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Ma Spaventi is a wonderfully versatile artist. Over his decade-long career, the Italian musician has turned his capable hand to everything from ambient to techno. Once again, he is expanding his sound palette and challenging expectations with Vicino Lontano.

Across eight tracks, an array of ideas and influences are explored with additional guitar work coming care of Odeon’s Michele Righini. The reflective hues of “Solitario” give way to the warming strings and peaceful brightness of “Crepuscolo.” Written and produced in Amsterdam between 2017 and 2019, beautiful memories of the past are the source of inspiration. Radiating Summer sunshine bathes “Bring Me Back” in a comforting glow, while “Velvet Lights” teases rhythm sections with thick bass lines and shimmering synth work. Moments of introspection arrive in the elegant gliding forms of “Bomber” and “Intermezzo.” The rumbling “End Line” finds harmony amongst a spread of styles, cascading chords and rich textures, all combining beautifully. A moon rise closes, the grand curtain falls on “Bidderosa”, calling time of this stunning collection.

Doomsday Outlaw return with their third studio album Damaged Goods, set for release on 3rd February 2023 via Republic of Music.

As Doomsday Outlaw began work on this album, they knew they wanted to step up to the next level and deliver on the promise of their previous albums, keeping the heaviness and the soulful vocals, and turbo-charging it all with some retro rock feelgood vibes.

Channelling Skynyrd, Aerosmith and The Faces through their signature heavy blues stomp, the band worked to expand their signature sound.

Working with Chris D’Adda at Vale Studios (Temples, Deaf Havana) and Dave Draper (The Wildhearts), to put them through their paces, the band have pulled together their best work yet.

Lyrically, the album is a very personal insight into vocalist Phil Poole’s life and motivations. Speaking about Damaged Goods, vocalist Phil Poole said: "This album is a continuation of the stories of my life – played out for all to see, filled with heartbreak and redemption. My own version of therapy, Damaged Goods is the latest chapter in my life."

Bassist Indy added: “It’s been a hard slog these last couple of years with Covid cutting short our European adventures, and generally waiting for live music to see the light at the end of the pandemic tunnel, but these new tunes have kept us going. The excellent response we’ve had to playing the songs live has been great to see, and we can’t wait to get everything out there for people to hear.”

Doomsday Outlaw return with their third studio album Damaged Goods, set for release on 3rd February 2023 via Republic of Music.

As Doomsday Outlaw began work on this album, they knew they wanted to step up to the next level and deliver on the promise of their previous albums, keeping the heaviness and the soulful vocals, and turbo-charging it all with some retro rock feelgood vibes.

Channelling Skynyrd, Aerosmith and The Faces through their signature heavy blues stomp, the band worked to expand their signature sound.

Working with Chris D’Adda at Vale Studios (Temples, Deaf Havana) and Dave Draper (The Wildhearts), to put them through their paces, the band have pulled together their best work yet.

Lyrically, the album is a very personal insight into vocalist Phil Poole’s life and motivations. Speaking about Damaged Goods, vocalist Phil Poole said: "This album is a continuation of the stories of my life – played out for all to see, filled with heartbreak and redemption. My own version of therapy, Damaged Goods is the latest chapter in my life."

Bassist Indy added: “It’s been a hard slog these last couple of years with Covid cutting short our European adventures, and generally waiting for live music to see the light at the end of the pandemic tunnel, but these new tunes have kept us going. The excellent response we’ve had to playing the songs live has been great to see, and we can’t wait to get everything out there for people to hear.”

In the late '70s Wild Fire was one of the more popular groups in Trinidad. Formed by Oliver “Stompy” Chapman back in 1962 the group was originally named the Sparks. By the disco era Wild Fire were the house band at night clubs like Disco Tracks and the Upper Level. The group was very influenced by disco, especially the famous British group, Hot Chocolate known for the classic disco hit ”You Sexy Thing.” Hot Chocolate’s chief songwriter, Tony Wilson was originally a Trinidadian native and also great friends with Oliver Chapman. The opening track on this compilation is "Try Making Love", a floor-filling track written by Tony Wilson in 1977 and recorded at Coral Sound Studio in Port of Spain. It was there that Oliver Chapman laid down the unforgettable bass line, solidifying its status as a surefire hit. The infectious tune held steady at the number one slot for six weeks in Trinidad and eventually climbed to the top of the charts in Barbados. Recorded at KH Studios, “Living On A String” with its unique disco synth sound by keyboard player Calvin Duncan was about the hard living of one trying to survive as a musician and hoping to one day partake in the material strappings of fame. “The Rebels” was more about the political struggle for the young in the country at the time. There was a lot of corruption in the government and a lot of young people out of work. The song called to stand up and rebel against the regime. And years later in 1990 it did happen when the Muslim group Jamaat al Muslimeen stormed the Red House (Trinidad’s Parliament House) and took cabinet members hostage. Wild Fire would go on to tour the Caribbean extensively including stops in Barbados, Antigua, St. Thomas and Guadeloupe. The group had a massive local hit with their track “Say A Little Prayer.” The group would disband in 1985 and Oliver Chapman would move to America. Wild Fire - Dance Hits is a collection of Wild Fire's more dance friendly material.

