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Finders Keepers present this uber-rare soundtrack to a
film that never existed, performed by an imaginary pop
group. Incredible Polanski-inspired German hip-hop
psychsploitation beats from 1969.

This is the movie soundtrack to a film that never existed.
This is the movie soundtrack by the band that was never
requested. These were the sound library musicians who
had to invent their own clients and imaginary cast, crew
and plot to get their music heard, by a niche audience,
before floating deep into the depths of the rare record
reservoir gasping for breath.

To take a cinematic cue the record in question is the
Eurotrash pop equivalent of Jean Renoir’s
tragic/triumphant Boudu character who as a homeless,
confused and desolate down-and-out plunged to the
depths to be unwillingly rescued, resuscitated then after
gradually winning the hearts of an entire family becomes
respected and revered as royalty. Over twenty years after
the mad scientists, Dr. Horst and Ackermann, first
breathed life into this short-lived beast, brave and intrepid
vinyl explorers have sporadically returned to the doors of
Dracula’s Music Cabinet to resurrect the sonic spooks and
mutated melodies to share with nerds, mods, rockers, hiphoppers, psych nuts and Krautsiders alike. The lifeless
corpses of The Vampires Of Dartmoore that lay six feet
beneath the belly of the Eins Deutschmark bins has since
crept through the record collections of the aforementioned
social circles devouring continental currencies and
demanding random ransoms of €250 plus, not to mention
sweat, tears (of laughter) and a lot of blood.

Revamped, remastered, and re-presented! Available once
again since the initial Finders Keepers’ limited edition 2009
pressing.

"Satriani and his touring band, who all recorded remotely in separate areas of the world during lockdown, deliver an album-length journey that never dulls. The Elephants of Mars crackles with an exciting new energy, briskly traveling through stylistic roads that feel freshly updated, viewed through new eyes.
From the gripping, sci-fi madness of “Through A Mother’s Day Darkly,” to the isolation felt in a decaying urban landscape, as depicted in “Sahara,” to the general endorphin levels that peak as the elephants finally roar in the title track, The Elephants of Mars will stampede across your mind, leaving a sonic imprint that doesn’t fade.
Thanks to the pandemic removing all time constraints, The Elephants of Mars truly represents the album that Satriani himself hoped he could deliver with his band. “We did everything. We tried the craziest ideas. And we entertained every notion we had about turning something backwards, upside down, seeing what could happen.”"

"Satriani and his touring band, who all recorded remotely in separate areas of the world during lockdown, deliver an album-length journey that never dulls. The Elephants of Mars crackles with an exciting new energy, briskly traveling through stylistic roads that feel freshly updated, viewed through new eyes.
From the gripping, sci-fi madness of “Through A Mother’s Day Darkly,” to the isolation felt in a decaying urban landscape, as depicted in “Sahara,” to the general endorphin levels that peak as the elephants finally roar in the title track, The Elephants of Mars will stampede across your mind, leaving a sonic imprint that doesn’t fade.
Thanks to the pandemic removing all time constraints, The Elephants of Mars truly represents the album that Satriani himself hoped he could deliver with his band. “We did everything. We tried the craziest ideas. And we entertained every notion we had about turning something backwards, upside down, seeing what could happen.”"

‘This Here Feels Good’ is the sound of an artist using music as
their second language. With all music self-produced / written,
Kay Young is defining an original generation of Black British
Music.

Moving between tightly rapped verses and glorious vocal
performances, often within the space of one track as well as
across the whole EP.

The release is a stunning collection of songs which expands
upon the sonic blueprint Kay has already laid out, that caught
the attention of Jay Electronica and Jay-Z, who later signed her
to Roc Nation.

She delves deeper into dance and soul while continuing to
explore themes of familial legacy and cultural relation, keeping a
perfect balance between lyrical vulnerability and musical uplift.

Live TV performance for Other Voices (Dec 2021), TV
performance for BT Sport (May 2021), Clash New Gen Artist
(autumn 2021), plus performances last year at Boiler Room
Festival, South Facing Festival, BBC Intro Live Summer By The
River, Live at Leeds Festival and more.

Supporting Jay Electronica for UK tour.

“uplifting groove” - The Fader

“pertinent, powerful lyrics” - Cool Hunting

“Young will undoubtedly keep shining” - Line of Best Fit

“Pure and bright promise.” - Beats Per Minute

“Kay Young finds a balance between smooth vocals and hardhitting lyrics” - Gigwise

“one of the UK’s most promising up and coming talents.” - Alfitude

“...an extremely exciting future ahead.” - CLASH Radio - 6 Music, BBC Radio 1, BBC Radio London, BBC 1Xtra, Amazing Radio A-List.

Album - 3 singles - vinyl “Make all the uncertainty and adventure of growing up sound like the best days of your life” - UPSET “A ripper that channels sounds from all throughout punk history” - Brooklyn Vegan "On a take-no-prisoners assault" - Tom Robinson, BBC 6music “California compacted into three rowdy minutes” - The Rodeo “Scorching slacker pop” - CLASH Reminders approach punk rock from where they know it best: a forgotten seaside town. Formed on the Isle of Wight in 2017, the band cut their teeth writing songs about teenage lust and suburban boredom, gaining attention after they independently released Water Sports and Major Cities. Fresh-faced and excited, the then-teenagers coined their sound 'beach punk'; a tongue-in-cheek ode to their hometown that they stand by today. 
 Firmly solidifying their identity as breakneck but bubblegum, a pop-tinged punk band, Reminders work to introduce themselves to anybody willing to listen. After an unexpected hiatus during COVID which delayed the release of their album, the band are now raring and ready to go with their new label home at Venn and forthcoming tour dates. 
 Already championed at radio by BBC Radio 1, BBC 6Music and BBC Introducing, as well as landing placements on esteemed Spotify and Apple Music editorial playlists alike, they were labelled 'scorching slacker pop' by the influential CLASH Magazine, dubbed 'About to Break' by UPSET Magazine, and have already shared stages with rock legends and pop stars Liam Gallagher, The Killers, and Camila Cabello. Debut album Best Of Beach Punk released 1st April 2022

