIOPHILE VINYL
• SECOND ALBUM FROM BROTHERS MICHAEL, JACKIE, TITO, MARLON AND JERMAINE
• INCLUDES THE BILLBOARD HOT 100 #1 SINGLES “ABC”, “ONE MORE CHANCE”, “THE LOVE YOU HAVE” A.O.

The brothers Joe, Jackie, Tito, Jermaine, Marlon and Michael Jackson formed the pop band the Jackson 5 in 1964. In 1968 they signed with Motown Records and became the first group to debut with four consecutive number one hits on the Billboard Hot 100, including “ABC”. This single is featured on the same-titled album which was released in 1970. Other hit single “The Love You Save” is also included on the album. Both singles went directly to the number one position across the board, even knocking The Beatles off their number one spot. ABC peaked at #4 on the Billboard Pop Albums Chart and at #1 on the Billboard Black Albums Chart in the U.S. It remains one of the most popular efforts by the Jackson 5, selling over 5.7 million copies worldwide.

New/Deluxe vinyl pressing housed in old school tip-on jacket In 1973, Davis would finally kick off her cosmic career with an amazingly progressive hard funk and sweet soul self-titled debut. Davis showcased her fiercely unique talent and features such gems as "If I'm In Luck I Might Get Picked Up" and "Game Is My Middle Name." The album Betty Davis was recorded with Sly & The Family Stone's rhythm section, sharply produced by Sly Stone drummer Greg Errico, and featured backing vocals from Sylvester and the Pointer Sisters.

New/Deluxe vinyl pressing housed in old school tip-on jacket In 1973, Davis would finally kick off her cosmic career with an amazingly progressive hard funk and sweet soul self-titled debut. Davis showcased her fiercely unique talent and features such gems as "If I'm In Luck I Might Get Picked Up" and "Game Is My Middle Name." The album Betty Davis was recorded with Sly & The Family Stone's rhythm section, sharply produced by Sly Stone drummer Greg Errico, and featured backing vocals from Sylvester and the Pointer Sisters.

4 The Core Recordings presents their second vinyl release in the form of Fibzy – The Deirdre Barlow EP. Fibzy is a very talented producer who makes some lovely breakbeat hardcore but with a slightly harder and more modern edge than the original old skool sound. These tracks have blown the roof off everywhere they’ve been played, from Internet radio shows to raves. It is very much old skool vibes with a contemporary twist.

For the second release we have four unreleased tracks made between 1994 to 1996 at Alien Recording studio in London from duo PAN-TONE (Alec Stone & Andy Panayi). Best friends for over 35 years, both had a passion for making their own style of music and getting out it to the people around the world. Sadly passed away, Andy has been a very big font of inspiration for us, we are proud to release these four housey tracks from the past to all of you.

Abstract Sounds, in partnership with Bianchi, present the second instalment of their special collaborative series. This latest immersive minimal house/deep tech project has sought out the creative intellect of artists ChrisOdt, Máté Si, and Nerve Maze, alongside the label head himself, Staniz. Each producer has an instantly recognisable taste in sound, yet they still manage to harmoniously glide together, moulding into a grouping of tracks set to fly.

Staniz is the primary figure behind two of Italy’s most exciting musical projects to emerge over the past few years, Bianchi and Abstract Sounds. The brands support rising Italian talent, whilst stressing the importance of upholding the intrinsic value of art and music, through a preference for physical merchandising, resulting in the flourishing of musician and fan communities alike.

ASBV002 takes us on a comprehensive and fluid journey through aerial chords, scintillating keys, raw, tech-permeated beats, and enthralling, rough textures. This star line-up shows total control and confidence over each composition, letting all the individual sonic elements chosen to shine in their own right with their discerning individuality and signature tonalities. In combination, the works harness an aesthetic full of instrumental flavour, unlikely to be forgotten with time.