Scaphandre' is the story of an image found in a lost time on the internet a few years ago. It inspired two sound pieces conceived so that one can dive into it as into the sea.
Once their composition was finished, I looked for the origin of this image. It is one of the very first submarine pictures in history, taken by Louis Boutan in 1893 in the bay of Banyuls-sur-Mer... my home town. The original photo as well as a fantastic series of archives documenting this event can be found at the Arago Laboratory, where I often went as a child, after school, amazed by what the researchers were showing me. They just had never told me this story.
This is how this record found its scenery.
Gaspar Claus


The two pieces Gaspar Claus brought together on Scaphandre form an abstract and mysterious B-side of Tancade, released in the fall of 2021. Both composed during the long, initial period of his first album's conception, this mini album's two episodes, each tinged with minimal and noisy abstractions, unfold more than 10 minutes of total immersion into the abyss of experimental music on the first, and drone for the second.

In their own way, these tracks are a form of raw, unadorned escape, a film negative of the cellist's surface creations, which we know are bathed in sunshine and fresh air.

'Inside' is a moment of distraction while Gaspar worked on a film soundtrack. The title took time to mature in the musician's head, abandoned then picked up again and modified until it found its signature progression of strings where time seems suspended. The reverberations dress its fourteen-minute sound canvas in a way that is reminiscent of endless, sub-marine darkness.

'Beyond' was recorded in three takes during a writing session for his first album with David Chalmin in the Basque Country. The post-production phase required a long process of refinement to obtain this invasive sound material that cuts the listener off from their real environment and films them with a hypnotic feeling of depths and apnea.

Taken in 1898 by Louis Boutan a few dozen kilometres from the beach of Tancade in Banyuls sur mer - Gaspar's family village - the photographs of Scaphandre seal the vinyl sleeve with a unique auditory experience presenting the submerged side of the cellist. Obscure, dense, haunting, excitingly weightless.

What Mom Jeans have proved themselves capable of in the past 2 years is nothing short of fantastic. Growing from ordinary college students to national touring artists in a matter of months, the indie rock quartet has been on a trajectory most bands could only dream of. The DIY touring route quickly had to fall by the wayside, as 200, sometimes 300, kids were showing up to house shows in basements across the country. Often, the band wouldn’t make it through more than a few songs before police had to come shut it down. Now, you can find them in venues of increasing size around the states, as one of the most sought after acts in their genre. On a constant stream of buzz, pressing after pressing of their debut hit “Best Buds” (2016) has sold out and the fans cannot get enough of the music they have been putting out. Music that takes influence from predecessors such as Modern Baseball and The Front Bottoms, but adds that new flavor that sets them into a league of their own, The Mom Jeans craze is just beginning.

Brit Taylor’s highly anticipated sophomore album, Kentucky Blue, is a drive down the famed Country Music Highway – Route 23 -- back to her Appalachian roots. Grammy-winner Sturgill Simpson and renowned engineer and producer David Ferguson caught wind of the Kentucky gem after her self-reflective debut album, Real Me, garnered praise from Rolling Stone, American Songwriter and NPR’s World Café. The two legends didn’t hesitate to jump in and get their hands dirty, producing the next musical chapter of Brit’s life story. The album is to be released on Brit’s own Cut A Shine Records in collaboration with Thirty Tigers. Having the courage to find her “real me” set Brit free. Kentucky Blue is a musical celebration of her healing and rebirth. It exudes confidence with a touch of attitude that replaces the melancholy, contemplative sound of Real Me. It is a progression of her life and her music and an introduction to the stand-your-ground and know-your-worth Brit of today. It is a shift back to her East Kentucky influences where the cry of the fiddle, the moan of the steel guitar, the twangy banjo and the atmospheric string section are like a journey floating through space and time. Brit continues to unabashedly write and sing about what she lives and what she knows and sees. It’s genuine. It’s who she is. Kentucky Blue is Brit’s personal invitation to you to join her at her cabin in the woods for a bourbon, a swing on the porch and a story-telling song.

In November of 1982, I went into the studio with Government Issue to record what was to be their first full-length album. Up until that time, they had only released the Legless Bull 7”EP, and the tape they recorded early 1982 would take over a year and a half to be released as the Make An Effort 7”EP. The members of G.I. excelled at driving each other crazy and there was a lot of arguing, but still we had a great session at Inner Ear and we managed to track 20 songs in one day. From the beginning the band had been divided on what to record, and it was only after much debate that they decided to leave off the material they had recorded with the earlier line-ups and only put out 10 new songs.

