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Ryan Lee West aka Rival Consoles announces details of his highly anticipated new album Articulation, released on Erased Tapes on 31 July 2020.
‘Articulation’, the lead track and album centrepiece, links the record back to the analogue fluidity and colour of 2016’s Night Melody. The division of varying time signatures, intertwined with a complex structure of notes, creates an expression of a moving structure and conjures a dreamy motorik energy. Ryan Lee West explains, "The title track is about articulation and playfulness with shape and time. Its structure is very machine-like, but I was really interested in how melody and sense of story could develop out of this, and it became an exploration of mathematical structures - patterns and shapes having a conversation. I love that something on paper can appear rigid and calculated, but then take on new meaning based on the context that surrounds it, or how it changes over time."
Articulation (which follows 2018’s Persona) was conceived with a very visual way of thinking, unusual for the London musician and producer. During the writing process Ryan drew structures, shapes and patterns by hand to try and find new ways of thinking about music, giving himself a way to problem-solve away from the computer. The album title references a piece by the avant-garde contemporary composer Györgi Ligeti, though not for its music, but for the non-traditional graphic score that accompanied it.
“I find electronic music is often battling to say something with integrity because technology and production can easily get in the way. I think the goal of a lot of electronic composers is to find a balance between the vision of the idea and the power of possibilities on the computer. With a pen and paper sketch you can compose and rethink ideas without technology getting in the way, so for me it acts as a very helpful tool to refresh the process.” - Ryan Lee West
The idea of using analogue drawings and tools to bolster digital creations can be heard in the structure of the pieces that make up Articulation from the broody techno opener ‘Vibrations on a String’ all the way to the album’s boundless closer ‘Sudden Awareness of Now’. While the anthemic rise and fall of ‘Still Here’ and the beatless ambient meditation ‘Melodica’ evoke a certain nostalgia, ‘Forwardism’ achieves the very opposite by burying its melody within the fast-paced rhythm of its pulsating synths.
Rising out of birdsong heard from his studio window, ‘Sudden Awareness of Now’ has a particular urgency about it and seems to perfectly capture a longing for escape. Built around a simple and repetitive melodic theme, expanding and retracting over the course of its seven-minute odyssey, Lee West explains; “I like the fact that if you say something over and over again in music, then over time it can become something else, something reflective.”
Since the release of Persona, Ryan Lee West has taken his captivating live A/V set to all corners of the world. Last seen live on stage with 17 players of the London Contemporary Orchestra for a sold-out orchestral performance at Southbank Centre’s Queen Elizabeth Hall in January 2020.
Meanwhile Lee West has kept busy. After contributing an exclusive track titled ‘Them Is Us’ to Adult Swim’s coveted Singles series, he recently shared the beautifully textured solo piano piece Winter’s Lament on this year’s Piano Day. He has also been in high demand as a composer, scoring Charlie Brooker’s much talked about Black Mirror episode Striking Vipers, composing original music for Secret Cinema presents Stranger Things as well as renowned choreographer Alexander’s Whitley’s groundbreaking new work Overflow which was set to premiere at London’s Sadler’s Wells Theatre this spring.
Articulation will be available worldwide on 31 July, with live activities to be announced as soon as the situation allows safe event planning

Sublime, unique, sexy and peculiar unreleased scores by electronic and jazz pioneer Ron Geesin, made for the sublime, unique, sexy and peculiar films by maverick director Stephen Dwoskin. There. we’ve said it. And if you have not heard of one or either of these two dudes it doesn’t really matter. Geesin made great music and worked with Pink Floyd. Dwoskin made odd films, most of them are in the BFI permanent collection. They are great and a bit strange.
These superb unreleased soundtracks come from a fascinating, progressive and important period in British film history. They represent an intriguing collaboration between the lively Ron Geesin from Scotland and the American Stephen Dwoskin, who both met in London.
Musically they are minimal, charismatic and quite groundbreaking. Here is the story…
HISTORY:
Steve Dwoskin arrived in London in 1964, aged 25, with several 16mm films in his trunk, shot in the cold-water flats of Greenwich Village. He had been on the fringe of the Factory scene, and some of his films starred Beverly Grant, ‘the queen of the underground’. But they had scarcely been seen, and they didn’t have soundtracks. For almost a year they stayed in the trunk, and stayed silent. Then he met Ron Geesin, somewhere around Portobello Road.
‘Slept last night, completely dressed after working over 12 hours on sound tracks at Ron’s,’ wrote Dwoskin in his diary for 29 July 1965. ‘My films are not anywhere near being anything. I need more energy, more concise and positive ideas and less inhibition. And of course space, money and people.’ Dwoskin, who taught and practised graphic design by day, had recently decided to stay in London beyond the term of the Fulbright scholarship that had brought him there.
Ron, living with Frankie in a basement flat in Elgin Crescent – they would marry the next year, with Dwoskin as best man – was about to leave the Original Downtown Syncopators, the trad jazz band he had joined aged seventeen-and-a-half, and was trying to go solo. On stage he would make vigorous use of piano and banjo; at home Frankie had bought him a new kind of instrument – a tape recorder. ‘Soon I had one tape recorder, two tape recorders, three tape recorders.’

Ron, wrote Dwoskin in his unpublished autobiography, ‘loved to record, and to cut and splice the quarter-inch recording tape to make new sounds. This triggered in me the idea of getting back to my films and finishing them’. Soon he was living in a dank basement in Denbigh Road, a few minutes’ walk from Elgin Crescent. Ron’s soundtracks for Dwoskin’ films, recorded in the Geesins’ flat, encompassed Ron’s very eclectic range of styles – madcap piano and fretted banjo as well as tape manipulation.
Aside from Ron’s soundtracks, some of which belong to films that no longer exist (including Pot Boiler), Frankie would act in one of the films that Dwoskin either lost or never finished during these years. He was disabled, having contracted polio as a child, and Ron and Frankie were both carers and collaborators; Ron had met him when he was struggling into his car.
There was no London equivalent to the underground film scene that Dwoskin had known in New York, and his films remained unseen until such a scene began to come into being, in the autumn of 1966. Some of them made their debut at the Mercury Theatre, near Notting Hill Gate, that September. Dwoskin wrote that Alone, starring Zelda Nelson (from Ron Rice’s Chumlum), and Chinese Checkers, with Beverly Grant and Dwoskin’s friend Joan Adler, went over best.
Soon both Dwoskin and Geesin became involved in the nascent London Film-Makers’ Co-op, which put on screenings in Better Books on Charing Cross Road – ‘if you can call them screenings,’ Ron recalls; ‘I’d call it fifteen blokes in various stages of disarray, peering through the smoke’. One or more of the films had been ‘striped’ with magnetic audiotape; with others ‘we had no means of direct syncing to the picture, so he started the film and I started the tape recorder’.
In the same autumn, Dwoskin moved into a flat almost opposite the Geesins on Elgin Crescent. More collaborations followed, including Naissant, on which Gavin Bryars, whom Geesin had met during a stint on the northern club circuit with novelty act Dr Crock and His Crackpots, played double bass.
Around the end of 1967 Geesin released his first solo LP, A Raise of Eyebrows, and Dwoskin won recognition the Fourth Experimental Film Competition, aka EXPRMNTL 4, an occasional film festival staged at Knokke-le-Zoute in Belgium. By now the films had optical soundtracks.
It was only after this that Dwoskin completed his first ‘British’ films, including Me Myself and I, with Barbara Gladstone, an American dancer who had appeared in Barbara Rubin’s Christmas on Earth, and with whom Dwoskin and Geesin had at one point devised a stage show, never produced. For Moment, a single-shot film, Geesin provided his most experimental score yet. At the time of its debut in 1970, Dwoskin and the Geesins were sharing a house in Ladbroke Grove.
By then, Ron was working with Pink Floyd, and soon afterwards he and Frankie moved out to the country, to be replaced by Bryars both in the house and as Dwoskin’s principal collaborator.
Until now these scores have remained part of the Geesin Archive and have never been issued.

