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After 17 albums and a prestigious GRAMMY® Awards nomination, Ibrahim Maalouf returns with a new and highly innovative musical project. In terms of philosophical, historical and musical aspects, T.O.M.A, which stands for "Trumpets of Michel Ange", is a great adventure that takes us to a world where folklore and modernity become one. As always, Ibrahim's music strikes the perfect balance between sophistication and approachability, making it both challenging and inviting for a diverse audience. "T.O.M.A” is first and foremost a mixed album, a true blend of influences where the festive and nostalgic East is expressed with a rare freedom.

"T.O.M.A" is also the name of a brand of trumpets created by Ibrahim in collaboration with French manufacturers. It is this unique instrument, invented over half a century ago by his father, that Ibrahim plays on stage, and on which he now educates the new generation of trumpet players.

Last but not least, 'T.O.M.A' is a big celebration that brings together generations, amateurs and professionals alike, along with special guests!

With T.O.M.A, Ibrahim lays the cornerstone of an ambitious life project combining lutherie, French cultural exceptionalism, teaching, albums and live performance, and above all aiming to bring us together around shared values.

Calling all fans of cult soundtracks and genre-bending scores! Four Flies is thrilled to present a limited edition gatefold beauty containing the premiere vinyl release of the complete score to Matalo!, one of the most captivatingly unique Spaghetti soundtracks ever.

Matalo! is a 1970 'western crépusculaire' by Milanese director Cesare Canevari, known for his visually striking genre films, starring Swedish enfant terrible Lou Castel and Italian theatre actor Corrado Pani. Canevari adopts an experimental, atmospheric approach, relying heavily on out-of-focus effects and framing his shots unconventionally. This gives a dark and atmospheric turn to thewestern genre, with the typical dusty plains transformed into a windswept ghost town, while action sequences replace dialogues almost entirely, leaving actors with very little to say – and, therefore, putting the music center stage.

Composer Mario Migliardi – who was also a conductor, pianist, and Hammond organist – throws out the rulebook for Italian Westerns. Prepare for a wild ride of psych-rock textures, swirling electronic filters, haunting reverbs, and concrete sounds – a sonic tapestry that seamlessly blends influences ranging from Jimi Hendrix to Luciano Berio.

Migliardi masterfully combines traditional folk instruments like acoustic guitars and percussion withnon-canonical electronic processing, creating an electro-acoustic alchemy thatfeels both fresh and timeless today, probably way more than it did in the1970s. In particular, the Leslie filter, a hallmarkin the Hammond organs popular at the time, is applied to the entire soundtrack, resulting in a very distinctive and dynamic phaser effect.

The soundtrack's highlight is probably the rock song featuring vocals from Giano Ton, aka Giacomo Tosti, the only track to have found its way on vinyl prior to this LP (it wasthe B-side ofa forty-five released by RCA Italy at the time). Its 9-minute extended version, previously unavailable on vinyl, is a fantastichard-blues-rock jam à la Hendrix.

This limited-edition double vinyl LP comes in a stunning gatefold jacket with artwork by Eric Adrien Lee, who drew inspiration from the film's original posters and promo materials.

Definitely a must-have for collectors of unique soundtracks and adventurous music!



a Matalo! (Theme Song) feat. Giano Ton






h Matalo! (Theme Song) Instrumental





n Matalo! (Theme Song) [Single Version]




[s] Matalo! (Hey Gente) [feat. Corrado Pani]

[a] Matalo! (Theme Song) [feat. Giano Ton]






[h] Matalo! (Theme Song) [Instrumental]





[n] Matalo! (Theme Song) [Single Version]




[feat. Corrado Pani]

Matching breezy, Bossa nova-tinged sophistication with softly spiralling psychedelia, Testbild! arrive in the Quindi lounge as though they've always been there. On their 12th album, Bed Stilt, the Swedish collective cast their attention back to the earlier days of their 25-year trip through sweetly mysterious pop-not-pop rendered in warm tones and shot through with surrealism. It's tricky to get a precise fix on the story and structure of Testbild! The project was spearheaded by Petter Herbertsson in his hometown of Malmö in the late 90s, although the story on their website credits the inspiration and source material to a chance meeting and unpublished manuscript from a retiring scientist. The collective's evolution since then is a tangled web of facts and fiction spun by a revolving cast of collaborators including Siri af Burén, Katja Ekman, Rikard Heberling, Douglas Holmquist, Mattias Nihlén and Petter Samuelsson. Along the way, their music has touched on chamber pop, post-punk and modern jazz with the elaborate harmonies and catchy songwriting charm of the Canterbury scene. The tracks which make up Bed Stilt were in fact track recorded in Malmö back in the mid- 00s, lying in wait for the right opportunity to be brought to light with some delicate overdubs and finishing flourishes in the here and now. The core musicians working on the record were Herbertsson and Douglas Holmquist on a similarly expansive list of vocals, guitars, bass, synths and keys, Siri af Burén on lead vocals and Mattias Nihlén on synths and additional mixing. Meanwhile Tomas Bodén - better known as Civilistjavel - lent some additional synth work as well as mastering the record. Musically, Testbild! stay true to their idiosyncratic approach on Bed Stilt with six immaculately rendered sojourns through lilting harmonies and brushed rhythms, feeling nostalgic but beguiling in equal measure. Theirs is a luxurious sound, not least on the opening strains of 'The First New Years Eve,' which purrs to life draped in silky Rhodes and chiming vibes. Behind this comfortable veneer the enigmatic lyrical themes unfurl through Herbertsson, Holmquist and af Burén's vocal harmonies like fractalized puzzles waiting to be solved. The finger-picking delicacy and languid harmonica of 'Streams' strike a pastoral mood neatly countered by the elegant slide into dislocated ambience for the track's final stretch. By contrast, 'And Her Eyes Are Red' surges with a big beat urgency which plays beautifully with the mellow jazziness of the chord sequences, boldly toying with song structure to dart down curious tangents without losing the immediate impulse of a great pop record. Somewhere in this tension between clarity and chaos we can understand the addictive charm of Testbild! - a band steeped in the considerable craft of making accomplished and unconventional music so very easy to sink into. If that doesn't make for a perfect addition to the Quindi catalogue, we don't know what does.

