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• Joe Brown is the English musician who has being working as a rock and roll singer and guitarist for more than six decades and continues to play over 100 shows every year. Often described as a ‘musician's musician’, Brown is admired by fellow artists and fans alike.
• In the early 1960s the hits began to roll in for Joe and his backing band the Bruvvers with tracks such as ‘A Picture Of You’, ‘It Only Took A Minute’ and ‘That’s What Love Will Do’ – all of which are included on this new Gold collection. Brown’s career continued to grow throughout the 60s and included headline British tours that featured the Beatles, Del Shannon and the Crystals.
• This new compilation features 16 of Brown’s best loved tracks pressed on 180g heavyweight gold-coloured vinyl, housed in a printed inner sleeve

As part of their ambitious ‘The Feeding of the Five Thousand Remix Project’, punk pioneers Crass are returning with another exclusive coloured 12” single featuring remixes by industrialists Test Dept and LA based artist Maral. Late last year Crass took the step of making the original separate track stems of their seminal debut album ‘The Feeding of the Five Thousand’ available as a free download. With a call to take the original sixteen track recording in its pre-mix state, the intent was for people to create their own remixes and interpretations and breathe fresh life and ideas into this revolutionary music. First released in 1978, ‘The Feeding of the Five Thousand’ pre-empted rap and grime in its hard-on-the-beat, fast fire, uncompromising lyrics and the iconic sounds and messages are ripe for reinterpretation. Crass encouraged people to rip apart the sound and ideas and create something new, then send the files to Crass Records for future releases and charitable projects. The message is DIY like it never was before. “Yours for the taking, yours for the making,” Crass said.

Analogue Productions (Atlantic 75 Series)
Celebrating the 75th Anniversary of Atlantic Records!
6x platinum-selling album includes "New Sensation," "Never Tear Us Apart," "Devil Inside," and the No. 1 hit "Need You Tonight"
180-gram 45 RPM double LP release
Mastered by Ryan K. Smith from an EQ'd tape copy
Pressed at Quality Record Pressings
Tip-on old style gatefold double pocket jacket by Stoughton Printing

Kick, the sixth and best-selling 1987 studio album by Australian band INXS, has the unmistakable sound personified by its four U.S. Top 10 singles, "New Sensation," "Never Tear Us Apart," "Devil Inside" and "Need You Tonight," — which reached the top of the U.S. Billboard singles charts.

Between 1980 and 1984, INXS released four studio albums and had toured their native country Australia extensively. With Kick, producer Chris Thomas fused the funk and soul of their previous album The Swing with the mainstream rock of Listen Like Thieves. In an interview with MusicRadar, Andrew Farriss stated, "The melding of funk and rock was always in our heads. We were very excited about the idea of overlaying two types of songs and genres together."

Kick showcased a diverse range of musical styles, blending rock, pop, funk, and dance elements. This versatility appealed to a wide audience, making the album accessible to fans of different genres. It's four catchy singles became radio staples and were accompanied by stylish music videos, helping propel INXS to international stardom.

Incorporating elements such as electronic percussion and synthesizers gave Kick a modern sound, helping it stand out, together with Michael Hutchence's charismatic and sultry vocals that created a strong emotional connection.

All the hallmarks of a top-notch Analogue Productions reissue are here for you to savour: Mastered directly from an EQ'd tape copy by Ryan K. Smith at Sterling Sound and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.

Soul/Disco/Funk single here for the first time ever on vinyl!
The independent label Six Nine Records Ltd. UK, based in Newcastle upon Tyne, proudly presents Winfree and the king of remixing - Yuki “TGroove” Takahashi.
David Winfree is an American singer, songwriter, musician, producer, and talkbox artist. Born in Toledo, Ohio, Winfree has collaborated with
artists from all around the globe including those from France, Japan,
Ireland, Chile, and the Philippines. In 2002, "One On One", written by
Winfree, was recorded by the R&B icon Keith Sweat. "One On One" was also featured on the soundtrack to the 2002 movie, "The Transporter."
We are proud to now release his latest collaboration with Japanese mixer and producer Yuki "T-Groove" Takahashi, "The Best (T-Groove Remix)" B/W "I Love The Way", which is taken from the previously CD/digital only album "Gotham City". "The Best (T-Groove Remix)" is a succulent slice of vocoder dancefloor kingship, T-Groove's remix lifts it into boogie-funk / disco heaven!
Definitely not to be missed as it is a limited UK press with small hole
and full colour printed picture cover!

Reymour packed their bags in the pre-Alps of Switzerland and left to start a new life in Bruxelles. This debut album finds originates in this transition, again in a bilingual environment, by now a Knekelhuis theme. Leviosa documents the emergence of a kind of dance built from chansons, synthpop and cute minimal wave. Luc Bersier’s wide musical spectrum reaches great heights while staying small. He creates the musical bedrock on which Reymour’s cabinet of musical curiosities rests, allowing us to drift away on the unctuous fumes of Lou’s vocals. On these tracks she covers a wide array of feelings, of doubt, sexual orientation, play and melancholia. And it all comes together in the reflection of life. Close friend and family guy Low Bat contributes vocals and gameplay on 2 of the album’s tracks.

Demon Records presents the first part of His Dark Materials – now a major TV series.
In this BBC Radio full-cast dramatisation of Northern Lights, 11-year-old Lyra discovers dark forces at work involving kidnapped children and a mysterious substance called ‘Dust’. This thrilling adaptation stars Lulu Popplewell as Lyra, Terence Stamp as Lord Asriel, Emma Fielding as Mrs Coulter, Bill Paterson as the Master, and Kenneth Cranham as Farder Coram, with a large supporting cast.
A lavish gatefold sleeve features Dust-inspired illustrations, spectacularly realised in metallic copper ink, plus full cast and production details and exclusive sleeve notes by Philip Pullman himself. This gripping drama is presented on three heavyweight 180g discs of Daemonic Dustburst splatter vinyl.
Philip Pullman’s bestselling trilogy of children’s books, which has sold more than 19 million copies worldwide, is now the inspiration for the major HBO/BBC TV series His Dark Materials.

Demon Records presents the second part of His Dark Materials – now a major TV series.
In this BBC Radio full-cast dramatisation of The Subtle Knife Will finds an opening into the haunted world of Cittàgazze - where daemon-destroying Spectres roam – and meets Lyra for the first time. This thrilling adaptation stars Daniel Anthony as Will, Lulu Popplewell as Lyra, Emma Fielding as Mrs Coulter, Tracy-Ann Oberman as Serafina Pekkala, and Peter Marinker as Lee Scorseby, with a large supporting cast.
A lavish gatefold sleeve features Dust-inspired illustrations, spectacularly realised in metallic copper ink, plus full cast and production details and exclusive sleeve notes by Philip Pullman himself. This gripping drama is presented on three heavyweight 180g discs of Daemonic Dustburst splatter vinyl.
Philip Pullman’s bestselling trilogy of children’s books, which has sold more than 19 million copies worldwide, is now the inspiration for the major HBO/BBC TV series His Dark Materials.

Demon Records presents the third and final part of His Dark Materials – now a major TV series.
In this BBC Radio full-cast dramatisation of The Amber Spyglass the young adventurers Lyra and Will must find each other and journey into the World of the Dead. This thrilling adaptation stars Lulu Popplewell as Lyra, Daniel Anthony as Will, Emma Fielding as Mrs Coulter, Tracy-Ann Oberman as Serafina Pekkala, and Terence Stamp as Lord Asriel, with a large supporting cast.
A lavish gatefold sleeve features Dust-inspired illustrations, spectacularly realised in metallic copper ink, plus full cast and production details and exclusive sleeve notes by Philip Pullman himself. This gripping drama is presented on three heavyweight 180g discs of Daemonic Dustburst splatter vinyl.
Philip Pullman’s bestselling trilogy of children’s books, which has sold more than 19 million copies worldwide, is now the inspiration for the major HBO/BBC TV series His Dark Materials.

There are few genres in which German artists play such a central pioneering role as they do in electronic music, be it techno, electropop, trance or rave. At the frontline for many years were Kraftwerk and U96, two absolute trailblazers of this musical direction. While Kraftwerk wrote international music history mainly in the 1970s with cult albums such as Autobahn (1974), Radio-Aktivität (1975), Trans Europa Express (1977) and Die Mensch-Maschine (1978), U96 had a profound influence on the global pop music, rave and techno scene of the 1990s with hits such as ‘Das Boot’, ‘Love Sees No Colour’, ‘Night In Motion’ and ‘Heaven’. Transhuman, scheduled for release on UNLTD Recordings on 30th October 2020, will feature a spectacular collaboration between U96 (Ingo Hauss

& Hayo Lewerentz) and Wolfgang Flür, Kraftwerk’s drummer in the years between 1972 and 1987 and therefore involved in the most seminal albums by the group from Düsseldorf.

This remarkable cooperation was first announced and implemented by two joint numbers on U96’s 2018 offering Reboot. Transhuman sees U96 and Wolfgang Flür develop their creative exchange across a full album, creating fascinating sonic worlds. The title song ‘Transhuman’ and an updated version of ‘Zukunftsmusik (Radiophonique)’ will be released as lead singles, including, as we’ve come to expect from U96, experimental video clips. That New York record label Radikal Records immediately secured the rights to the album for the US and Canada points to major interest in this project, not only on these shores but also across the Atlantic.

“Transhuman is a stylistic mélange of our different histories,” describe Wolfgang Flür and U96 masterminds Hauss and Lewerentz an offering that is spectacular in many respects, featuring, along with typical U96 tracks such as ‘Clone’ and ‘Specimen’, numbers such as ‘Transhuman’, ‘Planet In Fever’ and ‘Sexersizer’ that are inspired by Flür’s past. Notably, the content has been reduced to the sheer basics, in other words: sparingly used associative statements with deep, but at times also playful and mysterious messages that the listener feels rather than consciously registers. The lyrics are about the transformation of people through technology and our massive interference in life on our planet. Hauss: “Pieces like ‘Zukunftsmusik’ and ‘Transhuman’ don’t tell a story in the classic sense, they articulate emotions and associations in very few words, bringing to mind recordings such as Radio-Aktivität, Autobahn and Die Mensch-Maschine. In addition Transhuman, features a number of melodies created on the basis of computer algorithms, in other words fractal music which takes us even further back in history, to Klaus Schulze, Stockhausen, the electronics laboratories of the fifties and sixties and the musique concrete compositional technique.”

Ralph Heidel is one of the young musicians that represent the spirit of Berlin’s new musical ecleticism better than others. He is part of the avantgarde circles that mix modern jazz and contemporary classical music with elements of new electronica and experimental ambient music. This is the vibe of Germany's next generation.

Heidel creates a sonic universe that is unique. He takes the listener into a deep, atmospheric travel that stimulates emotions and feelings on a different level. Heidel brings together two worlds: what he learned at Musikhochschule München, Germany’s leading academy for classical music where he studied saxophon and composition and the moods happening in Germany's new electronic circles.

On „Relief“ Heidel created six songs. Except one, all of them are instrumental music. Partly composed and often improvised these sounds take the listener into Heidel's specific sonic universe. Raw beat structures, emotive horn lines, strong harmonical tensions and dramatic build ups. Heidel’s signature sound.
In fact Heidel is a multiple influenced artist with a strong personality that absorbs whats around him, connects it with his own wide artistic knowledge and fullfills it into magical musical moments.

Relief is the next step in what could become a longtime artistic career.
After a (very composed) debut album for string quartet and rhythm section for Kryptox (Moments of Resonance 2019), it was important for Heidel, to process current feelings of daily life.
Not just his cultural learnings, but also emotions connected to the hard COVID times and a lot of personal experiences.

Relief are six abstract, distorted patterns. Long deep transitions that lead into euphoric parts of sonic greatness. Heidel's sense for sound design and the soft tone of his saxophone phrases, add a personal note that is somehow alone in the current music scenario. Sampling his saxophone (reeds, keys etc.) to create very organic beats is one of the many techniques to create that special „Heidel“ sound. Also his calm and wide harmonies over disquiet, rough drums are part of his unique ambivalent, disrupted moods.

Most of this EP has been played by Heidel alone. For a few parts he was joined by musicians from the local scene. In fact besides his albums on Kryptox Ralph Heidel is very connected in Berlin’s current cultural playground: He creates music for underground performance art happenings in Neukölln as well as for new German theater (Volksbühne, Berliner Ensemble). Also German rapper Tarek from K.I.Z heard about Heidels string debut album, so they collaborated for an album, where Heidel reworked his record for stringquartet, piano, drums and bass.

Summer 2011, we discovered Triptides’ music through a music blog aggregator and immediately fell in love with it. Just after that, we decided to interview the band for our own blog and to release a single, their first-ever vinyl record, through our beginning sister label Croque Macadam. The single contained two songs Going Under & Outlaw, both coming from and self-released tape named Psychic Summer. One year later, Triptides released a CD album Sun Pavilion and we were releasing again another 7” record with the main single Bright Sky and an exclusive b-side (Darling). Both albums never were released as vinyl. 10 years later we are now releasing a beautifully remastered version of these two lovely albums. Since then, Triptides became one of the most endearing contemporary psych band alongside the dynamic Californian scene with which they share or shared members (Mystic Braves, Levitation Room, Frankie And The Witch Fingers…).
The Band then formed by the duo Glenn Brigman & Josh Menashe used to make their song from their Bloomington student home studio on an old Tascam 8 track tape recorder, already showing a deep interest for the sixties influenced music. If their first EP were showing some touching errors, despite the years passing, both Psychic Summer & Sun Pavilion are still offering a very nice musical experience for the listener. Their songwriting remains flawless and the DIY lo-fi production makes it sound as spontaneous and charming as it was back then. Our favorite songs such as Going Under, Who Knows, Satin Skies, Bright Sky, English Rain or Sun/Shine shows a great kraft for beautiful and catchy songs anchored in both a sixties tradition and the then-burgeoning modern indie-pop sound through very interesting surf influences and uses of a drum machine.
The reissue is a great opportunity to rediscover Triptides in their beginnings. The objects had been carefully made, Psychic Summer for example had a brand new artwork by psychedelic collage master Andrew McGranahan, both have color vinyl version and standard black. Far from being rough drafts, these two albums are still showing a beautiful angle on Triptides’ music and their always strong discography.