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.

Compilation album curated by Kaitlyn Aurelia Smith

The directive for the composers featured on Breathing Instruments was, in effect, to accentuate the ways in which instruments sound like they are breathing. Some have recreated the literal experience of feeling or hearing the human breath. Others take a more abstract approach, where “breathing” is more motif than object of emulation.

From hushed pulsations and distant vocals in Kathryn Shuman’s ‘Objects creating a womb-like environment to Julianna Barwick’s blissful ‘Newborn’ the tracks give sonic form to the experience of emerging from the womb.

There is also a striking concurrence of woodland sounds throughout this collection from the ghostly tones of Emily A Srague’s ‘Flew’ to Cool Maritime and Kaitlyn Aurelia Smith’s dew dripped ‘Daybreak’.

Meanwhile the undulating seascape of Geotic’s ‘Uncaught’ conjures moments of Evening Star by Fripp/ Eno, but supplants that album’s crystalline production with the warm crackle of vinyl.
If we learn anything from Breathing Instruments it is that we are inextricable from the natural world.

Betty Wright (original name Bessie Regina Norris) rose to fame in the 1970s with hits such as “Clean Up Woman”, “Lovin’ Is Really My Game”, and “Tonight Is the Night”. She was an outstanding performer and this Live album provides much evidence of Wright’s vitality as a singer. Besides the wonderful performances of her own hits she also sounds incredible on the cover of Leon Russell’s “A Song for You”. The album peaked at #63 in the Canadian Album Chart. This expanded edition features two bonus tracks not available on the original album. Betty Wright passed away May 10th, 2020 at the age of 66.

Available for the first time on coloured vinyl as a limited edition of 1500 individually numbered copies on translucent yellow vinyl

‘Débuts’ is France-via-Brussels duo, Nikitch & Kuna Maze’s aka Nicolas Morant & Edouard Gilbert first full length album. Building on their collaborative EP “Mush”, ‘Débuts’ continues to explore the melting point between jazz and club culture, interspersed with the signature sounds of broken beat, Chicago footwork, UK garage, Detroit house, and underpinned by their road-tested new live format.

‘Débuts’ see’s the band push their musical and creative development even further, a result of touring extensively around Europe with a live drummer, from high-brow jazz festivals to sweaty basement clubs. “We would be lying if we said our gig experience didn’t influence us on this record” Edouard explains. “We discovered new aspects to songs such as “Bruk” and managed to push forward the energy side of the music from the rawness of the live shows. This energy empowered to produce and compose new material in the same vein”.

Romare - bürgerlich Archie Fairhurst - kehrt mit seinem neuen Album „Home“ zurück, das sein drittes auf Ninja Tune und das erste überhaupt seit seinem von der Presse gefeierten „Love Songs: Part Two“ von 2016. „Home“ folgt auf die im September 2019 erschienene 12“ „Gone“/ „Danger“, seine bisher direkteste Dancefloor-Platte, die Resident Advisor als „fesselnde acht Minuten filmischer House-Musik“ beschrieb. Die Veröffentlichung von „Home“ kommt für Fairhurst nach einem Leben unterwegs, der seine Kindheit damit verbrachte, ständig mit seiner Familie zu reisen, während seine Eltern für die Arbeit um die Welt zogen, bevor sie sich schließlich in Großbritannien niederließen. Dieser nomadische Lebensstil setzte sich anschließend aufgrund seiner blühenden Karriere als Musiker fort und führte ihn auf Welttournee (allein in den letzten zwei Jahren spielte er über 150 Shows). Das neue Album markiert ein neues Kapitel in Fairhusts Leben mit einem Umzug von London aufs Land und der Gründung einer Familie; ein Umzug, der „mir Frieden und Ruhe gegeben hat“, kommentiert er. Der Neubau seines eigenen, selbst gebauten Studios trägt zu diesem Gefühl der Zufriedenheit und Sesshaftigkeit bei, nachdem er in der Vergangenheit in verschiedenen Schlafzimmerstudios gearbeitet hat. Auch von Themen wie Liebe und Romantik, die sein letztes Album, „Love Songs: Part Two“, dominiert haben, hat sich Romare entfernt, stattdessen geht es auf „Home“ um Spiritualität, Identität und Zugehörigkeit. „Identität und Zugehörigkeitsgefühl sind etwas, nach dem ich immer mehr gesucht habe, seitdem ich Vater geworden bin.“, erklärt er, „Während ich aufwuchs, war ich immer unter vielen Menschen mit unterschiedlichem Hintergrund, meine eigene Identität fühlte sich manchmal verloren an.“. Fairhurst ließ sich von den ungewöhnlicheren Platten seiner Sammlung inspirieren und vertiefte sich in amerikanischem Gospel und traditionellem irischen Folk bis hin zu Country, religiöse Hymnen und Klassik, mit einem besonderen Vorliebe für die Komponisten Thomas Tallis und Vaughan Williams.