2024 repress.

Daniel Monaco is a musician who defies definition. An artist who is as comfortable strumming a bass as he is bending waveforms on his synths, this is a creative that guarantees something unique. Tu Sei Pazza more than meets that guarantee. The title track is an instant classic.

Soft burbling basslines float around a steady kick before daring brass sections are punctuated by scaling xylophone lines. Somewhere between late 70s lounge music and strikingly modern disco, this piece will put a smile on any face. Whodamanny lands on the flip and takes the original to moonbase five via Studio 54. Tempos are reduced as a path of cosmic laser-funk is taken by the amazingly versatile Naples producer. A cracking close to a 7” that packs a real punch.

Repress!

Can you feel it? It’s the “Rush Fantasy”…Striking whilst he is hot is Berlin based Norwegian - Henriku. He follows on from his sought after “New York Popcorn” EP with another atmospheric house and minimal exploration, laced with distinct rave energy. The animated four-track vinyl lands on Oslo based, Det Gode Selskab, an ongoing chemistry between artist and label have led to this hedonistic trip, captivating club sounds from a producer in his element. Live out your fantasy, and your wildest dreams.

Taking the lead is “I Do”, a seductive trip of house nostalgia, driven by chunky drums and a pulsating bass line, teased into the trip by the provocative vocals. The title track “Rush Fantasy” strips things back mechanical minimalistic movements converse with a hypnotic sub heavy bass, swaying under the influences of the after party.

On the flip is another steamy encounter with “Pillow Talk”, the vintage samples go hand in hand with the rugged and raw energy of the track. Mysterious textures melt your mind in “Nicotine 4 U”, a smoky vibe for the small hours of the night.

Henriku’s free spirit lives up perfectly to the DGS ethos, a safe haven for artistic freedom, making this a perfect home for the “Rush Fantasy” experience. “It Feels Sooo Good!!”.

Adam Beyer continues his elite studio form with ‘Ghost Kiss’.

The boss has been enjoying the most prolific production period of his career in recent times, while reinforcing his sonic range in the process. Recent highlights have included his standout ‘Let’s Begin’ EP which mined classic Drumcode influences, while his remix of Sharam’s PATT (Party All The Time) with Green Velvet and Layton Giordani showed a different side to his repertoire, and delivered his first overall Beatport no.1 along the way.

His latest three-track offering ‘Ghost Kiss’, continues the creative purple patch. The title track sounds like a techno outtake from ‘Requiem for a Dream’s’ soundtrack, deliciously unsettling and striking. This was made for big moments, propelled by a commanding vox that urges us to move our bodies. ‘Pilot’ shows Beyer’s musical breadth and commanding sound design, taking in elements of synth wave and indie pop all within a driving techno context. A captivating listen. The finale ‘Jack’, continues the inspired sonic referencing; a narrative-led dancefloor jaunt that takes in subtle elements house and electro, with Beyer’s unique twist.

2026 Repress

West London’s Slip ‘N Slide presents a special four-track package on wax for the first time, as Seth Troxler and Franck Roger deliver remixes of the 1997 Blaze favourite ‘Lovelee Dae’. An iconic artist who needs little introduction, Seth Troxler’s name is synonymous with American house and techno of the last two decades, with his formative years in Detroit shaping his sound before moving to the techno capital of the world Berlin. His ventures as a label boss, and with Night Tales, further cemented the talent as an underground hero - he now joins the likes of Carl Craig, Roman Flügel, and Isolée in giving ‘Lovelee Dae’ an expertly crafted remix, building from minimal grooves to a grand and immersive wash of sound. Also stepping up on remix duties is Parisian producer, crate digger and label boss of Real Tone Records, Franck Roger, who adds his signature beat focussed approach to the iconic track. This vinyl package also includes Blaze’s striking original, as well as one of the very first remixes from the late 90s, the 20:20 Vision remix of which used copies go for big money. This is an essential 12 inch EP for any true house fan.

Mickey Nox is a techno enthusiast, label owner, DJ and producer from Melbourne, Australia. His impressively unique style and attitude towards his constantly evolving productions and DJ sets is dark, menacing and always maniacally exhilarating as he becomes progressively more entangled within his heavy hitting hardware.

Continuing with the ‘Limited As Fuck’ series of releases, on our fiercely independent techno label based in Scotland, we witness the return of the Australian assassin himself with the most rampant, fast paced release we’ve ever put out on our infamous label …….. so far. After the rip-roaring success of his first RIOT Radio Records release a few years back with his double vinyl album ‘Mad As A Cut Snake’, he’s back once more to knock some sense out of, or is it into you?

He’s pulled out all of the bashing implements he can muster into forging this conk buster of a release. Full bore mallets, truncheons, heavy mounted metal clubs and even franticly abused frying pans have all been industriously employed by this long-haired behemoth of an artist for driving, battering, pummelling, pounding, striking, bludgeoning and cudgeling all for the purpose of taking you into his world of being a ‘Hammerhead’.

The full digital release also features one bonus track with the ‘Rough Mix’ of ‘Tropic Corridors’ which you won’t find nowhere else. Rough by name, rough by nature.

WARNING: LISTENING TO THIS WEAPONIZATION WILL ENDUCE FILTH OF THE MOST OBSCENE NATURE

Hilit Kolet returns to Rekids for the ‘Snap Talk’ EP. It follows her ‘Hot Mess’ single for the storied imprint and features Kameelah Waheed's vocals on the title track.