Green coloured vinyl edition of William The Conqueror’s
‘Maverick Thinker’ album from last year, released to
coincide with the band’s upcoming tour and book
publication.
 William The Conqueror have paid their damn dues. Like
the sportsman cutting chipped teeth in the lower leagues
before shooting to the very top, this band have lugged all
the amps, placated the in-house sound guy for an easier
life, their nails dirty, their hair unkempt. Enough.
 Except it’s never enough, because despite their slinky,
swampy, razor-sharp, blues-drenched, guitar thrashed
alt. rock songs that form new album ‘Maverick Thinker’
and suggest that the door is opening for bigger rooms
and broader audiences, it’s those sticky basement bar
stages where the songs have always shed a skin and
come alive. The record put the three piece behind the
glass at Sound City Studios in LA, treading the same
carpet as the likes of Nirvana, Johnny Cash, Neil Young,
and Fleetwood Mac and they might well have inhaled
the spirit of them all.
 William The Conqueror’s protagonist is Ruarri Joseph,
who knows his way around a melody and a verse.
Joseph’s wryness suggests life just ain’t plain sailin’ and
he fizzes that sigh and lament into something that
breathes heavy with heart and with soul.
 LP in a gatefold sleeve with printed inner sleeve and
digital download card.

Following his feature on We Miss The Crowd EP - the last addition to our Killer Cuts series - Romeo Louisa returns to the Shall Not Fade catalog with a blissful solo EP.

Rarified Terms sees the emerging French producer come into his powers with three soulful deep house tracks which reflect his musical background in jazz, and see reworks from the likes of Shall Not Fade family members and fellow collaborators, THEOS and Denyl Brook, and London duo, Funk Cartel.

The EP starts as it means to go on. A skippy house beat, jazz-like piano chords and diva-esque vocal phrases lend "Desires" a driving propulsion, equally suited to the dancefloor as it is to a more laid-back listening environment. Next up, the stripped-back melody on the title track makes way for a focus on percussion, paying tribute to Romeo's brief residence in London with a half broken garage beat. "The House of Jazz" sees the EP at its classiest with soulful piano chords and a bouncing deep house rhythm, at times punctuated by drum accents which reference the sporadic nature of jazz improvisation.

Next up, enter Silver Steps Records boss, Denyl Brook, and fraternal duo, Funk Cartel, who offer their take on the title track before French producer THEOS rethinks "The House of Jazz", teasing out the lower ends so that the track is led by a funk-infused bassline.

As the tides change and the majesty of the moon once more begins to illuminate our forgotten domain, the hotly-tipped Incus has made the jump to hyperspace and determined that now is the time to unleash his neoteric creation into the macrocosm of music. At the behest of the sonic social masters, "INC.AUDIO" will be deemed a passion project, but in reality it will rip the very fabric of what it means to have a personal creative outlet, curtailing boundaries and expectations alike. Based on the creed of freedom of experimentation, the label will allow Incus and close friends within the industry to share their creative expressions within a familial and contemporary framework free from third-party limitation.

For now we start at the first chapter of the INC.AUDIO narrative, and the inaugural release which comes from the architect himself. His first solo EP contains 4 tracks conceived at home during lockdown, combining new sound design techniques developed through the mediums of trusty Korg Hardware and Ableton live. The end product is a consummate representation of the benefits of free time, reckless abandon and zero red tape.

Kicking off with "Design Your Mind", Incus draws on his longstanding influences collected via years of crate-digging and supporting underground idols in the UK and Ibiza. Shuffling percussion, jittering stabs and percolatin' chords wax and wane, submitting us to the will of its deep, minimal groove with a sultry sensibility. Next is "New Dog Old Tricks", the one with "that" bassline. No holding back from the get-go, the punching percussion is waylaid sporadically by erratic tones and steadied by placid, ambient chords. The charming breakdowns are peculiarized by a haunting saxophone sample, firmly establishing the clear-cut level of advancement and attention to detail achieved by the creator.

"Calm in the Chaos" steps back from straight-up grooving, inviting an equatorial temperature to come and play. Tantalising acid-inclined bass notes perforate the horizon, aiding the insistent percussion and creating a sunny, party-ready disposition infectious as they come. Feel like you're on a beach or in a rainforest? Snap. After the party we finish in the "Morning Haze". Alien-like frequencies and UFO bleepology steer the good ship Incus on this extra-terrestrial journey through the tech-house heavens to its final resting point. The seductive vocal cut adds a beautiful edge to the track, creating a minimal yet also expansive soundscape perfect for disembarkment. So, now you see what INC.AUDIO is all about, why wouldn't you stick around? Fight the bureaucracy and become who you need to be today, not tomorrow.

Almost exactly a year after Tower Block Dreams' Time Is Now debut and the launch of our white label series, the UK-born, Madrid-based producer returns with a club-ready 5 tracker which fuses together the most danceable facets of UKG, grime and breaks.

The opening track "Bare Dubs" pays tribute to UKG's antecedents in pirate radio with sporadic MC vocal samples and a womping bassline. The product: a soundsystem banger with a disjointed, yet fiercely controlled two-step rhythm and grimey, extended basslines a la So Solid Crew and early Scratcha. Flip over the record and the A-side's cold rigour is swapped out for a sultry groove.

Euphoric piano stabs and playful R'n'B vocal chops energise "If You Want The Reload" and video-game-esque bleeps lend "Last One From Me" its blissed-out melody. But don't get too comfortable. The aptly-named "From The Top" sees a return of the opening tracks' grime sensibilities and introduces an FM static atmospheric to take things back to the old school.

Time Is Now White Vol.12 drops 25th February 2022 via Time Is Now.

Garage rock supergroup The Surfing Magazines have announced Badgers of Wymeswold.