Emma-Jean Thackray, an outstanding figure in the UK jazz scene, releases Um Yang, her long-dreamed project dedicated to the Taoist philosophy of duality and harmony. Ahighly ambitious and personal record that sees Thackray leading a septet featuring
Soweto Kinch and Steam Down’s Wonky Logic, recorded straight to vinyl. An accomplished trumpeter, beat-maker, singer, composer and DJ, Thackray draws on far wider influences than jazz. Her sound is distinctive; in the words of The Guardian like “Bitches Brewera Miles entering the dub chamber with a New Orleans marching band – in a good way”. Since debuting in 2016, Thackray has directed the London Symphony Orchestra, performed at the NY Winter Jazz Fest, played Glastonbury five times in 2019 alone, and launched her own record
label, Movementt (in association with Warp). Championed by Gilles Peterson, Theo Parrish and Jamie Cullum, Thackray has firmly cemented her place among a new wave of exciting young
musicians, collaborating with Makaya McCraven, Junius Paul and Angel Bat Dawid, and still finds time to host her monthly radio show on Worldwide FM. Raised in Yorkshire, Thackray inherited a grounding in Taoism from her father, and approaches her music with the same pursuit of harmony between Um & Yang (the Korean Ying & Yang), balancing melody and rhythm, groove and free improvisation, cerebral and physical. For this one-off recording, Thackray has applied this ideology in every sense, even down to the ensemble itself featuring not one but two percussionists. Um commences with ethereal interplay between keys, percussion, and Thackray’s trumpet, recalling the spiritual jazz of Alice Coltrane’s classic records. As the piece builds, an earthy groove emerges. On both trumpet and vocals,
Thackray leads the ensemble further out until the piece peaks with an epic breakdown. On the flip, Yang starts on the same cacophonous note but progresses to a joyful groove before returning to a peaceful state again, balance restored.

Until Now, All Is Well is the latest track to be shared by The Nix, a loose collection of uniquely talented musicians corralled together by Nick McCarthy (ex Franz Ferdinand) and Seb Kellig around their Sausage Studio in east London.

Based around the original composition ‘Warm Canto’ by Mal Waldron, the track features founding member of the avant-pop band Stereolab Laetitia Sadier.

Out on Moshi Moshi Records, Seb of The Nix said about the making of the track:

A night at Sausage Studios and nothing falls into place...we talk, we laugh, we mess about. But the 'record' button remains un-hit.
Time is not on our side, we need inspiration, and we know where to find it:
We saddle our bikes and ride into the mild London night. Down to Homerton, along the Canal, passing Springfield, we end up in Tottenham.

The mighty Jah Shaka tears the place apart. Low ceilings, the place is filled with smoke and bass. One love, unity, another version....the mids, the tweeters - in perfect harmony. Familiar riddims, unknown dubs. Shaka on the wire.

We get back to Sausage as the sun rises. Our senses are numb. We can't hear, don't want to see, how good it feels not to be guided by ears but by the heart. We close the curtains and plug in.

Queried on his favourite word in the German language, Masayoshi Fujita will pick ‘getragen’ – without a sliver of hesitation. Further questioning will reveal that he loves the term’s semantic signifiers, its inherent sense of “expansive, deep, quiet and sombre.” And yet, ‘getragen’ leaves plenty of room for interpretation: depending on context, it might also indicate wearing apparel or the state of being carried – two more mundane interpretations that I would rather keep from him. Does Masayoshi’s own definition, however, apply to ‘Bird, Lake, Objects’? Only to a limited extent. Compared to previous Faitiche releases, ‘Bird, Lake, Objects’ is certainly the most ‘getragen’ of them all. Nevertheless, this is by far not the first association that comes to mind. From a distance, these tracks seem rather introspective, cautious even – and reflect the recording situation: deliberately pared down, reduced to a single microphone in space and a separate track for all other instruments, each movement and action is chronicled by the treacherous mike. This confronted me with some unexpected and unfamiliar problems. For example, we had to swap out the seating in the studio as my favoured chair had a characteristic creak. Other, external influences were proved our control: fire engine klaxons, street noise and footfall became part of the recordings and their improvisatory nature. Each movement required careful orchestration, fully aware of its irrevocable nature. Space itself was always present and an audible entity, except on ‘Stripped to RM’ (recorded without a microphone or vibraphone track). After extensive deliberations, we decided to forgo the vibes on this piece – a very similar version had already been released in 2008 (on the compilation ‘Enjoy The Silence’, Mule Electronic, 2008). Jan Jelinek, February 2010

RSD2020 TITLE
After collaborating on a number of award winning vinyl albums, box sets and singles totalling over 80 songs together. They are back once again with this special, limited edition Vinyl Dub album.
Taking the original multi-track recordings of their co-produced 2016 sell out Roots Album for Max Romeo, ‘Horror Zone’. Lee & Daniel have created a new analogue Dub journey from those multi-tracks.
The original album was recorded live, using vintage Black Ark equipment to recreate Lee’s famous Lo-Fi Drum sound. With veteran Upsetter and Bob Marley and the Wailers musicians –
Glen Da Costa, Vin Gordon and Robbie Lynn, alongside Daniels Rolling Lion All Stars session band.
It has now been Deconstructed and Dub mixed live on Rolling Lion Studios SSL mixing console, using entirely vintage analogue equipment including the same pieces from Lee’s original Black Ark Studio. Driven by the idea to merge Lo-Fi and Hi-Fi. Merging the absolute best in class Analogue equipment available on the planet, with the very best Vintage equipment from the 1950’s-1970’s They have Dubbed these Bass heavy Lo-Fi recordings live, using space, depth and width. Paired with Phasers, Filters and Delays, resulting in a deep meditative, cinematic, psychedelic Dub journey into the stars.
Bought to you on super rare Glow in the Dark Vinyl, with a hand painted cover by Ellen G, the result sees the pair jumping into Lee’s Dub Starship to drive it straight through the Horror Zone!

Berlin-based Swedish saxophonist Otis Sandsjö returns with the eagerly-awaited sequel to "Y-OTIS". On "Y-OTIS 2", released by Helsinki's We Jazz Records on July 24, Sandsjö and his close associate, bassist/producer Petter Eldh (of Koma Saxo), deepen their vision of genre-bending, forward-looking "liquid jazz" of tomorrow. The core group also includes Dan Nicholls on keys and Tilo Weber on drums, and also featured on the album are Swedish jazz greats Jonas Kullhammar (of Koma Saxo) and Per "Texas" Johansson, cellist Lucy Railton and trumpeter Ruhi-Deniz Erdogan.

Diving deeper into "Y-OTIS 2", you'll find details and ideas galore. The album is an inviting and inspiring audio mosaic, which links back into the previous Sandsjö/Eldh collaborations, namely "Y-OTIS" and "Koma Saxo". The result is a balanced album which quenches your thirst while making you more thirsty in the process. In other words, the many micro moods and sonic levels herein invite repeated listening, while the underlying rhythmic approach is informed as much by hip hop and electronica as by jazz, making the music approachable in a very natural way.

It seems unnecessary to pull the album apart by name-checking individual tracks but just for the sake of easy introduction, the single cuts "tremendoce", "ity bity" and "abysmal" offer one idea of signposts along which to navigate. "tremendoce" brings in Swedish jazz great Jonas Kullhammar (of Koma Saxo) and Per "Texas" Johansson, introducing an infectious flute loop integrating into the Y-OTIS sound, making it organic to the bone. "ity bity" could be built on a new wave synth sample (but it's not) and "abysmal" brings more serene, even ambient-sounding sonic pathways onto the map. It all belongs together, and makes for a sound that is instantly recognisable and constantly fresh. This is "Mauerpark liquid jazz" for the new decade.