In early 1983 Dischord was strapped for cash, meaning that we could only work on one release at a time. Since all of our money was tied up with the manufacturing of Minor Threat’s Out of Step 12” EP, the G.I. record would have to wait. A new DC label, Fountain of Youth, expressed an interest in releasing Boycott Stabb, so it was decided to do a ‘split-label’ record. In this case, Fountain of Youth put up the money and we let them use the Dischord Records name to help with context and distribution. It has since been reissued on a number of different labels and formats, but after coming across the master tapes and hearing the songs that had been left off, we thought it would be cool to release the complete session, and to finally release the record on Dischord proper.

In going through the tapes, I discovered that most of the outtake songs were never mixed, so earlier this year I took the recordings back into the studio. Hearing the separated tracks amazed me. Such great playing and songs! With the technological advances in the recording world made multi-tracking and overdubbing so common, it’s easy to forget that studios could also be used as something more akin to a photo-booth, capturing what was happening at that very moment. Most of the early Dischord sessions were essentially ‘live’ recordings, so the bands had to be able to play, and because the budgets were minuscule, they had to get the songs down in short order. G.I. stepped up on both counts. -Ian MacKaye, August 2010

 After two fiery albums, ‘Silence Slowly And Madly Shines’
in 2017 (Alter K), and ‘Private Meaning First’ in 2019
(Vicious Circle / FatCat Records), The Psychotic Monks
have never ceased to impress with their maturity and
determination to offer a singular stage and discographic
presence.
 Although radical, ‘Pink Colour Surgery’ is truly accessible
to those who immerse themselves in its in depth. One is
unceasingly hypnotised, shaken as their soul flirts
dangerously with a furious and oppressive trance. Then
the journey becomes addictive, letting yourself slide from
one track to another, sometimes struck, sometimes set
ablaze with an unexpected epiphany, because its light
irradiates us.
 Live, their music is an intimate, sensory experience, the
effects of which continue to be felt for a long time
afterwards.
 Recorded and produced by Daniel Fox of Gilla Band, ‘Pink
Colour Surgery’ is composed, in part, of improvisations,
and is presented as an act of resistance to the ambient
violence. Disconcerting at first sight, this new opus
operates in the dark, a surgery of ethics which is fleshed
out of pink for a staggering metamorphosis. Its very
structure takes the listener on an initiatory trip full of secret
corners, provided they are prepared to dive into it, to
plunge into it.
 ‘Pink Colour Surgery’ is like a hidden room in a house that
we have never entered before, and the possibility of
feeling good there is not excluded.
 Support from KEXP, Northern Transmissions, Kerrang,
Loud & Quiet.
 UK and EU tour dates to be announced for early 2023.

Rex’s seminal 1996 sophomore album, ‘C’, now on
deluxe double vinyl for the first time.
Every one of ‘C’’s 66 minutes is a delightful
exploration at the intersection of slowcore and alt
country, weaving heartfelt Americana, stately
strings, progged-out rhythms and crashingly heavy
climaxes into captivating epics.
Remastered from the original analogue tapes, ‘C’
has been given a second life beyond the CD era,
and comes housed in a tip-on jacket with restored
artwork from guitarist Curtis Harvey.
Available on Rose coloured vinyl.

Rex’s seminal 1996 sophomore album, ‘C’, now on
deluxe double vinyl for the first time.
Every one of ‘C’’s 66 minutes is a delightful
exploration at the intersection of slowcore and alt
country, weaving heartfelt Americana, stately
strings, progged-out rhythms and crashingly heavy
climaxes into captivating epics.
Remastered from the original analogue tapes, ‘C’
has been given a second life beyond the CD era,
and comes housed in a tip-on jacket with restored
artwork from guitarist Curtis Harvey.
Available on Rose coloured vinyl.

Zwischen 1988 und 2010 komponierte Steve Reich drei Streichquartette – Different Trains, Triple Quartet
und WTC 9/11. Die Deutsche Grammophon legt diese Werktrilogie nun erstmals auf einem Album vor,
in endgültigen Neuaufnahmen des Mivos Quartetts. Vom Chicago Reader als „eines der kühnsten und
wildesten New-Music-Ensembles Amerikas“ gefeiert, entwickelten die Mivos-Spieler ihre Interpretationen
der drei Quartette – inspiriert von der Musik der Sprache, den Echos von Bartók und den Ereignissen
eines von Terror geprägten Tages - in enger Zusammenarbeit mit dem Komponisten Steve Reich. Reich
selbst unterstützte das Projekt von Anfang bis Ende, beantwortete die Fragen der Gruppe zu musikalischen
Nuancen, beriet zum Stil und lobte das fertige Album, das jetzt sowohl digital als auch auf CD und Vinyl
erhältlich ist.

