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Nicky Night Time and Ali Love have collaborated for a hypnotising new single ‘Ubiquity feat. Breakbot’. Filled with classic disco flair, funk riffs, and infectious vocals the track instantly encapsulates a dreamy dance-floor moment and comes complete with remixes from The Magician, Eric Duncan and Lubelski who all add their signature spark.

With each artist living in a different country, ‘Ubiquity’ has already made its way around the globe, Ali Love explains how the track came together, “‘Ubiquity’ started its life in Australia with Nicky Night Time as a drum and guitar track. Then made its way to London where I added electric bass and vocals very early in the morning. I recall there were about 8 Japanese girls in my flat for some reason, so you could say that really added to the song’s vibe. You can feel there’s a party happening. The tune then travelled to LA where, by chance, Nicky drafted in Breakbot, who wrote the amazing string and horn parts, and sent the song into the stratosphere. The stars have aligned and the vibe is ubiquitous." Nicky Night Time adds “It was a love project really and I think we felt it was a cool thing just to put out into the world between the 3 of us amigos.”

For the remixes, globally renowned producer The Magician adds his signature touch highlighting the original’s funk elements and punchy drums while maintaining the driving bassline from the original. Merging disco with French touch, The Magician accentuates the cut-off and phaser effects for a playful and energetic remix. Next up, Eric Duncan hits with a synth heavy cosmic remix as Lubelski closes out proceedings going for a stripped down, late night shuffler.

The Copenhagen-based, Scottish-born composer Clarissa Connelly’s music is evocative of the whimsical and almost child-like, tainted by an undercurrent of dark sensuality, disquietude and existential dread. Characterized by complex arrangements, big compounded chords, as well as a broad array of instruments, effects and sounds, her songs orient the listener towards utopian beauty that lie somewhere between the baroque and the primordial. With an experimental approach to vocal techniques, her voice can manifest benevolent fay-like creatures as easily as banshees and maleficent spirits singing melodies that retain the accessibility typically associated with pop-music. The compositions are lyrically and aesthetically grounded in Celtic folklore and Scandinavian vitalism. The threshold between the mundane and the fantastical are accentuated in her work, in such a way that the pursuit for – and the ability to recognize – real beauty in the world become anchored in the realm of work, everyday anxiety, motivation, human brilliance and failure.

With forthcoming album The Voyager, Connelly sets out to not only to study the relationship between nature and music, but also its relationship with time. She says: “I’ve always been especially excited about times in the north before Christianity came, and how the Pagan culture and Christianity became intertwined in people through rituals and formations in the landscape - burial mounds, passage graves, dolmens, etc.” She continues: “In some way, it’s very difficult to translate nature into an understandable movement of change. Looking at a mountain I often view a still picture of time – a moment right now – but sometimes, I can look at the mountain and see millions of years of change and movement. I believe that this point of view can be assisted by art and music. In a landscape ornamented with ruined Viking fortresses or ancient burial mounds, I find that I, for whatever reason, seem to be able to perceive time and comprehend history (the history of nature and culture) as a series of changes in a more salient way.”It is here that The Voyager derives so much of its power. It roots itself in history, mythology, capable of intertwining and unravelling both past and present. Songs such as Holler and The Hills Are Crying – opening and closing tracks on the album, respectively – conjure images of these ancient Danish sites, offering something more than just a fluid, long-forgotten way, and instead a tangible reverie that can educate, engage and thrill in equal measure. Connelly explains: “I have the idea, that the mystical and fantastical nature of these olden barrows and ruins can kindle a more dynamic and historically informed perspective. I think that an understanding of time as a movement is articulated when looking at the landscape in this way and can maybe bring us out of our little bell jar, and into a greater experience of life as a whole.”

The Voyager is released in conjunction with an app Vandringen (released 27 september 2020), conceived and created by Clarissa Connelly - along with the contributions of 21 other Danish musicians, painters, sculptures, performers - which highlights special ancient Danish locations, not viewable on Google Maps. These locations are presented with local knowledge and a number of them are interpreted for the modern day by the creatives involved. Connelly concludes: “I am very eager to write music that sounds like something that is happening now but has also happened a very long time ago. I have always found it fascinating to view history through changes in the landscapes around us, and therefore I started created this app and wrote this album.”

Zwerm is a Belgian-Dutch electric guitar quartet (with a backyard rehearsal shed located in Antwerp) that operates along the borders between styles and traverses traditions that are typically not convergent. Zwerm rhymes Larry Polansky with Nadah El Shazly and are galvanized by the likes of guitars pioneers like The Velvet Underground and Sonic Youth, the microtonal DYI-er Harry Partch, Middle Eastern sonorities and the prog-madness of Kind Gizzard & the Lizard Wizard. ‘Musical adventure’ is not just a hollow cliché for this quartet, but a genuine commitment. Zwerm calls itself a ‘guitar quartet’, but that can be interpreted broadly as well as with a pinch of salt: “If we want to do something on instruments we don’t really master, we’ll just figure out a way to make it work.”
Toon Callier, Johannes Westendorp, Kobe van Cauwenberghe and Bruno Nelissen all met in 2007 while working on a project with Glenn Branca. A new guitar quartet was born and it became clear rather quickly that staying in the strictly contemporary compositions lane was not for this quartet-with-five-to-six-members (an organizational chart is available upon request).
An appetite for new and lasting collaborations has been a constant theme throughout their artistic parcours. The group has shared stages with theatrical producers like Walpurgis and Post uit Hessdalen, dancers such as Ecce and with the musicians Fred Frith, Stephen O’Malley, Shiva Feshareki, Rudy Trouvé, Mauro Pawlowski, Larry Polansky, Eric Thielemans, Yannis Kyriakides, François Sarhan, Serge Verstockt and Stefan Prins. These projects have not always translated into records, but they have been decisive in creating a unique musical approach. In 2015, when Zwerm was asked by De Handelsbeurs to collaborate with Fred Frith, they proceeded to pen a few new musical sketches over which Firth sublimely improvised. In 2018 ‘Badminton in Tehran’ was released, their first record that was made up completely of only the group’s compositions.
“a basket full of buttons here
and if you push the wrong one: fear
and if you push the right one: love
or maybe none of the above”
The route that Zwerm has taken is often defined by the question “What if... ?” - like a dart thrown at a musical map, not quite blindly, but naive enough to lead to unexpected endings.
“What if we play Renaissance pieces written by John Dowland, but instead of playing lutes we play these tunes with a Telecaster – and then jam it through effect pedals and an amplifier?”
“What if we connect one hundred guitar pedals and just leave our guitars at home?”
“What if we record a record with ten different one-page-pieces that we found on the Internet?”
In 2020 our metaphorical dart landed on “What if we tried microtonality?”.
‘Microtonality’ sounds a bit creepy, but actually there is nothing to be afraid of: there are no out-of- tune notes, just alternate notes. On the continents where Western musical theory is less stringently applied, microtonality is the rule, and has become the subject of many deep and thoughtfully written theories. However for Zwerm, this phenomenon occurs in many, often surprisingly lighthearted forms. A dilapidated piano that has settled into a beautiful microtonal tuning of its own accord, enthusiastic choral singing, a guitar whose three strings are tuned a quarter-tone higher, a saz (Turkishquarter-tone lute), a maddening guitar pedal, ...
"the dreams they were convicted for telling only lies reality came after for claiming to be wise what you don’t see is what you get just never light a spark I’m a crow in the dark”
“And… what if we work with a drummer?” Enter Karen Willems - dummer, extraordinaire, and ardent player in groups, projects and collaborations galore. One chance meeting and the deal was done. It was obvious before the start that Willems was the versatile and creative percussionist-in-a-toy-store necessary for this project. And in the studio, to our delight, she demonstrated an easy dexterity when switching quickly from one idea to the next.
At the reins behind the scenes was producer Rudy Trouvé, who – during previous sessions for ‘Badminton in Terhran’, when the classically trained guitarists went completely off the rails, staring deeply and forlornly into their scores, looking for answers – was able to pinpoint the problem and get the wagons rolling in the right direction again. Completing the team were Mark Dedecker (recording)and Joris Calluwaerts (mixing).
The results are in and it’s called ‘ Great Expectations’ – a title that, in several ways, fits perfectly with these strange times.‘Great Expectations’ goes wide! Zwerm is at its best when it can run along the borders between style and across traditions that otherwise would not necessarily intersect. The most straightforward rockers have a proggy tinge while the dreamy psychedelic songs lean more toward Richard Youngs. And if a nice melody dared come to close to becoming a ‘Kit-Katjingle’, then barbs-a-la-Pere-Ubu were trailed, tracked, found and promptly embedded. ‘Heavy Machinery’ sits neatly somewhere between Captain Beefheart and Richard Wagner, and ‘On My Way To Aguno’, set to an Iranian folk song chord progression, grew into a hyper-personal lullaby. Zwerm used the saz (Turkish lute) and the sinter (Moroccan gnawa bass instrument) without falling into pastiche psychedelia, but you can still sense the orient.