Berlin-based Swedish saxophonist Otis Sandsjö returns with the eagerly-awaited sequel to "Y-OTIS". On "Y-OTIS 2", released by Helsinki's We Jazz Records on July 24, Sandsjö and his close associate, bassist/producer Petter Eldh (of Koma Saxo), deepen their vision of genre-bending, forward-looking "liquid jazz" of tomorrow. The core group also includes Dan Nicholls on keys and Tilo Weber on drums, and also featured on the album are Swedish jazz greats Jonas Kullhammar (of Koma Saxo) and Per "Texas" Johansson, cellist Lucy Railton and trumpeter Ruhi-Deniz Erdogan.

Diving deeper into "Y-OTIS 2", you'll find details and ideas galore. The album is an inviting and inspiring audio mosaic, which links back into the previous Sandsjö/Eldh collaborations, namely "Y-OTIS" and "Koma Saxo". The result is a balanced album which quenches your thirst while making you more thirsty in the process. In other words, the many micro moods and sonic levels herein invite repeated listening, while the underlying rhythmic approach is informed as much by hip hop and electronica as by jazz, making the music approachable in a very natural way.

It seems unnecessary to pull the album apart by name-checking individual tracks but just for the sake of easy introduction, the single cuts "tremendoce", "ity bity" and "abysmal" offer one idea of signposts along which to navigate. "tremendoce" brings in Swedish jazz great Jonas Kullhammar (of Koma Saxo) and Per "Texas" Johansson, introducing an infectious flute loop integrating into the Y-OTIS sound, making it organic to the bone. "ity bity" could be built on a new wave synth sample (but it's not) and "abysmal" brings more serene, even ambient-sounding sonic pathways onto the map. It all belongs together, and makes for a sound that is instantly recognisable and constantly fresh. This is "Mauerpark liquid jazz" for the new decade.

The Honey Cone (Carolyn Willis, Edna Wright and Shellie Clark) charted nine R&B hits, including two number 1s, ‘Stick Up’ and ‘Want Ads’, the latter of which also reached number 1 on the US pop charts
This is their 1972 album released on Hotwax / Invictus Records. Their fourth studio album that is seen as a hidden classic with stand out tracks ‘Who’s Lovin’ You’, ‘Stay In My Corner’, ‘Ace In The Hole’ and the much sampled ‘Innocent ‘Til Proven Guilty’ Reissued with original artwork with printed inner sleeve and pressed on 180g heavyweight classic black vinyl.

A collection of guitar-wielding all-girl bands, drop-dead female frat rock, garage girls and axe-centric she-pop from the 60s. 14 hot nuggets, each one hand-picked with vinyl lovers in mind.

Features a bevy of genuine all-girl bands – namely Goldie & the Gingerbreads from the environs of New York; the Debutantes from Detroit; Florida’s the Belles; the Rums & Coke and Girls Take Over, both from Wisconsin; and Ace favourites She from California, all of whom give their male counterparts a good run for their money. The Belles, incidentally, released only one record – a killer rendition of Them’s ‘Gloria’, gender-switched as ‘Melvin’ – before drifting apart, never dreaming that copies of the disc would one day change hands for $500 a pop.

Some of the other girls receive help from male colleagues. Glenda Collins, for example, is backed by producer Joe Meek’s favoured house band the Outlaws featuring guitarist Richie Blackmore; Merseyside ex-pat Sandy Edmonds is accompanied by the Pleazers, New Zealand’s answer to the Pretty Things; and teenage trio the Chymes are supported by the Turtles.

Pressed on 180g transparent violet vinyl, with a swanky inner bag sporting a fact-filled 4,000-word track commentary and an array of rare photos.

Compilation and note by Mick Patrick

These run of releases on ‘Existence Is Resistance’ comes from the Legendary Proto Garage Record Label ‘Same People’, and see’s Persian & Long time musical partner DJ Texsta, repressing some of their most pioneering UKG E.P.s

"Listening To Pictures", Jon Hassells erste neue Arbeit seit fast einer Dekade, war eine lebhafte Anordnung von Instrumentals in seinem einzigartigen 'Fourth World' Sound aus Jazz, Dub und electroacoustischen Techniken. Mit "Seeing Through Sounds" dringt Hassell tiefer in unbekannte, imaginäre Regionen. Die Atmosphären sind dichter, das Werk klingt nachdenklicher als sein Vorgänger, eine gewisse Spannung lauert in dunklen Ecken. In der Mitte des Albums bemerkt man ein Ruckeln, Stottern, Störgeräusche, bevor langsam wieder Ruhe einkehrt, um schliesslich mit überwältigenden Klängen das Finale einzuleiten, bei dem Avantgardisten wie William Basinksi und The Caretaker grüssen. "Seeing Through Sounds" enthält einige der detailliertesten und verfrachtesten Musiken in der langen Karriere des 'Fourth World' Pioniers.

The first 2000 copies of the LP will be available on transparent turquoise or pink vinyl, randomly picked. 'All The Time', Jessy Lanza's first album since 2016's 'Oh No', is the most pure set of pop songs that she and creative partner Jeremy Greenspan have recorded, reflective and finessed over time and distance. Innovative juxtapositions sound natural, like rigid 808s rubbing against delicate chords in 'Anyone Around', subtle footwork flutter giving a nervous energy to 'Face', unusual underwater rushes underpinning 'Baby Love'. The songs also sound more "live" than ever before. Jessy's voice is treated, re-pitched and edited on songs like 'Ice Creamy' and gestural sounds seem to respond to her lyrics in songs such as 'Like Fire', which reward the listener on repeated plays. More than previous albums, the lyrics on 'All The Time' became an important focus for Jessy too, channelling the negativity of anger and frustration arising from some significant changes in her personal situation into the text. These lyrics sometimes process raw feelings, which aren't obvious to begin with, but are soon felt, standing in stark contrast to the cushioned settings of the music. 'All The Time' has ended as a triumph and an abstracted diary of a sometimes difficult, but enduring friendship and creative relationship, and it's their best work yet.