Consisting of one half of Slow Club and two thirds of The Wave Pictures, The Surfing Magazines’ primary influences are Bob Dylan, The Velvet Underground and all the great surf guitar music of the 1960s. They burst onto the scene with their eponymous debut album in 2017, a lauded LP described by Record Collector Mag as “a vintage-yet-modern rock’n’roll classic”.

Mixing the noir surf textures of 1960s garage rock along with west coast sun beaten harmony pop, the 17-track Badgers of Wymeswold follows the acclaimed debut and is to be released July this year. The London based foursome recorded the album at Ranscomb Studio in Rochester in February last year before the start of the first UK lockdown.

Pushing their sound forward, the band utilise their garage rock ethic and have both Drummer Dominic Brider and Rhythm guitar player Charles Watso lead on vocals across multiple tracks. The album sees a return of free form saxophone parts, eerie violins and piano all appear, notably on tracks ‘Nostaw Boogie’ and ‘I’m Going Out Tonight To Play Some Pool’. The title track is drawn from David Tattersall’s nightmare vision about his home town's population of self-governing people, the album artwork was also made by Tattersall and depicts a collage of his referenced dreams. The extensive LP showcases their characteristic sound at their brightest, from softer ballads such as ‘Poppies’ and ‘Silver Breasts’, surf guitar rock anthem ‘Locomotive Cheer’, and to the six bar blues ‘Pink Ice Cream’.

Following sporadic appearances on compilations and unreleased tracks popping up in the arsenals of multiple heavyweight selectors, SLOW1 - ‘Hole' is the full debut record of Ufaze, and Slow Process. A frantically paced, unrelenting sensory assault from start to end, featuring a very special appearance by DJ Stingray 313 on remix duty for the title track.

This record will likely be filed under “electro”. But there's much more to be found below the surface here than in the usual type of safe, bland assembly line fare cranked out nowadays within those stylistic boundaries. This one truly stands apart, bold and original, whilst paying due respect to pioneers and present day visionaries alike.

In my parents' living room stands an elaborately hand-forged copper kettle - my grandfather's masterpiece, hammered out of a single piece of copper. Growing up in a family of craftsmen, I have been familiar since early childhood with the attitude of perfecting a thing for its own sake.

The deepening concentration and slow maturing of execution, the craft shares with spiritual rituals, with arts, sports and the sciences. I am touched by the sight of almost ideal expressions of human activity, be it a forged piece, a perfectly build sentence or an athletic performance. I dedicate my album SKILLS to this fascination.

A branched succession of changing skills has brought mankind to the present day. The skills that were originally life-supporting grew into handy crafts and art. This development through the times reflects the enormous changes in ethics, aesthetics and morals. People describe this process in many shades, from culturally pessimistic dystopias to posthumanist utopias.

The music of SKILLS lives in this field - between hymn and melancholy.

As the sweary, confrontational title suggests, this four-tracker from Detroit hero Omar-S is like a musical expansion pack for his much-discussed recent album, F*ck Resident Advisor. The no-nonsense Detroiter starts in fine fashion with 'Gonna Love You', a jaunty, piano-sporting peak-time loop jam crafted from old school vocal samples and snippets from a killer disco record, before reaching for cosmic synth sounds, lilting melodies and a melancholic mood on the starry deep house jam 'Bread Over Bed'. He subtly doffs a cap to Dance Mania style ghetto-house on the quirky, club-ready cheekiness of 'Shut Up', before smothering a classic house groove with heady hand percussion and snaking synth lines on dense and energetic closing cut 'Sloppy Joe'.

It’s been ten years since Sadie Dupuis recorded the first Speedy Ortiz songs, a solo experiment that quickly became her full-time band. Since then, Speedy has produced an expansive and critically revered discography, toured worldwide, and inspired next generations of bands with inventive songwriting and advocacy to better the music industry. But in 2011, the younger Dupuis was struggling through concurrent traumas: heartbreak from first love, leaving her hometown of New York for Massachusetts, and the grief of losing several young friends. Speedy’s first songs glowed within the contrast of noisiness and intimacy, raw sonic elements that came with closely processing vulnerabilities and Dupuis’ insistence on performing and recording each instrument alone. As the new project fielded show offers from favorite show spaces like Death By Audio and Shea Stadium, these early tracks became the springboard for the playfully melodic and cleverly distorted style for which Speedy Ortiz as a full band is celebrated. Now, ten years later, Speedy’s first self-released collections will be widely available for the first time and reissued as a double LP The Death of Speedy Ortiz & Cop Kicker…Forever, alongside previously unreleased tracks, reflective liner notes penned by Dupuis, and unearthed photos and journal scans from that era.

The tracks on The Death of Speedy Ortiz & Cop Kicker…Forever were written after student-created prompts while Dupuis was teaching a songwriting class at the same summer camp where she’d first learned guitar. "Hexxy Sadie” was written in an hour, like the rest of the songs, and on Dupuis’ twenty-third birthday; using explosive riffs and distorted harmonies, she explores her uncertain yearning as a twinless twin. "Frankenweenie" came from the prompt “dog,” and over brooding piano, spry tambourine, and eruptive snare, Dupuis sings from the perspective of a dead childhood pet about forgiveness. “Cutco,” which navigates tricky chord changes with deft guitar passages and ironic deadpan, grins at the bitterness of friendships gone awry. These early songs highlighted Dupuis’ remarkable talent at dissecting specific emotions and moments, analyzing the many ways the pieces fit together, and scrutinizing the places where they don’t.

During the recording process, Dupuis was inspired by the impulsive DIY methods of artists like Elliott Smith and Sparklehorse; a mixing note from September 2011 read, “It's important for the 'concept' of this 'album' that I don't redo anything.” The Death of Speedy Ortiz & Cop Kicker…Forever still holds onto the magic immediacy of lo-fi recordings, but this reissue is helped by the technical know-how gained through Dupuis’ solo production work as Sad13 (Lizzo, Backxwash). Remixing in 2021, Dupuis cleaned up edits on her triple-tracked drums, made space for instrumental flourishes performed on eclectic instruments like cello, banjo and timpani, and rewired digital sounds to warm up the layers of intersecting guitars. Co-mixer Justin Pizzoferrato (Dinosaur Jr., Sebadoh), who worked with Speedy on Sports EP, Major Arcana, and Real Hair, further clarified the mix with analog compressors, and mastering engineer Emily Lazar (Liz Phair, HAIM) added a glossy sheen to the stratified bombast.