Continuing her hugely successful run of 2024 releases, Hilit Kolet returns to Radio Slave’s revered Rekids label with the two-tracker ‘Snap Talk’, following in the footsteps of ‘Hot Mess’ (Rekids) and ‘Everything Is Amazing’ (Bush).

The two dancefloor favourites won DJ support from Laurent Garnier, TSHA, HAAi, Maya Jane Coles, Roman Flügel, Chloé Caillet, Jennifer Cardini and countless others while earning an extended string of radio plays from Danny Howard, Jamz Supernova and Sarah Story, who tapped Hilit for a Future Dance Mix.

For ‘Snap Talk,’ the fast-rising East London DJ and producer turns in yet another drop of striking, jackin’ power-house, this time propelled by Brazillian baile funk rhythms, a homage to her days as a samba dancer at London’s Notting Hill Carnival. Fellow Rekids alumnus Kameelah Waheed's seductive spoken-word vocals ride and push the driving 909-fuelled number, and the result is an outstanding 2 AM track that seriously cuts through the noise.

On the flip, Hilit’s ‘Gate 33’ combines tightly looped percussion opening up into a naggingly insistent drum-heavy cut that employs favela funk-patterned cowbells, a throbbing bottom end and a mix of passionate vocal and unnerving airport announcement samples to create an utterly compulsive late-night groove. Hilit Kolet has been integral to London’s underground scene ever since she was slinging vinyl at Soho’s legendary Black Market Records. Her distinctive, energetic DJ style established her behind the decks, playing everywhere from Ibiza to Berlin via Shanghai and Oslo.

Fledgling label Shadow Pressings already made a mark with their debut release in March entitled the Chicago EP, garnering love from Hunee, Terry Farley and Luke Solomon to name a few.

Striking while the iron is hot, the label are serving up four more heavyweight club tracks which include acidic edits, crunchy deep house, 808 electro grooves and dusty breakbeats.

Lead track Find A Friend jacks up the perennial classic with 808 rims and toms and additional synths but keeps things loopy and rolling.

Holding One Shoe continues with the 808 theme whilst injecting a healthy dose of acid resulting in what sounds like a long lost Yazoo B side filtered through a lysergic lens.

Train Of Fools decontextualises a well known acapella making for a deep and techy basement jam which will keep the floor moving and the speaker pumping.

Closing out the EP we have More Music In The Night, which chops up some familiar samples and layers up an 808 electro groove and breakbeats for a fresh take on early 90’s house.

The Australian act Cutting Room strikes back with a EP extracted from their latest album “5 Years of Pure Energy”, they deliver one of the most modern and mental stimulating planetary electro/breaks sound, akin to AtomTM or Cultivated Electronics label. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany). Includes inmediate digital download.

Repress

Cinthie Christl is a powerhouse of a DJ, producer, label manager, record store owner and all-round house music aficionado. Shall Not Fade is excited to announce Cinthie is joining the family to mark the 60th release on the label. Free Fall EP shows off the German polymath's expansive musical knowledge, developed through decades of spinning vinyl.

The 4-tracker kicks off with "Offenbach Anthem" bounces along with a varied post-disco inspired beat and oh-so-deep bassline that strikes against the aerated chords of the melody. Dramatic strings add to the disco flavour, the fluid and glittery opener cruises into the tight, 4-to-the-floor business and stuttering stabs of "13 Steps To Heaven".

Rave energy takes over on "Oh No No No"; organ takes centre stage blending with crooning diva vocalisations - releasing the tension of the last track into an overflow of euphoria. "What You Mean To Me" closes the EP with a slice of the super-smooth classic house that Cinthie is known for; infectious grooves and perfect lulls forming a triumphant end to the record.

The one and only ROBOTRON strikez back and rises high from the low-end abyss of the CYBERSBASS, frequencing high cutting-head harassment with low assaulting bottom-endz to let your earz eliminate. after an ultimate battle against THE EGYPTIAN LOVER on the previous episode of SKYNET CYBERSONIX, skynet T.4 attackz fearless from the dark-side of the lo-fied empire as a limited edition of 200 x 12″. available on black or silver vinyl, along with a numbered sheet and additional illustration by interwebz un-popart weirdo RUBBERJIGGLER. watch out for one of his 50 randomly packed posters!

Live electronics duo REKK&KUTOBOY provides raw electronic manipulations, femme noise, and off-kilter dance extravaganza for a self-titled EP on Attention Management.

Katya Rekk and Ilya Kutoboy have been playing live shows for years and cut their teeth on the local improv, noise, and experimental scene in several projects and collaborations. Ranging from unholy fx-scape crackers to haunted lullabies but mostly striking as kinetic grooves, the band embodies a heavy, amplified synth sound, sitting somewhere between machine sequencing, processed vocalizations and use of DIY electronics. The enfant terrible of Katya's grrrl high-energy and improvisational tactics paired with Ilya's mutant beats blends into an idiosyncratic sonic realm that empowers you in its own way.

Live electronics duo REKK&KUTOBOY provides raw electronic manipulations, femme noise, and off-kilter dance extravaganza for a self-titled EP on Attention Management.

Katya Rekk and Ilya Kutoboy have been playing live shows for years and cut their teeth on the local improv, noise, and experimental scene in several projects and collaborations. Ranging from unholy fx-scape crackers to haunted lullabies but mostly striking as kinetic grooves, the band embodies a heavy, amplified synth sound, sitting somewhere between machine sequencing, processed vocalizations and use of DIY electronics. The enfant terrible of Katya's grrrl high-energy and improvisational tactics paired with Ilya's mutant beats blends into an idiosyncratic sonic realm that empowers you in its own way.