Queried on his favourite word in the German language, Masayoshi Fujita will pick 'getragen' - without a sliver of hesitation. Further questioning will reveal that he loves the term's semantic signifiers, its inherent sense of "expansive, deep, quiet and sombre." And yet, 'getragen' leaves plenty of room for interpretation: depending on context, it might also indicate wearing apparel or the state of being carried - two more mundane interpretations that I would rather keep from him. Does Masayoshi's own definition, however, apply to 'Bird, Lake, Objects'? Only to a limited extent. Compared to previous Faitiche releases, 'Bird, Lake, Objects' is certainly the most 'getragen' of them all. Nevertheless, this is by far not the first association that comes to mind. From a distance, these tracks seem rather introspective, cautious even - and reflect the recording situation: deliberately pared down, reduced to a single microphone in space and a separate track for all other instruments, each movement and action is chronicled by the treacherous mike. This confronted me with some unexpected and unfamiliar problems. For example, we had to swap out the seating in the studio as my favoured chair had a characteristic creak. Other, external influences were proved our control: fire engine klaxons, street noise and footfall became part of the recordings and their improvisatory nature. Each movement required careful orchestration, fully aware of its irrevocable nature. Space itself was always present and an audible entity, except on 'Stripped to RM' (recorded without a microphone or vibraphone track). After extensive deliberations, we decided to forgo the vibes on this piece - a very similar version had already been released in 2008 (on the compilation 'Enjoy The Silence', Mule Electronic, 2008). Jan Jelinek, February 2010

'Prole Art Threat' is producer Anthoney Hart's second LP for Planet Mu under his East Man alias, after 2018's well received debut 'Red White & Zero'. It brings together a set of MCs from all over London, Darkos and Eklipse from East London and Lyrical Strally from near Feltham who were on the first album, Ny Ny and Mic Ty also from East London, Streema and 'Vision Crew' member Whack Eye from Lewisham plus Fernando Kep, an MC from the burgeoning Brazil grime scene. They work across a cohesive set of tight riddims forged from thoughtful amalgams of grime, dancehall and drum & bass. The album takes its name from a Fall song/mission statement of the same title, the band being self-consciously working class and led by a brilliant autodidact in Mark E Smith. East Man relates that the title is to be taken as “a reflection of working-class creativity and how the establishment marginalise us and (perhaps on a subconscious level) see us as a threat.” Les Back, author of 'The Art of Listening' and 'Out of Whiteness: Color, Politics and Culture (with Vron Ware)' contributes liner notes to the record: East Man understands the force and the democracy of the mic. Listening to Prole Art Threat is like being at a dance. As the mic is passed between each of the MCs, a different tale is ‘elevated... off the map’ as Ny Ny puts it. We hear instalmentsfrom Forest Gate, Lee, Lewisham and Manor Park as these ‘lyrical gaffers’ and ’top boys and girls’ tell tough stories of life under the scrutiny of the ‘Feds’ in a brutal and divided city. The bars and rhymes document what it means to live here; from the double standards applied to the sexuality of young girls and boys to the corrosive violence of everyday life. All this is dissected without compromise. This is not just aLondon story though, the inclusion of Fernando Kep from the burgeoning Grime scene in Brazil is evidence of the outernational reach of the music. The tracks on East Man’s album explode the wilful ignorance of those who see ‘the working class’ in contemporary London as code for whiteness. This is the sound of a proletarian urban multiculture, made from Caribbean and African influences, sound system culture, pirate radio and the inexorable rhythms of Grime, Drum & Bass, Techno and Dancehall. It is the stirring of the "white" & "black" working classes who are living together and coming together on their own terms in sound. ‘Making music because you love it... what the fuck else could you do?’ as East Man says. The tracks and voices you are holding in your hands are, as a result urgent, vital, as hard nails and twice as sharp.

‘Kind of Tango’ is a kaleidoscope of shifting emotions. Wolfgang Haffner’s conception of tango has drama and propulsion in it but also melancholy and longing, with room for frenetic outbursts too. All this is unified by his inimitable groove and feel that commentators have called “an absolute dream,” “magical” and “profoundly relaxed.” Alongside trusted co-protagonists Christopher Dell and Lars Danielsson, he has two guests with him who defy all the clichés associated with tango: guitarist Ulf Wakenius cut his teeth musically in Oscar Peterson’s band and his Swedish heritage always shines through in his playing; Vincent Peirani is one of the leading innovators on the accordion and he finds new ways to define the instrument’s role in the tango. Also, young pianist Simon Oslender makes a first appearance with the band. Jazz and tango find a natural yet constantly shifting equilibrium - to be heard particularly effectively on ‘Close Your Eyes And Listen’ by Astor Piazzolla. In addition to compositions by Haffner himself and by his band members, pieces by the celebrated Argentinian bandoneon player and composer are the focal point of the album. Piazzolla’s innovations with the tango, such as bringing jazz into it, date from around 1955. Haffner and the tango
seem perfectly matched to each other. Tango is no longer a fixed style nowadays, it is above all an attitude to playing and an attitude to life. Wolfgang Haffner’s approach to tango is both authentic and new. It is his and his alone and it is irresistible.

HOUSEWAX welcomes Barry Christie aka Milton Jackson to the family!
We are very happy to have him on board for the 30th edition of the main HOUSEWAX label! "Sunset in A Frame" will be out 1st of June. Highly recommended House Music!

Info Milton Jackson:
Released his first EP aged 19 on Solemusic's Tronicsole imprint. Known for his dark, almost techno influenced deep house music. Milton Jackson tends to fuse straight driving beats with eclectic, techy production styles. His debut long player, 'The Bionic Boy' was received well by critics and the house fraternity and it spawned the Pepe Bradock influenced 'Sunlight'. After having mainly appeared on Glasgow labels such as Solemusic and Glasgow Underground, 2006 sees Milton spread his wings with EPs due out on Freerange, Silver Network, Urbantorque and Luke Sardello's Icon Recordings.

He has also recorded under a variety of pseudonyms, even venturing into the down-tempo domain as Napoleon Solo. His Bear Trax imprint released Mylo's first vinyl release when the pair recorded as 'The Pretty Boys'.

Originally written and produced as the centrepiece to his 2014 FabricLive compilation, Erol Alkan’s ‘Sub Conscious' arrives on 12” vinyl and to streaming platforms for the first time, accompanied by two charismatic remixes from Manfredas.

Shimmering and undulating, the original cut of ‘Sub Conscious’ was designed with Fabric’s cavernous main room in mind, taking full advantage of any finely tuned soundsystem with a patient, rhythmic trip. Remastered here, the track evolves out of hazy darkness towards halcyon euphoria in a uniquely Alkan style.

Resident at Opium Club in Vilnius, cult DJ and producer Manfredas provides two hugely creative and alternative takes on ‘Sub Conscious’. The first works hallucinatory magic with a supple bassline and much of Alkan’s original stretched and repurposed around vampish oscillations and a westward vocal sample.

On the contrary, the ‘Stream Of Consciousness' mix sees Manfredas pitch down and strum the bones of ‘Sub Conscious’, unexpectedly delivering a lovingly lethargic, bottom-heavy jam that’s pure dub-side pleasure.