Objets Trouvés
1 – ein Alltagsgegenstand, der zum Kunstwerk gemacht wird, indem der Künstler ihn findet, seiner bisherigen Funktion entledigt und ihn als Kunstwerk behandelt.
2 – ein Album von Twit One mit 16 Songs, inspiriert von verschiedenen Situationen und Sounds. Die Gästeliste wird geschmückt von Reginald Omas Mamode IV aus London, Kurt Wagner (Lambchop) aus Nashville und den Kölner Artists Keshavara und Imam Ally Salaam. “Objets Trouvés” ist Twit Ones drittes Soloalbum bei Melting Pot Music. Wenn wir seine Projekte mit Hulk Hodn (als Testiculo Y Uno), den Summers Sons (als Syrup), Lazy Jones (als Flatpocket), Count Bass D und Fleur Earth dazuzählen, dann blicken wir auf 10+ LPs zurück (LP steht für Longplayer; die Betonung ist uns wichtig, da wir jedes Twit One Album auf Vinyl releasen). 2009 startete Twit One das Beat-Game in Deutschland zusammen mit seinem Weggefährte Hulk Hodn. Twit One war Lo-Fi lange bevor Instrumental-Hip-Hop zu Coffeshop-Musik wurde (Wun Two und FloFilz können das bestätigen), obwohl er seinen Sound niemals mit einem solchen Begriff beschreiben würde. Heute spielt Twit One in seiner eigenen Liga und hat einen Ausdruck eigens für sein Genre geprägt: Cool Bap. Er ist ein Beats schaffender Tausendsassa, der Musik, Artworks und Videos kreiert. Er ist Musikkurator, DJ, Radiohost und betreibt einen Plattenladen (Groove Attack Recordstore in Köln). Auf der Suche nach „Beats to chill or study to“ wird man bei „Objets Trouvés“ nicht fündig. Bei einer Vorliebe für Musik, die ausdrucksvoll und vielseitig ist, eine Botschaft transportieren kann und ihre Wurzeln kennt, sollte „Objets Trouvés“ zum Standardrepertoire werden. Unterstützt von einem Team aus grandiosen Gästen – von Londoner MC/Sänger Reginald Omas Momade IV bis zu Kurt Wagner von den US-Alternativ-Rock-Ikonen Lambchomp – vereint Twit One Hip-Hop, Soul, Jazz und Funk wie nur er es kann. Untangiert von Trends und Moden ist sein Sound charakterisiert von Humor und kompromissloser Eigensinnigkeit, besonders empfehlenswert für Fans von Sun Ra, Dilla oder Moodymann (um nur ein paar der GOATS zu nennen).

A year characterised by a pandemic, lockdowns, political ineptitude and oh, so much staying the fuck at home is enough to make anyone want to blow off a little steam. One overused piece of glib idiocy at the start of the Trump era was 'at least punk will be good', as though punk can only be good when it flips the bird to right-wing, authritarian shit-headery rather than amplifying anything else. Sure, there've been plenty of great records over the last four years, but sometimes (across the whole of 2020, for instance) the levels of anger, fear and frustration can be overwhelming and you need a little space to goof around. For some of us, though, goofing around is serious business - and here's a record to illustrate that perfectly. Smirk is the solo project of Public Eye's Nick Vicario, and while you'll hear similarities to his main outfit across these 12 excellent tracks (from the off, you can imagine how PE might refine garage-carved nuggets like 'S Construction'), here there's less sang-froid and more_ well, fun. The reference points you might expect are still there (Killed By Death comps and Wire, especially their 80s period, to name a couple), but with added scuzz and something even approaching joy - the whirling synths of 'Eyes Conversing' feel ominous, but they also convey a sense of delirious excitement. And dammit, it's all fucking cool too. With a name like Smirk, your first instinct might well be to wonder whether Vicario is laughing at us. The first line of the album (a defiant 'it's not funny') should tell you that this isn't the case, but the album certainly finds him in playful mood. The tasteful acoustic instrumental 'Lude 2' descends deliberately into farce as it speeds up and slows down like a turntable alternating speeds, or a record warping in real time.

Infernal Love is the third studio album by Irish alternative metal band Therapy?. It was released in 1995, just one year after its successful predecessor Troublegum. Infernal Love proved to be a success as well: even though its sound marked a dramatic shift from previous releases, the album was lauded by critics. Kerrang! magazine gave it
5 out of 5 stars, as did Q Magazine. The album features the international hit single “Diane”, a cover of the American punk band Hüsker Dü, which is noted for being laden with ambient strings. “Misery”, “Stories”, “Loose” and “Bad Mother” were also released as singles in different markets.

It’s hard to believe that it’s been over 30 years since Candy Dulfer rose to fame with her high-profile collaborations with Dave Stewart (the worldwide number 1 smash “Lily was here”) and of course the legendary Prince, whose tongue-in-cheek recommendation (“When I want sax, I call Candy”) in the “Partyman” video made the world sit up and notice the young, glamorous and talented sax player at his side. Candy has been fortunate to work - both in the studio and on stage - with some of the biggest names in music, including Van Morrison, Maceo Parker, Sheila E., Mavis Staples, Lionel Richie, Beyoncé, Pink Floyd, Chaka Khan, Aretha Franklin, and many others. Despite these high-profile collaborations, Candy mainly focused on her solo career, starting her own band at age 13 and touring the world ever since.

Ennio Morricone composed and arranged scores for more than 500 film and television productions, making him one of the most influential and best-selling film composers since the late 50s. The Legend of 1900 (Italian: La leggenda del pianista sull’oceano).

The Legend of 1900 is a 1998 Italian drama film directed by Giuseppe Tornatore and starring Tim Roth, Pruitt Taylor Vince, and Mélanie Thierry. The film is inspired by Novecento, a monologue by Alessandro Baricco. The Legend Of 1900 was nominated for a variety of international award, winning several for its soundtrack, including a Golden Globe for Best Original Score - Motion Picture. This release includes the song “Lost Boys Calling” featuring Roger Waters & Eddie van Halen.

Throughout his career, Morricone received an unprecedented amount of awards, including Grammys, Golden Globes, and BAFTAs. Ennio Morricone has influenced many artists including Danger Mouse, Dire Straits, Muse, Metallica, Radiohead, Hans Zimmer, and many more.

The Legend of 1900 is available limited edition of 5000 numbered copies on smoke coloured vinyl. The package includes an insert.