Glasgow based Seated Records return with more 1980s Scottish Post-Punk / New Wave material. In this 8-track mini compilation the label introduces the work of Stirling band 22 Beaches, offering a deep dive into music recorded between 1980-1984 - the majority of which has never seen the light of day!

22 Beaches formed in Stirling in the late 1970s as an evolution of the short lived group ‘Alone at Last’ - drummer Fred Parson’s and guitarist Stephen Hunter being the two who spanned the divide. Out of the six members of 22 Beaches, many were school friends, and the rest naturally fell together. The band toured extensively and played at a truly diverse set of venues across the UK: from a local swimming pool boiler room, to small nightclubs and university parties, to several fundraisers for the miners strike. Maybe most notably of all, drummer Fred Parsons described playing at what he calls “the Grangemouth International”, organised by local promoter Brian Guthrie and which featured an all-star lineup of 22 Beaches, The Exploited and the first incarnation of The Cocteau Twins. A coach was hired to ship the audience to Grangemouth from Stirling, the cost of which was included in the ticket. The gig then paused halfway through for a 'help yourself' buffet. Young promoters take heed. This is how it's done!

Over the course of the 80s the band released music on three different, and now sought after, various artists compilation cassettes. “What Day Is It?” and “Sadie When She Died” were released on a compilation of local Stirling artists 'The A.N.K.L.E File'. The track from which the current record takes its namesake - “Dust” - was initially released on a compilation-tape for the fanzine 'Another Spark'. And ‘‘Zoo” (also featured on this record) was first released on Glasgow label Pleasantly Surprised via compilation, 'An Hour Of Eloquent Sounds', where 22 Beaches rubbed shoulders with early music from Scottish names Primal Scream, Cocteau Twins, The Wake and Sunset Gun. Unfortunately, 22 Beaches never met the same level of commercial success as these others and decided to retire the project in 1984 - leaving their recordings and demos to gather dust (hehe)…until now!

This compilation, “Dust: recordings 1980-1984” follows the band's journey and the changes in their sound over the years. It moves from the raw, punk energy of early DIY recordings through to the A Certain Ratio style Balearica of their later pieces. The record's opener and title track “Dust” is perhaps the most shining example of the latter. Characterised by the plenitude of sonic space in the mix, “Dust” has an almost dub sensibility that is communicated through centrality of Parsons’ drums, McChord’s percussion, and Fildes’ Bass while the harmonising vocals of Sharkey and McGregor chant over the top to give the track its distinctive psychedelic edge. This is an atmosphere only exacerbated by the lofi quality of the recording which sits the vocals in the same aural realm as much 1960s psych-folk. On “Cartoon Boy”, the band strips things down further. A droning bass line persists through the tape fuzz and is accompanied by the sounds of a sole looping guitar chord sequence and McGregor and Sharkey’s vocals - respectively and carefully dancing around one another before harmonising in the most beautiful way. The result is a haunting and abstract Marine Girls style heartbreaker. ‘That Girl’ again delivers a dub adjacent rhythm section similar to that of “Dust”. However, on this instance crisp guitar chords, a distant, phased organ and blue-eyed soul vocal delivery, produce a track that could easily have been a lost Orange Juice recording from their sessions with Dennis Bovel. On “Somebody Got It Wrong” and “One Of Us” the band employ a more macro approach where a jangling guitar with an almost highlife-influenced tone, vocal ad-libs and syncopated percussion give the music a Talking Heads-esque swagger.

Taken together these tracks illustrate a clear trajectory in the band's sound, moving from from the high energy no-wave quality of early recordings towards a more dub influenced, and stripped-back sound - a sonic trajectory followed by so many bands of the time, not least those emerging from the diaspora of Manchester’s Factory Records.

On “Breathing’’ we hear the beginning of this transition, with the strong influence of the oddball NYC disco styles of Was (Not Was) and ZE records. All of this is meshed together with the residual punk rock energy of 1980s UK. This combination is employed to excellent effect with the addition of the distinctly Scottish (and what the band confirmed to me to be spontaneous) vocal delivery of: “Do you love me? Do you want me?” “Aye!” “Do you love me? Do you need me?” “Naw!”.

On the record’s closing tracks, “Zoo” and “Talent Show”, we hear early examples of the band’s work, playing with their rawest all-in-one-take live energy where Hunter’s spiralling guitar riffs and McGregor's distorted vocal exclamations lead the charge. The band recalls that these initial-forays did not always translate so well into multitrack recording and overdubbing: “the deconstruction took away some of the band's natural feel”. On “Talent Show” the record ends with Sharkey delivering an almost unintelligible spoken word section over the top of the track, making for one final, disorientating, almost manic slice of post-punk.

These tracks from 1980-1984 chart the progress of a unique contribution to the world of Scottish Post-Punk and New Wave, encapsulating not only the musical trajectory of 22 Beaches but also echoing the broader sonic landscape of 1980s UK, a testament to the adaptability and creativity of the UK’s underground music of the time.

repressed !

microCastle’s first offering of 2024 welcomes Adrian Roman back to the label for his second artist showcase. Hailing from Spain, Adrian Roman first rose to prominence in 2021 with a string of superlative releases which redefined his sound, resulting in an aesthetic that was both cutting edge and effortlessly cool. F, nmully formed within the creative confines of his Castello studio, Adrian’s first microCastle project, 2022’s‘ Disturbing the Perception’ succeeded in showcasing his inventive approach to composition, while remaining club-effective, and in turn earning play from Aera, Fideles and Jimi Jules, amongst others. Moving forward the next eighteen months have proved to be impactful for the young Spaniard, recording standout projects for AZZUR and Sum Over Histories, releases which continued to build on his creative acumen, while remaining in the playlists of underground tastemakers Ame and Dixon. With 2024 beginning with Adrian’s latest Sum Over Histories vehicle ‘Oratorical Ability’, the Spaniard now makes a welcome return to microCastle with a six-track showcase entitled ‘This Is What I Was For A Moment’.