Black Truffle is pleased to announce a new solo album by Eiko Ishibashi, her first for the label, following on from the duo recording Ichida alongside bassist Darin Gray. Hyakki Yagyō (Night Parade of One Hundred Demons) was produced for the ‘Japan Supernatural’ exhibition at The Art Gallery of New South Wales, Sydney focusing on ghost stories and folklore from the Edo period onwards. As with The Dream My Bones Dream (Drag City, 2018), the album is a response to troubling questions about Japanese history, and the influence of the past upon the present, but finds Ishibashi shifting further away from her earlier piano-led songwriting and showing a deepening interest in electronics and audio collaging.

The two sidelong parts of Hyakki Yagyō feature layered synthesisers, acoustic instrumentation, recited verse and field recordings, at times densely mixed but always with a subtle interplay of changing elements. The influence of European and American forerunners as diverse as Alvin Curran, David Behrman and Strafe Für Rebellion can be traced, yet at the same time Ishibashi evokes the flute and string sounds associated with Japanese storytelling, and draws directly on the subversive literary tradition of Kyoka (‘mad poetry’) with a verse by the 15th-century poet Ikkyū Sōjun repeated throughout the album. Revisiting what has gone before, re-thinking what is possible musically, as a way of articulating what else might be possible in the future.

As Ishibashi’s liner notes make clear, the album reflects an attention to persistent dangers, myths and evasions in Japanese culture – as well as the lurking uncertainties that might threaten positive change. This would seem to be manifested in the emerging melodies soon met by dissonance, erratic collisions and near silence, as well as the eerie manipulation of the double-tracked vocals. Ishibashi’s underlying concerns ring true more widely of course. Hyakki Yagyō is a work of multiplicities, and mystery, a landscape where nothing is as it seems at first, and everything is vulnerable to sudden violent interruptions.

The album was produced with regular collaborators Jim O’Rourke (double bass) and Joe Talia (percussion), and features dancer and choreographer Ryuichi Fujimura performing Ikkyū’s satirical tanka. O’Rourke’s immersive mix creates a three-dimensional effect, with Ishibashi’s various sound sources enmeshing and interacting in captivating ways.

Pressed on coloured vinyl and presented in a deluxe package with an inner sleeve featuring and artist portrait and liner notes from Eiko Ishibashi. Cover and label design by Shuhei Abe.
Back cover design by Lasse Marhaug. Mixed and mastered by Jim O’Rourke.

key selling points:

- Black Truffle is pleased to announce a new solo album by Eiko Ishibashi, her first since her acclaimed 2018 Drag City release The Dream My Bones Dream.

- This album finds Ishibashi shifting further away from her earlier piano-led songwriting and showing a deepening interest in electronics and audio collaging.

- Hyakki Yagyō (Night Parade of One Hundred Demons) was produced for the ‘Japan Supernatural’ exhibition at The Art Gallery of New South Wales, Sydney focusing on ghost stories and folklore from the Edo period onwards and is a response to troubling questions about Japanese history, and the influence of the past upon the present.

- Produced with regular collaborators Jim O’Rourke (double bass) and Joe Talia (percussion), O’Rourke’s immersive mix creates a three-dimensional effect, with Ishibashi’s various sound sources enmeshing and interacting in captivating ways.

- The two sidelong parts of Hyakki Yagyō feature layered synthesisers, acoustic instrumentation, recited verse and field recordings, at times densely mixed but always with a subtle interplay of changing elements, hinting at an influence of European and American forerunners as diverse as Alvin Curran, David Behrman and Strafe Für Rebellion.

- Pressed on coloured vinyl and presented in a deluxe package with an inner sleeve featuring an artist portrait and liner notes from Eiko Ishibashi. Mixed and mastered by Jim O’Rourke.

THE ONLY DIFFERENCE BETWEEN ONE AND NONE IS N TRANS HUMAN OBJECT (THO) //////////////////////////////////////////////////////////////////// THE SUPERIOR FUNCTION ************************************************ X1N SAYS: //////////////////////////////////////////////////////////////////// IN THE VAST SURFACE OF ALL MATHEMATICAL EQUATIONS, ONE CAN SENSE EVENTS WHICH SEEM TO COME FROM OTHER DIMENSIONS - RIPPLES AND PATTERNS. THE ZERO POINT NINE INFINITE NUMBER LINE NEVER REACHES ONE, YET IS ONE, NONETHELESS. 0.9999... READ THAT SEQUENCE LIKE A MANTRA. A MANTRA OF DEATH. //////////////////////////////////////////////////////////////////// “I TALK IN ALPHA NUMERALS” ************************************************ ### denotes “end”. No more messages to follow.

The third long player on Night Defined Recordings sees SUED affiliate SW. presenting his new mini LP ‘Night’ and walking a tightrope between jazz and club music. The tracks manifest and dematerialize themselves almost in a non-tangible and floating way, which can be seen as more than just a musical approach but rather shows the artist referring to issues of volatility and evanescence. While listening, some may find themselves in the dark and dusty atmosphere of a jazz club, where the band in the corner at the other end of the room is playing their instruments just when the beat kicks in and puts you right into the club atmosphere.

Written & produced by SW. at SUEDstudio Mastering by Mattias Fridell

Artwork by Studio Belser

‘Love & Peace’ sees Steve mixing up all of his much-loved ingredients to deliver a fresh new record that offers the perfect antidote for the troubled times in which we live. Full of hope for the future, it’s a great mix of boogie, blues, rock, Americana and folk – all delivered in Seasick Steve’s unique style. It’s a sizzler of an album that he can’t wait to release.
“In these crazy times seems to me there just ain’t enough love and peace to go around,” says Steve. “I ain’t exactly sure what this here record got to do with love and peace, but I figured I’d call it that anyways!”
Produced and written by Seasick Steve, this album sees him breaking with tradition. While some of it was recorded in his barn, the majority was recorded in Los Angeles at Studio 606 and at East West Studio 3. The album was mixed by Vance Powell (Jack White, Chris Stapleton) and Steve at East West.

The first-time teaming of Poland’s dynamic Marcin Wasilewski Trio and bigtoned US tenorist Joe Lovano brings forth special music of concentrated, deep feeling, in which lyricism and strength seem ideally balanced.

The alliance plays four new tunes by Marcin and one by Joe, as well as Carla Bley’s classic “Vashkar” (in two variations), plus collective improvisations with strong input from all four players; Slawomir Kurkiewicz’s bass skills are particularly well-deployed in the spontaneous piece “Arco”. Joe will be joining the Polish trio for a number of selected concerts in the autumn.

Arctic Riff was recorded at France’s Studio La Buissonne in August 2019, and produced by Manfred Eicher.

Personnel: Joe Lovano: tenor saxophone; Marcin Wasilewski: piano; Slawomir Kurkiewicz: double bass; Michal Miskiewicz: drums

Names You Can Trust is proud to present a special collaboration with Barbès Records and the legendary godfathers of cumbia amazónica, Los Wembler's de Iquitos. Featuring two songs mixed expressly for 7-inch directly from the reels of their 2019 album, VISIÓN DEL AYAHUASCA, it's the latest entry in the group's historic canon of a particular brand of bonafide psychedelia, a worthy addition to a catalog of recordings that have made their way around the world to fans, DJs and sound systems since the group's beginnings in the late '60s.