As Dupuis’ cult-beloved early material finally re-enters the world in a substantive way, The Death of Speedy Ortiz & Cop Kicker…Forever is a seamless fit to the Speedy Ortiz discography that succeeded it, and evidence that Speedy’s biting lyrics, intricate compositions, and daring performances have been inherent to the project since its outset.

German multi-instrumentalist and producer, The Micronaut has made a name for himself through his richly textured and enthusiastic compositions. His 2016 album, "Forms" has been described as a true melting pot of sounds and it caught the attention of the electronic music scene with its very playful and original amalgamation of rhythms and samples. Last year, The Micronaut released Olympia (Summer Games) - an album that continued to draw on his elaborate production style as well as on the values of camaraderie and solidarity of the Olympic Games. Continuing on this Olympic journey, the German producer now releases the second part to the project, Winter Games, containing a fresh twelve tracks that capture the essence of winter sports. Winter Games is an eclectic ride, but far from chaotic; transitions are fluid, the momentum uninterrupted and the direction cohesive. Behind the music's energetic flow are sophisticated arrangements and quasi-scientific constructions which crush stylistic boundaries and give birth to a new collage-based genre of music. The music is all the more impressive considering that every sound contained therein is crafted by The Micronaut himself, who has been called a one-man-orchestra for exactly that reason. In the EDM-influenced track Bobsleigh, which contains samples from a DJ describing the state of his own profession, The Micronaut seems to be drawing a line between what he's doing, a true Olympic feat in some regards, to a lot of the lazy productions around today. 'He thinks it's cool to just play with an iPod or a USB stick,' we hear a voice say over a hyper-synthetic beat. It's The Micronaut's critical statement on the superficialness that much of dance music has come down to, "Of course there are exceptions, but unfortunately there are only a few," he notes. At times, Summer Games veers towards techno and at others it seems to be inspired by electro-pop. Towards the end of the album, 'Curling' is a refreshing vocal piece filled with warm chord progressions. "Bernhardt's vocals are really touching, they give warmth to the minimalistic structure of the song," says the Micronaut. The track offers a comforting counterpoint to the high-energy feelings of competitiveness present in the rest of the album with lush pulsating synths and a laid-back groove. "Every time, when I wanted to continue working on "Curling" I was afraid of destroying its very fragile initial structure, but in the end, I think it worked," adds the producer.

This album comprises hits from the repertoire of the most famous Cuban and Boriquen orchestras in the late '50s, performed by young Peruvian percussionist Ñiko Estrada and his sonora. However, due to contractual restrictions, the album was released under the fictitious Sonora MAG name.
Fascinated by the music of the Cuban orchestras broadcast on the radio and the colourful and flamboyant outfits they sported when played Lima, Ñiko Estrada named his first band Los chicos de Cuba (The Cuban Boys). In 1958 he put together his own group, sonora, signing to the local label Smith and recording a number of hits. At the same time, he also agreed to anonymously record more music for MAG, the Peruvian company owned by Manuel Guerrero. An imaginary Sonora MAG was born…

"El Negro Bembón con la Sonora MAG" includes, with the only exception of the instrumental track 'Té Para Dos', mostly vocal songs -guarachas and boleros- by the likes of Manolo Castro, Rafael "Chivirico" Dávila, and Vicky Zamora, being her take on 'Pepito' the biggest hit of the album.
This album is currently almost impossible to find in its original edition, so we are now happy to present the first ever reissue of "El Negro Bembón con la Sonora MAG" in its original artwork and 180g vinyl pressing.

Aussie producer Captn K is dishing up another great slice. This time Marvin Gaye's Get It On goes from slow sex chant to upbeat sex bomb. It still maintains its smoothness with joyess synth stabs and a grooving electro 808 breakbeat. I Need Some Loving with a repative sample and hook has no kick and just begs to be slipped under some minimal beats. Side B sports Captn k's signature style in the form of an 8min dream wrapped in vinyl. It Will Take An Eternity To Break Us is littered with uplifting vox samples and the most gorgeous pads, you will lose time listening to this one.

The soundtrack to the movie The United Way. The United Way is the legendary story of ‘The Red Devils’ – Manchester United. From their humblest of beginnings in England’s Industrial North at the turn of the 20th Century, Manchester United gifted working men, women and children alike, the poor and the struggling, a new Dream – a winning Dream of hope, beauty and ambition. Here is a family club which pulled itself, phoenix-like, from the ashes of the horrific Munich air disaster to become champions of European football, committing to a stunning, relentlessly attacking style and elevating working class boys to the status of gods: Charlton, Best, Cantona, Beckham and Ronaldo. Such is the mythical aura of the club, that its stadium is universally known as “The Theatre of Dreams”. Now, with over 650 million supporters around the world, 73m Facebook fans, 18m Twitter followers and 1.8m shirts sold per season, Manchester United are the most celebrated, widely supported sports club in the world. Presented by the peerless Eric Cantona and featuring stunning archive and never seen before footage, “The United Way” celebrates the birth and growth of a global phenomenon – a unifying club for the people, by the people. The whole film is set to a score by George Fenton - one of the UK’s most successful composers, writing scores for over 100 films and dozens of plays and TV programmes. He has been recognised with numerous awards: 5 Oscar nominations, multiple Ivor Novello, BAFTA, Golden Globe, Emmy and BMI awards, a Classical Brit, The Nina Rota Award at Venice and a World Soundtrack Lifetime Achievement Award from Film Fest Gent.