Gold Vinyl

Lael Neale still has a flip phone and there were no screens involved in the creation of her new record Star Eaters Delight. The album is her second for Sub Pop and reveals an expansion of her sonic collaboration with producer and accompanist Guy Blakeslee. In April of 2020, in the wake of transformations both personal and global, Lael moved from Los Angeles back to her family's farm in rural Virginia. Looking at the world from a distance and getting in tune with her own rhythms, she wrote and recorded steadily for two dreamlike years, driven by a need to make order out of chaos. Forged in isolation, Star Eaters Delight is a vehicle for returning, not just to civilization, but to celebration. She says, "Acquainted with Night (recorded in 2019, and released in 2021), was focused inward, amidst the loud and bright Los Angeles surrounding me. It was an attempt to create spaciousness and quiet reverie within. When I moved back to the farm, I found that the unbroken silences compelled me to break them with sound. This album is more external. It is me reaching back out to the world, wanting to feel connected, to wake up, to come together again." Album opener and lead single "I Am The River" melts the ice with a dynamic explosion of minimalist transcendental pop clearly descended from the Velvet Underground's branch of modern music's family tree. Blakeslee's spare yet cinematic arrangements create an ambient space in which Neale's clear and unaffected voice can explore familiar themes in an unexpected way. Subtle but potent references to Shakespeare, Emerson and the Bible (which she hasn't read) swirl together with deeply personal musings and touches of wry humor, always more optimistic than cynical. While this is a record about polarities- country vs. city, humanity vs. technology, solitude vs. relationship - the deeper intention is to heal; to come to terms with our differences and put the broken pieces back together again. Lael's affinity with the Transcendentalists has to do with her quest to hold onto sovereignty over her own mind. In a time when our devices are constantly flooding us with information, opinions and propaganda, Lael is intentional about what she takes in - hence the flip phone and the cassette recorder. Neale identifies as a minimalist "not because I don't like things, but because I value freedom more."

Tape

Lael Neale still has a flip phone and there were no screens involved in the creation of her new record Star Eaters Delight. The album is her second for Sub Pop and reveals an expansion of her sonic collaboration with producer and accompanist Guy Blakeslee. In April of 2020, in the wake of transformations both personal and global, Lael moved from Los Angeles back to her family's farm in rural Virginia. Looking at the world from a distance and getting in tune with her own rhythms, she wrote and recorded steadily for two dreamlike years, driven by a need to make order out of chaos. Forged in isolation, Star Eaters Delight is a vehicle for returning, not just to civilization, but to celebration. She says, "Acquainted with Night (recorded in 2019, and released in 2021), was focused inward, amidst the loud and bright Los Angeles surrounding me. It was an attempt to create spaciousness and quiet reverie within. When I moved back to the farm, I found that the unbroken silences compelled me to break them with sound. This album is more external. It is me reaching back out to the world, wanting to feel connected, to wake up, to come together again." Album opener and lead single "I Am The River" melts the ice with a dynamic explosion of minimalist transcendental pop clearly descended from the Velvet Underground's branch of modern music's family tree. Blakeslee's spare yet cinematic arrangements create an ambient space in which Neale's clear and unaffected voice can explore familiar themes in an unexpected way. Subtle but potent references to Shakespeare, Emerson and the Bible (which she hasn't read) swirl together with deeply personal musings and touches of wry humor, always more optimistic than cynical. While this is a record about polarities- country vs. city, humanity vs. technology, solitude vs. relationship - the deeper intention is to heal; to come to terms with our differences and put the broken pieces back together again. Lael's affinity with the Transcendentalists has to do with her quest to hold onto sovereignty over her own mind. In a time when our devices are constantly flooding us with information, opinions and propaganda, Lael is intentional about what she takes in - hence the flip phone and the cassette recorder. Neale identifies as a minimalist "not because I don't like things, but because I value freedom more."

Presence Reverts to Absence is the 6th album from dutch ambient-beats duo Tangent.
The album finds Rob- bert Kok and Ralph van Reijendam expanding the Tangent pallet with additions of more poignantly propulsive beatwork and integral modular synth flourishes, which raises their deeply contrasting ethos to new heights.
There has always been something rather unworldly about Tangent's music, and Presence Reverts to Absence might be their most celestial album to date by leaning lightly into sci-fi territory with its sound bed of ghostly beacon transmissions and dusty swelling synth tones.

Upcoming album 'Hijaz + Strings' to be released in April 2023.

Hijaz is a multicultural sextet that combines Eastern melodies with improvised jazz. Their music is based on the dialogue between oud and piano. ‘Hijaz’ refers to the Arabic musical scale but also holds a clear reference to jazz. More than ten years already, the band is weaving an intriguing web of Mediterranean warmth, polyrhythmic structures and musical virtuosity. In a tight formation of fore core musicians, Hijaz captures the magic of the moment during their concerts. For this album the band aligned with a cello and two violins and arranged for strings by bass player Ben Faes.