The band's 50 year-old origin story begins when electric instruments started showing up at the port city of Iquitos, Peru. This seminal moment of international trade at the gateway to the Amazon inspired a shoemaker named Solomon Sanchez to start a band with his five sons. Los Wembler's were the first band in the capital of the Peruvian Amazon to play popular local rhythms with electric guitars. Their revolutionary sound, fuzzy lysergic guitar helixes wrapped around melancholic melodies, would go on to have an enormous impact on the whole of South American popular music, echoing throughout the continent and further, into the States and eventually across the world.

The past few years have seen a new wave of interest in the band's music. Los Wembler's, the sons, now fathers and grandfathers themselves, have brought their trademark sound on recent tours to Mexico, Europe and North America, where it has been embraced by a new generation of musicians and listeners.

As Los Wembler's prepared for a lengthy tour in 2020 to coincide with this new 7-inch issue, the world abruptly changed course. The COVID-19 outbreak has had particularly devastating consequences in the Peruvian Amazon. With an urban density of around a million people, Iquitos is the largest isolated city in the world, reachable only by boat or plane and surrounded by the vastness of the rainforest. A buzzing multicultural city, Iquitos was catapulted into modernity during the late 19th century's rubber fever. It is home to not only the members of Los Wembler's, but several legendary and influential musicians who helped lay the groundwork for the roots of chicha, the distinctively Peruvian brand of cumbia.

Night Gaunt Recordings is pleased to announce “Ambitions of Guilt”, the newest offering from Brighton, UK based producer L/F/D/M. L/F/D/M is Richard Smith who first emerged in 2013 and has been steadily cranking out the hits ever since. Following his stellar release on Cititrax titled “Dream Bleeds”, Richard Smith is back with a new batch of misshapen heaters. A master of blending fucked up rhythms with chiseled body music that’s both danceable yet also makes you question humanity. Every track crafted to hit deep in the bowels of any warehouse, “Ambitions of Guilt” seeps with acid, techno, noise, and anything in between. With sleazy dance hitters that bring to mind midwest acid/techno, such as Gene Hunt, and also taking from British and Japanese industrialists by the likes early Richard H. Kirk and Sympathy Nervous, Smith creates a feeling that’s both familiar yet still wildly unnerving. L/F/D/M consistently seems to know how to explore emotions in this sphere of cold, repetitive machines, creating an exciting soundtrack to a contorted world.

What is Randolph & Mortimer? A folk duo, a pair of accountants, a techno act…a law firm? What started off as an ‘art project’, influenced by 80s Industrial, 90s rave music and inspired by the documentaries of Adam Curtis, has morphed into a full on New Beat / Body Music dance-floor moving machine. Their studio releases have gained support from some of the biggest underground DJ’s in the world like Ancient Methods and gone on to top various genre sales charts on Bandcamp. Whilst the R&M live shows have seen them share bills with Godflesh, Youth Code, PIG and 3Teeth.

In 2019 it was time for R&M to throw a marker down and so came “Manifesto For A Modern World”, the debut album comprised of tracks from the “$ocial £utures”, “Hope Tragedy Myths” and “Citizens” EP’s plus some additional songs. This album is basically a greatest hits of Randolph & Mortimer. A statement of intent. All killer and no filler. The original limited edition CDs and tapes sold out and it had some incredible reviews. A Model Of Control called it “An absolutely outstanding release” and super cool New York DJ Andi Harriman (Synthicide) made it one her of top 10 albums of 2019 on Post-Punk

So here we are in 2020 and the Randolph & Mortimer story has seriously stepped up a gear with this double vinyl version of the album featuring all Manifesto tracks plus the acid styled dance-floor favourite “Apply Yourself” and four brand new tracks (“Crystal Peaks”, “Stateless”, “What Are You?”, “Fantasy Land”) which make up a whole new EP.

Limited edition of 400 copies with folded poster/insert and sticker.

Purple Vinyl

Opening with "Absolut Bond (Sascha Müller My Name Is Acid Mix)" the pairs first collaboration effort weighs in a deep, hypnotic take on spiralling Acid music for strobe-lit underground raves whereas their second conjunctional joint "What I Mean (Great Evening Mix)" brings forth a darker, more pumping and minimalist approach whilst employing a creepy little motif that gets under your skin like the main theme from your favorite horror flic. On the flip we see Sascha Müller going on a double solo tip with "Work My 303", another masterly crafted Acid piece harking back to the finest twisted clubbing moments of the 90s, before the final cut "Generator Man" explores grinding, distorted Broken Techno / Wonky Techno realms, sucking each and every listener into a cold dystopian, post-apocalyptic future within seconds. Get this.

A follow up to 2018’s Jazz On The Corner which has now sold over 10,000 copies, and last year’s equally successful Soul On The Corner, this compilation see Martin and Eddie return to the world of jazz for another bite at the cherry after Volume one was declared to be “the best jazz compilation of the last 20 years” by Jazz FM’s Chris Phillips

The concept came from a radio show that Freeman and Piller put together for BBC Radio 6 Music which was so well received that the pair decided to dig deep into their record collections and build a double album of some of their favourite tracks.

The concept is simple: an album packed full of jazz gems which they hope are slightly off the beaten track. This year we have hidden gems from Nina Simone and Nicola Conte, classics from Roberta Flack, Roy Ayers and The MJQ, whilst the new British jazz generation is represented by Emma Emma-Jean Thackray. Running the gamut from hard bop, to progressive fusion via Latin beats, it’s an exhilarating listen from start to finish.

Sometimes, what seems “to be” ... isn’t. And what “was” actually wasn’t. What’s "in" is sometimes out. And what was thought to be "north" is sometimes south.Similarly, up until now, there just wasn’t enough ... of TOO MUCH.
That’s how its been, ever since dynamic-duo TOO MUCH — Rich Morel & Ian Svenonius – let the world listen in on their once-in-a-millenia electro-beat gobstopper “PATENT LEATHER” (MERGE RECORDS); the monster hit which defined dance floors since its release in 2019.
“PATENT LEATHER” a bewitching blend of lechery and love, was tattooed on the brain of every loitering lothario in every night-club, roadhouse, and streetlight latrine in both the free and not-so-free worlds.It was so incessant; it shook houses down, burned parliament, and crashed the stock market. Dancers everywhere pleaded for more.
TOO MUCH have finally relented and deigned to give the heaving, begging, prostrate mass a new mess of motor-robot rhythm rockers. Yes, that's correct. TOO MUCH have a full length record and they call it ... “CLUB EMOTION.”
CLUB EMOTION is nine songs of pure ecstacy perfectly suited for the club, the car or the closet.Its a pure joy to listen to in one’s bedroom or at the beach. On a stroll, at a drive-thru, or while careening through the astral-plane, looking for a ro- mantic rendezvous.