Mòlo Sâyat is the meeting of souls of Lebanese singer Pl Seif and some European instrumentalists. Their repertoire has established its base camp around the Mediterranean Sea without renouncing their sporadic visits deep inland. Led by an ear cravingthe beauty of contradictions, the band composes songs in Arabic, Italian and Romani language. Voices and instruments rise up together to invoke a chimeric and colourful folklore and to transport the listeners into a voluptuous inner-world.

“The Colchester quartet’s first offering for tastemaker label Nice
Swan stands up as a vital, visceral cut from a band of any
demographic.” - DIY
 “Anorak Patch are unquestionably an alternative godsend” - So
Young
 “Rising Stars” - Daily Star
 Already championed by BBC 6 Music, BBC Radio 1, Radio X,
Daily Star, BBC, i Paper, DIY, DORK, So Young and more,
Colchester’s Anorak Patch have been quick to grab the
attention of tastemakers across the UK. They were even
snapped up by label Nice Swan Records, who have put out
releases from some of the UK’s buzziest acts, including Sports
Team, Silverbacks, Hotel Lux, FUR, Courting and Malady.
 Following breakout tracks ‘6 Week Party’, ‘Irate’ and ‘Blue
Jeans’, the 4-piece share new single ‘Delilah’, a tale of wanting
more than the small town you call home, and further proof of
why Anorak Patch are one of the UK’s most exciting young
bands to emerge in recent times.
 Of the track, the band say, “‘Delilah is a story. It’s about a girl
who’s struggling her way through life... the song is sort of a
snapshot of how difficult life can be when you are in a bad
headspace without good people around you. It’s a lonely place
to be. The ‘town’ is just a reference to wanting something more
than the place you grew up in... I guess in that sense it’s a little
autobiographical. We are from a little place in Essex, it’s not a
bad place, but we collectively dream that by playing our music
we will have a chance to move out of its orbit.”
 Anorak Patch are also set to perform their debut headline
shows, including in their hometown of Colchester next month,
and in London next year.
 Keyboardist Effie Lawrence formed the group in late 2019 with
high school friends Luca Ryland (drums), brother Oscar (guitar)
and bass player Eleanor Helliwell. The drummer being just 15,
and the oldest member 18, the new single continues to show
the band’s immense musical talent at such a young age.

And here we go again. After making his self-titled label debut in 2019 followed up by the super limited cassette tape "Sport EP" in 2020 Mint Huus is finally back on Cheezy Crust Records - and he's back on vinyl!

Exploring "Odd Radio Circles" we see Mint Huus catering an array of four cuts, once again covering and exploring a spectrum of superbly driving, high quality electronic club music of a timeless quality which is nothing short of a truly epic manifestation of the German artists production standard and value which is up to par with the genres greats.

Sparse, yet melodic, bouncing, yet dreamy from the very start the Mainz / Germany-based producer effortly amalgamates a highly functional Electro foundation, beautifully arranged vintage retro synth layers and ever bubbling Acid modulations to further carve out and create a distinct sonic realm and niche which, due it's innate drive and well comforting depth, is set to excel way beyond the confined boundaries of the Electro genre and gain praise and recognition on many dancefloors all around the globe.

"UMC celebrate the 50th anniversary of The Band’s classic fourth album, Cahoots, with an assembly of newly remixed, remastered and expanded 50th Anniversary Edition packages, including a multi-format Super Deluxe 2CD/Blu-ray/1LP/7-inch vinyl box set along with a 2CD and 180-gram half-speed-mastered black vinyl. All the Anniversary Edition releases were overseen by principal songwriter Robbie Robertson and sport a new stereo mix by Bob Clearmountain from the original multi-track masters. The box set and CD configurations boast a bevy of unreleased recordings, including Live at the Olympia Theatre, Paris, May 1971, a rousing bootleg partial concert consisting of 11 tracks culled from the initial throes of a European tour that found The Band perched at the top of their live game; and early and alternate versions of “Endless Highway” and “When I Paint My Masterpiece” along with six other early takes, outtakes, instrumentals, and stripped-down mixes.
Exclusively for this box set, Clearmountain has also created new Dolby Atmos and 5.1 surround-sound mixes of both the album and four bonus tracks, presented in high resolution on Blu-ray, alongside the new stereo mix. Every new audio mix has been mastered by Adam Ayan at Gateway Mastering. The lift-top box set also includes an exclusive reproduction of the Japanese pressing of The Band’s 1971 7-inch vinyl single for “Life Is A Carnival” b/w “The Moon Struck One” in their new stereo mixes; a 20-page booklet with new notes by Robbie Robertson and extensive insider liner notes by Rob Bowman; three classic photo lithographs, one each by Barry Feinstein, Richard Avedon (his infamous eyes-closed group portrait from the back cover) and noted New York artist/illustrator Gilbert Stone (who painted the still stunning stretched-out portrait of The Band on the album’s front cover); plus a wealth of additional material and other historical data from the original recordings sessions. The limited-edition 180-gram black vinyl release that features a tip-on jacket also contains a photo lithograph by Barrie Wentzell that’s unique to the package."

Active for a decade now and soon knocking at the gates of the Walhalla, the sportsmen of Bernard Orchestar present a new repertoire that is both juicy and greasy, just like samurai sauce.

BERTIE MARSHALL is a writer/ performer. He is also an acclaimed memoirist, most well known for his book ‘Berlin Bromley’ (2006) about his transformation from Bertie, an anxious, androgynous, depressed teenager, into Berlin, a teenager who would reject suburban values and become a founding member of punk’s ‘Bromley Contingent’, alongside Siouxsie Sioux, Steven Severin and Billy Idol.

October 29th sees Upset The Rhythm release ‘Exhibit’ by Bertie Marshall, collecting for the first time his songs and spoken word tracks from this fertile period of the 80s-90s.

He’s currently working on ‘Looking: Backwards To Go Forwards’, picking up from where ‘Berlin Bromley’ left off. His other books include the debut novel ‘Psychoboys’ (1997), ‘Nowhere Slow’ (2014), ‘From Sleepwalking to Sleepwalking’ (2016), ‘Wild - re write’ (2017), ‘The Peeler’ (2018) and ‘Pete’s Underpants’ (2019). In 2015 the British Library purchased his writing archive.