Hijaz is without a doubt one of the best kept secrets of the Belgian world music scene. – Jazz in Belgium

This is essentially a jazz album, but one with a difference since the Arabic music scales, the instrumentation and the influence of Greek Rembetika are so infused into the album that you can almost smell the aroma of Eastern spices floating out of the studio. – Worldmusic

‘Dunes’ is een zeer veelbelovend klein meesterwerkje, dat na herhaald luisteren steeds meer van zijn schoonheid prijsgeeft. – Moors Magazine

De muziek vervoert je zo naar een rustige patio in een Mediterraanse stad, op een steenworp afstand van de drukke Medina. – JazzLab

Das fünfte Studioalbum der kanadischen Experimental-Pop-Band Braids ist ein freieres und völlig neues Werk, auf dem das Trio seine Strategie aufgibt, sie niederbrennt und die Liebe in die Tat umsetzt. Liebe in ihrer Gesamtheit: ungebundene Glückseligkeit, aufkeimende Impulse und chaotische Unvollkommenheiten, eine Supernova, die von kühnen, melodischen, symphonischen Popsongs aufgewirbelt wird, die sich der Gegenwart hingeben. Die Single 'Evolution' ist ein klarsichtiger und ruhiger Banger, der der Platte inmitten des ausufernden Tempos eine geerdete Vorstellung verleiht.

FÜR FANS VON: Whitesnake, Deep Purple, Rainbow, Scorpions, MSG, Gillan, Dio, Heaven & Hell
Balladen spielen in der Geschichte der Rockmusik eine ganz besondere Rolle. Einerseits dokumentieren sie die emotionale Seite des Genres und
zeigen, dass hinter (fast) jeder harten Rockerbrust ein weiches Herz schlägt. Zudem werden ruhigere Nummern auch in weniger Rock-affinen
Radiosendern gespielt – und von den Hörern für ihren gefühlsbetonten Tiefgang geliebt. Und drittens: Balladen sind in einer zunehmend hektischer
werdenden Welt oftmals kurze Momente des Innehaltens, des sich Besinnens auf die wesentlichen Dinge des Lebens. Kein Wunder also, dass die
Balladen-Compilations der Axel Rudi Pell Band ein absolutes Erfolgsmodell sind. Allein von ‚The Ballads I‘ (1993) bis ‚The Ballads V‘ (2017) sind weit
mehr als 250.000 Exemplare über den Ladentisch gegangen. Unter den aktuellen Top-10 der über Spotify meist gestreamten Pell-Songs befinden sich
allein neun (!) Balladen! Die Beweislast ist also erdrückend, wenn Fans des Bochumer Gitarristen und Songschreibers regelmäßig auf eine Fortsetzung
dieser Veröffentlichungsreihe drängen. Mit Erfolg: Am 21. April 2023 erscheint ‚The Ballads VI‘ als CD, Doppel-Vinyl-LP und digitaler Download, wie
gewohnt über Steamhammer/SPV und wie nicht anders zu erwarten mit kleinen Überraschungen. ‚The Ballads VI‘ ist somit nicht nur die neueste
Ausgabe der beliebten ARP-‚The Ballads‘-Serie, sondern auch der direkte Nachfolger des Studioalbums ‚Lost XXIII‘, das sich im April 2022 auf Platz 2
der deutschen Verkaufs-Charts platzieren konnte.

In April 2023, Anglo American duo Baba Ali return with their second album Laugh Like A Bomb, set for release via Memphis Industries. With the news, the pair have shared lead single "Burn Me Out", a documentation of their creative ethos and the societal urge to overindulge to the point of exhaustion. Having previously collaborated with Al Doyle (LCD Soundsystem/Hot Chip) on their debut album, this time the duo absconded to Doyle"s studio in his own touring absence and took to production duties themselves. Laugh Like A Bomb was recorded in just three weeks before being mixed by Sheffield producer Ross Orton (Working Men"s Club / Arctic Monkeys / MIA).