From the opening monochromes of ‘Le Sabbat’ Adrian’s craftsmanship reveals itself across this slow-burning piece, one where grating growls, granular flares and panoramic arps ultimately set the pace for the groove-centric ‘Customized Reality’. It’s here where Adrian puts a greater focus on the dancefloor, marrying hopeful vocal phrasing and silky chord stabs for a rejuvenating experience, while a drum-driven drop ultimately charts the course for a finale of deconstructed sonics and post-rave bliss. The haywire electricity of ‘Faces of Belmez’ finds the Spaniard once again flexing his creative muscles, as corrugated bleeps and cataclysmic rhythms provide a vast sense of space, creating the ultimate backdrop for distorted synths to propel choppy rhythms into dark underground passages, and perhaps onto some of the world’s most adventurous dancefloors.

The collection’s midway point is marked by the hypno-architecture of ‘Mind Design’. Trickling reverberations and long sighs of tonal tension wade through its pulsating framework, with frayed effects and thumping rhythms submerged beneath a buzzing panoramic glow. Played by Ame and sitting as one of the project's most enigmatic tracks is ‘TAGDI’ (They Are Gonna Do It). Tinted with contemplative synths and guttural vocals, Adrian’s unique emotionality peaks here, as he crafts a low-slung, slow-building dystopian romance, all while weaving in cerebral manipulations for an unforgettable ride. The mist breaks instantly on the collection’s final piece, as your thrusted into the muscular grooves of ‘Fear Track’. Horrifying vocal stabs strike, leaving the gauzy purple skies of ‘TAGDI’ behind for a more robust romp, one where anabolic bassline, retro-arps and off kilter percussion bring the release to a feverish peak. A fitting conclusion to a diverse collection of music, one where Adrian creates a journey that speaks to the complexities of life against an immersive and challenging backdrop.

Artwork: Maurcio Seidel

Hailing from Normandy (France), YOU SAID STRANGE offer an indie rock sound made up of psych pop-rock, shoegaze and proto-grunge. The band's music is the work of passionate musicians, combining the dazzling power of their instruments and the union of their voices to create a fusion of melancholy and energy. The band recorded their 1st album, Salvation Prayer, in 2018 in Portland (USA), with Peter G. Holmstrom from The Dandy Warhols. Seduced, the iconic Kevin Cole invites them to perform live in the studios of the prestigious KEXP radio, where their next project will emerge. At the end of 2021, Thousand Shadows Vol.1 is released. Then, after defending it on European and American stages, comes its sequel Thousand Shadows Vol.2 in 2023.

"TRADE YOUR SOUL" plunges us into the complex exploration of human relationships, love, trust and disillusionment, addressing several universal themes in an introspective way. This post-rock tale unfolds as a metaphorical journey of spirituality through life's most intense and intimate emotions and experiences.

YOU SAID STRANGE continues to combine abstract and concrete indie rock with psych-rock, post-punk, shoegaze and indus, inviting listeners to reflect ever more deeply. Nevertheless, "TRADE YOUR SOUL" marks a significant milestone for the band, with a more striking musical approach and a number of innovations, while remaining the work of passionate musicians who combine the dazzle of instruments and the union of voices to fuse melancholy and energy.

After the success with his "Timelapse" album on our label, Vincent Casanova returns with his solo vinyl on Pirka called "Euphoria".

The EP contains intelligent melodic cuts, which drives us through different colors across the micro house universe.

Matthew Halsall announces a limited-edition Vinyl only pressing of Bright Sparkling Light, a luminous three track EP featuring some of his most gorgeous compositions. Originally conceived as a tour only exclusive, Bright Sparkling Light was recorded alongside, last year’s expansive beguiling long-player An Ever Changing View and draws on the same trademark blend of jazz, electronica, global and spiritual jazz influences. The original pressing sold-out on Matthew’s EU and UK tour last October and November and so many people got in touch with us here at Gondwana asking how they could get a copy that we decided to make a further 2000 copies available for retail and online sales. The title track is a hypnotic meditation built on one of the lushest loops Halsall has ever created and featuring stellar work from Halsall and flautist Matt Cliffe. Newborough Forest is a brisk, uplifting composition celebrating one of Halsall’s favourite landscapes and the wonderous Tide and the Moon paints a sonic picture of late-night waters and deep mindfulness and features some of Matt Cliffe’s most beautiful tenor playing. Like An Ever Changing View, Bright Sparkling Light comes in a package as striking as the music, with handmade fonts designed by Ian Anderson and a beautifully realised embossed artwork that offers a perfect compliment to the LP. Strictly limited and featuring a download code, Bright Sparkling Light will not be re-pressed.

Free Hand was Gentle Giant's seventh album, originally released in July 1975. This album was the most commercially successful of the band's career, reaching the top 40 albums in Billboard Magazine. It stands as the culmination of the band's maturity, following the successes of 'In A Glass House' & 'The Power & The Glory'.

Having toured Europe & North America non-stop in the years prior to this release with artists like Jethro Tull, Yes, Zappa etc, the band had gone from strength to strength. By the time 'Free Hand' was released Gentle Giant had become a major headliner in their own right. All the members were multi-instrumentalists and the band were never afraid of surprising an audience with a 4 part recorder ensemble followed by a vibraphone solo, all the while rocking the audience and thoroughly enjoying themselves onstage.