Previously unreleased live recording of the great tenor saxophonist Dexter Gordon, alongside a star-studded line-up - bassist Niels-Henning Ørsted Pedersen, pianist Tete Montoliu and drummer Alex Riel performing at the classic Copenhagen venue Jazzhus Montmartre, which has now closed. Four tracks from this recording are now available on vinyl for the first time.
Dexter Gordon (1923 - 1990) was an American jazz tenor saxophonist and an Academy
Award-nominated actor (Round Midnight, Warner Bros, 1986). He is regarded as one
of the first and most important musicians to adapt the bebop musical language of
people like Charlie Parker, Dizzy Gillespie, and Bud Powell to the tenor saxophone. His
studio and live performance career were both extensive and multifaceted, spanning
over 50 years in recorded jazz history.
“Gordon was in great form, and his supple, mercurial style, with a tendency to phrase
just behind the beat, would have been pretty demanding, but Riel, Montoliu and
Ørsted Pedersen rise splendidly to the occasion. You can tell that Gordon feels at home
from the number of outrageous quotations he inserts into his solos, but the warm, dry
breadth of his tone, clarity of improvised line and sheer command of the instrument
are uplifting.” - The Observer

Despite the fact that we are all still hanging in there, 2021 kicks in heavy in style for CHILDHOOD with a killer 4-tracker 12" release by DON WILLIAMS. Thomas and I met a while ago on a dancefloor, however our friendship sealed for good when we met online playing endless Splatoon sessions on Nintendo Switch. Our common interest in a broad range of things and music in particular led to a deep exchange of ideas when it comes to the love for the vinyl product. Having started the label last year with DJ DEEPs VAINCRE EP, I can surely state that Thomas was kind of a mentor and of countless help when it comes to setting things up. I therefore couldn't be happier and more thankful to welcome him to the CHILDHOOD family with BLITHE SPIRIT, a true masterclass EP ranging from experimental and complex rhythms, over driving dancefloor madness to soulful early morning ecstasy cuts. The first 100 copies come in marbled red vinyl. Be sure to grab a copy and while listening to it at home, having in mind that these grooves will tear dancefloors apart in a not so distant future. WE SHALL DANCE TOGETHER! - David Muallem

Fresh off of their 2020 offering Adult Themes, El Michels Affair is back with a new full-length release. Titled Yeti Season, this newest album has everything we've come to expect from EMA's patented cinematic style of instrumental soul music. Where Adult Themes inspired a soundtrack to an imaginary film, Yeti Season brings us to a different place in time_with new inspirations. Taken with Turkish-styled funk and an almost Mumbai-esque take on soul, El Michels Affair offers us a different kind of drama and imagination with Yeti Season. If you've been following along, this shouldn't be viewed as too far a departure for El Michels Affair. The first single off of Yeti Season showed their hand back in 2018. A double-sided banger, that release brought the musical textures to the fore that dominate this record. The first song, titled "Unathi," is fully realized with the beautifully haunting-yet-hopeful vocals of Piya Malik, formally of 79.5_another Big Crown artist. Singing in Hindi, Piya's ethereal voice is telling us to work and strive together toward progress. Even if you don't understand her language, you can still hear the urgency of purpose, creating a lasting vibe that sits on top of it all. Leon Michels explains that Piya had a vital influence on this record: "When Piya started singing in Hindi, she had a different voice, a different tone. I knew we had to do something together." And so Piya appears on three other songs on Yeti Season: "Zaharila," "Murkit Gem," and "Dhuaan." Each providing particular signatures to the album. "Zaharila" is a building and changing love song punctuated by blaring trumpets, driving drums, and Piya's pleading lyrics. While the more upbeat "Murkit Gem" opens with a fuzzed out, Wu-Tang-esque baseline that buoys Piya's stylings. The psychedelic guitar and Piya's changing tones and textures singing about an all-consuming love are what pushed "Dhuaan" on to the second single from Yeti Season. There is also a vocal appearance from Shannon Wise of The Shacks, yet another Big Crown artist. Her song called "Sha Na Na," lies more in the familiar EMA vein: melodic, hypnotic, soulfully visual. But between Shannon's airy singing, the jumpy baseline, moody vibes, the active drum lines, it sounds like a pensive walk home after a strangely dramatic night. So what is Yeti Season? It could be more of a feeling than an actual place or time of year. It's a heavy album_as evidenced by the signature musicianship and dramatic vocal expressions. But it's also a hopeful record, with phrasings, textures, and chord changes that hint at something better_or fuller_coming our way. You hear it in songs like "Ala Vida," with its stabby, pulsing chords laying a bedrock for EMA's bright, atmospheric horn lines. Or even in "Fazed Out," which leaves you with a feeling of determination, a striving for resolution even though the driving, march-like song structure should accompany some conquering army. This persistence has to come from the fact that Leon Michels and company finished this record during the lockdown. It was a tough and troublesome time. But look at what has come of it: Yeti Season_a record of high and heavy drama, but also one of hope and promise. It may take a year like 2020 behind us to find hope in a winter big footed creature like a Yeti, but that's where we are.

We're back with our 5th release! This time it's the certified dancefloor weapon by Alonzo Turner ‘Whoever Said It?’ Released on a 7 inch with a part 1 & 2, this record has been played on dancefloors worldwide by such players as Rahaan, Sadar Bahar and more, with those selectors favouring the part 2 in the most euphoric moments with that incredible vocal half way through. The record has remained hard to come by for most so we are thrilled to have this one out there as an affordable and great sounding reissue.

Remastered as always by Frank at The Carvery and this time released with a vibrant company sleeve and a baby yellow label on the 7 to match the original.

"Alonzo Turner was born in Northern California in 1955 and was introduced to music by his church, of which his father was pastor. As a young adult, Turner moves to West Hollywood and at 23, he starts to manage a local rock band while working day and night to write what will turn out to be his first and only release, ‘Whoever Said It’.

The song catches the attention of Dave Crawford, A former producer at Atlantic. Like most stuff on Crawford’s label, LA Records, the single never makes it to the charts but helps Turner make a name for himself in L.A. and Orange County where he performs often. There is only speculation about what happened to ‘You’ve Got Something’, the LP on which the song was meant to appear, but five years later Alonzo ends up writing an eponymous piece for Norma Lewis (Shakatak, Charade) on her debut album ‘It’s Gonna Happen’.

In 1984, struggling to make ends meet from his music career, Turner takes a part time job at a record store, while also pushing garments to an elite clientele in Beverly Hills, even selling clothes to one of Michael Jackson’s designers. In 1991, aged 38, Alonzo Turner will pass away from illness.

Written by a loner who lived in a modest flat filled with antiques and expensive art pieces, ‘Whoever Said It’ is a testament to the idea that love does exist beyond our imagination. While asking who is to blame for spreading the opposite theory, Turner makes this simple yet compelling argument to debunk it: emotions are a motor of action, they literally set us in motion and therefore reality derives its very momentum from them."

LP with download code!!!

SUPERSAN is the brainchild of Panama Cardoon and Mister Kentro. The dedicated party starters of the greek nightlife came up with this genre bending project and ever since they performed in festivals and venues in Europe, Africa and Asia, had their music featured in documentaries and their tracks supported by BBC Radio among other stations worldwide. A fusion of dancefloor oriented – future electronic beats and earthly exotic rhythms from across the globe directly from Athens, Greece.

The duo started working together with the idea of uniting the Tropical spirit with the Caribbean and Jamaican styles, all blended with electronic contemporary beats.

Forthcoming on Galletas Calientes Records, “Enter The SAN” is a powerful opus, a deep and electronic journey to the high frontiers of North Africa, Southern Europe and Middle East; Undoubtedly the Greek duo’s best achievment so far.