Summer 2011, we discovered Triptides’ music through a music blog aggregator and immediately fell in love with it. Just after that, we decided to interview the band for our own blog and to release a single, their first-ever vinyl record, through our beginning sister label Croque Macadam. The single contained two songs Going Under & Outlaw, both coming from and self-released tape named Psychic Summer. One year later, Triptides released a CD album Sun Pavilion and we were releasing again another 7” record with the main single Bright Sky and an exclusive b-side (Darling). Both albums never were released as vinyl. 10 years later we are now releasing a beautifully remastered version of these two lovely albums. Since then, Triptides became one of the most endearing contemporary psych band alongside the dynamic Californian scene with which they share or shared members (Mystic Braves, Levitation Room, Frankie And The Witch Fingers…).
The Band then formed by the duo Glenn Brigman & Josh Menashe used to make their song from their Bloomington student home studio on an old Tascam 8 track tape recorder, already showing a deep interest for the sixties influenced music. If their first EP were showing some touching errors, despite the years passing, both Psychic Summer & Sun Pavilion are still offering a very nice musical experience for the listener. Their songwriting remains flawless and the DIY lo-fi production makes it sound as spontaneous and charming as it was back then. Our favorite songs such as Going Under, Who Knows, Satin Skies, Bright Sky, English Rain or Sun/Shine shows a great kraft for beautiful and catchy songs anchored in both a sixties tradition and the then-burgeoning modern indie-pop sound through very interesting surf influences and uses of a drum machine.
The reissue is a great opportunity to rediscover Triptides in their beginnings. The objects had been carefully made, Psychic Summer for example had a brand new artwork by psychedelic collage master Andrew McGranahan, both have color vinyl version and standard black. Far from being rough drafts, these two albums are still showing a beautiful angle on Triptides’ music and their always strong discography.

• Demon Records presents Dr. Hook ‘Gold’, the only Dr. Hook compilation you’ll ever need.
• Formed in New Jersey in 1968, Dr. Hook were an American rock band who found international success and became a household name throughout the 70’s and 80’s. Led by Dennis Locorriere and Ray Sawyer, the spirited band of singers and musicians became known for their wide ranging body of work which includes the iconic tongue in cheek ‘The Cover of ‘Rolling Stone’’, the powerfully emotional ‘Carry Me, Carrie’ and the nightlife romance of ‘Sexy Eyes’.
• The group achieved an impressive 6 UK Top 10 singles including ‘Sylvia’s Mother’, ‘A Little Bit More’ and the #1 hit ‘When You’re In Love With A Beautiful Woman’.
• This new compilation brings 18 of Dr. Hook’s classic tracks together, including songs from across their entire career.

‘‘I am not as other detectives!’
Presently in triple gatefold vinyl for the very first time, Dirk Gently – The Long Dark Tea-Time of the Soul sees Harry Enfield return as the singular detective in this full-cast BBC radio dramatisation of the novel by Douglas Adams. First broadcast on Radio 4 in 2008, these fantastically entertaining comedy sci-fi dramas are adapted and directed by Dirk Maggs, acclaimed for his dramatisations of The Hitchhiker’s Guide to the Galaxy, Good Omens, Neverwhere and many others.
When Dirk Gently’s long-suffering secretary, Janice, resigns to work in an airport, it’s the beginning of a very strange adventure for both of them. The detective takes to reading palms whilst dressed as an old gypsy woman, but meanwhile the ancient Norse God Odin has fallen into the hands of an unscrupulous advertising executive (and her husband). Bring on Odin’s son, Thor, a godlike curse that turns Janice into a vending machine, and countless other interconnected things…
Starring Harry Enfield as Dirk Gently and Olivia Colman as Janice, with Billy Boyd as Richard MacDuff, Laurel Lefkow as Kate Schechter, Stephen Moore as Odin, John Fortune as Dr Standish, Philip Jackson as the Vagrant, Jan Ravens as Cynthia Draycott and Peter Davison as Simon Draycott, with a guest cast including Rupert Degas, Morwenna Banks, Sally Grace, Jon Glover, Michael Fenton Stevens and Susan Sheridan, and music by Philip Pope. Adapted by Dirk Maggs and John Langdon from the novel of the same name by Douglas Adams. Directed by Dirk Maggs.
Three 140g coloured vinyl discs – in Holistic Red, Yellow and Blue - are presented in an illustratedc triple gatefold sleeve, with an exclusive sleeve note by Dirk Maggs.

12” album of previously released Dub album by Nkrumah “Jah” Thomas from Kingston, Jamaica. Re-issued on WHITE vinyl.

Nkrumah “Jah” Thomas is an esteemed reggae deejay and record producer who first came to prominence in the 1970s, later setting up his own labels ‘Midnight Rock’ and ‘Nura’.

Lucrecia Dalt is a Colombian recording artist, songwriter, and producer. After studying civil engineering in Colombia, Dalt worked at a geo-technical company for two years and has since lived in Barcelona and Berlin, where she currently resides. She has released six solo albums and has collaborated with musicians Aaron Dilloway, Jan Jelinek, and Gudrun Gut, to name a few. No era sólida is Dalt's seventh solo record, and her second on RVNG Intl., following the release of 2018's Anticlines. No era sólida is an introspective venture into visceral sonic terrain, as Dalt sets out to capture the moment when one becomes pure sound. The album observes a transition in Dalt herself through the emergence of an alternate ego / state of self named Lia. Each song identifies a different state experienced by Lia, opening with Disuelta (`dissolved') and transforming through pieces such as Seca (`to be dry'), Ser boca (`to be mouth'), Espesa (`thick'). Lia's poetic reflections on the panspermia echo her origins, having come from some other ether. As a lifeform seeded through sound, the very essence of Lia is embodied in the exploratory instincts of her creator Lucrecia Dalt, an artist whose innate sonar system traces the far reaches of musical experimentation.

• The Love Affair was formed in 1967 (originally as the Soul Survivors) and burst onto the UK charts in January 1968 when ‘Everlasting Love’ reached # 1. Featuring lead singer Steve Ellis’ distinctive vocals, this was followed by four more Top 20 hits, three of which were Top 10, including ‘Rainbow Valley’ (# 5), ‘A Day Without Love’ (# 6) and ‘Bringing On Back The Good Times’ (# 9).
• Side One of this album features all five hits (including a re-mastered version of ‘Everlasting Love’) plus the single unreleased at the time, ‘Time Hasn’t Changed Us’, after which Steve Ellis left the band.
• Side Two features six highlights from Steve Ellis’ solo career, starting with two favourites by Ellis, the band he formed with Zoot Money, produced by Roger Daltrey. Next up are covers of Jimmy Webb’s ‘Evie’, and also ‘Rainy Night In Georgia’. Taken from Steve’s 2018 album, ‘Lonely No More’ and ‘Cry Me A River’ both feature Paul Weller as co-writer, performer and co producer.
• The inner sleeve features liner notes by Steve Ellis and photos and memorabilia from his own collection. The record is pressed on 180g gold vinyl.

In a time where everyone from Whitney Houston to Frank Zappa have been re-created in hologram form, where Grimes recently suggested in an interview that “we were at the end of human art”; there could scarcely be a better time for genre-shifting Leeds-based six-piece Team Picture to bring forth the thrillingly expansive synth-pop opus of their debut album The Menace of Mechanical Music.

Inspired by an early 20th century essay under the same name by American marching band leader John Philip Sousa, Team Picture take a look at the automation of creativity on this, their first record with a fully settled line up. Themes centre around the value of creative identity in an automated age, the increasingly disposable nature of art and where that leaves its creators. At twelve songs split into a three-part suite; The Menace of Mechanical Music is emphatically maximalist.

Tracks like the breathy, twinkling Flowerpots, Electric Beds and Handsome Machines’ Icarus-like striving for the sun are an antidote to a music world awash with digital production manipulation and songs written to algorithm. In debating the loosening of the human grip on creativity, Team Picture have poured every last drop of emotion into the recording process.

The group’s now trademark three-way vocal delivery and blurring of textures takes on new structure and purpose. They’ve always had a self-awareness to themselves, too. Initially grouped in with the guitar psych crowd, thanks to their fledgling repeato-rock, they were quick to disassociate themselves from that on 2018's mini-album Recital. With The Menace of Mechanical Music, they expand their sound further still, pirouetting from the likes of Sleeptype Auction – which glimmers like a late 80’s 4AD artefact – through various FX-laden dreamscapes, to the squelchy post-punk of closer Quit Reading. Yet the group were as much influenced by the work of the Early Netherlandish painter Hieronymus Bosch, and his triptych The Garden of Earthly Delights, as they were music touchstones ranging from Kate Bush, Cass McCombs and The Cure.

It’s Sousa words that resonate most deeply within the record however: “The fears of Sousa echo the fears of today's musician,” says Lewis of the late band leader’s 1907 text. “The re-appropriation of funds and support that the artist needs to survive, the gradual erosion of musicianship and self-improvement, that art will become disposable, and that our cultural identity will disappear.”

Recorded with producer Matt Peel (W.H Lung, Eagulls), half the group were unemployed during the session and a daily routine would see them undertake universal credit meetings and job interviews in the morning, before heading to the studio to work into the night. “It was an anxious process but an enjoyable one” says the band’s guitarist Josh Lewis. Indeed, beyond the increasingly golden gated idea of ‘making it’ as an artist, this new album is simply about surviving as one.
Sousa’s vision of a society that had deferred to automation, where babies were rocked to sleep by wheels and pulleys, and people no longer played piano with their own hands. Well over 100 years later and on the precipice of a technological shift never seen before, The Menace of Mechanical Music is the most human response that Team Picture could have given.

Four tracks by one of the biggest names in South African disco: Condry Ziqubu. A regular on the local soul scene since the late 1960s in groups such as The Flaming Souls, The Anchors and The Flaming Ghettoes, by the mid-80s he had qualified as a sangoma (traditional healer), recorded with Harari (the biggest group in the country at the time), fronted his own group Lumumba, and travelled the world as part of Caiphus Semenya and Letta Mbulu’s band.

In 1986 he ditched Lumumba and released his first solo hit, ‘Gorilla Man’. Opening with an audacious 20-second intro, the song tells the story of a man preying on women in downtown Johannesburg. It highlights Condry’s winning formula of lyrics that touch on everyday South African issues and places (without drawing the attention of apartheid censors). Musically the song draws obvious influence from Piano Fantasia’s 1985 Euro-disco hit ‘Song for Denise’.

Also included on this new anthology is another song from the same album, the politically charged ‘Confusion (Ma Afrika)’, as well as ‘Phola Baby’ from his 1988 album Pick Six – a call to men to “stop pushing your woman around … what kind of man are you?” – and ‘Everybody Party’ from 1989’s Magic Man, a straight-up party song with no political or social intimations, other than as a brief escape from the harsh reality of the time, one that still resonates today.

Gorilla Man will be released on vinyl and digitally in early 2021 on Johannesburg-based Afrosynth Records (AFS047), distributed worldwide by Rush Hour in Amsterdam.

Blues singer and harmonica player Brian Knight (1939-2001) is counted as one of the initial members of The Rolling Stones. Co-founder of Brian Jones first band together with Ian Stewart and Dick Taylor (later Pretty Things) among others. Musical disagreement with Jones, who fancied Bo Diddley and Chuck Berry while Knight was a Muddy Waters follower, led to his departure from the group - later to be replaced by Jagger and Richards. He formed his own "Blues By Six" band, frequently with Charlie Watts on drums, and spent the following years touring and playing London clubs. In the seventies he continued with Bradford-Knight Blues Band. Always a high profile act on the English blues circuit Knight has performed with many known artists through the decades, as Rick Wakeman, Peter Green, Paul Jones, Zoot Money, Ronnie Lane, Charie Watts, Chris Farlowe...and many more. After two successful decades of touring and performing he finally got to record his debut in 1981on the independent label PVK Records. The album is a mix of standard blues and rock numbers as traditional "white blues", sometimes reminding of early British R&B from Cyril Davies or Alexis Korner. It features Dick Heckstall-Smith (Colosseum) on sax, Peter Green on guitar and Stones own Charlie Watts on drums

Itzhak Perlman, the supreme violinist of his time, performs the supreme works for unaccompanied violin. In preparing the Bach Sonatas and Partitas, Perlman sought authenticity through the score itself, not through musicological research: “Music is a language, and, performed responsively, with musical logic as guide, it will make sense.”

Bach’s Sonatas and Partitas are a landmark not only of the solo violin repertoire but of all music history. No composer before or since has created a comparable architectural miracle, or made better use of the violin’s polyphonic capabilities, than did Bach in this set of six works. The improvements in instrument-making introduced by such experts in the field as Niccolò Amati and his pupil Antonio Stradivari meant that performers and composers could now push the tone and power of the violin to bold new limits. The Second Partita also includes a Chaconne which appears to stand outside space and time. Its complexity, power and splendor make it in a way the keystone of the entire musical edifice — a magnificent set of variations on a single theme which exploits the violin’s full harmonic and contrapuntal potential. While the great virtuosos of the nineteenth century, Paganini chief among them, expanded the instrument’s technical capabilities, Bach had already established its limits in terms of polyphony.
Perlman made several earlier attempts at recording the set, none of which was ever released, then performed it live on stage at venues around the world. In other words, he had the wisdom to wait until he had achieved a level of excellence in both performing and understanding this music before committing it to disc. The most practised of ears may detect a subtle difference in tone between the C major and A minor Sonatas, which he recorded on the “Soil” Stradivarius, and the other four works, recorded on the Guarneri del Gesù “ex-Sauret”.