MEMORIAM needs no introduction ‐ they are living legends of Old School Death Metal. Not only because the former fields of activity of the Brits belonged and still belong to the pioneers of UK Death Metal, but because they managed to follow their master plan more than precisely. MEMORIAM has built up their own loyal fan base over the past
seven years and developed its own musical identity. It would certainly have been easy for them to just follow the old paths, but the true art of the band is that they never deny their origins, but gradually incorporate something new ‐ with every album a few new nuances and facets are added.

The sheer speed of their creative output shows how consistently MEMORIAM follow this path: Following the initial success of the HELLFIRE DEMOS trilogy, MEMORIAM signed with Nuclear Blast in 2016. The band went on to release FOR THE FALLEN (2017), THE SILENT VIGIL (2018) and REQUIEM FOR MANKIND (2019) ensuring within a very short time that MEMORIAM were firmly established among loyal Death Metal fans. This wassupported by dozens of concerts, which have taken the band from selected club shows to major festival appearances (e.g. Hellfest, Wacken, Summer Breeze, Graspop). Following the success of this initial trilogy, MEMORIAM switched to the young label Reaper Entertainment. The album TO THE END, the first of a new trilogy, was released in 2021. The second album of the trilogy, RISE TO POWER, will be released in early 2023.

RISE TO POWER will not only once again offer an atmospherically dense Dan Seagrave cover, the war theme stylized on it also runs through Karl Willetts’ lyrics: With 'Never Forget, Never Again (6 Million Dead)' about the Holocaust and the, unfortunately, more than current 'Total War' about the war in Ukraine, Karl is more political than ever. "I am
writing 'our burden and shame' instead of 'their' as I believe it is our collective responsibility to ensure that something like the Holocaust never happens again. I feel that it is my responsibility as a frontman and lyricist to write about the things that I feel are important," explains Karl. MEMORIAM transforms aggression and grief into
uncompromising Death Metal energy. Also musically the mentioned above development process continues.

While the opener still serves the essential Death Metal groove, MEMORIAM becomes more variable with each additional song and keeps adding new dynamics into their Old School Death Metal sound ‐ from brutal grooves ('Annihilation's Dawn') via doomy‐melodic parts like in 'I Am The Enemy' up to aggressive Nordic riffing like in 'Total War'. RISE TO POWER is an extremely varied album, as Karl confirms: "That's Scott's style, he comes from a different generation than Frank, Spike and me. He brings in influences from bands I haven't even heard of. It gives us the balance between old and new, and it works pretty well for us.” (Thomas Strater)

Composer Valtteri Laurell Pöyhönen presents his Nonet formation on We Jazz Records. Their debut album Tigers Are Better Looking is released 3 Feb and the ensemble features internationally renowned Finnish clarinetist Antti Sarpila, plus a strong cast of Helsinki-based musicians from several of the top Finnish groups.

Based on the writings of British-Caribbean author Jean Rhys (1890–1979), the 6-track album is a melancholy, intimate chamber jazz creation. Laurell's music swings, yet he doesn't stop there, but moves further to paint an original, richly-toned sonic image with the highly potent Nonet.

Laurell states Gerry Mulligan, Miles Davis's "Water Babies" and Charles Mingus among the key musical influences of his compositions on this album. Through Rhys's text, Laurell finds a special sense of detachment and melancholy evident in his new material. Antti Sarpila's masterful clarinet provides the icing on the cake, floating high above the clouds of sound.

Als FVNERALS im Sommer 2014 ihr Debütalbum "The Light" vorstellten, begab sich das Duo auf eine musikalische Reise, die sie in eine immer tiefere Dunkelheit führen sollte. FVNERALS entstanden aus einer Begegnung von Sängerin und Bassistin Tiffany Ström mit dem Gitarristen und Songwriter Syd Scarlet im südenglischen Seebad Brighton im Jahr 2013. Durch die Bündelung ihrer kreativen Kräfte entstand ein finsteres Doom-Duo, das auch Ambient, Drone und eine Prise Post-Rock in ihren Sound einfließen lässt. Das Resultat ist ein besonders dunkles, cineastisches und schweres Klangbild. FVNERALS' erstes Lebenszeichen war die selbstveröffentlichte EP "The Hours" (2013). Im Sommer 2014 folgte das Debütalbum "The Light" und eine erste UK-Tour. Im Jahr 2015 kehrten FVNERALS mit der zweiten EP "The Path" zurück und zogen nach Glasgow, Schottland um, wo sie mit der Arbeit an ihrem zweiten Album begannen. Als "Wounds" im Jahr 2016 auf den Markt kam, folgten unermüdliche Live-Aktivitäten in ganz Europa, die erst aufgrund der Pandemie zunächst zum Erliegen kamen. "Let the Earth Be Silent" wirkt in jeder Hinsicht sogar noch schwärzer und pessimistischer als die Vorgänger. FVNERALS schenken ihren Hörern mit jeder Note ihres dritten Albums verführerische Dunkelheit.