Crafted with an ear towards contemporary appeal, “Enter The SAN” consists of 10 instrumental tracks with straightforward structures and sophisticated melodies. It typically uses heavy percussion to accent modern and diverse four-beat drum patterns, prominent and often melodic electric bass-lines and distinctive chord progressions. Pop and electronic production and mixing techniques are clearly audible throughout the whole album, harmonically uniting the traditional instruments with the modern string sections and vocal samples chops.

Superb Gatefold delux editioon of a magic ambient to ambient-core sound... Ritch and conceptual music... Out from the fields and upper than any montaign... this is This tale is written inside the gatefold : The Bandiagara Escarpement unravels for more than 400.000 hectares, multitude of sandstone cliffs and plateaus, ravines and caverns. A West African area of unique and exceptional beauty also known as the Land of Dogon.


Summer night is fading away when the Hogon Kalapodis stands up abruptly after days completely motionless staring at the stars through the openings of the Kukulu Kommo Cave. Time has come. The heliacal rising of Sirius is getting nearer. Aware of the power of the word to bring everything into existence by naming, the Hogon reaches with a resolute pace the Polio Kommo Plain where his ancestors wrote in stone the past and future of mankind. There he finds the Awa fully deployed in two lines, the oldest standing and the others sitting before them. Dressed with braids of dyed fibers and embroidered with cowry shells, figures of mythological beings, humans, animals hold the painted wooden masks tightly between their teeth. Behind them, the whole tribe stood around the rock ark in the kanaga position : legs well planted in the sandstone, arms waving to the lightening sky.
Just a nod and Nogod, the most skilled percussionist, starts a solo on his Gom Boy. First he keeps on repeating over and over the same obsessive pattern and then, squeezing the leather chords of the talking drum with arm and body, he modulates the frequency produced with the beats originating from the rest of the tribe. The last Dama has just begun.

The end of the mourning ritual is now looming over the cliff. Hundreds of Boy Na and Boy Tolo and Gom Boys jam together with bells and bullroarers and all the singers. The masked crews jump and dance quickly in sonic belligerence and the faster they cross one another, the more the rhythm accelerates.
Drumming gets supersonic. No longer possible to detect a percussive sound, only a single powerful Black Drone. Super fast music becomes super slow.


In the light of dawn, looking at the horizon, Sigui Sirius A Tolo is now rising. Also its dark companion Po Sirius B Tolo is over there and far away a new New form is taking shape. Nogod standing right at the middle of the vibing tribe, whispers sweetly something but somehow in all that rumble everybody hears clearly the name : S………I………R………I………U………S………C

Who is Harvey Couture? Some say he’s a survivor of French pop music’s sun-soaked synth-pop era of the early 1980s, others that he’s a more suave and stylish Serge Gainsbourg for the nu-Balearic era. There were even rumours circulating that he’s a musical mobster from the Cote D’Azure: a shadowy member of the mafia who deals in synths, drum machines and fretless bass guitars rather than guns, money and drugs. In truth, not even Leng Records knows much about the man behind the moniker, though his vividly kaleidoscopic, retro-futurist debut album, Scellé En Cristal, does offer a number of crafty clues. Whether listeners will make the necessary deductions to solve the mystery remains to be seen; regardless, it’s the music that matters, and on that score Scellé En Cristal simply cannot be faulted.

Rich in humid, afternoon-bright musical delights, the set sees our publicity-shy hero mix and mangle a multitude of musical influences – think proto-Balearic European synth-pop, Prince style purple funk, immersive ambient, early INXS style synth-rock, the electronic end of zouk and much more besides – with constantly colourful and imaginative results. Couture is most at home adding his variously seductive, sexy and sleazy vocals to bubbly, upbeat and mid-tempo numbers that combine delay-laden drum machine beats with surging synths, fluid bass, stylish guitars, lashings of leftfield pop nouse and plenty of tongue-in-cheek Gallic flair.

For proof, check the throbbing, off-kilter alien-funk throb of ‘Les Portes De La Perception’, the bustling, percussion-laden cheeriness of ‘Crème Solaire’ and the loose-limbed, toe-tapping brilliance of ‘Je Nes Peux Pas’, where chiming, steel pan style melodies and pots-and-pans percussion hits jostle for position with sliding fretless bass notes and flash-fried guitars. Check to ‘Passion’, a swaggering slab of bustling electrofunk/synth-rock fusion rich in ‘Rockit’-style scratches and restless synth-bass. The influence of languid, sunset-ready European pop records of the 1980s – those cuts that would later become sought-after amongst dusty-fingered collectors of Mediterranean music – is another recurring feature of Couture’s cultured but joyous debut album. It can be heard amongst the drowsy guitars, yawning bass and tumbling lead lines of ‘Look Within’, the pleasingly laidback ‘Invincible Line’, the elastic bass, fluorescent synth sounds and stuttering machine drums of ‘Marche’.

Yet Couture is no one-trick pony. Horizontal and loved-up moments of a more downtempo hue can be found scattered across the album, with the enveloping ambient awe of ‘Les Portes’ – all swelling chords, gentle melodies and atmospheric field recordings – and slowly unfurling ‘Whale Song’ both lingering long in the memory. Harvey Couture may not be ready to step out of the shadows just yet, but his music most certainly is. We have a feeling that Scellé En Cristal is just the start of the mystery monsieur’s musical journey.

10Questions is a record label by Dam Swindle's Lars Dales and graphic designer Bas Koopmans. The first release promises a lot for the coming series with signing the first EP with Demi Requisimo. Demi is one of the rising stars in dance music due to his energetic tracks and signature style, combining italo and electro with chopped up disco samples from around the globe.

The EP starts of with it's namesake track. 'Dictionary of fools' is a great example of Demi's knack for creating dancefloor bombs. The razor sharp bassline cuts through the track like a knife through butter but it's the female vocal that covers the track like a warm blanket. This track will get anyone's blood pumping and makes you wish you heard it first on a sunny festival.

'Noisey Cricket' ventures more into the 80's proto-house territory with it's distinctive drum programming and italo style bassline. The pads and vocal chops elevate the track to another level and underscore Demi's nose for finding just the right balance between electronic sounds and samples.

The final track of the EP, 'Atomic' is one of those tracks that sneak up on you. Demi takes a ballsy approach and let's you wait a full 3 minutes before the bassline comes in but lord it has never sounded sweeter. This is a party starter if you ever heard one and a beautiful example of how well Demi understands crafting a deceptively simple track with maximum impact. A master of his craft.

10Questions is a label build on the concept that the record and record sleeve are an integral part of the full experience of an EP. The artist is given a questionnaire and depending on his/her answers the artwork is made. This way the music and art co-exist in the same creative universe, that of the artist and the label alike.

Yellow Splatter Vinyl
The mind behind Fundamental Records and Electro Records release his first EP after the his last Electric Eclectics and CPU releases. Pure analog machinery, triggered sequencers by old drum machines. Very limited units on colored vinyl, packed in a really nice way as we have come to know by the Fundamental crew.

Slowly but surely, the Dom Trojga saga continues, and there could hardly be a more fitting way to start off its next chapter than with jamaszka FT's untitled extended play offering. Conceived and executed entirely during lockdown rule, the record is a pointed expression of the angst and confusion that we all fell prey to - aimed at a dancefloor that was not to be, yet delivered with a gripping honesty that in itself offers consolation. Difficult to pinpoint stylistically, the music shifts from dense to sparse, with hazy un-rave anthems, hints of fourth-world minimalism and hazy, dreamscape echoes - all in keeping with the protean genius of jamaszka FT himself, who remains one of the most spontaneous, and idiosyncratic, if somewhat cryptic, artists that populate our scene. In keeping with this very aura, we had Miko?aj Moskal take care of the cover art - a distinctive stylist if there ever was one, his work constitutes a language of its own, traceable across his incredible output. Play this record to your friends and family and keep hope alive.