Gentle Giant albums featured many songs with both literary subjects as well as social and personal commentary on life as rock musicians. 'Free Hand' has more than most. The title of the album and first track were so named as the band had just changed record labels and management and felt unshackled by prior contractual obligations.
Putting these issues behind them upon its first release, Gentle Giant embarked on an extensive tour of North America and Europe, plus a short tour of the UK, to promote the album. The incredible range of Gentle Giant's music is evident throughout this album. From the intricate vocal fretwork of 'On Reflection' and the delicate medieval
flavour of 'Talybont,' the Celtic-tinged rock of 'Time To Kill' and the jagged rhythms of 'Just The Same,' all those diverse elements which made the band so strikingly original are skillfully blended and perfectly executed.
Award winning producer and musician Steven Wilson has added his delicate touch in remixing 'Free Hand' . His tonal range and painstaking attention to sound quality make 'Free Hand' sound as fresh today as it did on first release. A fitting tribute to the compositional skills and expertise of five dedicated musicians.
This special gatefold 2LP edition is pressed on White Vinyl and limited to 500 pieces worlwide

Here is the second release on Silvi, "Aya EP" by Head Honcho Roy Brizman. This time, he presents three of his productions, skillfully blending emotion and rhythm.

Opening the EP is 'Aya,' the title track, which has resonated deeply in the clubbing scene over the past year. It serves as a personal homage to Roy's wife, Aya, and is sure to evoke a whirlwind of emotions with every play.

Following that, we have 'That Blissful Morning' on B1. This track takes you on an introspective sonic journey, pushing beyond conventional boundaries. A euphoric wave strikes at the heart, ushering in a profound sense of bliss.

Rounding out the trio is 'Control' on B2, a must-have in the arsenal of every serious selector. It's the kind of tune that seamlessly fits into any set, making transitions both smooth and impactful.

SILVI002, Aya EP, stands out as a diverse and engaging offering in the electronic landscape, appealing to both avid followers of Roy Brizman and those new to his sound. It's an EP poised to make a mark and leave a lasting impression, as Roy continues to build on his renowned reputation.

Marina Herlop is often described as a pianist, a lingering remnant of her classical training. But what strikes the listener on Herlop’s breakout track miu is the intricate trickery of her voice, tracing rhythmical clusters around the subtlest of musical beds, in a technique inspired by Carnatic music of Southern India.

miu, the opening track of Herlop’s new studio album Pripyat, was among the first songs that the young Catalan artist made on a computer, after two albums – 2016’s Nanook and 2018’s Babasha – that brought spectral elegance to the sound of piano and voice. This spirit of adventure continues into Pripyat, Herlop’s first full album produced on a computer, and her most intensely emotional work to date.

Listening to Pripyat you can feel the emotional toil and creative endeavour that went into the record. Fans of Nanook and Babasha will recognise the combination of melancholic piano and elegant vocal lines that is found on Pripyat tracks like abans abans. But Pripyat has a far fuller, almost chaotic sound when compared to Herlop’s previous work, with the addition of electronic drums, electric bass lines and a wealth of sublime production effects.

Dave Hamilton’s New Day label is one of the most striking in existence, a powerful concoction of red, yellow and black, that matched its pitifully small run of singles. Two of these were by Billy Garner, a Detroit based vocalist who recorded three songs for Hamilton, all of which are funk classics.

Originally issued in 1971, ‘I Got Some’ is seriously down and dirty and was sampled by DJ Premier / Gang Starr. This reproduction of the original single, sees our first 7-inch issue of ‘Part 2’.

‘Threads’ was my 1st album as Om Unit and this 10-year re-mastered anniversary edition comes around at what feels like a similar time for me of experimentation and finding new ways to connect sounds. Something of a full circle of sorts but then again I am marking time with this re-issue at a time where I can look back and feel very proud of the work still sounding so convincing. Now even better thanks to Subvert Central’s Robert Macchiochi!

Reflecting on the past 10 years since this record came out, I can say it’s been an incredibly fruitful journey, with the most striking element of it all being the opportunity to travel and meet so many people from so many different backgrounds with different world views and stories. I found that ‘Threads’ for many was their first insight into my music, and for some people was something of a milestone in their journey of exploring music itself with tracks like ‘The silence’ and ‘Governor’s Bay’ having been mentioned over the years as amongst favourites alongside some of the work released on Cosmic Bridge and Civil

I want to take a moment to give my Love and gratitude to all the featured vocalists. Thanks to Simon Jinadu for his angelic voice on ‘The Silence’, to Charlie Dark MBE for his reflective words on ‘The Road’ and to Alex ‘Bogues’ Rendall aka MC Jabu (of Jabu) for his intense delivery on ‘Patients’ as well as Jneiro Jarel for his self-reflective narration on “just sayin’” All 4 are still outliers in their own field and upstanding creative forces to boot. I feel blessed to have been able to capture them on this project.

Threads was made in a bedroom of 2a Station Rise in Tulse Hill, a flat I shared with journalist and writer Laurent Fintoni, in a space that had such a great sound to it that I’ll always miss that room. I hope that you feel the warmth that I felt then whilst making it. It’s been an adventure since and whilst I’ve moved on from a lot of the tropes intrinsic to the album, it will always remain a body of work that is dear to my heart.


Enjoy!
<3

Banoffee Pies Records Black Label Series continues with a very special solo EP from Ukraine born producer & DJ, Adelina. Now Berlin based, the Oracool party founder, and multi medium artist, who’s roots in Kyiv’s underground sound, and passion for music culture, shines through their already distinct sonic signature.

Following the mesmerising dusty cut single “Soft Moving” the full EP extends to combine this haunted 5 track collection via the 7th release on the BPR sub label. Adelina’s introspective approach strikes a magnetism on their surrounding environment using a precise and mature combination of broken structures, dreamy dub basslines and high bliss electronica.

Recently immersed into sound creation while exploring the most cryptic aspects in the connections between sonic spheres, BPBL07 offers a fluid introduction to the imprint while representing the new Ukrainian sound wave. Their choice selections and alluring charisma as an artist reflect their infinite certainty in the power of music as a universal key.