Mit ihrem zweiten Album "Wounds" (2016) setzten FVNERALS den zielstrebigen Abstieg in die dunklen, aus Verzweiflung, Isolation und Schmerz geborenen Räume der Musik fort, den das Duo zwei Jahre zuvor mit dem Debüt "The Light" begonnen hatte. FVNERALS entstanden aus einer Begegnung von Sängerin und Bassistin Tiffany Ström mit dem Gitarristen und Songwriter Syd Scarlet im südenglischen Seebad Brighton im Jahr 2013. Durch die Bündelung ihrer kreativen Kräfte entstand ein finsteres Doom-Duo, das auch Ambient, Drone und eine Prise Post-Rock in ihren Sound einfließen lässt. Das Resultat ist ein besonders dunkles, cineastisches und schweres Klangbild. FVNERALS' erstes Lebenszeichen war die selbstveröffentlichte EP "The Hours" (2013). Im Sommer 2014 folgte das Debütalbum "The Light" und eine erste UK-Tour. Im Jahr 2015 kehrten FVNERALS mit der zweiten EP "The Path" zurück und zogen nach Glasgow, Schottland um, wo sie mit der Arbeit an ihrem zweiten Album begannen. Als "Wounds" im Jahr 2016 auf den Markt kam, folgten unermüdliche Live-Aktivitäten in ganz Europa, die erst aufgrund der Pandemie zunächst zum Erliegen kamen. "Let the Earth Be Silent" wirkt in jeder Hinsicht sogar noch schwärzer und pessimistischer als die Vorgänger. FVNERALS schenken ihren Hörern mit jeder Note ihres dritten Albums verführerische Dunkelheit.

Sharing the spotlight along with the label owner Umwelt on this brand new split EP, Zeta Reticula the Slovenian born artist delivers two tracks of high intensity with distinct energy! Melodic "The Fate Of The Ship Unknown" opens A side with a pure robotic mayhem based upon synthetic strings, rushing leads and frantic arpeggiator flights over seductive vocals. Hostile and heading at the same. Progressive "Documented Contact", coming next, signs an intricate yet groovy electro sci-fi masterpiece made of rolling bassline, moody atmosphere and pounding beats. This is Zeta Reticula at its finest!

The Lord of Darkness treats the flipside with a more aggressive sound. As its title suggests, "Hyperspace" propels the listener at light speed through the depths of the universe thanks to a dystopian machinefunk atmosphere where hammering drums fuse with cold layers in Umwelt's typical trademark. Classical electro shaker "Earth To Unknown" concludes this uncompromising 12" with a luminous structure enhanced with a deeper and soulful approach.

Sharp, underground and always dancefloor oriented, this limited release comes packed in a colorful urban picture disc designed by the great CN6 aka Nexus 6!

Carmy Love brings a stylish hint of gospel to the beautiful vocal on this new single on Big A C. 'Rebel' was actually written many years ago yet the lyrics have huge repugnance today. The song has regularly been performed in that time with New Street Adventure but now the live version becomes all the more glorious as a full studio production. On the back is a tune inspired by the fertile soul crossover sounds of the late 60s and early 70s, with funky bass and body brass. These are tunes to warm your heart and uplift you as you leave the bad times behind.

We are excited to welcome French avant-garde metal duo WuW to our ever-expanding roster of for- ward-thinking artists. Inspired by classical music, free jazz and drone the two classically trained brothers Benjamin and Guillaume Colin have been creating lo-f experimental post-doom epics in the vein of Year of No Light, Dirge and Omega Massif since 2016. "WuW is the sound wind makes when it blows on a hot night," explains the band, "It's a low-end murmur that grabs you by the guts, a blast of air rushing through the mountains and the oceans." Their upcoming third album Orchaostre is an anthem to a restless journey, a fve-part doom symphony that creates a shroud of oppressive atmospheres with only a pinch of light. With their third studio album, WuW deliver a veritable post-metal odyssey, one that takes you on a journey through rhythm and texture and that lets your soul wallow in a soft shell of desolation. The marching rhythm of «Orchaostre 1» and the swaying rhythm with the slow chugging patterns of «Orchaostre 2» take you along on this intric- ate journey, slowly numbing the senses in the throes of repetition. Nevertheless, for those who manage to keep their eyes peeled on this descend into forgetfulness, there is a world of beauty and a spark of hope to be found. The atmosphere is thick, the mood is heavy, and across the slow rifs and funerary drumbeats, the wailing e-bow guitars and myriad of synthesisers evoke kafkaesque at- mospheres as well as strange poignant textures that inspire desolation. Evoking the work of early electronic music innovators, notably during the climactic fnale of «Orchaostre 1» but also halfway through «Orchaostre 3» WuW breed a sense of pristine beauty, like unadulterated nature. In fact, the beauty of Orchaostre feels so un- spoilt, so devoid of any human infuence, it becomes alien, resulting in a harrowing ex- perience of the exquisite in the eye of a hot and hazy storm. FOR FANS OF Russian Circles, Year of No Light, Dirge, Omega Massif, Neurosis, Telepathy, Celeste, Tangled Thoughts of Leaving Limited (100 copies ww) Single Colour Orchaostre 4 (Pink Vinyl) Edition!