Der vierfach Grammy-nominierte Multiinstrumentalist,
Produzent und Gründungsmitglied von Porcupine Tree
veröffentlichte 2011 sein zweites Soloalbum. Das experimentellere, eklektische Album baut auf den künstlerischen
Vorstößen auf, die er mit dem außergewöhnlich gut aufgenommenen "Insurgentes" von 2009 gemacht hatte. Es ist
eine moderne Hommage an den Geist der späten 60er und
frühen 70er Jahre, als das Album primäres Ausdrucksmittel
eines Künstlers war, und kombiniert Jazz, klassische und
psychedelische Musik, um "Klangreisen" zu kreieren.
— Reissue als schwarzes Doppelvinyl im Gatefold Sleeve
— Wilsons zweites Soloalbum erschien ursprünglich 2011
auf Kscope
— „Progrock frei von jeglicher Nostalgie, perfekt nicht zum
Ertrinken, sondern zum Eintauchen“ (Rolling Stone)

Since the release of RFR 014 Joannes has remained a quality source of solid techno. With this four track EP he proves his sonic versatility.
„Kiss“ sounds like a lucid dream, when you have spent the nights sleeping upon Robert Hood’s „Internal Empire“ for some time. A respectful homage to Detroit’s grandmaster, combining everything what made and makes techno so unique for decades.

The second track remains true to the minimal approach of this EP. Pictures of a humid rainforest, only sparsely lit by daylight, through whose overgrown paths you’re cutting your way with a machete. Certainly not a place for a „Date”, rather a spot for minimal techno in 90s garments.


A touch of tribal, Chicago infused percussions and gentle melodies are all that it takes to elect „Love“ as one of the highlights of this EP. A wonderful start for those often-underrated record flipsides.
Despite its title, „Hate“ might be the most accessible track of this EP. If you are into melodic Detroit techno with dash of…., you may fall in love with this one and hardly get away from it.

Enemy is a 2013 psychological drama film directed by Denis Villeneuve and produced by M. A. Faura and Niv Fichman. The A24 film stars Jake Gyllenhaal in a dual role as two men who are physically identical, but different in personality. Enemy premiered in the Special Presentation section at the 2013 Toronto International Film Festival on 8 September. The movie earned ten nominations at the 2nd Canadian Screen Awards, winning five, including Best Director for Villeneuve, and Canadian Screen Award for Best Supporting Actress for Gadon. It was named Best Canadian Film of the Year at the Toronto Film Critics Association Awards 2014.

The score is composed by Daniel Bensi & Saunder Jurriaans who gained major acclaim for their score of the popular Netflix series Ozark. Danny Bensi and Saunder Jurriaans have been creating music together for over twenty years. In the last 10 years, they have completed well over 100 acclaimed film and TV scores.

Enemy is available on vinyl for the first time. This is a limited edition of 500 individually numbered copies on translucent yellow coloured vinyl. The gatefold includes liner notes by director Denis Villeneuve.

Mighty Eye is proud to present the second 45rpm single release by P.T.B. (The Powers That Be). A powerhouse of musical talent, P.T.B.’s current line up includes Miles Francis (Cornelia Street Studio / Antibalas) on drums and bass, Luke O’Malley (Phenomenal Hand Clap Band / Antibalas) and Vincent John (Eraserhood Sound) on guitar, Jake Pinto on keys and featuring horn arrangements by Eric Biondo.

Continuing on their stellar journey through the stars, P.T.B. are back with a funky ode to the Gods of the Gods... and creation itself! Close your eyes, sit back and imagine witnessing the birth of all that is as the cosmos explode around you.

Of all the things that can and should and will be said of Sam Wilkes’ & Jacob Mann’s Perform the Compositions of Sam Wilkes & Jacob Mann, let’s begin at the beginning and acknowledge that it is an aptly named record indeed. An ideal collaborative effort (which is to say, greater than the sum of its parts), here we have two longtime friends, two luminaries of the New Weird Los Angeles — the experimental, genre-encompassing underground—who have, at last, devoted a full-length record to their signature musical admixture.

Since their meeting as USC music students (Wilkes studied bass, and Mann, jazz/piano), the two have, with a kind of ceaseless abandon, chased the music to the ends the earth — oftentimes quite literally; travel is a recurrent theme in Compositions’ track titles (Pre-board, Soft Landing, and Around the Horn), and the record’s second track, Jakarta, was sketched out in a hotel room in the city of the same name, where Wilkes and Mann were performing at a jazz festival in 2019. Having initially bonded over a mutual and abiding appreciation for the Soulquarians, the two have spent over a decade playing and traveling, together and separately, their styles coevolving all the while.