‘’Ruff drum computer- and bubbling ambient excursions from Bonn, Germany, making their first appearance on vinyl for the new decennium’’.

Newly established label Raakvlak plucks a lush synth gem from the depths of 80’s D.I.Y.- cassette culture for their inaugural release. Heil Eris / Enjoy sees the first-time reissue of the work of German synth-wizards Overflow. The group, conceived as the session band of cult tape label Brainstorm-Studio, merely released two cassettes within the timespan of one year, of which Raakvlak now has culled some of the finest moments.

Out of a matrix of drum computers, synths, voices, tape FX and a flute come these five live-takes (no overdubbing used!), dedicated to the trio’s mascot Apumé, which was present at all sessions.

Ranging from the aquatic ambient excursion on ‘’Pressure Wave’’ and the existential cold-wave pop of ‘’Take A Chance’’ to the blissed-out downer ‘’Voiceless’’, Overflow shies away from musical expectations and thereby sounds as up to date as ever.
Restored, remastered and available on wax for the first time! Comes with download card plus three digital bonus tracks.

Rival Consoles is 21-year old IDM-smith Ryan Lee West from Leicester in the Midlands of England. After having supported his city neighbours and label comrades Kyte on an extensive European tour in November 2008, West locked himself away all winter to finish his first full-length album, set to see the light of day in mid 2009. In the meantime fans of his debut 'The Decadent EP' will be pleased to hear that on February 23, 2009 Erased Tapes Records will release an exclusive 4-track 7" single / download bundle ? Rival Consoles' take on classical music entitled 'Helvetica'. Instead of X-Box versus Playstation, here West plays classical against dance music! Influenced by impressionists like Claude Debussy and modern electronic artists such as Autechre and Daft Punk, Ryan Lee West created a unique signature sound for Rival Consoles. A playful and brutal mix of electronic beats, emotive piano melodies and warm synth string arrangements. Ryan repeatedly performed at the Tate Britain Museum in London where he drew over 2000 visitors into his unpredictable, yet detailed sound drawings. He was the first to represent Erased Tapes Records at the British Music Week 2007 in Cologne, Germany. Limited to 500 copies only: with download code. Album due later in the year, and it will be one of the years hittest tips...

One of the biggest selling hits by T. Rex from late spring/early summer 1971. These bare alternative versions were recorded in London during January 1971. 500 copies pressed on red vinyl in T.REX House Bags, 500 copies pressed as picture discs. All royalties go to The Light of Love Foundation (These recordings and many more were amongst the tapes stolen from Marc & Gloria’s home in 1977, some of this material was returned to The Light of Love Foundation last year). This year sees T. Rex inducted into the U.S Rock n Roll Hall of Fame in May and has already seen the profile of T.Rex heightened.

The 1986 self-titled Aretha Franklin album was a successful one, notable for containing five R&B hits, including the number 1 hit “I Knew You Were Waiting (For Me)” and “If You Need My Love Tonight”. Aretha herself says in the liner notes that this is one of her favorite albums, and it’s easy to see why. She sings her head off on this album, and sounds like she’s having so much fun on each and every song. The album is noteworthy for the cover, which was Andy Warhol’s final work before his death in early 1987.

Aretha is available as a limited edition of 2000 individually numbered copies on translucent green vinyl. The package includes an insert.

During the 1970s George Jackson made a series of sublime southern soul recordings at Sounds Of Memphis studios. This LP gathers together rare singles and tracks that were unreleased at the time to showcase this golden period in the soul singer-songwriter’s career.

Recorded using many of the players from the Hi house band, who were at the time being featured on the recordings of Al Green and Ann Peebles.

Four tracks are making their first appearance on vinyl, whilst the compilation features both sides of his rare 1975 Chess single ‘Macking On You’ b/w ‘Things Are Getting’ Better’ and his ER single ‘Talking About The Love I Have For You’, which regularly sells for over $1000 on auction.

Jackson had a long career that saw him write hit singles for artists such as Candi Staton, Clarence Carter, the Osmonds and Bob Seeger, whilst covers of his songs have been UK hits for both Yazz and Joss Stone. However, his success as a writer somewhat obscured his talent as a performer, something that our series of releases focused on him has sought to rectify.

Black Vinyl Edition

The Log and the Leeway follows a 6 year journey of personal exploration and drastic change for Bram Bosteels and his singular Kaboom Karavan universe. What entails is a sound-curiosity of rare format, following a metamorphosis that goes beyond the musical.

Early in the process, Bram was struck by the word/concept of a Leeway : the gradual departure from an intented course due to external influences. Following a boyish fascination for explorers travel journals, logbooks and the far fetched corners of the world, he could not have forseen how fitting of a title he had chosen. Drastically all of a sudden one day, completely unexpectedly, Bram experienced his own father dying in front of him from a rare disease. Shocked and confused by this intense encounter, his perspectives and musical course departed from its original path. But at the same time it was an enlightenment and a necessary influence for him to realise the initial idea and finish this album, started over half a decade before.

The ones familiar with Kaboom Karavan already know that nothing really sounds quite like it. Bram’s musical (and non-musical) universe is of the rare breed that seems to be entirely his own. Self-contained, but never opaque. Quite the opposite actually. Bram never pushes us away, instead, by listening to his music we are given view to a synesthetic wunderkammer of images, places, objects and possibilities. Distant but magnetic, alien but intimately familiar, Kaboom is folk music from another dimension. Listening to The Log and the Leeway is like waking up next to a bonfire in the middle of a swamp wearing somebody else’s clothes: You may not know how you got here, but whatever is happening seems to very directly involve YOU. What will happen?

Note from Erik K Skodvin (Miasmah): All the sounds, fabrics, instrumentation and stories that binds The Log and the Leeway together go far beyond what can be touched up in this simple writeup. As someone who have followed this journey since the beginning, and seen it shift from lighthearted fun to the most crepuscular personal experience, heard the stories behind (almost) every field recording and gone through boundless amounts of clips, visual details, notes, and inspirations – I can only say that it is with great pleasure and certain nostalgia I can present this record in full through Miasmah and close this quite extraordinary chapter. Bram is without doubt the most fascinating person I know. Like I told him in April 2020 during a trying time: “If everything fails, we´ll open a Kaboom Karavan museum” - an idea that might not be as far-fetched as it sounds.

Featuring: Cover painting by John Lurie. 16 page booklet of Musical illustration / collagés by Walter Dhoogh & Erik K Skodvin that more or less connects (or confuses) the dots between the music and stories behind. Mastered by Lupo at Loop-O