Four tracks from '20 Years Of Phonica' on limited 12" vinyl!

We start off with a collaboration from Paramida & E-Talking. Paramida is the well-respected head of the Love on the Rocks label whilst E-Talking is the pseudonym of Emmanuel Corre, one half of Nummer who have given us stunning releases over the year on their own label, AD93 and Going Good. ‘Read My Lips’ strikes the perfect balance of old-school warehouse acid and early morning Berlin dance floors.

Next up, Dauwd’s bass-heavy monster ‘Slam’. The US born, Berlin residing DJ & producer Dauwd has been pushing his sound through various styles and genres since the early 2010s. From dub-steppy and tech-house beginnings to his most recent house and dub-techno Psssh imprint outputs he has been driving record collectors crazy for his 12’s for over a decade!

On the flip, Daniel Avery's ‘Bell’ finds the Phantasy and Mute artist at his most contemplative and melodic; it’s streamlined stylings reminiscent of UK Artificial Intelligence 90s techno and Kompakt’s golden era.

Finally, Mancunian producer Willow’s ‘Willbush’ shows why she has been a leading name in the underground house scene for over a decade now, including releases on the renowned Workshop label.

Building on their shared exploration of forward-leaning UK club sounds, EM + STAV herald the arrival of their new label JoyLift with the Endless EP. Having entrenched themselves within the free-spirited landscape of Bristol’s music community, the pair home in on a focused sound which draws on the city’s storied bass mutations as a springboard for their own take on modernist dance music.

There’s a tough, brooding quality to Endless EP which speaks to the meditative pressure of soundsystem immersion, but equally EM + STAV build out evocative, shifting narratives within that club-ready framework. From dubwise processing to deft sound design, a broad church of processes are wielded to shape out these pieces, and physicality comes in many forms whether in weightless sub lines or pointed, angular drum programming. Given their long-standing connection to developments within the underground music scene, there’s a keen instinct for the dynamic shifts which can set a dance alight, while the ill- defined shape of the wider genre-not-genre allows plenty of space for movement and experimentation.

Alongside the three original productions from EM + STAV, kindred spirit Forest Drive West steps up for a remix of ‘Odd' which aligns with the aesthetic intentions of JoyLift while demonstrating the idiosyncratic qualities associated with the scene’s most vital artists. The cohesive feel of Endless EP extends to Luke Griffin’s artwork, in which natural source material undergoes heavy processing to wind up in a striking new form, shot through with colour but ultimately shrouded in a moodiness that harks back through the lineage of hardcore-rooted UK dance music.

By its very nature the future is unwritten for JoyLift, but EM + STAV’s new project commits itself to an ever-evolving palette of sound, rendered as music with a strong sense of identity - tracks to shake the dance without resorting to obvious tropes, responding to and feeding into the inspiring tides of ideas emanating from the environment around them.

Numbers hold the key to unlock the universe. So, a six-pack can either consist of six bottles of beer, very well developed stomach muscles or in our case: a string of smash hits. To take it even further, it’s exactly six tracks for the sixth part of the VA-series that is One Swallow Doesn’t Make A Summer.

Hit men include friends new and old: Llewellyn, Stereocalypse, Zillas On Acid, Storken & Hammer, Ede, Señor Chugger & Count Van Delicious. The pace is cool and hot at the same time. Rave signals by Ede foil the nouveau disco by Stereocalypse or Storken & Hammer, Llewellyn does a classic house piano hop, Zilles On Acid deliver, well. mid-tempo acid, and last, but not least, Señor Chugger & Count Van Delicious strike a delicious pose.

One for almost everyone! And if not, let your body go with the flow!

Proper full-length outing from Naarm quartet and venerable live show Polito! Though prior associations with Butter Sessions have birthed EP's and compilation appearances, Collapse Phase gathers the most cohesive body of work from the group to date. Self-described as "a meeting of improvised contemporary dance and live improvised techno music, working together to create entrancing performance experiences", the project translates impressively to the long-player format. Holding no pretence with its title, opening cut 'Chuggalug' swirls around the stereo field building upon sustained synth warbles with low-key basslines and breaks propelling the track. As the album progresses from the chug into gridlocked, Mills-ian loops and fast, extra-terrestrial sound design (all swinging 909s + decay), we're also treated to contrasting downtempo acid cuts and dubwise, day-time festival vibes ('Fortune Teller'). 'Nine Lines' layers various patterns in a classy exercise of dancefloor tension building, with an undoubtedly in-the-moment feeling evidencing Polito's live show foundations. Across the board the group showcase their mastering of a kind of addition/subtraction push and pull, but the varying influences in sound design provide an extra layer of depth to the whole thing and cement the Polito brand. On both 'Inside The Sphere' and 'The Sphere Is Collapsing', the dreamier, more reflective edges of 90s IDM are given a nod and these two strike as up there with the best on the album. Head for 'Mercado Waltz' for a super interesting fusion of loopy techno and modular dubstep.

Polito is a collaboration between musicians Robert Downie and Finnian Langham, and dancers Arabella Frahn-Starkie and Hillary Goldsmith.

After shaking up the dice across global festivals and club dancefloors last summer, Albion Collective reinvigorates Yoofee’s instant classic, Seek & Move, in a brand-new remix EP featuring Mystic State, Molokai and K-lone.

Mystic State fires up the engine with his remix of Seek & Move, alchemising Yoofee’s rapid kinetic energy into pure steamrolling pressure. The intro mischievously echoes the original, imbuing the drop with a strike of surprise when Mystic State’s stripped back, sub-loaded weapon fires in place of the classic.