WITH THE MEN & WOMEN COLLECTION, FIND THE GREATEST FEMALE AND MALE ARTISTS OF FUNK, SOUL, JAZZ AND BLUES IN A DOUBLE VINYL AND BLUES IN A COLLECTION OF DOUBLE VINYLS

Hailed by The Guardian as “the hopeful new voice of her super-sad generation” Arlo Parks released her second track in January 2019. At the time of release Arlo told Clash Magazine: "When I look at my generation I see a kaleidoscope of dejection, passion and anxiety – there’s this strange mix of sadness and intimacy that saturates Generation Z. 'Super Sad Generation' was inspired by the time my friends and I sat on the green at sunset, half wine drunk and ugly crying for no reason in particular."

Lifted from the Super Sad Generation EP ‘Paperbacks’ took its inspiration from Space Song by Beach House and Changeling by DJ Shadow.

"The British songwriter captures the specifics of being young and messed up like no-one else" - Noisey

The second instalment from London Odense Ensemble digs deeper into the group's vision of what modern psychedelic jazz should sound like. Cut from the same sessions as Jaiyede Sessions vol. 1, released last summer, vol. 2 presents a more nuanced approach to the material. On this set the ensemble focuses on shorter, layered pieces - travelling from deep spiritual jazz grooves to gorgeous free-flowing minimalism to full-on acid jazz. There's echo-drenched flutes being absorbed into layers of analog synth pads and guitars, bossa beats and double bass sequences merging with electronics. It's an intoxicating mélange of sounds and styles, spanning wide temporal and geographical distances. London Odense Ensemble came together when two of the finest exponents of London's flourishing jazz scene, flautist and saxofonist Tamar Osborn and keyboard specialist Al MacSween, came over to Denmark to explore new sounds with Causa Sui's Jakob Skott and Jonas Munk, as well as local bass player Martin Rude. For two days the group laid down grooves and ideas and experimented in the studio, and later the best segments were edited and mixed by Jonas Munk, who took a somewhat liberal approach to the mixing process, often dyeing the material with external effects and synthesizers. Jaiyede Sessions are the kinds of records that defy genre-terms, yet have its own instantly recognizable fingerprint. It carries a unique shared vision between the players of what modern psychedelic jazz sounds like. bios: Tamar Osborn: Saxophonist, composer and multi-wind instrumentalist is the creative force behind modal jazz ensemble Collocutor (On The Corner Records). She is a member of the Dele Sosimi Afrobeat Orchestra, performs and collaborates regularly with Sarathy Korwar, Jessica Lauren, Emanative, Ill Considered and DJ Khalab. Al MacSween: Keyboard player & founding member of Kefaya. Collaborations include American jazz legend Gary Bartz, Syrian qanun master Maya Youseff, London Community Gospel Choir, Palestinian jazz singer Reem Kelani & kora player Kadialy Kouyate. Martin Rude: Multi-string instrumentalist & lead singer in Sun River & Edena Gardens with members of Papir & Causa Sui. Jakob Skott: Drummer in Causa Sui with a slew of side projects on El Paraiso, including Chicago Odense Ensemble, Jonas Munk: Guitarist in Causa Sui & studio wizard on most releases on El Paraiso.

In November of 1982, I went into the studio with Government Issue to record what was to be their first full-length album. Up until that time, they had only released the Legless Bull 7”EP, and the tape they recorded early 1982 would take over a year and a half to be released as the Make An Effort 7”EP. The members of G.I. excelled at driving each other crazy and there was a lot of arguing, but still we had a great session at Inner Ear and we managed to track 20 songs in one day. From the beginning the band had been divided on what to record, and it was only after much debate that they decided to leave off the material they had recorded with the earlier line-ups and only put out 10 new songs.

In early 1983 Dischord was strapped for cash, meaning that we could only work on one release at a time. Since all of our money was tied up with the manufacturing of Minor Threat’s Out of Step 12” EP, the G.I. record would have to wait. A new DC label, Fountain of Youth, expressed an interest in releasing Boycott Stabb, so it was decided to do a ‘split-label’ record. In this case, Fountain of Youth put up the money and we let them use the Dischord Records name to help with context and distribution. It has since been reissued on a number of different labels and formats, but after coming across the master tapes and hearing the songs that had been left off, we thought it would be cool to release the complete session, and to finally release the record on Dischord proper.

In going through the tapes, I discovered that most of the outtake songs were never mixed, so earlier this year I took the recordings back into the studio. Hearing the separated tracks amazed me. Such great playing and songs! With the technological advances in the recording world made multi-tracking and overdubbing so common, it’s easy to forget that studios could also be used as something more akin to a photo-booth, capturing what was happening at that very moment. Most of the early Dischord sessions were essentially ‘live’ recordings, so the bands had to be able to play, and because the budgets were minuscule, they had to get the songs down in short order. G.I. stepped up on both counts. -Ian MacKaye, August 2010

Back in the early days of GAMM we used to release Hip Hop reworks of classic golden era favourites.