Ecstatic Meditations’, the follow up to 2016’s acclaimed debut solo outing ‘Interludes’, features six beautifully crafted new tracks leading with an edit of the 20 minute album opener and lead track ‘Journey In Ecstasy’. An adventurous deep listening experience, the new collection was recorded, mixed and mastered by Furse at his electronic studio on the Margate coast.
A sonic tapestry of sound that takes inspiration from the likes of Alice Coltrane, Laraaji, Eno and Steve Reich together with a new found appreciation for Japanese environmental music composers such as Akira Ito and Yasauki Shizimu. The result is an intense yet playfully refreshing take on ambient and electronic music.

Picture Vinyl

Sixth part of Machine Funk project. Machine Funk is a twelve vinyl records project created by Cygnus and Alek Stark, the mind behind Fundamental Records, 808 Box, Electric Eclectics and now Electro Records. Machine Funk is based on the classic cyber-punk comic book created by Barry Windsor Smith. Essential electro music full of vocoders and analog machinery, produced by Cygnus!

La Locura de Machuca is the story of one man’s bizarre odyssey into Colombia’s coastal music underground, and the wild, hypnotic sounds he helped bring up to the surface.

One night in 1975, a successful tax lawyer named Rafael Machuca had his mind blown in Barranquilla’s ‘Plaza de los Musicos’. Overnight he went from a high ranking position in the Columbian revenue authority to visionary production guru of the newly formed record label that bore his name, Discos Machuca, and for the next six years he devoted his life to releasing some of the strangest, most experimental Afro Psychedelia Cumbias ever produced. La Locura de Machuca is the story of one man’s bizarre odyssey into Colombia’s coastal music underground, and the wild, hypnotic sounds he helped bring up to the surface.

The Colombian music industry was thriving in the mid-seventies, but while homegrown bolero and vallenato tunes were doing well on the charts, it was imported African records that were setting crowds on fire at the picos – the sound-systems that fuelled neighbourhood parties – and wherever those records were played there were always a handful of groups who were inspired to plug traditional Cumbia directly into the electric currents coming from across the Atlantic.

It was these obscure bands, who fused Colombian and African rhythms with the swirling organs and psychedelic guitars of underground rock, that fired Machuca’s imagination. While the label made its money releasing popular hits by legends such as Alejandro Durán and Aníbal Velásquez, that money was poured back into a unique run of experimental releases by fringe artists such as La Banda Africana, King Somalie, Conjunto Barbacoa, and Abelardo Carbono, one of the godfathers of Champeta Criolla.

When Machuca couldn’t find groups to realise his particular vision, he simply created them himself. Drawing on a fearsome roster of musicians associated with the label, he assembled bands that lasted only as long as it took to record an album ,and unleashed the results – complete with arrestingly unusual album covers – under a series of different names such as Samba Negra or El Grupo Folclórico. This unorthodox approach led his longtime recording engineer, Eduardo Dávila, to describes Machuca’s productions as the “B-Movies of Colombian music.”

The story of Doctor Machuca and his eccentric exploits tells of one of Colombia’s most atypical and peculiar record companies; a defining pillar of Afro-Caribbean psychedelia. His productions have come to represent the roots of Champeta and set the pedigree standards for Afro and Costeño avant-garde. The seventeen tracks on La Locura de Machuca, harvested from the darkest, strangest corners of the Discos Machuca catalogue, sound like little else recorded before or since.

After the tremendous success of the first two boxsets of Nuyorican goodies, Rocafort Records heads to Peru for our next instalment of Salsa & Boogaloo treats!

We have compiled six of the finest songs from Alfredito Linares' first two albums, both recorded for Manuel Guerrero's label 'MAG'. 'El Pito Y Otros Exitos' was released in 1968, followed by 'Yo Traigo Boogaloo' in 1969. Both albums are highly sought after and prized by collectors, DJs and music lovers. Not only do they showcase Linares' talents as a pianist, composer, and arranger, but they perfectly capture the infectious rhythms of the era 'con tremendo swing'.

Including liner notes by DJ Timber.

While Joe Henderson seemed to arrive fully formed on his auspicious 1963 debut Page One, the album was really a showcase for the transcendent collaboration between the tenor saxophonist and trumpeter Kenny Dorham who would form a potent frontline team on numerous mid-60s Blue Note classics.

Page One opens with a pair of indelible Dorham compositions (“Blue Bossa” and “La Mesha”), with the balance of the six-song set penned by Henderson including his enduring theme “Recorda-Me.” Dazzling performances by pianist McCoy Tyner, bassist Butch Warren, and drummer Pete La Roca further elevate this album making it one of the crown jewels of the Blue Note catalog.

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

In 1978 Pharoah Sanders went into the studio with pianist, Ed Kelly, who was an important figure in the local San Francisco and Oakland jazz scene. The two of them recorded six tracks which ranged from covers of standards, through soul jazz through to two real gems. The album was originally released as Ed Kelly and Friend due to Pharoah being contracted to Arista Records at the time. Indeed, as you can see, the cover shows Kelly playing next to Pharoah’s hat, shoes and Selmer tenor saxophone.

Rainbow Song, a Kelly composition, opens matters in a manner far removed from Pharoah’s work on his Impulse albums (although there had been a dramatic change of course when he signed with Arista and recorded). This is firmly in Grover Washington Junior territory with a liberal sprinkling of oh so tasteful strings. The Master’s sound is full and mighty as ever.

With the radio track out of the way it is business as hoped for and Newborn is a Sanders composition that burns with intensity. The power of his solo is as good as anything he has produced and he runs over the full span of the tenor’s range and onwards into territory lesser known or explored by 99% of sax players.

Sam Cooke’s You Send Me is treated with reverence and respect, with Pharoah delivering a sensitive and heartfelt rendition and ending with some extraordinary phonics, which we will meet again on later albums. Kelly’s accompaniment complements Sander’s playing before he receives his own space for a shimmering yet restrained solo which discloses what this non-pianist assumes to be an agile right hand.

Answer Me My Love is an early 50’s ballad with a fascinating back story. On its initial release in post-war Britain, covers of this fine melody stirred sufficient controversy for the song to be banned by the BBC. What led to it being barred from broadcast on the Light Programme and treated like Anarchy For The UK, Wet Dream and Give Ireland Back To The Irish? I can reveal that the reason for this draconian action was that the original version was entitled ‘Answer Me, My Lord’. In the olden days, it seems that a direct appeal to God was considered to be blasphemous- especially if set in a secular or selfish. Further research indicates that Nat King Cole made the most celebrated recording and that Bob Dylan used to sing it live in the 1990’s, presumably during his overtly Christian phase. Anyway, it is a grand tune.

Pharoah went on to record at least three studio versions of his great anthem You’ve Got To Have Freedom but the one here is the earliest incarnation that I am aware of. It is also the most restrained treatment of the theme, although Pharoah’s solo shows his ability to play with fire and power over the entire range of the horn. There’s plenty of space for Kelly’s piano too and he provides an elegant setting for Sanders’ exploratory work.

Based on a short-story by the master of horror and fantasy, author Clive Barker (Hellraiser), Rawhead Rex is set in 1980’s rural Ireland. The Demon, alive for millennia and trapped in the depths of hell, is unleashed on the sleepy local farming community. Remembered faintly through pre-Christian myth, the only one that can stop Rawhead's bloody rampage is the historian, desperately racing against the time.
This is the first ever release for the soundtrack by Colin Towns, one of Europe’s most prolific film, television and theatre composers, but also a pianist, songwriter, arranger, producer and collaborator, known for The Puppet Masters, Space Trackers, Maybe Baby, Foyle’s War, Doc Martin, Pie In The Sky.
"The first film I scored was Full Circle which starred Mia Farrow and is still in the BFI top ten for best score for horrorfilms. I felt that film was more of a dark scary mystery. Rawhead Rex on the other hand was clearly a horror film 100%. I visited the film set in Ireland during the filming to take in the atmosphere and meet the actors after which I decided to record the music at CTS in London with a sixty piece orchestra plus electronics. I have always orchestrated my own work and had a wild time with Rawhead which is what I really love doing". Colin Towns

Flute, congas, bass, drums, guitar and clavinet; this unconventional arrangement of instruments intertwine to form the debut album by Badge Époque Ensemble - a group of creative improvisers assembled to perform new, largely instrumental compositions by Maximilian ‘Twig’ Turnbull(formerly Slim Twig - DFA Records).

Badge employs an eclectic cast of characters from the Toronto underground music scene, whose combined experience would take pages to spell out. It includes stints accompanying songwriters Andy Shauf and Marker Starling, outfitting heavies Blood Ceremony and Biblical, and respective careers spent gigging Django-jazz and the classical cannon.

Badge’s distinctive sound arises from the diversity of these musical exploits, creating a palpable chemistry well captured on the live-tracked songs that form the group’s self-titled debut. Part of this crucial chemistry can be attributed to the fact that four of the six players in the Ensemble have been at the core of the live, U.S. Girls band, a group that has scorched stages internationally over the past year and was hailed by Paste magazine as the best live band of 2018. While it may call to mind an improbable collision between psych-era Stevie Wonder and the whimsically dark, Fantastic Planet score, it is clear we are operating in a post Wu-Tang paradigm. If a crate of library, tropicalia, prog and electric jazz records were flattened into a single 12” and then fed into a sampler, we might approximate the process.

This compilation sees the coming together of independent music makers from across the globe to meet in one place and gather as a single entity. That simmering hub of warmth and affection is known as Motor Jazz - a place for artists to congregate and share their devotion for songs that are infused with rhythms created by anodic wires, buttons and other digital paraphernalia. That's electronic music to you and me, and in this case electronic music with swing, a sense of freedom and improvisation that some might call 'Jazz'.

The album opens with the ominous drone of the Mega Corp., sounding like one of the parties responsible for 2020's almost post-apocalyptic feel. It's perhaps an unlikely opener for a what's a positive and optimistic collection courtesy of young musicians from across the globe, but we all need to be reminded of who's in charge sometimes, and Dutch producer Jon Sewi does just that!

The mood soon lightens though, with the soulful strings and enticing keys of Gladdics by the mysterious Black Soyls, before well established German musical artisan Renegades of Jazz brings the family in for It's Tea Time with ticking clocks, warm tea pots and slices of cake, whilst being serenaded by a very vintage sounding horn section.

Serafin Plum almost steer us into drum & bass territory with their off-the-wall percussive nugget Jagged, whilst keeping a calming hand on the shoulder (as all good parents should) with soothing keys, before it's playtime once again.

There's nothing conventional about the Motor Jazz family though, and after tea time and play time, it's time to rave! In Greek mythology, The Maenads were female followers of Dionysus; their name literally translating as "the raving ones". Often they were portrayed as being inspired by the god into a state of ecstasy through a combination of dancing and intoxication, during which time they would dress in fawn skins and carry a thyrsus - a long stick wrapped in ivy or vine leaves and tipped with a pine cone. With a sound ranging between Jazz, Techno, Rave and Breaks their track, Opera, delivers a psyche and Jazz influenced piece with colliding styles, busy drums and rich melodies.

Heading over to Dublin, Ireland, and multi-talented producer, musician and DJ, Donal Sharpson (aka Double Screen) makes his presence known with grandiose brass preempting a four-to-the-floor wood block frenzy in the shape of Sheikah, complete with enthusiastic whoops and a persuasive bassline. Meanwhile, somewhere below the Irish Sea, aquatic artiste Stubby Dials delivers the bass worrying Put It On Ice the only way he knows how - living in a submarine, he emerges from time to time to leave his master tapes on the beach with a note saying "Release this!" before submerging, never been seen again.

Back in the Netherlands, Bram van der Hoeven, otherwise known as Lucinate, is an electronic Jazz producer par excellence. His effortless balance of organic musical roots like Fusion, Bossa Nova and Soul, into the world of modern beat orientated sounds is something to behold, and with The Cards he offsets life-affirming keys with rolling drums reminiscent of some of the seminal liquid Drum & Bass he grew up with.

As the global Motor Jazz family expands, we head to Canada, where the wonderfully monikered Woodpecking Mantis brings a little acid to the party with his squelchy, stuttering and brilliantly entitled Waving At A Melting Square Tooth Of A Specific Rabbit……. We're guessing they like acid a lot in Canada.

We're going down under to Newcastle, Australia next, where things take a more serene turn. Wrenasmir, known to his parents as Craig Smith, used to be a baroque pipe organist before he discovered samplers and synthesizers. Now he makes imaginary soundtracks at his studio for the twilight beachside city that lives in his head - full of vinyl and pixels and bittersweet memories. The gorgeous Lucempight is exactly that.

Keeping things low key and tranquil, Poets And Rockets, the latest offering from Jay Solomon is a horn driven slice of futuristic dub that makes way for The Motion Orchestra's majestic Midnight Sun, complete with Alexander Bednasch on double-bass, Mark Matthes on violins, Andy Sells on drums and David Hanke on electronics and production. Though influenced heavily by neo-classical and jazz sensibilities they occupy a musical space that sits in neither sphere, with a compositional style that deftly fuses the orchestral and electronic worlds. The full Motion Orchestra album, All One, will be released later this year on Bathurst.

Sixteen year old, self taught producer and multi-instrumentalist Teis Ortved is something of a prodigy. The Copenhagen based wunderkind has so far self-released two EPs, and if What, his offering here, is anything to go by, he's going to be making big waves across the eclectic music spectrum for years to come.

If Teis is the new kid on the block then what better way to round off this compilation that with its patriarchal figure. Funki Porcini has over a quarter of a century of recordings in his back catalogue, and has spent fifteen of those years dedicated to the independent UK behemoth that is Ninja Tune records. The Last Recording From Earth is exclusive to this album and is in many ways the perfect closing song. Perhaps more concept art than traditional piece of music, the idea behind it is that an alien archeologist has found this recording tens of thousands of years after humans have disappeared into the sand…. You never know, it might just happen, and hopefully Them To Us will take on a whole new meaning.

Previously Unreleased material recorded in 1979 at Allen Toussaint's legendary Sea-Saint Recording Studio in New Orleans, LA.