This highly collectible LP from 1974 is a nonstop salsa dura party album from start to finish, comparable with any of New York's finest like Ray Barretto and Willie Colón from the same era, but with its own unique sound and joyful vibe. Includes the anthems 'Mi Nuevo Ritmo' and 'Alma y Sentimiento/ Soul and Feeling' recorded at different sessions in Colombia and Peru. Presented in its original artwork and pressed on 180g vinyl. The highly collectible LP Alfredo Linares Y Su Salsa Star "Mi Nuevo Ritmo" (1974) is a nonstop salsa dura party album from start to finish, comparable with any of New York's finest like Ray Barretto and Willie Colón from the same era, but with its own unique swinging sound and bright, crisp, joyful vibe. There are plenty of straight up Cuban-roots based salsa tunes, plus some Latin jazz and Latin soul and a bolero. Trumpets, hand claps, loud cowbell, and vigorous vocals all make for a great listen and an even better dance experience. As the track 'La Música Brava' proclaims, "Yo no quiero que pare la música brava!" (I don't want the badass music to stop!). The record is actually a patchwork of different recording sessions made in Peru and Colombia, featuring differing studio sound and musician lineups. Linares had just returned to his adopted home of Medellín from a period spent in Peru and was looking for a record deal. He had brought master tapes with four songs recorded in Lima and was shopping them around in the hopes of securing an album contract. Linares also cut some Colombian sessions which feature Roy "Tayrona" Betancourt as well as Henry Castro and Enrique Fabián. Unfortunately, neither Discos Fuentes nor Sonolux or Codiscos were interested. At that time, vinyl for making records was scarce and over-priced due to the petroleum crisis and hence the labels were reluctant to try out a new artist. "There was nothing to be done. The only company that had vinyl stock was INS. So I did the business with them even though they didn't have a known name in Colombia. The strength of that album made them rather famous." The song 'Mambo Rock' (with 'Estricto Guaguancó' on the B side) came out on a 45rpm record in 1974, and, as Linares recounts it, "two months later the sale was at a very high level. So, partly out of gratitude, I started producing for them. It is from there that my other records and the AfroINS albums came." Unfortunately the master tapes to the LP were lost or destroyed, as with all INS releases, so the best possible vinyl sources and audio restoration has been used for this deluxe reissue.

Sam Gendel’s new album, DRM, is the follow-up to his Nonesuch debut, Satin Doll, released earlier this year. DRM features Gendel’s solo musical experiments with vintage instruments such as a forty-year-old Electro Harmonix DRM32 drum machine, antique synthesizers, and a sixty-year-old nylon-string guitar — accompanied by his voice. While Satin Doll was a futuristic homage to classic jazz, DRM includes just one cover song: Lil Nas X’s ‘Old Town Road’, which Gendel interprets as an instrumental, playing the melody on an old German analogue synthesizer. The album’s accompanying short films were directed by Marcella Cytrynowicz and filmed at various locations around Gendel’s home state of California during COVID lockdown.



“I’m imagining people listening to DRM and thinking, ‘What the hell is this?’, like they’d just encountered some sailing ship in the sky,” Gendel says of the new work. “I imagine it as if someone many years into the future listened to the popular music of today and then tried to recreate it, without any of the tools or the understanding. Stylistically, it’s not too far from so much contemporary pop-rap music that you hear on the radio. A lot of those electronic backgrounds and instrumentals you hear today are tending towards something really out-there and experimental. It’s rhythmic and pointillistic, collaging different, seemingly unfitting elements together in cool ways. The visuals aren’t necessarily dictated by the music, but they both share the same slightly surreal feel, like I’m a video game character, inhabiting all these different backgrounds,” says Gendel.



Gendel is best known as a world-class saxophonist — it’s the instrument with which he’s led most of his bands, as well as the instrument on which he’s guested with the likes of Vampire Weekend, Ry Cooder, Moses Sumney, Sam Amidon, and Louis Cole’s Knower — but DRM is saxophone-free. “There was no active effort on my part not to include it; it just wasn’t part of the equation when I started recording it,” he says. “I just found a formula, working around this DRM32 drum machine, and rolled with it. I don’t consider myself just a saxophonist, I’m just someone who works in music.”



DRM was recorded in one sixteen-hour session, and then manipulated by Gendel with electronic percussionist Philippe Melanson. It was mixed by Blake Mills, and mastered by Grammy-nominated engineer Mike Bozzi. Gendel’s previous discography includes 2018’s Music for Saxofone & Bass Guitar with bassist Sam Wilkes, 4444, and Satin Doll, which the Los Angeles Times called “a woozy, blissfully twisted album.” He also performs on two other Nonesuch releases this month: Joachim Cooder’s Over That Road I’m Bound and Sam Amidon’s new self-titled album.

Eutropic are an avant-pop outfit obsessed with analog synths and the concept of time.

DARK AGE DAY DREAM is a concept record that obsesses over the nature of time! It’s our attempt to make sense of reality, so it’s full of contradictions and ambiguities. It's a sonicjourney, which takes the basic idea of synth-pop and then turns it inside-out, side-ways and upside-down. By intuitively connecting dots between synth-based musics – late 70s classic electronica, Cold Wave and New Wave as well as all types of iterations of techno – Eutropic created a singular amalgam of sound: simultaneously dance-floor friendly and the perfect companion to deep introspection.

'Dark Hands, Thunderbolts' is Devon punk-roots trail-blazers, Crazy Arm's fourth album for Xtra Mile Recordings, and comes cold on the calves of 2013's 'The Southern Wild'. A return to the rowdy guitars, epic choruses and Americana twang of their first two albums, this collection of songs finds the band in a reflective but no less indignant mood. Despite spending only three weeks in the studio, it took the band four years to complete. 1ST SINGLE: Brave Starts Here - 20th November 2020 The lead track from the album, 'Brave Starts Here', will be available to stream/download from 20th November (with an accompanying video from film-maker, Russell Cleave). Rigorously road-tested, 'Brave Starts Here' is a breathless ode to heartbreak, loneliness, ageing and self-determination, occupying that sweet spot between bluegrass and punk rock. It's also a tribute to their good friends and label-mates, Larry & His Flask. 2ND SINGLE: The Golden Hind - 11th December 2020 Second single to be lifted from the album and is an acerbic take on the band’s Brexit majority hometown. Punk rock riffola, Appalachian harmonies, syncopated rhythms and anthemic singalongs. 3RD SINGLE: Fear Up - 15th January 2021 The third single out before the album’s release ‘Fear Up’ betrays the band's oft-mentioned fondness for Ennio Morricone, Murder By Death and Constantines with a strong cinematic influence fused with their trademark riffs and choruses. FOCUS TRACK FOR ALBUM RELEASE: Blessed & Cursed - 29th January 2021