From 1980-83, Bertie was the frontman for post-punk boundary-pushers Behaviour Red - they released one single (favourably played by John Peel), did a mini-tour and broke up. At various times Behaviour Red featured Noel Blanden of Normil Hawaiians and fine artist Nicola Tyson. Their sound was characterised by looseness and freedom, boasting at times tribal drumming, streams of vocals, dazed guitars and feedback. Bertie continued sketching out atmospheric compositions afterwards too, walking a tightrope between bewildered pop and gothic folk. Central to everything is Bertie’s commanding voice; heartfelt, impassioned and masterfully leading you through the story.

Bertie became interested in spoken word and performance poetry in the 90s, which then led him into writing and performing in his own plays and devised theatre pieces. He did regular readings and performances in NYC and began writing books inspired by the visceral talents of Acker & Burroughs. Having lived in Berlin, San Francisco, and Brittany, Bertie now lives in London.

When Peter Rosenberg was hired by Hot 97 in July of 2007 his task was simple. His Sunday night show “Real Late” was to be a place where independent, underground, and boom bap artists could be featured. Rosenberg leaned into the gig and artists and fans, new and old, took note. In the years that followed Rosenberg world premiered music from future superstars such as Action Bronson, Joey Badass, A$AP Rocky, Childish Gambino, Frank Ocean, Tyler the Creator, Earl Sweatshirt, Travis Scott and countless more. He also became a star of Hot 97’s Morning Drive radio show, held a yearly concert to celebrate his favorite artists, and put out mixtapes in 2010, 2011, and 2013 that broke new music from a variety of these up and comers, including originals from Kendrick Lamar, Bronson, Badass, ASAP Rocky and Ferg, to name a few. Since 2013 Rosenberg has expanded his broadcasting range. He was hired by ESPN and instantly made an impact as a new cohost on “The Michael Kay Show.” Since arriving in 2015, the show has consistently grown in popularity and in 2019 reached the top of drive time ratings. Rosenberg’s passion for sports entertainment also led to him becoming a fixture on WWE pay per view events. It would have been easy to assume that Rosenberg’s next move would be a pivot away from underground music all together. Not so fast. As the pandemic hit, Rosenberg went back to his roots. He decided the time was right to finally put together an official album and in doing so he tapped some of the best artists in hip hop, from legends to newcomers, to put together a complete body of work aptly named after the late night show that put him on the map in the first place. Peter said: “I have considered making an album for years but it really was the pandemic that got me focused and led to me finally creating “Real Late”. I thought this was the perfect time to put together legends, new artists, and underground producers to create a project that sounded like my show “Real Late” on Hot 97. I was fortunate enough to get help from some amazingly talented people and the result is an album that I think truly represents the hip hop that I and so many others love.“ Features guest performances from Westside Gunn, Roc Marciano, Styles P, Smoke DZA, Method Man, Raekwon, Ghostface Killah, Flee Lord, Stove God Cook$, Eto, Willie the Kid, Meyhem, Buckwild, Crimeapple, Jim Jones, Rasheed Chappell, Homeboy Sandman and more!

Borrowing her name from the Andy Griffith Show character, Paris’s Charlène Darling makes off-kilter, shimmering chanson post-punk that connects the dots between the feminist troubadours of Agnès Varda’s L’Une Chante, L’Autre Pas, Thai molam music, the Raincoats and the way Cate Le Bon slides between bucolic melody and clanging post-punk. If her debut album, Saint-Guidon, was one of 2019’s buried treasures, so don't miss the reissue this fall. LS (the Guardian)

With the release of their new single ‘R&B’, the ever-exciting
English Teacher prove they could be your new favourite band.
 As far as Northern cities go, Leeds probably isn’t the first place
you’d think of as a burgeoning hotbed of fiercely independent
and DIY bands. Often overshadowed by its neighbours further
along the M62, it’s precisely because of this that Leeds’ music
scene is as vehemently independent and self-sufficient as it is.
 The latest band to emerge from the city are four-piece English
Teacher. Keeping Leeds’ longstanding tradition of
uncompromising post-punk alive, the quartet’s latest single
‘R&B’ is three minutes of clattering bass and crisp percussion,
sporadic guitar occasionally punctuating the tension as
frontwoman Lily Fontaine explores ideas of imposter syndrome
and lethargy throughout the creative process.
 Lethargic is one thing ‘R&B’ isn’t, however. Fraught and frantic
perhaps. Imbued with a dry wit and self-awareness certainly,
but no one’s about to level any accusations of indifference at
English Teacher. The band explain, “the song is about the
cyclical, productivity-diminishing paradox of low self-esteem and
imposter syndrome-induced writer’s block that then fuels low
self-esteem and imposter syndrome. It’s also about racial
identity and putting the love that you have to offer a potential
romantic partner back into yourself.”
 Harbouring a cloying sense of paranoia that only increases as
the track progresses, there are elements of bands such as Slint
and Sonic Youth at play. Rather than feel like a ‘90s throwback,
however, ‘R&B’ succeeds feeling not just contemporary but vital.
Providing both a short, sharp gut punch and insight into Leeds’
ever-growing indie scene.
 Recently supported Sports Team on tour.
 Dan Carey is set to produce a forthcoming album and also
plans to release a single on Speedy Wundergound.

Constant Sound offshoot Cardiology's latest boundary-blurring re-edit release comes courtesy of Alexny, an Argentinian rising star who has previously released a wealth of music on all manner of digital-only imprints. He hits the ground running with 'Everybody Get Up', sneakily adding new beats, bass and musical touches to a string-drenched old disco jam, before applying the same house-style approach to a hybrid disco/electrofunk cut on 'Get On The Floor'. Over on side B, 'Give It To Me' is a chunkier and more bass-heavy disco-house bumper, while 'Do It You Got It' is a rolling, filter-sporting revision of a particularly spacey, turn-of-the-80s disco workout.