Freaky With You is a Six-and-a-half minute Psychedelic Disco Funk excursion taking you on a wild mojo trip with a four on the floor backbeat and extended conga breakdown peppered with some New Orleans Voodoo that reaches for the Bondye Celestial Heavens.

On the B-Side, Welcome To My World is a Modern Soul Steppers masterpiece. A version was also recorded by Joe Chopper for the Lanor Records label.

James Dumaine remembers the studio session well. After having oral surgery that morning, a grotesque, theatre of the absurd incident followed causing him to bleed onto the microphone as he was singing. That combined with the miscommunication with the audio engineer to watch the volume levels on his new synthesizer: The Engineer decided not to take heed to the warning… Half way into the recording all the band could see from the other side of the glass were heads frantically rushing to the mixing board. The synthesizer levels had caused the monitors in the control room to blow up. Superior Elevation wasn't invited back to record at Sea-Saint. 40 years later, with all that chaos, hoodoo and gris-gris enveloped into the magnetic tape, it magically survived the catastrophic 2005 floods during Hurricane Katrina and ended up in the hands of Mike Nishita along with many other Reel to Reel Tapes of Allen Toussaints' masters of The Meters albums he produced and recorded. It's available now, preserved with Family Groove Records.

The sixth vinyl release of the Valencian label HC Records is signed by the legendary

brothers John & Paul Healy aka "Somatic Responses" in "Interlinked Ep". To talk about

them is to talk about real heroes of the history of the most personal, raw and abstract

electronic music born in Wales. Active since 1994, to this day they continue experimenting

with all their analogical stuff to compose with tremendous regularity.


The neural connection of wet cable with the Somatic Responses universe begins with "Satin

Armour", a stunning and beautiful electro melodic track surrounded by rough rhythms and

strange atmospheres like a rose protected by steel thorns. Raw, primitive and rough rhythms

are the presentation card of "Snake"; a track with a marked industrial influence where an

avalanche of beams and Martian LFOs, with a marked acid taste, develop along this

primitive discharge of high electric voltage. The mechanical and industrial force hits our

prefrontal cortex in "Interlinked (Cell Mix)", a sonic aggression that combines all the

violence of the Intelligent Hardcore Techno with an avalanche of mysterious and fatalistic

auras coming from a future Cyberpunk.

"Aria" inaugurates the B side of the vinyl in a demonstration of harmonic virtuosity and

synthesizer juggling, seasoned with a whirlwind of accelerated broken rhythms totally

saturated with emotion, passion and hope.


The album's farewell track is "Heading South", a strange emotional trip, with velvety

cadences and dreamy pads seen through a stereogram, a potential anthem.

Four digital bonus tracks complete the journey through the dark future designed by the


Healy brothers:

"Dolaucothiacid v2" is an advanced and sharp experiment in several layers of pressure and

distortion around the amalgam of possibilities of the stacking of corrosive sequences and

abstract structures.


"Automaton Reign" reinvents all the concepts of the most acidic and vengeful Techno

Industrial, a merciless brain-roller. Persistent Illusion infiltrates us in the middle of an epic

and decadent combat of space cruisers where nobody survives, rhythmic rage and metallic

histrionics. We don't abandon the forcefulness or the post-apocalyptic hysteria in "Cell

(Loquelic Mix)" a demolishing closure that connects us fully in the already tangible manmachine

connection.



For this special release, we have collaborated with the Valencian artist Manuel Monzonís,

who has been in charge of creating the cover illustration. A stunning work that perfectly

captures the spirit of this Interlinked EP.

D Leria debuts on Avian.

Giuseppe Scaccia shows his range on a new six track EP, arriving late 2020.

Produced diligently across the last two years, the record showcases a range of styles. Tonally, the material is bound by a recognisable engineering palette – driven, but not to the point of corrosion, tight and focused in the low end with caustic, percussive synth patches driving much of the more dance floor material.

In the terms of the form, though – Scaccia draws for a disparate arrangement. Opener A Life On The Run clocks in at over 140bpm, with a demented lead synth line providing the action buoyed by a simplistic drum machine rhythm. Divergences offers a more immersive experience in terms of tempo – again letting the lead do the work, while shifting hats operate around the sonic periphery to break up the recording. On Il Giardino Degli Unicorni the artist utilises a single, staccato sequence, letting the sends do the bulk of the business with careful processing and live articulation helping to build the intensity. On the flip, pulsing workout Noises from The Room develops surreptitiously over its run time – fathoms deep kicks are submerged under a heated sequence and Red Flowers, an exercise in careful reduction reintroduces a little musicality to the record, before warping closer Tribalism places the listener back on the dance floor with a half-time rhythm driving the droning sound design.

A careful meeting point at which the multiple styles that underpin Scaccia’s D Leria project meet, Still Standing offers insight into how future work might manifest whilst remaining a valuable document on the current state of both left field Techno music and the artist’s own creative identity.

The Radio 2 Top 2000 is the largest annual radio event in The Netherlands. The audience of Radio gets to vote for their favorite all-time songs. These literally millions of votes come together in the Top 2000. All these 2000 songs are broadcasted back to back from Christmas until a few minutes before New Years Eve, when they air the No.1 of the chart.

Top 2000 - The 60’s contains the best hits from the century in which the music industry saw its biggest change. It were the years some of the biggest bands in the history of music rose to fame, like The Beach Boys, The Kinks, The Who, and Fleetwood Mac. Rock, pop, funk, soul and psychedelia all stand side by side on this release, with artists like James Brown, Nina Simone, David Bowie, Etta James, Elvis Presley, and Dusty Springfield. These artists and many more you’ll find on this wonderful 2LP.

The Top 2000 bridges the gaps between all musical generation from the Sixties to the present, making it the most eclectic chart out there, and keeping more that half of the country glued to their radio day and night for the whole week it’s broadcasted. And with a daily tv spin-off during its broadcast, it has reached an even bigger audience.

Top 2000 - The 60’s is available as a limited edition of 2000 individually numbered copies on yellow vinyl. The package includes an insert.

John Prine’s self-titled debut album continues to sound as fresh as it did back in 1971, with Rolling Stone ranking it amongst its 500 greatest albums of all time. It includes some of Prine’s finest works such as “Sam Stone,” “Paradise,” and the famous “Angel From Montgomery.” After initially being spotted by famed singer-songwriter Kris Kristofferson, John Prine’s debut album earned him a number of admirers, including the likes of Bob Dylan. Tracks such as “Paradise” resonated with many, quickly becoming a bluegrass standard. Originally written by John for his father, the track has since been covered by a number of artists such as Johnny Cash and The Everly Brothers.

John Prine, who passed away in April, was one of the most celebrated singer/songwriters of his generation and recipient of the 2020 Grammy® Lifetime Achievement Award. Considered a true folk-singer, Prine was known for his raspy voice and equally admired for his unique songwriting ability. His career spanned over five decades, during which he created witty and sincere country-folk music that drew from his Midwestern American roots and incorporated sounds from rockabilly, R&B and rock 'n' roll.

In addition to earning the Lifetime Achievement Award this year, Prine also won Grammy® Awards for The Missing Years (1991) and Fair and Square (2005). His songs have been recorded by a long list of well-respected artists, including Joan Baez, Johnny Cash, Bonnie Raitt, Kris Kristofferson, Carly Simon, George Strait, Norah Jones, John Denver, Miranda Lambert, The Everly Brothers, Bette Midler, Paul Westerberg, Tammy Wynette and Dwight Yoakam.

studio mule is back with another amazement, opening the roster towards sophisticated spiritual sounds on the crossroads of electrified jazz, oriental fourth-world spheres and deeply composed experimental sounds. this time the label welcomes japanese artist ya-sukazu sato aka yas-kaz, a university-trained percussionist, that gained global success as a composer for the internationally known butoh dance troupe sankai juku, that tours around the world since 1975. his infrequent musical amalgamation of ancient eastern genres, airy soundscapes, and ritualistic dance percussions perfectly accompanied the modern dance movements of an avantgarde dance group that is known for slow, mesmerizing dance passages, whose repetitive body movements sometimes focusing only on the feet or fingers. besides his theatre work, yas-kaz composed scores for japanese movies, performed live along stars like us-american jazz saxophonist wayne shorter or legendary japanese new-age musical group himekami and recorded a number of collabo-rative and solo albums.

with “virgo indigo”, studio mule reissues his third solo album, originally published on the japanese label canyon in 1986. the album opens with “djidanda”, a composition whose melodic drive and percussive groove reminds on moondog’s spirit. melancholic strings, loose guitar riffs, spiritual cowbells and wild, yet mild rhythms form a repetitive maelstrom that is made for all sorts of acrobatic body movements. it gets followed by the album’s title track “virgo indigo”, a spiritual jazz leaning arrangement featuring wayne shorter on the soprano saxophone, delivering a crystal-clear performance above tribal rhythms and traces of gamelan. the story-arc of the ten-minute long composition brings also minimalistic percussive moments, oriental ambient zones and some electronic drones, all calm and lively at the same time.

a versatileness, that marks the other four arrangements on the album, too. “kara-kira ~windscape iii~” comes around as an airy spiritual illusionist, that melds joyful flute notes with gentle chime melodies. the b-side’s epic opener “wadji” starts industrial, just to break down into a manic, again moondogish atmosphere full of darkish sounds and nebulous ambient deepness. subsequent yas-kaz enters with “notarinotari” the oriental zones, seducing with a jazz-laden romantic soundtrack mood. the final tune is yet another surprise, as “jasmin” is percussive driven neon cocktail bar pop, that features a hum-ming female voice and mesmerizing synth and guitar melodies. six tracks that introduce six different locations of yas-kaz’s ramified artistic work, which combines sweetish melodies, dynamic percussions, statuesque minimalism and world music traditions in spacious compositions that stay surprising until the very last second.

Reissue of this mesmerizing record including an unreleased alternate mix of "Subterranean Zappa Blues". Hypnotic rhythms made of slow minimal beats, industrial textures, intoxicating drones and repetitive voices that seem to merge from dreams. Everything built by two of the most brilliant industrial music minds: Steven Stapleton and Colin Potter.

"This album arrived somewhere after a dream meeting of several individuals, Graham Bond, Joe Meek, Jacques Berrocal and myself. After a few beers and a heated disscussion of puncture repair we all lay down in a circle and point our penises at Venus, telepathic messages are sent out to Colin saying he can use the two golden microphones. He did, and here we are." Steven Stapleton, 17.1.94.

Rock 'n Roll Station began life with Steven Stapleton asking engineer Colin Potter to remix some of the more rhythmic elements of 'Colder Still' from 1992's Thunder Perfect Mind. As Potter gradually warped these sections into weirder and weirder pieces, a new album began to emerge. Potter himself explained it to David Keenan in England’s Hidden Reverse: “What I sometimes did in the studio was to ‘over-use’ effects and processors to totally mutate a piece into something completely different” while Stapleton observed how “it was almost as though telepathic messages were sent over to Colin. We’d started an album together at IC Studio that was never finished. He then sent me some vague mixes, which were just what I had in mind. So, from that basis, I started putting the album together.”

Potter would quickly become a key player in Nurse With Wound’s productions, a position he continues to fulfil to this day. He was first credited as a member on 1992’s Thunder Perfect Mind, a tour-de-force of cold, at times hostile, machined atmospheres, but considers Rock ‘N Roll Station from the following year to still be his favourite.

Building on percussion and drone elements, Stapleton and Potter throw in a huge range of bizarre and atmospheric elements: didgeridoos, chanting voices, and their usual selection of unidentifiable sounds.

Its strong focus on rhythm was erroneously surmised by some as an attempt to join the then rising electronic dance music scene. But it was Stapleton’s recent obsession with the music of ‘King of the Mambo’ Pérez Prado that was beating at the heart of Rock N’ Roll Station’s heady rhythms.

The album’s title alluded to two specifically rock-related stations of influence: the song of the same name by Jac Berrocal, of which a surprisingly straight cover opens the album in homage; and the tragic life of the Sixties British R&B organist Graham Bond who influenced bands such as Deep Purple and Cream. Beset by mental health problems (at one point believing he was the son of Aleister Crowley), Bond died under a train at a Tube station in 1989 and it is this tragic scene that Rock ‘n Roll Station’s closing track, ‘Finsbury Park, May 8th, 1:35 PM (I'll See You In Another World)’, sets in sound.

Reissue of Mort Garson’s long-out-of-print soundtrack for the 1970 experimental film Didn’t You Hear?
•One of the first-ever all-electronic film scores
•Remastered from the original master tapes

Six years before the release of his landmark Mother Earth’s Plantasia LP, composer and arranger Mort Garson met experimental film director Skip Sherwood, who was interested in an electronic score for his new movie, Didn’t You Hear? While not much is known now about the exact nature of their collaboration, we have Garson’s magnificent score as a record of those heady, early days after his lifechanging discovery of the Moog synthesizer. Notable for being one of the earliest screen appearances by a young Gary Busey, Didn’t You Hear? also boasts one of the first-ever all-electronic movie scores. Though the score was first released in 1970, it sounds as adventurous and futuristic today as it must have then. Originally available only in the lobby of the theater at screenings of the movie in Seattle, the soundtrack LP went out of print shortly after the film’s release. It has been a sought-after record for collectors of Mort Garson and early electronic music ever since. Sacred Bones is honored to reissue Didn’t You Hear? as it was meant to be heard, taken from the original master tapes and given a pristine remaster by engineer Josh Bonati.

ABOUT MORT GARSON: Morton S. “Mort” Garson was a Canadian-born composer, arranger, songwriter, and pioneer of electronic music. He is best known for his albums in the 1960s and 1970s that were among the first to feature Moog synthesizers. His best known album is Mother Earth’s Plantasia, a 1976 Moog album designed to be played “for plants and the people who love them.” Sacred Bones Records has undertaken the project of giving official, licensed reissues to key releases from Mort Garson’s catalog, with the intention of bringing these bold masterpieces to a 21st century audience.