'Dark Hands, Thunderbolts' is Devon punk-roots trail-blazers, Crazy Arm's fourth album for Xtra Mile Recordings, and comes cold on the calves of 2013's 'The Southern Wild'. A return to the rowdy guitars, epic choruses and Americana twang of their first two albums, this collection of songs finds the band in a reflective but no less indignant mood. Despite spending only three weeks in the studio, it took the band four years to complete. 1ST SINGLE: Brave Starts Here - 20th November 2020 The lead track from the album, 'Brave Starts Here', will be available to stream/download from 20th November (with an accompanying video from film-maker, Russell Cleave). Rigorously road-tested, 'Brave Starts Here' is a breathless ode to heartbreak, loneliness, ageing and self-determination, occupying that sweet spot between bluegrass and punk rock. It's also a tribute to their good friends and label-mates, Larry & His Flask. 2ND SINGLE: The Golden Hind - 11th December 2020 Second single to be lifted from the album and is an acerbic take on the band’s Brexit majority hometown. Punk rock riffola, Appalachian harmonies, syncopated rhythms and anthemic singalongs. 3RD SINGLE: Fear Up - 15th January 2021 The third single out before the album’s release ‘Fear Up’ betrays the band's oft-mentioned fondness for Ennio Morricone, Murder By Death and Constantines with a strong cinematic influence fused with their trademark riffs and choruses. FOCUS TRACK FOR ALBUM RELEASE: Blessed & Cursed - 29th January 2021

solid white vinyl / 180 grams

British Electro veteran Bass Junkie returns for his second vinyl outing on Bass Agenda Recordings, this time with a full-length album. As his last release, "Low Frequency Fugitive" indicated, he has been working hard on developing his trademark sound and taking things forward; no mean feat for someone who has been ahead of his time since he began releasing Electro in the mid-nineties. He has succeeded though and everything he is loved and respected for is here, plus some advanced structures and elements - Bass Junkie evolved - a true Sub Sonic Survivor. The harder edge is here in tracks such as "Blast Them to Infinity!" and the insanely hard kick of "Star Destroyer". His funkier side shines through too, in tracks like the shimmering space funk of "Rum and Raspberries". For fans of his exceptional vocal work there are treats in store too, particularly in the aggressive attack on the modern state of things that is "Reset".

Armellodie Records is proud to present 'whence, the', the new album from Thirty Pounds of Bone aka, Johny Lamb. 'whence, the' is the sixth full-length album by Thirty Pounds of Bone and the third in a series of records that play deliberately with the affordances and problems of studio recording. 2015's 'The Taxidermist' was awash with huge, constructed ensemble pieces, 2019's critically-acclaimed, 'Still Every Year They Went' was recorded live, at sea, on a commercial fishing boat, and this last takes Johny Lamb's fascination with analogue synths further than before using Eurorack modular synths as the bedrock for each song. The result of working in this way is of course, that many of the parts on the record are all but impossible to recreate; the nature of the patches being built in the moment, captured, and undocumented. This time around Johny has focused on the tiny details of sadness, largely inspired by the events of 'A Story of Long' where the central moment of the song is observing a close friend pouring his husband a glass of water in a hospice, just some few hours before his death. This was an intimacy and time that Johny did not expect to be a part of (the album is dedicated to the couple in question). But this stirred a way of thinking about how huge events are often typified or defined by very small gestures or happenings, and each of the tracks here comes from that place. Be it the existential crisis brought on by stripping wallpaper in 'Woodchip', how a single day might signify the end of a long relationship ('A Note to Myself'), or the miniature resignations to compromise we make in professional life which eventually overwhelm our very identity ('The Cynical Start to a Jaded Career #1'). Johny's lyricism and composition remain oblique but touching, and these songs of little moments of sadness, regret and grief are built to remain small. They are paradoxically content in their sorrow and should perhaps be kept as companions to similar feelings. "Organic and immediate. Music you can touch with your fingertips" The Irish Times // "Talent to appeal far more than only folk fans alone" Record Collector // "Exquisite index of gin-soaked desolation.... Lamb sings like a man unable to see beyond keeping a stiff upper lip to the end of the song. Even if he manages it, you might not." Mojo

For two decades Sara Watkins has been one of the
most visible artists in roots music, with her
catalogue ranging from solo albums and Watkins
Family Hour, a duo with her brother Sean Watkins,
to her Grammy-winning bands Nickel Creek and
I’m With Her.
With the nostalgic and gentle new album ‘Under
the Pepper Tree’, Sara Watkins offers a comforting
record for those moments as daily rhythms fade
into nightly rituals and when a child’s imagination
comes to life.
Made with families in mind, the personal project
encompasses songs she embraced as a child
herself, as well as the musical friendships she’s
made along the way. Recorded in Los Angeles with
producer Tyler Chester, ‘Under the Pepper Tree’
brings storytelling, solace and encouragement to
the listener, no matter the age.
LP in gatefold sleeve.

Since his 2012 debut as Heathered Pearls, Jakub Alexander has constructed art — music, objects, installations, performances — as a way of re-imagining fragments of his past and mapping ideas for his future. The Polish-born, Michigan-raised, New York-based artist and producer sees imagery and narrative framework as fluid components to his craft. Alexander’s first album, Loyal, mimicked the hypnotic motions of ocean waves at night, offering melodic, loop-based ambient music as a tribute to the tasteful influence of his mother and aunt. The second Heathered Pearls album, Body Complex, found inspiration from comfort, imperfection, and visions of interior architecture, transforming Loyal’s soft textures into driving 4/4 figures, glacial tone drifts, and starry synth plateaus. His 2017 EP, Detroit, MI 1997 - 2001, reflected on a formative era through ephem- eral dance music. The third Heathered Pearls full-length,


Cast, returns to moodier loop formats joined by the distinctly new presence of the spo- ken word. The move mirrors the multitudes of its namesake: collaborators comprise a cast, healing in the bind of a cast, complex emotions and the shadows they cast. Alexander started work on Cast when living in Berlin and in Queens.

“I hit a wall listening to these tracks when they were instrumental.” This is where he diverged from previous modes, deciding to integrate speech. With a healthy distaste for aspects of performance art, he invited strictly non-scripted recordings, a series of anti-performances. This new format adds a surprising human element to music that has previously operated as sea-shapes or infrastructure. These flashes of language, Alexander’s close friends speaking about things, narratively and cerebrally, casually and profoundly, turn the distinctive Heathered Pearls sound into some- thing surprisingly gritty, tangible, and in certain sweeps, cinematic. It is as if the world outside of these compositions bleeds into the music, casting their verbal being from just off the surface, like the album’s cover artwork where the light hits the plexi object but misses the wall.

Alexander sees his covers as naturally unfinished workstations; the gauzed and patinaed copper on Cast continues in this philosophy. This is all to say Cast deals with absence as much a presence. Among the guest storytellers is Alexander’s friend and tourmate Nick Murphy (formerly Chet Faker), who unwinds a series of tender observations on “Basic Needs.” The swirling synthesizer immerses a series of empathies; feeling like an egg yolk, a window’s view, his love for the color yellow, and wanting yellow to love him back.

We kick start the return of Wigflex records with a brand new release from first time flexer and Nottingham's biggest blades fan... Son of Philip. Inspired by the story of how Cans drummer Jaki Liebezeit was once told to "play monotonous" during the LSD-induced ramblings of a fan; and the experimentation into repetition which followed.
We first heard Rubber Stamp during a wonky walk around Dam in the early hours of the morning, it made perfect sense then and still makes perfect sense now. King of hazy, crystallised electronics Actress steps things up a notch and takes the ep away from a Hoffman-esque bicycle ride and onto the dance floor.

This year marks the tenth anniversary of the theatrical release of Universal Pictures’ Scott Pilgrim vs. the World. The film adaptation by director Edgar Wright (Hot Fuzz, Baby Driver) of Bryan Lee O’Malley’s graphic novel series stars Michael Cera, Mary Elizabeth Winstead and Kieran Culkin and has since become a cult classic due in no small part to the use of music in its storytelling. The soundtrack album and score were originally released in 2010 by ABKCO Records.

Each side of each LP is graced with an image of one of the “Seven Evil Exes” characters from the film, with an image of Scott Pilgrim with Ramona Flowers on the eighth side. This marks the first time ever that Godrich’s score will get a vinyl release, which will also be available separately on a blue vinyl 2-LP set, also on March 26. On the same day, the original single LP version of the soundtrack will be reissued as the Ramona Flowers Edition on blue, green and magenta vinyl, representing the colors of the character’s hair throughout the film.

