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Honing your skills is under-appreciated in times of instant gratification and the continuous stream of music. Rotterdam-based producer Kofi The Unknown subverts this idea and took time for spiritual introspection, studying rhythms and sound production. Where being a late bloomer normally is seen as a sobriquet, the producer, composer and beatmaker wears it as a badge of honour and solidifies it as an honorary title by pinning it to his debut EP on Wicked Wax: The Late Bloomer. Wearing his heart on his sleeve, Kofi The Unknown shares his journey that led to The Late Bloomer, an emotional journey through sophisticated dance music, straight from the heart, aimed at the soul and feet.

Highly influential to Kofi’s sound and this EP is London’s Broken Beat scene. Syncopated drums, soulful chords and heavy bass lines work in tandem to emphasise the danceability the genre is known for. This is further solidified by the track Kofi released leading up to this release: One for Motet, an ode to the Broken Beat MC and Jazz Refreshed host Jason Hicks. The Late Bloomer further develops Kofi’s ode, but provides his Rotterdam flavour and brings his Hip Hop and Funk lineage into the mix.

Embrace Mistakes sets the stage for what’s to come in various ways. It is a textbook case of how dance music can tell a story and be introspective. Kofi’s honesty shines bright on the entire EP and strikes from the first kick drum on. It also shouldn’t be hard to recognise and feel the emotion the producer shares on the title track The Late Bloomer. The emotionally-laced chords and crushing drums are reminiscent of late nights at a warehouse or emotional sequences from a dystopian movie.

Staying true to his ethos ’exploring the university that music holds’, Kofi finds this beyond music production as The Late Bloomer provides an audible experience through creative mixing. Stuttering analog synths, enveloping leads, multiple percussion rhythms and off-beat snare rolls hit from all directions of the stereo spectrum, further underlining the sophistication of his merit. While the EP follows the Broken Beat accents on dance, it is an equally mindful listening experience.

Kofi The Unknown is a Rotterdam native producer with a knack for rhythms. His keen ear is informed by mentor and Dutch enigma Trian Kayhatu. While Kofi has taken the time to perfect his skills under the guidance of Trian, the two are simultaneously working on the exciting follow-up project to this debut EP. Without looking too far ahead, enjoy The Late Bloomer. It’s not only a crown jewel Kofi proudly wears, it is also establishing him as a future household name in the sophisticated dance scene. "

Ali Shaheed Muhammad and Adrian Younge are best known for their collaborations with vocalists and MCs, but these two multi-instrumentalists and producers excel in their ability to conjure musical moods with or without vocal accompaniment. Similarly, the musical legends that these two handpicked to collaborate with across this series are all jazz legends equally at home crafting unadorned compositions as they are collaborating with vocalists. This collection presents exclusive instrumental versions of songs originally released on the Jazz Is Dead albums; Roy Ayers JID002, Marcos Valle JID003, Gary Bartz JID006, and Joao Donato JID007. More than the previous eight Jazz Is Dead releases Instrumentals JID009 delivers on Adrian and Ali's original promise of showcasing the music made with their heroes, laying bare the inspired compositions created when different generations of musicians come together to collaborate in the studio. For nearly all of these songs, Adrian and Ali began with sketches and elements of songs that they developed alongside the featured musicians live in Adrian Younge's Linear Labs studio located in the Highland Park neighborhood of Los Angeles.

Aukai is a Hawaiian word meaning ‘seafarer’ or ‘traveller’. It’s also used as a proper name, and people who are called Aukai tend to have a mystical, philosophical, introspective nature. All of which makes Aukai the perfect name for the new album and project by multi-instrumentalist and composer Markus Sieber.
It’s a collection of ambient acoustic soundscapes that take the listener on an inward journey to a place of peaceful stillness and tranquil beauty. “This album has a lot to do with memories from travel,” says Sieber, “but also memories from childhood and nature. How did the river smell in summer? I wanted to create a sonic space where music guides the listener into some imaginative inner world.”

YWF is one of those producers who is capable of bringing a twist to his dedicated genre with every release. His cooperation with the TDS crew truly undermarked the concept of technodub.

The second release of TDS Records is dedicated to a forgotten TV show character, this sets the dynamic and emotional focus. The original track was written and named by the Danish producer, and it starts the vinyl with a twisty opus, followed by some jolly dub vibes from Garpo and beko. On side B Krisz Deak brings his stirring, metallic sounds back to the table, and the season ends with the ambient style closure that we all deserve.

With TDS02 the label continues to pay its respect to the timeless sounds of dub & techno, by keeping this kind of raw minimalist aura alive.

MILKY CLEAR VINYL.