Take Five is probably one of the jazz titles that is best-known to a mass audience. It was composed by Paul Desmond and it appeared on the album Time Out by the Dave Brubeck Quartet.

Pianist Brubeck had studied veterinary medicine before turning to music, and in 1949 he formed an octet, and then in 1951 his famous quartet with Paul Desmond playing saxophone. He signed with Columbia in 1954 and built up an excellent reputation, but in 1959 he became famous around the globe thanks to two titles, Take Five and Blue Rondo à la Turk.

In France, the singer Claude Nougaro made the quartet’s work popular when he wrote the French lyrics for versions of Three to get ready (adapted as Le jazz et la Java) and Blue Rondo a la Turk (with the title A bout de souffle). Dave Brubeck was “quiet man”, far from the legends and excess often linked with jazz: he would spend six decades in a world where life, and jazz, was “cool.”

2020 PRESS

The original orchestral/electronic score from Karel Kachyna’s 1976 Czech film adaptation of Hans C. Anderson’s The Little Mermaid, composed by Zdenek Liska (The Cremator / Fruits of Paradise) featuring Lenka Korinkova. Available for the first time since being originally pressed in 2011 as part of the ongoing Finders Keepers’ 15th anniversary retrospective. Check!

Liska's legacy in the history of European cinema is huge in volume but relatively modest in it’s celebrity. Having already composed nine scores for Kachyna’s films to add to his 1976 filmography of 150 completed soundtracks.

Back in 2005, five years before Finders Keepers Records released Zdenek Liška’s soundtrack to Malá morská víla for the first time, folklore and fairy tale fanatics around the globe celebrated the 200 year anniversary of the birth of one of the world’s most celebrated children’s authors of the published era. This Danish born writer’s stories have been translated into over 150 languages and have continued to enchant and inspire children and adults, arts and crafts, film and theatre, providing a creative binding substance in modern society’s social fibre. With a life story that entwines equal measures of tragedy, mystery, intensity and majesty to that of his own written work, Hans Christian Andersen’s early years balancing contradictory roles as a weaver’s apprentice, a soprano singer, a fledgling poet and an abused grammar school pupil with speculative links to the monarchy, manifested themselves in his written world of fantasy and fiction. His running themes of mutation, metamorphosis, rebirth, prejudice and class distinction are none more prevalent than in what are perhaps his two best known tales The Ugly Duckling, first published 11th November 1843, and the bittersweet surrealist tale of The Little Mermaid, printed in the third booklet of the first volume of Eventyr, Fortalte For Børn (Tales, Told For Children) in 1837.

One of the most idiosyncratic and haunting undiscovered scores in the annals of European cinematic history, Liska’s forward thinking score has all the hallmarks of a Broadcast record, some 20 years before the band first committed sound to vinyl..

Beautifully remastered with updated liner notes including rare photos ith the full cooperation of the seminal Barrandov studios in Prague.

Ltd 180g Clear Vinyl + DL Code (BU126LPC) is for Indies only. Black vinyl is 180g with DL. File Under: Funk, Dance, Breaks, Latin Soul. Harlem Hipshake sees the welcome return of The Bongolian AKA multi-instrumentalist and Big Boss Man front man Nasser Bouzida. This, the sixth album under The Bongolian moniker, follows the highly acclaimed Moog Maximus. Harlem Hipshake finds The Bongolian deeply immersed in his lifelong love for the music of the sixties New York's Latin Soul scene, particularly the music of Ray Barretto, Mongo Santamaria and Joe Bataan. Principally a drummer, percussionist by trade, Nasser has once again delivered another set of heavy breaks and percussive grooves underpinning this brand-new collection of songs which he has written and produced. Whilst Nasser performs many of the instruments (as is usual with Bongolian albums) on the album, it also features a prominent use of additional UK musicians on brass duties. These include Terry Edwards (Trumpet, Trombone, Sax, Flute), Gareth James Bailey (Trombone) and Craig Crofton (Alto Sax), James Morton (Alto Sax), Andrew Ross (Tenor and Baritone sax) and Ralph Lamb (Trumpet). From the East Side to the West Side, get ready for the Harlem Hipshake. Quotes about previous album 'Moog Maximus': All I know is that it makes me want to dance" Craig Charles House Party (Radio 2) // "That is sheer musicality" Cerys BBC 6 Music "Terrific stuff, that is" Gary Crowley BBC London // "Beautiful new breaks" Nemone BBC 6 Music "A brilliant, brilliant funk" Chris Hawkins BBC 6 Music (Googa Mama) // "Guaranteed to keep the party going" Vive Le Rock "This is the feel-good album. 9/10 " Louder Than War + // "Hipper, groovier, and funkier than ever before! Imagine Booker T & The MGs, The Duke Of Burlington, and Alan Hawkshaw taking a trip to the stars" DUSTY GROOVE (review of Outer Bongolia) // "A Latin-flavoured jazz-funk odyssey" Q "Forget your preconceptions, this is the REAL incredible bongo band." CLASH

Ike Yard remain a legendary band of early '80s New York City – at once immensely influential, yet obscured by a far-too-brief initial phase. Their debut EP, the dark and absorbing Night After Night, sounds almost like a different group, so rapidly would Ike Yard evolve towards the calmly menacing electro throb of their self-titled LP.

Originally released on Factory in 1982, the album put Ike Yard's indelible mark on the synth-driven experimental rock scene then emerging all over the planet. While historical analogues would be Cabaret Voltaire's Red Mecca or Front 242's Geography, opening track "M. Kurtz" makes starkly clear that Ike Yard is a far heavier proposition.

With a thick porridge of bass, ringing guitar and strangled/stunted layers of voice, these six pieces are densely packed and perversely danceable. "Loss" sounds like a minimal techno track that could have been made last week, while "Kino" combines Soviet-era imagery with sparse soundscapes à la African Head Charge's Environmental Studies.

Ike Yard somehow pull off the toughest trick in modern music: making repetition hypnotically compelling through subtle variation. The effect of Ike Yard's first LP can be heard in many genres – from industrial dance labels like Wax Trax to electro-punk bands and innumerable European groups (Lucrate Milk, Red Lorry Yellow Lorry, etc.).

The fact that the cover artwork does not include any photos of the band, but rather features the original catalogue number (FACT A SECOND) only further illustrates the release's importance and Ike Yard's timeless mystique.

Six years before the release of his landmark Mother Earth’s Plantasia LP, composer and arranger Mort Garson met experimental film director Skip Sherwood, who was interested in an electronic score for his new movie, Didn’t You Hear?

While not much is known now about the exact nature of their collaboration, Here's Garson’s magnificent score as a record of those heady, early days after his life-changing discovery of the Moog synthesizer. Notable for being one of the earliest screen appearances by a young Gary Busey, Didn’t You Hear? also boasts one of the first-ever all-electronic movie scores. Though the score was first released in 1970, it sounds as adventurous and futuristic today as it must have then.

Suzanne Ciani is a true electronic music pioneer. The five Grammy nominated Italian-American neoclassical composer is unquestionably one of the greatest minds that contemporary music has ever witnessed. After an incredible career spanning forty years, Ciani’s accomplishments have become a benchmark when discussing the origins of musical synthesis. For more than four decades she developed a body of work that transcends the music industry, composing for film, video games and famous advertising campaigns that have impacted popular culture. On December 14, 2019, after six years of sound experimentation, Lapsus Festival bid farewell to Barcelona’s Centre for Contemporary Culture. Its final event was entitled 'A Sonic Womb' and was dedicated to the musical roots of the synthesizer, with Suzanne Ciani headlining on the night. Ciani performed an exclusive show accompanied by her modular Buchla 200e synthesizer and enveloped in a specially designed multi-channel sound environment by Intorno Labs. It was a sonic voyage to the very heart of her beloved machine and a tribute to improvisation through an instrument that is said to possess its own soul. Suzanne described the night as ”an improvisation that I began using in the ’70s and continue to use now as raw material. Each performance based on this material has its own expression and one could liken it to jazz." Lapsus Records is therefore extremely honoured to present 'A Sonic Womb: Live Buchla Performance at Lapsus', a unique live recording of this extra special concert.

FREEDOM/FICTION REMIXES is a compilation of six experimental dance tracks featuring an international mix of well known and upcoming artists. Opening with a hybrid rhythmic statement by Berlin based multimedia artist Zoë Mc Pherson (founder of SFX-Label), to be followed by L.A.'s performance duo Pacoima Techno, who bring track 9 – Apparatus – of L Twills' recently released debut album Freedom/Fiction to the Drexciyan dancefloors of their self-proclaimed genre Casa Teka, Xiu Xiu ends side A with a disturbing but electrifyingly lynchian noise interpretation of Freedom/Fiction. Side B takes the Album's tunes to another night's sight: Automatic Subject gets a new coat by John Tejada's well known and intriguing techno-sound, Montreal based Tobias Rochman (one part of Pelada) turns M.A.S.T.E.R.S. into a techno-drum'n'bass version, whilst upcoming Berlin based producer and Dj Nomi Elektra finalizes the spectrum with an acid-house interpretation of L.A. Automatic Subject pt.2. Releasing on the 16thof October, the compilation is a limited edition of 300 12” Vinyls and can be ordered through Word&Sound. The Cover shows “Autoportrait”, a painting by Mexican artist Frieda Toranzo Jäger.






Automatic Subject pt2. Remix Nomi Elektra

The first of three volumes: stomping, rollicking gospel music, intermingling with raw soul, searing blues, hard-rocking doo-wop and jazz, and storming r&b.

Infused and incandescent with the hurting, surging indignation of the Civil Rights movement, here are twenty-four precious scorchers by giants like the Staple Singers and Jimmy Scott, alongside devastating sides by less celebrated names like the Harmonising Five of Burlington, North Carolina, and teen-group the North Philadelphia Juniors, culminating triumphantly with slamming, sanctified versions of Hit The Road Jack and Wade In The Water.

Gatefold sleeve, with full-size booklet; beautifully designed, with stunning, rare photographs and original Savoy artwork.

Beyonce's sixth album Lemonade (when life serves you lemons, make lemonade) is an album that follows a clear story, the discovery of your partner cheating, the anger which is followed by her leaving him, reconciling, and ending with the beginning of a fresh start together. The music has a very Southern Blues feel to it overall (harking back to Beyonce's childhood and the roots of her parents), but also has a couple of the Beyonce-standard piano lead slower numbers, and a few feisty hip-hop leaning grooves that are a bit similar to the BEYONCE era tracks. Telling such a painful and personal story through the songs gives Beyonce's vocals amazing depth and power, from her vulnerability in Pray You Catch Me, the anger in Don't Hurt Yourself, defiance in Sorry, the sadness behind Sandcastles, acceptance in Freedom, to the hope tinged delivery of All Night - Lemonade delivers it all.

The hour-long film is composed of the music videos for every song strung together to form the visual story of the potential destruction of a relationship, the journey of emotions and self-discovery the wronged party goes through, and finding forgiveness. Beyonce did the 'visual' concept for the deluxe edition of B'Day and for BEYONCE, but Lemonade is heads and shoulders above them - the videos here aren't about Beyonce looking pretty, rather adding to the emotive tale of the songs.

- 12 TRACKS
- HEAVYWEIGHT VINYL
- FULL COLOR LABELS + PICTURE SLEEVE

"...The most beautiful thing about my burrow is the stillness. Of course, that is deceptive. At any moment it may be shattered and then all will be over. For the time being, however, the silence is with me." - Franz Kafka

In early 2019, at the Sonic Pieces 10 year anniversary in Berlin, label head Monique Recknagel hand-picked three duos from the imprint to perform live together for the first time. One of the collaborations was between Deaf Center's Erik K Skodvin and electronic composer Jasmine Guffond. The performance went so well that Monique commissioned the duo to record a full-length together.

Six months later, Guffond and Skodvin headed to Berlin's VOX-TON studio and recorded for two days, joined by Finnish musician Merja Kokkonen (Islaja), who improvised wordless vocals. With Guffond on laptop and a cymbal and Skodvin using piano, feedback, farfisa organ and percussion, the two composed an album of deep, enveloping sound that slithers through genre, absorbing Kokkonen's unique voice into five intricate and evolving pieces.

"The Burrow" takes its name from Franz Kafka's unfinished short story that was written only six months before his death. The tale, published posthumously in 1931, centres around a small creature who builds a burrow that's anxiously fortified in an attempt to protect against perceived attacks. This sense of fear of the outside world feels even more focused in 2020. Each track is named after animals that are either extinct or almost extinct, adding a sense of loss that hangs in the air, punctuated by screams and deep reverberating piano hits. As the world we thought we knew quickly retreats from view and the idea of safety shifts rapidly, Skodvin and Guffond explore the impulse to protect what we know with an emotionally charged sound that provides a foil with cautious, haunting spaces in between.

Memoirs of a Geisha (2005) is the award winning drama film adaptation of the novel of the same name, produced by (a.o.) Steven Spielberg’s Amblin Entertainment. The original score and songs were composed and conducted by John Williams (the Star Wars & Indiana Jones trilogies, Jaws, Close Encounters of the Third Kind, and many more). The album won the Golden Globe Award for Best Original Score, BAFTA Award for Best Film Music and the Grammy Award for Best Score Soundtrack for Visual Media. It was also nominated for the Academy Award for Best Original Score.
Directed by Rob Marshall, the film stars Zhang Ziyi and Ken Watanabe, amongst others. The story revolves around a young girl who is sold by her family to an okiya, a geisha house. Her new family then sends her off to school to become a geisha. The story focuses on her struggle as a geisha to find love, while in the process making a lot of enemies. The film was nominated for and won numerous awards, including nominations for six Academy Awards, and eventually won three: Best Cinematography, Best Art Direction and Best Costume Design.

Available as a 15th anniversary edition of 1000 individually numbered copies on white vinyl. The package includes an insert and the D-side contains an etch.

GRITTY, ODD & GOOD is a new weird, pseudo-music compilation curated by avant-garde experimental composer and audio artist Francisco López.