Across its thirteen tracks, Compositions captures the relaxed creative flow of two consummate musicians. Most of the record’s sessions (“four-to-five-day summits” in an apartment studio, occasioned by “blasts of inspiration”) began with casual improvisation, and, indeed, roughly half of the final material was composed in this manner: Wilkes and Mann squaring off, a Yamaha DX7 facing a Roland Juno 106, alternating leads, two co-pilots with no set course. And though the songs are polished to a shine, there are artifacts of the intimacy of these sessions. Yes It Is concludes with a snippet of just-intelligible studio chatter: “…A flat minor, then A major.” A figuring-it-out-as-we-go moment that briefly renders explicit the warmth, friendship, and creative freedom that is the album’s heart.

Buckle up for Dubblack002, this time courtesy of Italian rising star TAGLIABUE. The Milanese DJ & producer is a an ideal ambassador of the label’s ethos, with his deep and mysterious electronic attitude. The opening track ‘Odissea’ lays the groundwork for the record to rise, with a cryptic intro which breaks out in a progressive detonation, referring to a late 90s/early00s sound but interpreting the scenario with a modern, actual twist.

‘Baraka Trance’ keeps the standard high and, as the title suggests, offers the artist’s POV on the Trance matter with a high-tempo, neatly arranged beat and a slightly acid bass-line, both creating a constantly evolving eight minutes-long acoustic journey. ‘A Oltranza’ slows the pulse but doesn’t decrease the pressure with captivating rhythmics perfectly blended with an avant-garde harmonic section; a complex but never baroque arrangement that constantly holds the listener on the rope. Three tracks with unique features, presenting a vast array of musical influences all merging to produce a cohesive, new and unheard record. Music written and composed by Tagliabue, project curated by GNMR.

Nas King's Disease II Album Following the Grammy Award winning album, King’s Disease, the king returns to his throne with the second coming, King’s Disease II. The star-studded project offers tacit game on life, love, and loss, uplifting through action and lived experience in a way only Nas can. This is a body of work for the fans, for the day 1’s that contributed to the legacy. Alongside the decorated production savant, Hit-Boy, Nas remains rooted in lyrical prophetism while proving that he constantly reinvents the wheel. The sequel to last year’s King’s Disease features Ms. Lauryn Hill, Eminem, EPMD, Hit-Boy, Charlie Wilson, YG and more.

Ian Hunter, der seit über sechs Jahrzehnten ein Pionier des Rock’n’Roll ist, blickt auf seine musikalische Reise zurück und freut sich auf das nächste Kapitel seiner bewegten Karriere. Bekannt für seine hochkarätigen Kollaborationen mit Künstlern wie David Bowie und Queen, setzt Ian Hunter diese Tradition auch auf seiner neuen LP ”Defiance Part 1” fort. Unterstützt von einem Staraufgebot an befreundeten Legenden, rockt Hunter auf brandneuen Titeln wie ”This Is What I’m Here For” und ”Bed of Roses”.

It is no longer a secret that Lady Linn has a very rich and unique voice with a versatility that is second to none, ensuring that she is right at home in a myriad of styles.

She proved exactly that in her new 'trilogy', a series of three E.P.'s - 'I'm Fine', 'Sea of Trees' & 'Nocturne'- each one telling its own unique story, and now bundled on the album 'Trilogy'.

The common thread throughout the album is her affinity with jazz, soul and dance, but also lyrically, various themes return: the tenderness within family life, melancholy, nature, and the magic of the dance floor.

There is also a clear evolution with the arrangements going from a sober, stripped-down quasi-electronic sound of the JX-03 on 'I'm fine' (with contributions from Gustaph, Gregory Frateur and producer Frederik Segers) to dreamy and warm analog synths by producer Joris Caluwaerts on 'Sea of Trees', to an organic, energetic sixties sound on 'Nocturne' with starring role for her partner and bass player Filip Vandebril and partners in crime: The Magnificent Seven, arranger Frederik Heirman and producer Jan Chantrain.