Gazelle Twin’s incredible electronic score to horror
film ‘Nocturne’, released as part of Amazon’s
‘Welcome To The Blumhouse’ series.
 The score is pressed on clear vinyl and housed in
a deluxe spined sleeve with digital download card
included.
 “The director wanted there to be a strong
appearance of feminine rage featuring heavily in
the score, building around the classical pieces,”
says Gazelle Twin. “She wanted to use some of
my existing tracks, ‘Unflesh’ and ‘Belly Of The
Beast’, in a couple of scenes, so I took leave from
the vocal style of ‘Unflesh’, which has a lot of
strong chest singing inspired by Bulgarian
Folksong.
 “It became a motif that the music editor, Shie
Rozow, weaved throughout the film for those
especially fierce moments. Then there’s the ‘dread
drones’ that haunt the whole score, getting more
and more intense.”

Transversales is very glad to announce the release of Mémoire Magnétique Vol. 2 spanning 1966-1993, revelatory collection of short and secret music by electronic music pioneer Bernard Parmegiani.
Since the late 50's, Bernard Parmegiani, a major figure of electroacoustic music and a founding member of GRM has created some eighty two concerts music. From the start,
Parmegiani’s work was closely linked to the screen, with dozens of documentaries, films, long features, animation films but also musical pieces for dance, stage or television. If many of his pieces are landmarks in the history of electroacoustic music (De Natura Sonorum, La Roue Ferris…), his application music compositions are strongly embedded in the subconscious landscape of the French public (Stade 2, Roissy Paris Airport…).
The second volume of this compilation allows us to discover some of unreleased rarities from Bernard Parmegiani’s personal archives and unpublished recordings which were composed for the screen or the performing arts.

For our 4th original release we have a meeting of minds between two of our very close friends, Subb-an and Thoma Bulwer!

Made deep in the green countryside of Devon’s hills, before being adeptly finished off at TB Studios in Hackney Wick, the Devon Hills EP pulls together influences from 90’s tech house and early breaks to bring four driving and groove-laden tracks, functional but with heaps of soul.

The A side comprises two late night Autobahn bangers, rubbery misbehaved basslines and precise chord rhythms made to hypnotise the dance. Devon Hills is the most outspoken of the pair, with a loud chiming hook and an earwigging bleep melody, while DV-07 prefers to remain composed in its rolling bassline and sharp drum programming.

On the flip things go a little deeper with DV8, a padded out and chunky tribal breakbeat track with a deliciously crunchy snare. Closing out the four-track EP, East Wick lightens the mood with a sporadic break and bouncy synth melody, great afters tackle.

On The Corner Records are proud to reveal the second instalment of their newly forged ‘Double Drop’ series, pairing together two EP’s from two different members of the OTC family, delivering a cosmically twinned, action packed slab of wax.

Label boss Pete OtC developed this series to introduce record players around the world to new artists coming through On The Corner’s region of the solar system. With Vinyl manufacture in pandemic pandemonium and questionable environmental impacts of the efficacy of Disco 12”s it seemed like a prime time to get laying the OTC family’s sonic landscapes onto highly collectible long playing EP pairings, with no represses and no compromise on the artwork, each side sporting a 20+ minute audio journey.

On the A-Side, and hot on the heels of the ‘Dub Protection & The Sportswear Mystics’ cassette, The Diabolical Liberties present their ‘Birds Of Paradise’ EP. This EP all but sold-out and follows the dynamite success of the Duo’s debut long player “High Protection & The Sportswear Mystics” and it’s follow-up hype cassette of dubbed out versions (as well as a series of self-released and long sold-out white
labels that included collaborations with Nyasha (a moniker of Nubya Garcia) and a super limited On The Corner 10” dubplate.)

Elite Beat is a musical collective from Portland, Oregon with a history spanning back to 2006.

'Selected Rhythms' captures the finest moments from all three of their ultra limited cassette series 'Casual Rhythms'.

Packed full of DIY dub mixing, cosmic orchestration and raw, percussion driven polyrhythms, the recordings have been remastered and put to vinyl for the first time with sections from Casual Rhythms Vol. 1 being re-shaped into previously unavailable single tracks.


Recording plays a big role in the Elite Beat creative process. The studio as an instrument. Much of the Elite Beat music is mixed in an all-hands-on-deck dub style approach - live with an analog mixer and loads of FX being thrown and dubbed in real time. The sound is genre-less rhythm music with an emphasis on live playing, free form expression and technique that borrows from soundsystem culture. Inspiration can be heard from all parts of time and place. Some Ethio Jazz, Black Ark psychedelia, Exotica, Malian blues, even Haight-Ashbury in the summer of love. Each member an accomplished musician in their own right, Elite Beat thrive on collaboration. 2018 saw the release of their astral-Saharan jams with celebrated Taureg guitarist Mdou Moctar.

The players get together every Wednesday evening, sometimes to chat, sometimes to play. The 'record' button gets pressed when they find what they are searching for. For this crew it's all about 'Casual Rhythms / Harmonious Lifestyles' - if things don't fall under that mantra, then it's got to go. 'Less is more' for Elite Beat and their cosmic sounds.

Motoko & Myers is the collaborative project of Bay Area-based duo Wonja Fairbrother and Daniel Letson. “Colocate” follows their 2018 debut release on the Open Hands Real Flames imprint, further developing their distinctive style which combines melodic, pop song structures with live improvisation and odd or no-meter approaches to rhythm and timing. It is a collection of bright, addictive listening, full of tracks that manage to feel at once hooky and aleatory, naive and rigorously arranged.

Recorded and assembled sporadically over a period of several years, the album’s idiosyncratic palette was achieved through much technical and methodological eccentricity: “4-handed” collaborative keyboard playing; 12-bit sampling and archaic presets; field recordings of cicadas in Louisville, Kentucky and church bells in Freiburg im Breisgau. The album’s nine tracks exude a homespun quality that is rare to find in contemporary electronic music – hazy, warm, and disarmingly organic.