As far as creation itself is concerned, big cities do not manifest anymore as the catalytic cultural centers they used to be. Their iconic status as hip locations seems more symbolic than real. The combined mighty forces of neocapitalist gentrification and telecommunication / information decentralization might have generated a substantially different landscape of geographical cultural distribution. And so unlikely places are also sources of physically-isolated, but culturally-interconnected, new creation. This is just but one more example of the larger phenomenon of techno-cultural atomisation (not to be confused with the more restricted so-called “democratisation”) that allows millions of people to create and share, pre- and post-internet. The amateur is the new potential master; and that is decided by the crowd in the circus and the stadium, not at the academy. With all of this comes the potential for new aesthetics, or at least the open-ended evolution of the previous ones, –far better than the current confusion between ethics and aesthetics- from the uninformed and the unknown. Atomization of this kind also brings for some the desire and the right to anonymity. And so it is for the unknown obscure artists of this compilation of weird experimental music –“gritty, odd & good”, with drones, glitches, cut-ups and more- who won’t reveal anything beyond their unlikely locations: San Marino, French Guiana, Philippines, Lesotho, Oman, Faroe Islands, Tuvalu, Liechtenstein, Kyrgyzstan. An innovative compilation presenting a world of unusual experimental de-constructed and recombined music casting a strong and exciting light into the unusual corners of our world. Dive in.

Compiled and Mastered by Francisco López
Vinyl mastered by Rashad Becker

a 1 Ragazza Raddrizza (Live Excerpt) - Giuseppe Moretti San Marino 3:00
b 2 SCVB - Daryana Jean French Guiana 4:39
[c] 3 One One Six Bee - James Ocampo [Philippines] 5:37
[d] 4 Coogan Radio - Thabiso Makhetha [Lesotho] 3:18
[e] 5 micro-Sister (Al'ukht Alsaghira) - Rashid Al Balushi [Oman] 3:59
[f] 6 Mond - Lív Jacobsen [Faroe Islands] 3:10
[g] 7 Sansobavo Mix - Eteroa Apinelu [Tuvalu] 8:38
[h] 8 Sans Titre (Fumée v.3) - Zzodiakk [Liechtenstein] 6:38
[Kyrgyzstan] 1:17

In the horror genre, sequels are perfunctory. As the insufferable film bro Randy explains in Scream 2, "There are certain rules that one must abide by in order to create a successful sequel. Number one: the body count is always bigger. Number two: the death scenes are always much more elaborate-more blood, more gore. Carnage candy. And number three: never, ever, under any circumstances, assume the killer is dead." Last Halloween, Los Angeles experimental rap mainstays Clipping ended their three-year silence with the horrorcore-inspired album There Existed an Addiction to Blood. This October, rapper Daveed Diggs, and producers Jonathan Snipes and William Hutson return with an even higher body count, more elaborate kills, and monsters that just won't stay dead. Visions of Bodies Being Burned is less a sequel than it is the second half of a planned diptych. It turns out, Clipping took to the thematic material of horrorcore like vampires to grave soil. Before the release of There Existed an Addiction to Blood, Clipping and Sub Pop Records divided the material up into two albums, designed to be released only months apart. However, a global pandemic and multiple cancelled tours pushed the release of the project's "part two" until the following Halloween season. Visions of Bodies Being Burned contains sixteen more scary stories disguised as rap songs, incorporating as much influence from Ernest Dickerson, Clive Barker, and Shirley Jackson as it does from Three 6 Mafia, Bone Thugs-N-Harmony, and Brotha Lynch Hung. Clipping's angular, shattered interpretations of existing musical styles are always deferential, driven by fandom for the object of study rather than disdain for it. Clipping reimagine horrorcore-the purposely absurdist hip-hop subgenre that flourished in the 1990s-the way Jordan Peele does horror cinema: by twisting beloved tropes to make explicit their own radical politics of monstrosity, fear, and the uncanny. The album features a host of collaborators: Inglewood's Cam & China, fellow noise-rap pioneers Ho99o9, Tortoise guitar genius Jeff Parker, and experimental LA drummer Ted Byrnes. The final track, "Secret Piece," is a performance of a Yoko Ono text score from 1953 that instructs the players to "Decide on one note that you want to play/Play it with the following accompaniment: the woods from 5am to 8am in summer," and features nearly all of the musicians who appeared on both albums. Since their last album, Daveed Diggs-the group's Tony and Grammy Award-winning rapper-has starred in the TNT science fiction series, Snowpiercer, voiced a character in Pixar's Soul, and portrayed Frederick Douglass in Showtime's The Good Lord Bird. Writer Rivers Solomon's novella based on Clipping's Hugo-nominated song "The Deep" has been nominated for the Nebula, Hugo, and Locus Awards, and won the Lambda Literary Award for best LGBTQ SF/Fantasy/Horror novel. Clipping's song "Chapter 319"-a tribute to George Floyd (AKA Big Floyd) the former DJ-Screw affiliated rapper who was murdered by police officers in May of 2020-was released on Bandcamp on June 19th and raised over $20,000 for racial justice charities. A clip of the song also became a popular meme on TikTok, generating over 50,000 videos in which teenagers rapped the song's lyrics ("Donald Trump is a white supremacist, full stop_") directly into the frowning faces of their conservative parents. The band also contributed a Skinny Puppy-esque rework of J-Kwon's "Tipsy" to Save Stereogum: An '00s Covers Comp.

In the horror genre, sequels are perfunctory. As the insufferable film bro Randy explains in Scream 2, "There are certain rules that one must abide by in order to create a successful sequel. Number one: the body count is always bigger. Number two: the death scenes are always much more elaborate-more blood, more gore. Carnage candy. And number three: never, ever, under any circumstances, assume the killer is dead." Last Halloween, Los Angeles experimental rap mainstays Clipping ended their three-year silence with the horrorcore-inspired album There Existed an Addiction to Blood. This October, rapper Daveed Diggs, and producers Jonathan Snipes and William Hutson return with an even higher body count, more elaborate kills, and monsters that just won't stay dead. Visions of Bodies Being Burned is less a sequel than it is the second half of a planned diptych. It turns out, Clipping took to the thematic material of horrorcore like vampires to grave soil. Before the release of There Existed an Addiction to Blood, Clipping and Sub Pop Records divided the material up into two albums, designed to be released only months apart. However, a global pandemic and multiple cancelled tours pushed the release of the project's "part two" until the following Halloween season. Visions of Bodies Being Burned contains sixteen more scary stories disguised as rap songs, incorporating as much influence from Ernest Dickerson, Clive Barker, and Shirley Jackson as it does from Three 6 Mafia, Bone Thugs-N-Harmony, and Brotha Lynch Hung. Clipping's angular, shattered interpretations of existing musical styles are always deferential, driven by fandom for the object of study rather than disdain for it. Clipping reimagine horrorcore-the purposely absurdist hip-hop subgenre that flourished in the 1990s-the way Jordan Peele does horror cinema: by twisting beloved tropes to make explicit their own radical politics of monstrosity, fear, and the uncanny. The album features a host of collaborators: Inglewood's Cam & China, fellow noise-rap pioneers Ho99o9, Tortoise guitar genius Jeff Parker, and experimental LA drummer Ted Byrnes. The final track, "Secret Piece," is a performance of a Yoko Ono text score from 1953 that instructs the players to "Decide on one note that you want to play/Play it with the following accompaniment: the woods from 5am to 8am in summer," and features nearly all of the musicians who appeared on both albums. Since their last album, Daveed Diggs-the group's Tony and Grammy Award-winning rapper-has starred in the TNT science fiction series, Snowpiercer, voiced a character in Pixar's Soul, and portrayed Frederick Douglass in Showtime's The Good Lord Bird. Writer Rivers Solomon's novella based on Clipping's Hugo-nominated song "The Deep" has been nominated for the Nebula, Hugo, and Locus Awards, and won the Lambda Literary Award for best LGBTQ SF/Fantasy/Horror novel. Clipping's song "Chapter 319"-a tribute to George Floyd (AKA Big Floyd) the former DJ-Screw affiliated rapper who was murdered by police officers in May of 2020-was released on Bandcamp on June 19th and raised over $20,000 for racial justice charities. A clip of the song also became a popular meme on TikTok, generating over 50,000 videos in which teenagers rapped the song's lyrics ("Donald Trump is a white supremacist, full stop_") directly into the frowning faces of their conservative parents. The band also contributed a Skinny Puppy-esque rework of J-Kwon's "Tipsy" to Save Stereogum: An '00s Covers Comp.

Gorillaz started the year with Episode 1 - ‘Momentary Bliss ft. slowthai and Slaves’ - of Song Machine, a whole new concept from one of the most innovative bands around. Now, six episodes in, Noodle, 2D, Murdoc and Russel have visited Morocco and Paris, London and Lake Como, as well as travelling all the way to the moon, and Gorillaz is ready to bring you the full collection titled Song Machine: Season One - Strange Timez, out on 23rd October 2020.

Song Machine is the ongoing and ever-evolving process which has seen Gorillaz joined by an expanding roster of collaborators captured live in Kong Studios and beyond. The result is an expansive collection of tracks embracing a myriad of sounds, styles, genres and attitudes from a breath-taking line-up of guest artists including Beck, Elton John, Fatoumata Diawara, Georgia, Kano, Leee John, Octavian, Peter Hook, Robert Smith, Roxani Arias, ScHoolboy Q, Slaves, Slowthai, St Vincent and 6LACK.
To date the project has seen over 100million streams on all tracks already and the band’s biggest period of sustained growth across both listenership and fanbase growth. All this before the album has even been announced!

Virtual band Gorillaz is singer 2D, bassist Murdoc Niccals, guitarist Noodle and drummer Russel Hobbs. Created by Damon Albarn and Jamie Hewlett, their acclaimed eponymous debut album was released in 2001. The BRIT and Grammy Award winning band’s subsequent albums are Demon Days (2005), Plastic Beach (2010), The Fall (2011), Humanz (2017) and The Now Now (2018). A truly global phenomenon, Gorillaz have achieved success in entirely ground-breaking ways, touring the world from San Diego to Syria, winning numerous awards including the coveted Jim Henson Creativity Honor.

The band are recognised by The Guinness Book Of World Records as the planet’s Most Successful Virtual Act.

2 x 180g Black 12” vinyl
20 page hardcover 12” art book
Song Machine Season One Deluxe CD
Download card for the full deluxe album
3 x 12” art prints
1 x 12” label copy sheet











j 10. Désolé (feat. Fatoumata Diawara) Extended Version










j 10. Désolé (feat. Fatoumata Diawara) Extended Version

Presenting the original soundtrack to the hit series Friends which follows the lives of six reckless adults living their lives in Manhattan. The album features the iconic “I’ll Be There For You” by The Rembrandts as well as other tracks such as Joni Mitchell’s “Big Yellow Taxi” and Pretenders “Angel of The Morning”.

Green Vinyl

'2016 - My Generation”?: a momentous comeback for Mirwais, two decades on from his classic “Production” album.
It all started in 2016 with an idea Mirwais had for a music video to promote his upcoming single ?“2016 - My Generation”?.
The idea led Mirwais and co-founder of graphic design studio H5/creator of the Oscar-winning ?“Logorama”? animated short
Ludovic Houplain? ?to work together on a fascinating ten-minute short entitled “?My Generation?”.
Since its 2017 release, the film “?My Generation?”, produced and scored almost liturgically by Mirwais, made the rounds of
festivals, winning several prizes worldwide.
It presents itself as a backwards travelling shot during which all of our pop culture moment’s gimmicks collide at 100 km/h:
sex, the net, art, politics, sports, stocks, big pharma and big porno – from Hitler’s speeches to Trump’s contemporary
analogues.
Flash forward to 2020, and it is this very six-minute ?pop-litical ?critique of our era’s societal excesses that Mirwais chose
as the music video for his new single ?“2016 - My Generation”?, set to be released during the coming fall’s American
presidential election.
A sonic deflagration that heralds a new album from one of Madonna’s most iconic collaborators, succeeding, two decades
later, the now-classic ?“Production”?. A punchy, percussive single poised between hard techno and electronic disco,
sprinkled with choirs and distorted, psychedelic synths ?“2016 - My Generation”? is a dance floor-ready opus bearing
Mirwais’ inimitable signature. This way of mixing genres, of conjugating past and future, and of making pop experimental
and vice-versa, cements Mirwais’ reputation as one of times’ most singular composers.

GES: Anthology of American Pop Music

Six great pop standards remembered: five pop songs are dissected by sampler, stretched, compressed, and re-collaged. In this way, their identity is lost. What remains is a vague concreteness: flashes of déjà vu and remote echoes that evoke the original.
GES (Gesellschaft zur Emanzipation des Samples)
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Active members: Helmut Schmidt, Jan Jelinek
Founded: 2009
Headquarters: Federal Court of Justice, Karlsruhe, Germany
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GES Glossary

Acoustic Surveillance Series

A 7-inch vinyl record series curated by GES focussing on historical methods of acoustic surveillance. Each record introduces a surveillance system from the past. Starting with Uguisubari in 2017, the series will continue with the release of Orecchio di Dionisio in 2021. GES is open to further suggestions on this subject.

Bundesgerichtshof (German Federal Court of Justice), Karlsruhe

“The use of audio samples as artistic practice may justify the infringement of copyright and intellectual property rights.” (ruling of the German Federal Court of Justice pertaining to Metall auf Metall II, 2016). The court is also the official headquarters of GES.
Circulations

What happens to copyright claims when music from a passing car is captured in a street recording? Is it legal to use this recording freely or is it necessary to obtain licensing rights? Circulations re-enacts this recording situation: audio players are placed in public spaces, where they reproduce the desired sample material. The acoustically choreographed space is then recorded, creating a field recording in which everyday noises circulate together with seemingly incidental music.