Now ABKCO, with Edgar Wright and Nigel Godrich’s oversight, has curated an expanded, four LP picture disc Seven Evil Exes Edition offering of the soundtrack/score, including more performances by Sex Bob-Omb and demos from Beck, as well as fan favourite “Black Sheep” by Metric and sung by actress Brie Larson.

Since its release, Scott Pilgrim vs. the World (Original Motion Picture Soundtrack) has received many accolades. UK’s The Independent ranked it at number 4 out of “the 40 greatest film soundtracks of all time,” declaring that Wright “found a way to seamlessly integrate his soundtrack into Scott Pilgrim vs. the World’s narrative.” It was also included on Alternative Press’ list of “16 Fantastic Movie Soundtracks You Need To Hear.” “We Are Sex Bob-Omb” won the 2010 Houston Film Critics Society Award for Best Original Song.

Scott Pilgrim Vs. The World (Seven Evil Exes Limited Edition)
• 4x LP picture discs
• Limited Edition Set
• Exclusive bonus tracks not included on original soundtrack by Sex Bob-omb, Beck, plus highly sought- after Brie Larson w/ Metric
• Social support from Edgar Wright + Beck
Bonus ephemera: 
 • Full colour film poster
 • Exclusive Colouring Page by Bryan O’Malley
• Printed note from Edgar Wright, Director

This year marks the tenth anniversary of the theatrical release of Universal Pictures’ Scott Pilgrim vs. the World. The film adaptation by director Edgar Wright (Hot Fuzz, Baby Driver) of Bryan Lee O’Malley’s graphic novel series stars Michael Cera, Mary Elizabeth Winstead and Kieran Culkin and has since become a cult classic due in no small part to the use of music in its storytelling. The soundtrack album and score were originally released in 2010 by ABKCO Records.

Each side of each LP is graced with an image of one of the “Seven Evil Exes” characters from the film, with an image of Scott Pilgrim with Ramona Flowers on the eighth side. This marks the first time ever that Godrich’s score will get a vinyl release, which will also be available separately on a blue vinyl 2-LP set, also on March 26. On the same day, the original single LP version of the soundtrack will be reissued as the Ramona Flowers Edition on blue, green and magenta vinyl, representing the colors of the character’s hair throughout the film.

Now ABKCO, with Edgar Wright and Nigel Godrich’s oversight, has curated an expanded, four LP picture disc Seven Evil Exes Edition offering of the soundtrack/score, including more performances by Sex Bob-Omb and demos from Beck, as well as fan favourite “Black Sheep” by Metric and sung by actress Brie Larson.

Since its release, Scott Pilgrim vs. the World (Original Motion Picture Soundtrack) has received many accolades. UK’s The Independent ranked it at number 4 out of “the 40 greatest film soundtracks of all time,” declaring that Wright “found a way to seamlessly integrate his soundtrack into Scott Pilgrim vs. the World’s narrative.” It was also included on Alternative Press’ list of “16 Fantastic Movie Soundtracks You Need To Hear.” “We Are Sex Bob-Omb” won the 2010 Houston Film Critics Society Award for Best Original Song.

Scott Pilgrim Vs. The World (Original Score Composed By Nigel Godrich)
• 2xLP
• First time released on vinyl
• Blue colour vinyl
• Social Support from Edgar Wright (Director) & Beck

This limited vinyl-only and single-sided 12" gem of a jam by Tetzlaff, an originally well-kept secret Rico Puestel project from 1995, had it coming for over 20 years now...

The mystical inscription "Angliziskuss" appeared on the original audio tape cassette as well as the magnetic tape that carried several drum machine and bass guitar recordings from the mid and late 1990s until the early 2000s - totally forgotten until they emerged in 2011 when everything slowly started coming together.

"Angliziskuss" is a combination of the German word for "Anglicism" (vocabulary borrowed from English from another language) and "kiss", like one language kisses the other one throughout some kind of symbiotic and overriding act.

That initial naming gave a deeper meaning to the whole development of the production and triggered the gathering of all creative amendments to the track over the years that led to one final and closing addition to it about seven years ago: The dynamic meeting of an infamous, emotionally charged English vocal snippet and its more rational counterpoint German translation, delivering a subtle tension overall and within.

All embedded into one charming housier journey of over 14 minutes, the „Angliziskuss“ establishes an unique recipe of balearic-like piano playings, a disco-and-funk-styled live bass guitar theme, both futuristic and nostalgic synth lines based on one unadulterated 1980s drum machine foundation.

Denn leichtfertig würde die amerikanische Rocksängerin solche Superlative wohl kaum in den Mund nehmen. Suzis Begeisterung für ihr neuestes Werk hat viele Gründe, genau genommen 12. Denn exakt ein Dutzend Songs befinden sich auf The Devil In Me, auf dem vom Opener/Titelsong bis zum finalen ‚Motor City Riders‘ jede Nummer ein echtes Highlight ist. Die Gründe für Suzis bemerkenswerte Kreativexplosion: einerseits der Lockdown, der sie ab Frühjahr 2020 von ihrem gewohnten Tourleben abhielt, andererseits die erneute Kooperation mit ihrem Sohn Richard Tuckey, die bereits auf dem Vorgänger No Control glänzend funktioniert hat. Suzi: „Ab Frühjahr 2020 wurden fast 100 meiner Shows gecancelt, und auch Richard wäre eigentlich mit seiner Band unterwegs gewesen, wenn nicht alle Konzerte abgesagt oder verschoben worden wären. Also sagte ich zu ihm: ‚Wir sollten die freie Zeit nutzen, um neue Songs zu schreiben und uns von dem inspirieren lassen, was sich in der Welt derzeit abspielt.‘ Ich wusste, dass Richard und ich ein tolles Team sind, denn No Control war ein riesiger Erfolg und eine für uns ganz besondere
Scheibe. Allerdings hatte ich nicht damit gerechnet, dass wir sie sogar noch übertreffen könnten. Doch alle, die The Devil In Me gehört haben, und diejenigen, die am Vorgängeralbum beteiligt waren, sagten uns: ‚Diese Scheibe ist noch stärker!‘“

Popcaan first unveiled his latest project titled FIXTAPE via Unruly / OVO Sound last year.

FIXTAPE includes a star-studded lineup, such as the Nineteen85-produced track “TWIST & TURN” featuring Drake and PARTYNEXTDOOR. Additional guest appearances include French Montana, Preme, Masicka, Stylo G, Dane Ray, Frahcess One, Tommy Lee, and Jada Kingdom. FIXTAPE continues Popcaan's historic narrative as one of the most prominent global superstars in the reggae space today. It is also the follow-up to his Vanquish mixtape, which was released after it was announced that he had signed to OVO Sound.

The 19-track body of work is powered by Popcaan’s potent energy, lyrics, and unique amalgam of genres from hip-hop to dancehall and pop. FIXTAPE is further proof that his cultural appeal spans from the streets to the club.