After tons and tons of Disco, Jazz, House and Latin reworks we thought it was time to bring it back to the streets of the American east coast with a three part 7" inch series produced (not edited) by the mighty Lee Gomez aka Wipe The Needle.

The beats are all brand new production but you'll probably recognise the vocals.
Over the 3 releases you'll hear shades of inspiration from classic producers like Pete Rock, DJ Premier, Dilla and DITC.
It almost sounds as if these are the original productions. No joke...it's that strong!!

Techno trailblazer Amelie Lens presents her new EP 'In My Mind' on her own Lenske imprint, containing three explosive techno tracks.

Belgium's Lenske Records presents its next EP from label head Amelie Lens. The release marks a considerable high point of Lens' career, hot on the heels of the launch of her radio show and dropping just before her debut Ibiza residency with sister label EXHALE. 'In My Mind' will mark Amelie's first solo release on the label since 2020 and follows her collaboration with Airod on 'Raver's Heart' EP late last year. The EP also was inspired by electrifying visuals that Amelie takes on the road and showcases at selected gigs.

Title track 'In My Mind' opens proceedings with blasts, bangs and heavy reverbs whilst Amelie's voice swirls above. The build-up gives way to furious claps, and spiking synths that continue to dance around the vocal sample in a ruthless march. The beat is unrelenting with a venomous, pulsing bassline that creates this raw and atmospheric techno cut, while bubbling keys maintain vitality and lightness with their careful arrangement.

Multiple elements come into play for subsequent track 'First Light'. A stripped back kick synchronizes with distorted pads for the opening, soon accompanied by a heavier kick-drum counterpart and lick of acid to inject some sharpness. The true DNA of the track is the programmed claps and dark pads that rise and fall menacingly throughout, as splashes of effects are thrown into the mix.

Final track on the record 'Trippin'' undoubtedly packs a punch. Blasting off with a dominant kick and oscillating spring reverb that swipes through Amelie's wistful vocals, the harder elements gradually succumb to the softness of her voice. The listener's focus is momentarily shifted during an early breakdown before the kick returns with more vigor accompanied by hurried hi-hats and distortion that sends you into a frenzy.

Entering Heaven Alive is the fifth studio album from Jack White, founding member of The White Stripes, The Raconteurs, and The Dead Weather. True to his DIY roots, this record was recorded at White's Third Man Studio throughout 2021, mastered by Third Man Mastering, and released by Third Man Records.

Born Aaron Livingston, GRAMMY Award winning Son Little unleashes his album Like Neptune never sounding stronger or more confident than now, showcasing his original vision of r&b, informed by his love for hip-hop imbued with tinges of funk, pop, and psychedelia
While Little's collaborations with The Roots and RJD2 had already helped him make a name for himself by that point in his adopted hometown of Philadelphia.
Critics on both sides of the pond were quick to recognize the unique power of Little's solo recordings, which stripped the past for parts that could be reconstituted into something wholly new and original. NPR hailed Little's "impeccably crafted songs" as "honest and unpretentious," while The Independent proclaimed him "a formidable talent," and Vice declared that he was "dissolving
the barrier between R&B and rock 'n' roll one tearjerker at a time."

Double Groovy / Trans-Pacific Express by Big Boss Man, one of two limited edition of 500 vinyl 45s to Juju Funk / Return To Baron Samedi by Big Boss Man, one of two limited edition of 500 vinyl 45s to be released simultaneously of essential killer funk. Grab while you can. The tracks have already received very strong radio responses from around the world. Both tracks being supported by Gideon Coe and Cerys Mathews at BBC Radio 6 Music, whilst Nasser Bouzida from the band discussed the rhythm influences of Return Of Baron Samedi on the Cerys Mathews show. Specialist funk shows from Australia, Germany, France, Canada and the US have already been supporting these tracks. The tracks are also set to appeal to fans of one of Big Boss Man’s biggest tracks ‘Sea Groove’, which is currently one of the UK’s biggest home-grown funk recordings on Spotify currently close to 7 million streams. These are the first new releases from Big Boss Man since their fourth album Last Man on Earth on Blow Up Records. A Side – Juju Funk, B-Side – Return Of Baron Samedi

EMA’s Woozy label returns with Sha Ru’s Match My Sway EP; a powerful club record that sits proudly in the canon of modern protest music. Dubstep-influenced electronics meet spoken word on the continued struggle of oppressed nations’ fight for liberation. Comes with a slamming Walton remix, with all artist profits going towards the Kyiv Angels and Repair Together charities in Ukraine.