Emancipation of Sampling

Fuelled by its criminalization, the act of sampling existing recordings forfeited some of its artistic prestige (see Sampling). GES wishes to rehabilitate and re-emancipate the practice of sampling as a form of art in its own right. Strategy: 1. Name samples and sources explicitly. 2. Choose samples that are as popular and as recognizable as possible (Beatles, Carpenters, etc.). 3. The editing and manipulation of the sample must not compromise its recognizability (negotiable). 4. Use as many samples as possible. 5. Always name more sample sources than were actually used in the composition.

Field Recording

A compositional practice widely used in sound art and ethnomusicology that involves the recording of natural acoustical phenomena. Two additional requirements are usually imposed: The recording process should take place outside a studio environment, i.e. outdoors. And the person recording does not generate any of the acoustic material him/herself. GES expands this definition by introducing the concept of choreographed public space (see Circulations).

Gambling

An acoustic event favoured by GES, already used in numerous sound collages (must take place in public). The most popular option is thimblerig, a cup and ball gambling game commonly played in the street. Compositional instruction by GES: Place an audio playback device in the proximity of a thimblerigger. Play works for orchestra (by Debussy or Mahler). Move slowly towards the gamblers with a microphone.

Helmut Schmidt

Multiple identity and fictional character devised by GES. Figures variously within the semiotic system of GES as member, guest artist or public representative. Following the historical example of Subcommandante Marcos (EZLN).

Kraftwerk

The German band founded by electropop musicians Florian Schneider-Esleben and Ralf Hütter (a.k.a. Die Prozessoren) is the natural enemy of GES. Protected by computer-generated avatars, Kraftwerk operates a quote-hostile cultural hegemony. Their strategy: Install a special brand in the collective consciousness by means of a sophisticated system of quotations and references that may in turn not be quoted by anyone else. Other bands with such delusions of omnipotence: U2, Metallica.

Marcel Duchamp

As the inventor of the readymade, Duchamp may be viewed as a precursor to the art of sampling. However, the artist is appreciated above all for his sonorous qualities, as his vocal silence has often been sampled and processed. It was the inspiration for Jelinek's radio play Zwischen.

Orecchio di Dionisio

This 65-meter-deep limestone cave in the Sicilian town of Syracuse, carved out of a hillside in ancient times, has exceptional acoustics: A person standing at the cave entrance can hear every word whispered deep down inside it. The painter Michelangelo da Caravaggio gave it its name (The Ear of Dionysius) in 1608. The cave indeed resembles an ear and – according to Caravaggio – had a specific function: The tyrant Dionysius I imprisoned his political prisoners in the cave in order to spy on them. Orecchio di Dionisio will be featured in the Acoustic Surveillance Series in the near future.

Sampling

Compositional practice whereby recorded music is fragmented, turned into sound collages and transferred into different contexts of meaning. Since the advent of affordable sampling technology in the 1990s, the music industry has been trying to criminalize and/or promote the practice. Both strategies are driven by the same principle: Profit.

Uguisubari

Sound-making floorboards in Japanese temple and castle complexes, featured in the Acoustic Surveillance Series in 2017. In the Edo period, the “nightingale floor” (literal translation of uguisubari) was a popular acoustic warning system. The principle was straightforward: When someone stepped onto the boards, nails would rub against metal clamps beneath the floor, creating a tell-tale squeaky sound that was said to resemble the chirping of the Japanese nightingale.

Wind

A generator of acoustic events and an amplifier/transmitter of existing sounds. A meteorological form of energy appreciated by the GES on account of its unpredictability. A series about wind as an acoustic phenomenon is planned. Working title: Hotel Corridors.

Zwischen (Between)

Radio play by GES member Jan Jelinek based on recordings of various public interview situations. From the speech of the interviewees (all of them eloquent personalities) the pauses between coherent utterances were extracted and assembled. What we hear is an archaic body language: modes of breathing, word particles and onomatopoeic turmoil. A key question for GES: Which comes first, personal rights or artistic freedom? For Zwischen, Jelinek used only recordings by public figures that were already available to the public.

Favorite Recordings presents Jazz Traficantes by LE DEAL, a new musical adventure from the finest French jazzmen with Florian Pellissier (Piano & Fender Rhodes - Camaraõ Orkestra, Cotonete,
Aldorande, Setenta), Yoann Loustalot (Flugelhorn – Bruit Chic, Old & New Songs, Aerophone, Lucky Dog), Théo Girard (Upright Bass – Pensée Rotatives, Discobole) and Malick Koly (Drums - The Wallace
Roney Quintet). Needless to say, they’re used to play all over the globe and quite often to New York. During one of these
trips to the Big Apple, they discovered that the legendary Van Gelder studio (where most of Blue Note, Verve and CTI albums were recorded) was still active and opened so they decided to book a few days session.

Here is the story told by Florian Pellissier: “The tracks had been written the night before. We were going to run through them and then record. A simple plan. Van Gelder had passed a while back, but he left the keys and secret codes with his faithful assistant Maureen before heading off to create the right sound up in heaven. Nothing had changed in the atmosphere or configuration, not even the way the mics were placed. The studio and its wooden beams still exuded New York’s sixties jazz, dimly lit streets and clubs where anything might happen past midnight. Maureen knew just how to capture the ambiance of the sessions and bottle the energy without spilling a drop, taking infinite care to collect each cymbal tone, drum roll and trumpet phrase, without losing a single vibrating bass string or the slightest keyboard pause.”

Indeed, the four contrabandists succeeded to deliver an outstanding album, filled with themes that’ll get stuck in your head, just like in the 19 minutes long performance “Mexican Junkanoo Suite” and its three
parts. But more than just beautiful melodies, LE DEAL truly managed to bring a sense of drama to their compositions, going into the deepest emotions through gutted arrangements, improvising with great attention to the articulation of their ideas. From the beginning to the end, musicians and engineers did their best to emulate the proper vintage sound. Jazz Traficantes could prove once and for all that
French Jazz can indeed cross the borders. The album will be available as Tip-On Deluxe Vinyl LP but also on CD & Digital with a bonus track, “Noche en la Carcel”

Reissue of this long lost funky Afrobeat/Reggae classic from 1978
For fans of Fela Kuti, Peter Tosh, Bob Marley, Segun Bucknor

The year is 1978 and one hot thing from the musical underground is Reggae music from Jamaica, the USA or the UK, where most of the acts had musicians of Caribbean descent. Reggae had the groove, the rebel spirit, and the relaxed attitude all in one, to enchant a big part of the world’s inhabitants. And while at least Jamaica as a relatively poor and so-called "Third World“ country proved to spawn Reggae acts of the highest quality, literally nobody dared to look further and dig deeper into the underground except of a few maniacs who were not satisfied with spinning Marley over and over again. And maybe they stumbled over the 1970s Afro Beat sound from countries like Zambia or Nigeria and then got interested. What did they find in the simmering metropolises of this still mysterious continent? Somewhere in Nigeria, they would have certainly caught a glimpse of mind-blowing performances of The Sea Lions, a six-piece group mixing the then hip Reggae and Afro Beat styles to generate fresh and furious music with a hypnotizing atmosphere.



Polyrhythmic beat patterns build the foundation, the utterly fruitful soil for the heartwarming melodies wailed out by the guitars and the commanding vocals with their conjuring charm. Great organ work builds the link between the groove section and the melody instruments. You can imagine what a pleasant experience this band might have been live back in 1978 when their sole album "Free The People“ got released. And this album, of which copies in only good conditions already fetch prices of $450, while nice clean pieces might go up to $1200, lives up to the expectations one might have from watching a live show by the Sea Lions. The sound is vivid, transparent, powerful, and clean enough to make the music a real pleasure listening to, but earthy enough to present nothing but the band going wild here. The songs all have a similar pace, not too fast, but swinging and pulsating to spread their energy to and among the listeners. The melodies are simple but come from the depth of the heart. This feels typical for African 70s music and despite being kind of reduced, these melodies keep haunting you still even hours after the record been taken off the turntable and put back into its sleeve. They bring images of an ever pulsating city by night, warm climate, palm trees, people at the bar, a witches cauldron of sounds, smells, voice, and pictures. And you feel the magic floating through the air while this groove will not let you go so easily.

You can either dance your soul out to this ultimate reissue or you can sit down, listen and let the music tell you a story of the dark corners of the big city, the narrow alleys that lead you into a boiling labyrinth of mystical dreams. And in songs like "You Can Make It If You Try“ you will find the whole magic of the African world, a world so fascinating for us Europeans but still so unapproachable in some ways and dangerous for the weak. Do not try to resist, this is your pleasure. Grab a copy and the Sea Lions will carry you off to their place. I haven’t heard such a killer Afro Beat and Reggae album with songs this exciting and wild in a long time. If you equally love Peter Tosh, Bob Marley, Segun Bucknor, and Fela Kuti, look no further. Here is the spiritual essence of all these great artists merged into one giant act.

Every so often Public Release takes a snapshot along their discography timeline, to pause and recognize the various artists that represent the past, present and future of where the label sits. The last such release was in 2016, and four years, twelve releases later it’s time for another marker. This EP pools together six exclusive tracks from their global family, some on the PR roster for the very first time. From the beautifully addictive melodies by Tendts and Metropolitan Soul Museum, brooding baselines and synths from Richard Sen and Tim Sweeney, to the ecstatic floor energy produced by Fran-key and Earth Boys, the range presented here is impressive. Equally enjoyable as an abbreviated album, or as singular tracks at your service.

Rocksteady and Reggae have long been a part of the rare soul scene, since its inception in the early Sixties. It’s easy to hear the influence of early American R&B in the development of ‘Ska’ and as ‘Soul’ music took over as “the sound of young America”, in the mid-Sixties, it too tinged the sound of Jamaica. No more so than our dance floor anthem “I Feel So Bad” by the legendary JACKIE EDWARDS.
Edwards was born Wilfred Gerald Edwards in Jamaica in 1938 and by the age of 22 had already scored a No.1 record on the island. He’d had four chart-topping hits before signing to Chris Blackwell’s new ‘Island’ imprint in 1962. He became an integral part of Island Records, as a prolific artist, songwriter, producer and general helper. He wrote “Keep On Running” and “Somebody Help Me” for the British R&B band The Spencer Davis Group, both of which went to No.1 on the U.K. pop charts.
“I Feel So Bad” was released on the distinctive ‘red and white’ Island logo in 1967 and was adopted by the burgeoning U.K. underground soul scene, most notably at the Twisted Wheel club in Manchester. It has been played on the ever evolving Northern Soul scene ever since and, a half-century on, commands a price tag of £700+ for a mint original. Fortunately our devastingly good-looking “official” reissue can be bought for a more modest sum.
Jackie Edwards is also responsible for our flip-side “Baby Don’t Wake Me” which he wrote and produced for reggae singer DEL DAVIS at the turn of the Seventies. The combination of Jackie’s well-honed soul-induced musicianship and Davis’ gravelly soulful vocals create the perfect Northern/Crossover dancer.
Two fabulous reasons to make this one of the top reissue 45s of 2020!

Aix Em Klemm is the moniker of the ambient music project consisting of Adam Wiltzie (Stars Of The Lid / A Winged Victory For The Sullen) and Robert Donne (Labradford / Anjou).
As Wiltzie told Sadness Is In The Sky fanzine, his collaboration with Donne began when “we all met during a Texas swing of a Labradford tour that Stars Of The Lid opened for back in 1996. They stayed at my house for a few days and we became close.”
A year later Wiltzie was asked to join Labradford for their Mi Media Naranja European tour of 1997 as the sound technician. This tour also included Bruce Gilbert of the legendary band Wire who was the opening act and joined them in the van for the entire tour. With Gilbert’s nightly improvisations of minidisk field recording explosions running through a Sherman Filterbank, it left a profound effect on Wiltzie and Donne, and led to inspiring internal philosophical discussions on the importance of improvisation. After concluding six weeks in the van, the idea of creating a unique collaboration separate from their other projects was realized. The duo exchanged tapes over the course of a year and then Donne ventured to Austin, TX for a week to record at Wiltzie’s home studio in 1999. The in-person collaboration moved much more quickly than the exchange of tracks by mail. One track on the Aix Em Klemm album, “Sparkwood And Twenty-One”, was written and recorded in one day. The duo took the mysterious name Aix Em Klemm and the self-titled debut was released in the autumn of 2000.
As of late, Wiltzie lives in Brussels, and Donne joined Stars Of The Lid on their last tour of Europe in 2016 playing modular synth. They still collaborate musically so new Aix Em Klemm recordings remain a possibility.
“The two extracted some morsels of sound from their respective group’s structures and constructed an altogether different and Zarathrustian ‘building of sound’—one that combines the haunting spirits of the old with the mystique of the new unknown.” —Tape Op

Our new slice of wax comes this time from outer space made somewhere between unknown galaxies and black holes. The spaceship’s pilot is 30drop, a mysterious alias that has been running its platform 30D for a long while now and is not often seen outside its realm. So it’s an honor for us to have 30drop onboard.

For this special occasion 30drop provides six cuts of futuristic techno but with a ravey approach in a time backspin that brings us back to the 90’s via Sci-Fi, reminding in some way of the early UR records, when Mad Mike and Jeff Mills worked together on the soundtrack of the future.

This is our first mini LP with 3 cuts per side. The first cut is Brain reset, the short drone intro soon leads to a relentless groove made of repetitive sequences over a fast groove. Intense and obsessive.

Mental Understanding brings more minimalistic ingredients, absence of hi hats, just kick drum and synth lines.

Brain effervescence showcases the infamous 90’s hoover sound bringing the rave element and 303 acid lines all merged in a lawless and dense mixture.

B side opens with Self awareness, starting with ethereal atmospheres, spiced with resonant bleeps and micro drones in a beat-less exercise.

Klapaucjusz brings back the 90’s feeling again with analogue arpeggios and melodies, again over a clean groove in a Detroit oriented number.

Closing the release, Knowledge, a space odyssey of strings, abstract synth lines and flotation.

A work that showcases the skills of this well-seasoned producer that stands apart from any trends, futuristic, atemporal and scientifically crafted.