In addition to a selection of the three EPs, 'Trilogy' also includes the extra song 'Hurricane', one of Linn's personal favorites, recorded at Daft Studios with The Magnificent Seven:

'I had just watched a documentary on Laurel Canyon (on the topic of Los Angeles - the epicentre of the 'counter culture' or better 'hippie culture' - in the late 60's and early 70's and the habitat of The Mamas and the Papas, Frank Zappa, Jim Morrison, etc.) which fed my fascination for the 60's that I already had thanks to my parents. The way in which music was created and recorded in that era is a dream for every musician, me included. With the surplus in time due to the lack of gigs during the pandemic the time was right to follow my dream and record in the Daft Studios with my own band. I felt a bit like Carol King behind my piano, but I was also inspired by Joni Mitchell.'

A quote from the lyrics of 'Hurricane': 'I wanna feel the wind like the birds outside/Dive like a seagull, enter the water from flight/Into the deep I slide'.

'A very personal song about losing yourself and the longing for freedom. I composed this one specifically with 60's songs in mind, with loads of modulations and pretty complex chords.'

Lady Linn wrote a versatile trilogy, inspired by a diverse set of influences that had her digging in music history in a very original and contemporary way. She also made her mark on the sound of the productions. On both 'I'm Fine' and 'Nocturne' she was co-producer.

Akhira Sano was born in 1992 in Niigata, Japan. Focusing on the imperfections and irregularities of form and sound, he creates, observes, records, and extends them secondarily through drawing, graphics, installation, videography, and music composition.
His major works include "Penetrating, For Filtration" (Important Records, 2019), "Particle Dialogue - Observation and Recording" (The Trilogy Tapes, Inc. 2022), and major solo exhibitions include "Perspectives of Possibility" (FAITH, 2021) and "mē on - Seeing the Absent" (TOH, 2022).

DAFNE VICENTE-SANDOVAL - MINOS CIRCUIT (2021)

Minos Circuit is the resonance of a double exploration, that of an instrument, the bassoon - an instrument dear to Dafne Vicente-Sandoval - and that of a listening, of a gaze, almost. The first exploration deconstructs the instrument, tearing it apart, reducing it to an archipelago of sound bodies stimulated by an electro-acoustic device that generates feedback and infiltrates each part of the bassoon, in order to carry out a methodical, systematic examination. The second exploration is the inner one of attention and listening, the one that measures, at each moment, the necessity or not of an intervention in the very act of the musical work, of this subtle balance that is established between composition and observation, between action and contemplation.

(fr) Minos Circuit est la mise en résonance d’une exploration double, celle d’un instrument, le basson — instrument cher à Dafne Vicente-Sandoval — et celle d’une écoute, d’un regard, presque. La première exploration déconstruit l’instrument, le met en pièce, le réduisant en un archipel de corps sonores stimulés par un dispositif électroacoustique générateurs de larsens qui vont s’infiltrer dans chacune des parties du basson, pour en faire l’examen méthodique, systématique. La seconde exploration, c’est celle, intérieure, de l’attention et de l’écoute, celle qui mesure, à chaque instant, la nécessité ou non d’une intervention dans l’agir même de l’œuvre, de cette bascule subtile qui s’établit entre composition et observation, entre action et contemplation.

LARS PETTER HAGEN - TRANSFIGURATION 4 (2018)

Both a “meditation on musical ruins” and “a study of the material of Richard Strauss’s Metamorphoses”, Transfiguration 4 works on the musical fragment as an expressive and poetic possibility that can be deployed below or beyond simple musical syntax, a syntax that is still too often equated with music itself. What Lars Petter Hagen highlights in this remarkable work is that the power of music lies at its fringes, that is, at the edge of its own disappearance. Transfiguration 4 floats in a particularly moving way in these troubled lands, where nothing is ever resolved, and where everything, however, is suspended, like a stream of blurred memories that memory would summon to form an intuition. A musical intuition.

(fr) A la fois « méditation sur les ruines musicales » et « étude du matériau de Metamorfosen de Richard Strauss », Transfiguration 4 travaille le fragment musical comme possibilité expressive, poétique, pouvant se déployer en-deçà ou au-delà de la simple syntaxe musicale, syntaxe encore trop souvent assimilée à la musique même. Ce que met en lumière Lars Petter Hagen dans cette œuvre remarquable, c’est que la puissance de la musique se situe à ses franges, c’est-à-dire aux lisières de sa propre disparition. Transfiguration 4 flotte de manière particulièrement émouvante dans ces contrées troubles, où rien jamais ne se résout, et où tout, pourtant, se suspend, comme un flux de souvenirs flous que la mémoire convoquerait pour former une intuition. Une intuition musicale.