In My Sleep is the debut vinyl release from French producer Margee. Having gained a loyal following last summer with a remix for Tommy Guerrero, released on Music For Dreams, this EP showcases his natural ability at creating low-slung, densely layered productions, perfectly aimed at the dancefloor.

The release also features two heavyweight remixes. The first of these comes courtesy of underground House legend DJ Nature, who takes the title track and gives it a completely new twist with his inimitable ‘ruff disco’ stylings. Hailing from Bristol (via New York), recent years have seen Nature release on Futureboogie, Golf Channel and Jazzy Sport.

The second remix on the release comes from Hardway Bros (AKA Sean Johnson). Having been an early champion of Margee’s work on his regular ALFOS streaming marathons, Sean took the second track on the release, Wrong Dream, and went into heavy-dub mode. The resulting remix clocks in at just over 11 minutes and is everything you’d expect from him, and more…

Margee said of the release ‘In My Sleep started while taking a shower. The bassline popped up in my mind and I ran out as quickly as possible to record it. From there, I got pulled into a deep emotional trip with groovy tones and dirty sounds. Wrong Dream is actually a lost project that I had to start over again. It turned out to be more fierce than the first one, experimenting with arps and fuzzy synths, while keeping a certain groove that was easier to reproduce.’

In My Sleep is the second release from London based label Other Goodness, following on from Bawrut’s ‘Divergent Emotions’ EP last year, which quickly became a mainstay of the live-streams and a DJs favourite.

Re-mastering by: Kevin Gray

This is a reissue of a now out-of-print album from live trio date by the legendary LA-based pianist, composer and multi-bandleader, Horace Tapscott. Pianist Horace Tapscott is always at his best when he is leading a trio. Born in 1934 in Houston, Texas, Horace came from a musical family centered around his mother, Mary Malone Tapscott, who worked professionally as a singer and pianist. When Horace was nine, the family moved to Los Angeles. As a teenager in the late 1940's, Horace was surrounded by the music of Central Avenue: Art Tatum, Charlie Parker, Coleman Hawkins, Dexter Gordon, were among the many cats on the set. Around this time, Horace also began to take music lessons from teachers Dr. Samuel R. Browne and Lloyd Reese, whose other students included Eric Dolphy and Frank Morgan. Horace's musical studies included trombone in addition to piano.

In 1952, Horace graduated from Jefferson High, got married to Cecilia Payne and went into the Air Force. Horace played in an Air Force Band while he was stationed in Wyoming for his term of duty. After mustering out, he returned to Los Angeles where he worked around on various gigs until he joined the Lionel Hampton Big Band as a trombonist.

In 1959, Horace finally went with the Hampton Big Band to New York, where his friend Eric Dolphy introduced him to John Coltrane. A tough winter, a lack of gigs, and too many nights on the floor of a friend's art gallery finally sent Horace packing for sunny Southern California, where a life with wife and family awaited his return.

The sixties saw Horace emerge as a die-hard leader of the Avant Garde. Horace began to gain public notice playing with his own group, that included alto saxophonist Arthur Blythe, bassist David Bryant, and drummer Everett Brown II. Horace also appeared on records for the first time.

Horace was always outspoken about racism, politics, stereotypes, and social ethics. His forward-minded vocal presence on and off the microphone is as much a part of his art as his piano playing. As a result, he was labeled a "dissident," categorized as an "employment risk," and black-listed from the music industry establishment in the early 1970's. None of this slowed Horace down. He began gigging sporadically at Parks and Recreation events and for churches around Watts. This "dark period," with his only regular gig at his friend Doug Weston's Troubadour on Los Angeles' "Restaurant Row", was also a time of intense creativity.

Around 1977, Horace reorganized the Pan-Afrikan Peoples Arkestra with the help of several old friends and many new faces. The Arkestra performances involve singing, dancing, and poetry in addition to the music. Soon after the new group's debut, Horace came to the attention of producer Tom Albach who contracted Horace to record a number of albums for Nimbus Records. Albach also helped introduce Horace to an international audience by arranging several European tours.

The 80's saw Horace emerge as one of jazz's premiere solo pianists. He recorded several solo piano albums for Nimbus.

Compiled by Hunee, 'Sounds from the Far East' features eccentric and highly sought after material by legendary Japanese house producer Soichi Terada and fellow producer Shinichiro Yokota!
Soichi Terada is an adventurous music multi-talent and over all a good sport. Born in the Sixties, Terada majored in computer science and electronic organ; not being able to find a label for his eccentric compositions, he founded Far East Recording soon after his graduation, in 1989.

"Sounds From The Far East" shines new light on Soichi Terada's label and work, and consists of material that was originally released in the early Nineties. Next to Terada's music, Hunee also selected a few tracks by fellow artist Shinichiro Yokota, included in this compilation, and the incredible Paradise Garage gem that is 'Sunshower', by Terada and Nami Shimada.

Bonander is the shorthand for Ellinor Sterner Bonander. Sporting the role
of musician, arranger and producer, the native Swede is a woman
unchained, injecting darkness into the vein of candied pop with her tropes
of existentialism and feminist revolt.
Following the arc of ‘Backseat’ and ‘Martha’, Bonander’s latest single, ‘Gone
In The Wind’ leads the way for the album with its emotional outpour of lost
sisterhood. Tribal thrashes of drums, pipe organ and soaring vocals combine to
manifest the pain and frustration at the heart of the song.
She says, “The song is about abandonment of a person who’s been like a sister
to you, someone you admire and cherish... The pipe organ and strings are the
most emotional instrumentation I can think of. They represent that suppressed
feeling of anger and frustration, that later in the song is set free.”
The album tells the stories of women both from history and her personal life
whose contributions have previously been overlooked.
“The idea for the album is to create a musical, cinematic and dramatic journey
full of contrast between intimate string sections and huge synth landscapes,
between mechanical rhythms and flowing tempos.
The lyrics will together speak of the identities and emotional life of different
women, both through private and historical perspectives. All of the songs discuss subjects concerning women that ought to be talked about more, but sadly
are not...” // Bonander