Sha Ru are a New York-via-Berlin based duo renowned for their deft mix of spoken word and club electronics, gaining notoriety thanks to their exhilarating productions and renowned live, hybrid and DJ sets. Having spent most of their time based between two different countries, the covid pandemic unexpectedly united the band in Belarus and subsequently Ukraine for an extended period of time. They quickly found themselves immersed in each country’s respective electronic music scene, building strong relationships within each community. It quickly became apparent that both countries were actively fighting for their future freedom, and the duo felt compelled by the unity they experienced in this to respond with music. This resulted in Match My Sway, a record chronicling resistance both lyrically and sonically that found a suitable home on EMA’s impressively futurist-leaning Woozy imprint.

The EP opens with Temporary Iteration, a fierce steppers track with plummeting subs that chronicles a moment of transition into clarity by focusing on the ‘now’; staying true to your belief by moving directly towards your goal together. Not Fluctuating ups the sonic ante with hefty kicks, drill snares and potent throbbing bass, while the vocals describe the feeling of ultimate resistance in the name of seeking the truth.

Side B enters with Synced Energies, acting as the EP’s thrilling climax. Percolating synths pogo around a 2-step beat providing chest-gripping catharsis. Lyrics repeat a mantra of unity, refuting divisions. Tectonic and Ilian Tape affiliate Walton sees us out with the intense stuttering rave mechanics of his Not Fluctuating remix, a modern techno monster that deserves to be enjoyed on a 10ft tall rig; a complimentary take on a powerful original.

Our first vinyl release of 2023 sees two classic tracks from Groove Park take centre stage. Hit The Bang and Carrousel first came to the fore in 1995 as separate releases and, after a few solid remixes, our Bonzai Classics imprint resurrected both tracks along with top-notch remixes in 2002. 21 years later we bring to you the original versions of both tracks on glorious 12” vinyl. André Strässer and Sharam Jey aka Sharam Nickjey Khososi make up the dynamic duo that is Groove Park. They were also the brains behind massive projects such as 16C+, Three n One and Johnny Shaker to name just a few. The tracks found a unique place in clubland, having a diverse structure that spanned genres flawlessly. The A side features Hit The Bang with its hybrid progressive/techno flow. The relentless bass groove, distinct voices and stabbing synths gave rise to a powerful, energetic and mesmerizing moment that lives on. On the flip, Carrousel takes up the B1 slot opening with that infectious woodblock sequence alongside pumping kick drums. A groovy bassline joins the party as old skool pianos come through. The track reels us in with many twists and turns, from wide, epic progressive parts to energetic trance, all wrapped up in a warm, nostalgic glow. A proper piece of dance music history and a must for the serious collector.

If your new EP has already been getting dropped by top dogs like Upsammy, Batu, Call Super, Ben Ufo and Bruce, you know it's a winner. And that's exactly what Lurka's first release on his brand new Make Your On Meaning label is - four tracks of red hot and brilliantly weird minimal. 'Powers' is razor-sharp hi-hats cutting up a scintillatingly smooth and militant tech house groove. 'Re Speak' has jumbled percussion and more wonky rhythms while 'String' layers up toms, tin pot hits, clattering sound effects and an undulating liquid baseline into something super seductive. The closer 'Mystick Crystal' is the busiest of the lot with its densely layered sound fx and samples underpinned by minimal funk.

Twisting and contorting the English language to fit the meter and his every whim, Lupe Fiasco uses his superb lyrical skill to process the changing world in which he lives. Drawing connections between the concrete and spiritual in his hometown of Chicago, Lupe announces DRILL MUSIC IN ZION, his next album. The product of a burst of thoughtful spontaneity, Lupe created the new album over a short period, diving into a folder of beats sent by his longtime producer Soundtrakk and emerging with a fully-realized album in just three days. “Soundtrakk is the swordmaker, I’m the samurai," says Lupe. "He’s the mechanic, and I’m the driver.” Armed with Soundtrakk's soulful sounds, Lupe creates a focused statement that reflects on the past and paves a way forward, preaching strength through mindfulness and self-sustaining community. DRILL MUSIC IN ZION arrives digitally on June 24th via 1st & 15th/Thirty Tigers. The physical release is set for August 26 (CD, Black Vinyl, and Indie-retail exclusive blue vinyl). His first new album since 2018's DROGAS WAVE, DRILL MUSIC IN ZION marks the start of another chapter in Lupe's illustrious career. The proud Chicago native has already had a busy 2022, marked with sold out shows, new music, and much more. Lupe recently closed out his "Food & Liquor Tour," a series of performances in which he plays his debut album in full. He paid tribute to his hometown in the reflective, self-produced "100 Chicagos," and dug into the archives to share "Hustlaz," a previously-unreleased song originally recorded before the release of the now-classic debut album Food & Liquor. Beyond music, Lupe continues to focus on the community organizations he founded, including We Are M.U.R.A.L, The Neighborhood Start-Up Fund, Society of Spoken Art, and his cross-cultural content venture, Studio SV.