W&P by 30drop

From their early singles and their 1993 Mercury Music Prize winning debut album to their break up in 2003 , Suede were a fixture in the single and album charts , and in the music press too . They scored twenty hit singles and five hit albums (three of which debuted at # 1), and a double album of B sides even charted at # 9.

The band reformed for a one off charity concert in 2010 and decided to make it permanent they have released three new studio albums since 2013 .

Compiled by the band , this comprehensive six LP set features the huge 90s hits like “Metal Mickey”, “Animal Nitrate”, “Stay Together”, “Trash, “Filmstar”, “Lazy”, “Beautiful Ones”, “Saturday Night”, “Electricity”, “She’s In Fashion”, “Everything Will Flow” and “Can’t Get Enough”Enough”, along with favourite B sides like “To The Birds”, “My Insatiable One” and “Killing Of A Flashboy”Flashboy”. Also featured are classic album tracks like “The Asphalt World” and “He’s Gone”. The collection brings the story up to date with sixteen tracks from the three recent albums , including “Life Is Golden”, “It Starts And Ends With You” and “ Outsiders”.

The six LPs are pressed on 180 gram white vinyl and are housed in inner sleeves featuring all the lyrics as well as photos of dozens and dozens of items of Suede memorabilia and promotional items , all lent by fans.

‘Is Love Enough?’ is the band’s sixth studio album and was recorded at Paul Weller’s Black Barn Studios in Surrey and produced by Stone Foundation’s founding members Neil Jones and Neil Sheasby. It continues their fruitful collaboration with Paul Weller who produced 2017’s Street Rituals and played on 2018’s ‘Everybody Anyone’ both of which have streaming figures in the millions. Paul contributes lead vocals to ‘Deeper Love’ and also prominent backing vocals on ‘Picture A Life’. He also joins the band and plays guitar on three other tracks (‘Af-Ri-Ka’, ‘Help Me’, ‘Love’s Interlude (II)’).
Stone Foundation are renowned for their collaborative approach and this time is no exception. Legendary actor Peter Capaldi provides a spoken word coda to the album, reading words by Vincent Van Gogh written about love. Additionally, two rising stars of the soul scene feature on the record. Durand Jones joins for a lead vocal on ‘Hold On To Love’ and Laville sings lead on ‘The Light In Us’.

Music From Memory hit it just right yet again- this time it's Richenel from the Netherlands who's lost tracks get the dusting off. 6 tracks of funkified lo fi bliss.. TIP!
MFM is proud to announce the first Dutch artist on Music From Memory and our first release of 2017. MFM017 will be a six track EP from Richenel. Richenel's first album 'La Diferencia' was released on the obscure Dutch cassette label Fetisj in 1982. Recorded amongst the turmoiled punk and squatter scene of Amsterdam by musicians who had all connected through the Rietveld art academy, the 'La Diferencia' sessions reflect a unique mix of punk aesthetics with a synthesized 'bedroom' funkiness. Following on from this obscure release, Richenel would go on to record a number of successful albums and hit singles in the Netherlands and beyond. The six track EP holds a selection of tracks from the original cassette as well as alternative versions and two previously unreleased songs. More Fetisj news to follow.

Following 2019’s release of Azymuth’s Demos (1973-75), two more home-recorded demo tracks by the Brazilian psychedelic jazz-funk masters have surfaced from a tape in drummer Ivan Conti’s private archive. These five-decade old recordings by the young band show the maturity, musicianship and distinctive style that saw Azymuth become one of the most important groups in Brazilian history.

Featuring an instrumental take on Roberto and Erasmo Carlos’ 1969 Jovem Guarda hit “As Curvas da Estrada de Santos”, and spacey psych-folk oddity “Zé e Paraná”, the new 7” release via Far Out Recordings shines yet more light on this critical period for Azymuth.

As is the case with many of Brazil’s pop icons, Roberto and Erasmo Carlos had been backed by Bertrami, Malheiros and Conti either on stage, in the studio, or with compositions (in Bertami’s case) since the late sixties. Conti notes that “As Curvas da Estrada de Santos” was a big hit in Brazil when it came out in ‘69 and had already been covered by Elis Regina a year later.

But where both Elis’ version and the original were grand pop-rock ballads, Azymuth’s take is a moody, melodic jazz excursion, featuring Bertami’s incredible Hammond organ, Fender Rhodes and grand piano juggling, Ivan Mamao Conti’s distinctively tough drums, and unusually, Alex Malheiros plays a double bass instead of an electric one.

As the title suggests, “Zé e Paraná” is guitarist João Américo (Paraná) playing alongside Bertami’s Rhodes comping, synth embellishments and dreamy wordless vocals. While credited as the composer and guitarist on “Linha do Horizonte” a track from Azymuth’s debut album which would become the theme tune for a famous novella, Paraná has to this day, remained relatively unknown.

Both tracks were recorded in Jose Roberto Bertrami’s house in Rio de Janiero at some point between 1973-75. These tracks were not recorded in a professional studio, meaning the sound quality differs from other Azymuth releases. At Far Out we take great pride and extreme care in ensuring our releases and reissues are produced to the best possible sound quality. In this case the original source material had not aged well and was considerably damaged. The sound has been restored to the best possible condition but there is still some noticeable tape hiss and slight distortion on ‘Zé e Paraná’. For this reason, we strongly advise listening to preview clips before buying this release.

Keyboards: José Roberto Bertrami

Guitar: João Américo ‘Paraná’

Produced by Azymuth and José Roberto Bertrami

Recorded at José Roberto Bertrami’s home studio in

Laranjeiras, Rio De Janeiro, Brazil 1973

Issue and project co-ordinator: Joe Davis

Additional tape restoration by Daniel Maunick at the Sugar Shack

Mastered by Frank at Carvery Cuts

After spreading several music videos and EPs all year long, Jumo starts the decade with a first much anticipated album. More than a compilation of his past works, “Et le vent?” extends the artist’s experiments and add new colors to his palette.
Featuring Léonie Pernet, Pénélope Antena, Hyacinthe.
Staying on the line traced by the previous tracks, “Et le vent?” perpetuates Jumo’s taste for narration with all its forms.
Six years ago Clément Leveau gave birth to Jumo a musical avatar with whom he asserted a singular identity characterized by a sophisticated production of heady melodies and a cinematographic atmosphere allowing him to give free rein to his passion for the image. The release of the Radio Nova hit 'Aléa' marked the beginning of a fruitful collaboration with the Parisian label Nowadays Records (Fakear, La Fine Equipe, Clément Bazin, Leska). As a graphic designer Clément makes Jumo a true transdisciplinary project in which sound and video feed off each other, putting his collective Cela at the service of a dark and arty visual universe that perfectly matches the contours of his music.
After spreading several music videos and EPs all year long, Jumo starts the decade with a first much anticipated album. More than a compilation of his past works, “Et le vent?” extends the artist’s experiments and add new colors to his palette.
Staying on the line traced by the previous tracks, “Et le vent?” perpetuates Jumo’s taste for narration with all its forms. “L’exode”, first single of the album, is a perfect example. It gives the album’s tone and also dives us into Jumo’s powerful aesthetic thanks to the music video.
“Steve (Ft. Léonie Pernet), is a tribute to Steve Maia Caniçot, young man who dramatically died during a police charge on Nantes docks on June 21st, 2019. A track on which Jumo confronts with Léonie Pernet’s grunge intonations, an unexpected collaboration sounding like an evidence.
Another main track of the album is “Une Belle Personne (Ft. Oré)” where the producer’s synths converse with the French singer and offer us an original and efficient pop song.
The great Awir Leon, the French rapper Hyacinthe, Hier Soir (Jumo’s side project) and Penelope Antena complete the cast of an album that goes from the calm contemplation of the world to the underground clubs filled with energy.

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

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

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

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

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

Straight from the depths of the burgeoning Austin, Texas weirdo scene, JT Whitfield delivers a six track mini-lp for L.I.E.S. after an impressive run of releases for Chondritic Sound. Whitfield follows suit where he left off on his cut from last years Eminent Domain comp. with absolutely punishing slow beatdriven industrial electronics. This is for true fans of metal on metal music as these tracks desperately plod and grind, ripping apart everything in sight. The appropriate soundtrack to endtimes.

Featuring a cover photo by the cult NYC street photographer, Richard Sandler - the first in a series.

After six years, The Notwist return with three new tracks on Morr Music. It’s both an exposition of the the band’s musical variety and a prospect on a forthcoming album.

Six years have passed since The Notwist released their last regular studio album, but that doesn’t mean that the members of this outstanding band have been idle in the meantime. There have been side projects, movie scoring, and other activities, like programming four editions of „Alien Disko“, a festival taking place in Munich, Germany. One of that event’s regular guests was the Japanese duo Tenniscoats – and a lovely side effect from that was an evolving friendship between the two bands. It lead to various collaborations: most recently in a new album by international band „Spirit Fest“ (featuring Tenniscoats singer Saya & The Notwist’s Markus & Cico) & a deep digging compilation of Japanese indie music called „Minna Miteru“.

The title track of this new EP is another step in this collaboration – and a first step to an upcoming album by The Notwist – as it features Saya, who lends her voice to the percussive song. It is build around a slightly detuned synthline, which is contrasted by more pragmatic guitar work. „It neither sounds like The Notwist, Tenniscoats, nor Spirit Fest“, tells Markus Acher. „Just like Saya is saying in the lyrics: ‘I want to go outside, I want to meet people’, „Ship“ is another chapter in what The Notwist always tries to do: redefining itself, exploring something new, integrating different styles of music and collaborating with musicians they admire.“

The second song „Loose Ends“ is, in contrast, more classic Notwist material. A gently expanding ballad, this time featuring the distinctive voice of Markus Acher. The song came out of recording sessions for the soundtrack for „One Of These Days“, a movie by Bastian Günther. The EP then closes with „Avalanche“ a carefully optimistic instrumental.

With its variety of styles, „Ship“ also serves as an outlook on an upcoming album, which will be influenced by the band’s experiences from their detailed work of creating sounds and moods for film soundtracks, and it will include more collaborations with international guest musicians.

Shift Imprint gives a warm welcome to one of the best producers and DJs ever to come out of the UK, nothing more, nothing less than Mr. Allen Aubrey!
The sixth cut of the label is composed by four original tracks fueled by dark, noisy, foggy, groovy, distorted jazzy and funky vibes, accurately named as the “Sleeze Funk EP”, no other title could do the job better.
So, here’s an invitation to transcend the mundane and expand your thoughts deep into the raw sound of the British maestro, Aubrey.

BAFTA Award-winning actor Matt Berry has been the star of a number of high profile TV series including Toast Of London, The IT Crowd and most recently What We Do In The Shadows. Concurrently he has
cultivated a career as a musician that has seen him release six solo albums and collaborate with the likes of Bond composer David Arnold, Jean-Michel Jarre and most recently Josh Homme, who invited him to perform on the Desert Sessions.

His most recent album ‘TV Themes’ was a UK Top 40 hit and was awarded four stars by Will Hodgkinson writing for The Times. His reinterpretation of British TV themes of the past was no mere wallow in nostalgia but an exploration of recording techniques and a joyous celebration of the music.

‘Phantom Birds’ was inspired by a fascination with Bob Dylan’s ‘John Wesley Harding’, the way it was recorded with the minimum of musicians to draw attention to the songs. For the recording Matt worked with drummer Craig Blundell - known for his work with
Steven Wilson and Steve Hackett - and legendary pedal steel player BJ Cole, yet the tinges of Americana are never allowed to overwhelm Matt’s own distinctive style.

Steve Von Till has charted an extraordinary musical path over the last several decades, from his main duties as singer and guitarist of the boundary-breaking Neurosis to the psychedelic music of his Harvestman project and the gothic Americana he's released under his own name. But No Wilderness Deep Enough is truly like nothing you've ever heard from him before—an album that's devastatingly beautiful and overwhelming in its scope, reminiscent of the tragic ecstasy of Nick Cave and the Bad Seeds' recent work as well as the borderless ambient music pioneered by Brian Eno, late composer Jóhann Jóhannsson's glacial compositions, and the electronic mutations of Coil. 

FOR FANS OF : MARK LANEGAN/MICHAEL GIRA/NICK CAVE.

Over the course of recent time, an aching, growing void has developed where our normal way of life has resided. Uncertainty abounds, and Steve Von Till's No Wilderness Deep Enough provides a voice of existential wisdom and experience to offer comfort and perspective in an era of uncharted territory. These six pieces of music shape a hallucinatory landscape of sound that plumbs the depths of the natural world's mysteries and uncertainties—questions that have vexed humanity since the dawn of time asked anew amidst a backdrop that's as haunting as it is holistic.

Von Till’s fifth solo album is a swirling and iridescent blend of ambient, neo-classical, and gothic Americana that swan-dives into the darkness of modern life, with the resulting emergence a sonic document of rural psychedelia that transcends the physical world—towards a greater spiritual acceptance that connects naturalism, spiritualism, and the corporeal form.

With a foundation of simple melancholy piano chord progressions embellished with mellotron, cello, french horn and electronic treatments Von Till's scorched ache spreads across the terrain of No Wilderness Deep Enough like a brushfire, adding a tactile level to his sonic creation as well as an inviting level of friction to the burning beauty painted across the album's framework.

With a foundation of simple melancholy piano chord progressions that came to fruition during jetlagged nights in his wife’s childhood home in Germany, No Wilderness Deep Enough was further embellished with mellotron and electronic treatments in Von Till’s home studio in North Idaho.  Viewing the emerging result as an ambient instrumental album, he consulted friend and engineer Randall Dunn (Marissa Nadler, Earth) about adding live cello and french horn and piano in a proper studio.  After enlisting Brent Arnold on cello and Aaron Korn on french horn, he challenged Von Till to sing over the music and make it his next solo album—which is exactly what happened, with final work being completed at Tucker Martine’s (the Decemberists, Neko Case) Flora Recording and Playback in Portland.