LA-based producer, composer, songwriter and multi-instrumentalist James McAlister is a rare creator, and highly sought after collaborator. Perhaps best known for his work with Sufjan Stevens , McAlister has also appeared on record with Lorde amongst many others, and is a regular contributor to Aaron Dessner 's projects, including the latest albums from Taylor Swift, folklore and evermore . His regular work with film music includes The Two Popes, The Big Sick, and Ron Simonsen 's recent films. In 2018 he joined Stevens, Casey Foubert , St. Vincent and Moses Sumney for the Oscar performance for music from Call Me By Your Name, where he played piano and a bottle of cupcake sprinkles. With nearly countless projects to his name, it was in 2017 that his collaboration with Stevens, Nico Muhly, and Bryce Dessner entitled Planetarium was released by 4AD. Around the same time McAlister started a deep dive into a personal sonic realm that has manifested as an ambient project under his own name. 2018 saw the release of Three Breaths , the first offering from this exploration. 2021 will see the second installment, an album called Scissortail which vividly puts McAlister's evolving master craft on display. It is a collection of moving, meditative, immediately satisfying and quietly stunning work. It is the sound of an artist letting go entirely of pre-conceptions or expectations, instead mining the depths of that very real and abstract place of sound, texture, color and feeling. Some songs arrive almost intuitively, while others feel mechanically made, fed through the framework of synthesizers and the patchwork of recording gear. And with that comes a compelling duality to the work; a machine grace informing the on-going but subconscious dialogue between energy and material, sensitivity and asceticism.

CLEAR WITH HI-MELT WHITE

Manslaughter 777 is the new collaboration of drummer/percussionist Lee Buford (The Body) and drummer Zac Jones (Braveyoung/MSC). Debut album World Vision Perfect Harmony follows a decade of collaborations starting with The Body and Braveyoung's Nothing Passes. For their debut as a duo, Buford and Jones blend bracing and imaginative takes on rhythmic-centric forms from dub, breakbeats, hip hop and beyond for a phantasmagoria of bristling drumscapes. Manslaughter 777 pulls together a vast array of disparate percussive traditions and patterns into a veil of dark, propulsive energy. Recorded and mixed by Seth Manchester at Machines With Magnets, the album's mélange of live and sampled beats fizzle, splat and rupture with an edge. While there are sounds that could be at home on a record by The Body, Manslaughter 777 inhabits much more open spaces. The duo's music is based primarily on drums and eclectic samples, shifting melodic ideas to the overtones and resonances of their respective percussive thuds or clicks. Buford and Jones incorporate hybridizations of live, sampled, and electronic percussion obscuring their boundaries while highlighting their specific tonal and timbral qualities. An alchemical balance of detailed and dynamic production guides each element to the fore in steady waves of relentless momentum. Taken as a whole, World Vision Perfect Harmony is a cornucopia of rhythmic texture. Manslaughter 777 channels a deluge of kineticism into a web of syncopated grooves that are equally entrancing and provocative. Audacious sound architects, Buford and Jones built an album that passionately revels in the world of rhythm. Manslaughter 777's constructs glide as gracefully as they rumble. Together, they are a monument to the power of percussion.

Mira Lu Kovacs ist als vielfach ausgezeichnete Künstlerin und ihrer Mitwirkung in Projekten wie 5K HD, Schmieds Puls oder My Ugly Clementine eine zentrale Figur der brodelnden Wiener Indie/Songwriter-Szene. 2021 veröffentlicht sie erstmals ein Album unter eigenem Namen und unterstreicht mit ihrem einzigartigem Timbre und starkem Songwriting, dass sie - ganz in der Tradition von Ani di Franco, Aldous Harding oder Adrianne Lenker - zu den herausragenden Stimmen der Gegenwart zählt. Produziert wurde "What Else Can Break" von Aushängeschildern dieser "Zelle" in Wien, nämlich maßgeblich von Sophie Lindinger (My Ugly Clementine), in Teilen (bei "Stuck") Marco Kleebauer (Leyya, Oehl, Bilderbuch) oder der mehrfach Grammy-nominierte Yakob (bei "Pull Away").

• One of the first punk rock bands of the 70s music revolution, and certainly the first in Ireland, the Radiators From Space came roaring out of a 7-inch 45 with (I’m gonna smash my Telecaster through the) ‘Television Screen’ in April of 1977, a month after ‘White Riot’.

• Before the year’s end, a second 45 ‘Enemies’ (sometimes NMEies) and the “TV Tube Heart” long-player had appeared. Although the second single was on there, the debut was recorded in an altogether more relaxed style, presaging that there would be more to the Radiators than three chords and a polemic. In fact, they were obviously more sophisticated players than some of their contemporaries.

• The album was a full-on assault on all that any self-respecting youth would find wrong about the world at the time. All band members contributed to the songs, but it was Philip Chevron’s acerbic, angry, pointed and literary lyrics that gave the band such an edge. Philip strutted a gritty lead guitar counterpointing Pete Holidai’s underpinning rhythm, with Mark Megaray’s flowing bass lines belying the instrument’s more usual role to sit in with drummer Jimmy Crashe’s taut, driving rhythm. Steve Rapid fronted the band on some tracks, but Pete and Philip carried most of the lead vocals. Steve left before the record came out – he became a successful graphic designer and has re-imagined the sleeve for this 10-inch issue. He also designed the original.

• A second album, “Ghostown”, produced by Tony Visconti, came out in 1979, hailed now as one of the classic Irish albums of all time. Over the years the band periodically re-formed, first with the gay love song of great yearning ‘Under Cleary’s Clock’, and then making two more great albums in “Trouble Pilgrim” and “Sound City Beat”, covering great Irish 45s of the 60s and early 70s.

• Philip went on to a career as a Pogue, sadly leaving us way too young in 2013. Mark Megaray likewise departed at an early age. Pete and Steve keep the flame alive with Trouble Pilgrims, and if you are lucky you can catch them at a Dublin club sometime – well worth it.

• But “TV Tube Heart” is where it all started for Dublin’s finest.

I Got A Name is part of a series of 1972 – 1974 Catalog Reissues of the Legendary Jim Croce, which are now back in print on CD & 180g Black Vinyl. The set of reissues includes 3 Top 10 Gold Certified Studio Albums & Top 5 Platinum Certified Greatest Hits Release, featuring 10 Billboard Hot 100 singles, including 8 Top 40, 5 Top 10, and 2 Number 1 Classics.

I Got A Name was Croce’s fifth and final studio album, released in December 1973, and was his first posthumous release. It reached #2 in the charts and is certified GOLD. It features the Top 10 Hits “I’ll Have To Say I Love You In A Song” (#9), “I Got A Name” (#10) and Top 40 Hit “Workin’ At The Car Wash Blues” (#32)

The title track was the theme for the movie “The Last American Hero”, starring Jeff Bridges, and it became a best-selling single.

‘Assembly’ is the first new Joe Strummer title to be released on Dark Horse Records.
Designed as a new starting point to the Joe Strummer’s catalog it includes 13 tracks from Strummer’s solo career, along with two live versions of the classic Clash songs Rudie Can’t Fail & I Fought The Law and a previously unreleased acoustic version of Junco Partner – making a total of 16 tracks. Other tracks come from Strummer’s extensive solo catalog including his three albums with ‘The Mescaleros’.
Founded in 1974 by George Harrison Dark Horse Records has long been a home for Freedom Fighters, Storytellers and Troubadour’s, words that can be used to describe Joe Strummer, making Dark Horse Records to perfect home to appreciate and expand Strummer’s incredible legacy across, music, politics, and culture.

‘Assembly’ is the first new Joe Strummer title to be released on Dark Horse Records.
Designed as a new starting point to the Joe Strummer’s catalog it includes 13 tracks from Strummer’s solo career, along with two live versions of the classic Clash songs Rudie Can’t Fail & I Fought The Law and a previously unreleased acoustic version of Junco Partner – making a total of 16 tracks. Other tracks come from Strummer’s extensive solo catalog including his three albums with ‘The Mescaleros’.
Founded in 1974 by George Harrison Dark Horse Records has long been a home for Freedom Fighters, Storytellers and Troubadour’s, words that can be used to describe Joe Strummer, making Dark Horse Records to perfect home to appreciate and expand Strummer’s incredible legacy across, music, politics, and culture.