Molokai keeps the motor revving with powerful, in-your-face sound design built for the heavy steppers. Zapping, buzzing, and fizzing robotic delights spark and pop throughout Molokai’s grungy yet groovy retwist of Yoofee’s Seek & Move.

K-lone serves up a signature sweet ‘n’ tasty edit of Make You Believe, realigning the original B-side’s focus from its organic soulful keys to its endlessly elevating electronic arpeggiation. What was once bathed in reverb, serving as a glimmering skyline to the gorgeous memory palace of Make You Believe, becomes the unblurred protagonist bleeping and blooping its way through a high-rise city of slick trap rhythmics.

Albion Collective is proud to welcome these fantastic artists to the label and present their brand-new viewpoints on Yoofee’s Seek & Move Remixes EP.

Long Beach legend Scotty Coats links the West Coast eclecticism of Stones Throw to the NYC cool of DFA and Rong to the Balearic gods of DJ Harvey et al. He personally introduced Be With to Ned Doheny 10 years ago and he was immortalised on Smith & Mudd's last LP. And he's the main man behind the mysteriously titled duo Todd Russell & The Dangerous Coats, alongside Erick "Todd" Coomes (Lettuce founder/bassist).

In very real danger of being lost forever, we unearthed two of their private recordings and present them as a double A-Side 12", adorned with S-T-U-N-N-I-N-G artwork, courtesy of Arizona artist Frank Gonzales.

"Playa Larga" is a melodic, mellow masterpiece and is quintessentially Balearic. It's stretched out, low slung, guitar-soaked drum-machine soul music. It's multi-layered and contains multitudes: it builds and builds and builds and mesmerises as it does so. On the flip, "1900 Ocean Avenue" is a super slo-mo, sunbaked drug-chug which is already blowing minds thanks to early leaks of this cosmic, psychedelic detonation.

On first listen back, Erick said to Scotty: “So wait, nothing really happens, I mean nothing bad happens but nothing really happens”. Apparently these tracks were a bit foreign for Erick, musically, because of the lack of structure in the songs.

One morning, years later, Erick called Scotty and excitedly declared: “dude, I get it now!”. He was listening to random music with a lady friend while watching the sunrise in his 1900 Ocean Ave apartment and "Playa Larga" came on randomly. He'd forgotten all about it and said he had to get up and see what song it was because "it was the perfect soundtrack for a psychedelic sunrise over the ocean."

And that's exactly how we came across it, circa 2018, randomly popping up on a playlist while we were busy doing other things. It stopped us in our tracks but, when trying to find any info on iTunes, we were out of luck. It was only years later that we worked out Scotty had sent it to us. Ever since, we've been working on getting this out to you all. It's finally time.

We've only 500 pressed for the world, with many of them spoken for by those lucky enough to be already ITK, so these are gonna fly: be warned!

Scotty is a world class raconteur so we'll hand over to him to explain how these songs came about and why they mean so much to him in the context of his wider raison d'être:

"These were made 13 years ago when I was a new dad and left my job at Ubiquity Records to provide security for my newborn son, Nolan Liam Chai Coats. I became miserable working a job outside of music for the first time in my life and I was laid off 4 months into it. I was left wondering how the fuck am I going to provide for my family?

I lived in Long Beach and Erick lived a few blocks away. I would walk to his house when Jen finally got Nolan to sleep so I could escape my panic, drink some beers (is it beerlearic?) and make some music. He lived overlooking the ocean with the Queen Mary on the horizon, so I guess mellow Long Beach nights unintentionally inspired the music. These songs were the first two songs we ever made and they embody the desperation and hope I really needed at that time. 12 years later, when Rob at Be With expressed an interest in releasing it, we had Erick's brother Tyler Tycoon Coomes play drums on it at Jazzcats Studio in LBC, with Jonny Bell.

Shortly after I was laid off, I discovered The Stepkids. I was blown away by "Shadows On Behalf" and sent it on to Gilles Peterson. He played it on Worldwide the next day. The Stepkids pulled me back into music and made me realize I wasn't prepared to do anything but be involved with music. After I heard their unreleased album, I knew there was something there so I sent it to my good friend Jamie Strong who was at Stones Throw at the time. Jamie passed it along to Peanut Butter Wolf and the band asked me to be their manager. I didn't think I was the right guy for the job but wanted to see them do well so I told them I would help shop their album. Jamie suggested I take his place at Stones Throw, just as he did when he left Ubiquity Records. I always joke that Jamie can call me Scotty Coat Tails because I had been riding his for years.

Wolf told him that "Scotty is a nice guy but has horrible taste in music", which was ironic because he was literally trying to sign the band that I brought him. The Stepkids signed with Stones Throw and found a real manager. 6 or so months later Jamie sent me a note saying "Stones Throw is hiring and you should apply lol". I told him I was going to send my resume and the subject of the email was to read I HAVE GREAT FUCKING TASTE IN MUSIC. I did just that and got a call the next day from their new GM asking me to come in for an interview. When I walked in I was in Wolf's office where I had been 6 months before, signing The Stepkids
deal. Wolf and Jason McGuire were asking me some questions and wanted to introduce me to Jeff Jank. Jank walked in and said "Isn't this the guy that Jamie wanted to bring on 6 months ago?" They confirmed and he threw his hands up and walked out saying "I've seen enough". I got the job. I worked there for 2 or 3 years until I left to join forces with Jamie Strong at his label and stayed there for almost 7 years."

Scotty wanted to use a painting by his good friend, Frank Gonzales, for the front cover image. Frank was incredibly generous in letting us use this one, and Scotty was completely honoured. We think you'll agree, it's pretty striking. Simon Francis carefully mastered the original audio for both tracks and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this double A-side 12" sounds appropriately outstanding. The immaculate Record Industry pressing will ensure these previously unheard, recently discovered recordings finally get a chance to shine.