''The lightness of the C86 Sarah Records guitars come with the significant counterweight of more ominous Factory Records basslines.The lyrics and vocals are stark, sandpapery and sardonic, akin to Jonathan Richman, Kiwi Jr and, Bodega.'' Ducks Ltd. - EP Review - God Is In The TV
Toronto’s Ducks Ltd. (formerly Ducks Unlimited), the bright jangle-pop duo of Tom McGreevy (lead vocal, guitar, bass, keyboards) and Evan Lewis (guitar, bass, drum programming), accomplish the impossible. The pair craft songs that play to very specific inspirations without drowning underneath them—immediately evidenced on their critically acclaimed EP, Get Bleak, and sharpened on Modern Fiction, their debut LP. “The Servants, The Clean, The Chills, The Bats, Television Personalities, Felt,” Evan rattles off. “Look Blue Go Purple is one I reference a lot with our production.” Echoes of ‘80s indiepop abound, but they never overwhelm. This is not a nostalgic record, after all, nor is it a derivative one. Instead, across 10 cheery-sounding songs, Ducks Ltd. explore contemporary society in decline, examining large scale human disaster through personal turmoil (hence the title, taken from a university course called Gnosticism and Nihilism in Modern Fiction, influenced by Graham Greene novels. Bookish indie fans, look no further.)

Writing the album was intimate. Tom drafted the nucleus of a song on an unplugged electric guitar and brought it over to Evan’s apartment, where the pair sat in his bedroom, placing percussive beats from a drum machine under nascent melodies, passing a bass back and forth, adding organs and bridges where necessary. “It’s computer music trying extremely hard not to sound like computer music,” Tom jokes. Fearful that limited and expensive studio time would kneecap the project creatively, eroding their charming naivete, the pair re-recorded the album in a storage space owned by Evan’s boss. Ornamentation through collaboration followed: there’s Aaron Goldstein on Pedal Steel in the Go-Betweens’ “Cattle and Cane”-channeling interlude “Patience Wearing Thin,” Eliza Niemi on cello (“18 Cigarettes,” a song loosely inspired by a 1997 Oasis performance of “Don’t Go Away”), and backing harmonies from Carpark labelmates The Beths (on an ode to friendship at a distance, “How Lonely Are You?,” “Always There,” and on the sped-up Syd Barrett stylings of “Under The Rolling Moon.”) While in his native Australia due to covid-19, Evan worked closely with producer James Cecil (The Goon Sax, Architecture in Helsinki) on Modern Fiction’s finishing touches—at one point, in the mountains of the Macedon Ranges in Victoria, recorded a string quartet (featured on “Fit to Burst,” “Always There,” “Sullen Leering Hope,” “Twere Ever Thus,” “Grand Final Day.”)

It’s danceable, depressive fun, with some relief: in “Always There” and “Sullen Leering Hope,” Modern Fiction’s faithful heart. “There’s a tendency in my writing, because of my world view, to be very bleak.” Tom explains. “A quality I don’t always see in myself and really appreciate in others is the courage to go on.” And yet, the record manages resiliency—enough for pop fans to fall in love with.

MILKY CLEAR VINYL.

''The lightness of the C86 Sarah Records guitars come with the significant counterweight of more ominous Factory Records basslines.The lyrics and vocals are stark, sandpapery and sardonic, akin to Jonathan Richman, Kiwi Jr and, Bodega.'' Ducks Ltd. - EP Review - God Is In The TV
Toronto’s Ducks Ltd. (formerly Ducks Unlimited), the bright jangle-pop duo of Tom McGreevy (lead vocal, guitar, bass, keyboards) and Evan Lewis (guitar, bass, drum programming), accomplish the impossible. The pair craft songs that play to very specific inspirations without drowning underneath them—immediately evidenced on their critically acclaimed EP, Get Bleak, and sharpened on Modern Fiction, their debut LP. “The Servants, The Clean, The Chills, The Bats, Television Personalities, Felt,” Evan rattles off. “Look Blue Go Purple is one I reference a lot with our production.” Echoes of ‘80s indiepop abound, but they never overwhelm. This is not a nostalgic record, after all, nor is it a derivative one. Instead, across 10 cheery-sounding songs, Ducks Ltd. explore contemporary society in decline, examining large scale human disaster through personal turmoil (hence the title, taken from a university course called Gnosticism and Nihilism in Modern Fiction, influenced by Graham Greene novels. Bookish indie fans, look no further.)

Writing the album was intimate. Tom drafted the nucleus of a song on an unplugged electric guitar and brought it over to Evan’s apartment, where the pair sat in his bedroom, placing percussive beats from a drum machine under nascent melodies, passing a bass back and forth, adding organs and bridges where necessary. “It’s computer music trying extremely hard not to sound like computer music,” Tom jokes. Fearful that limited and expensive studio time would kneecap the project creatively, eroding their charming naivete, the pair re-recorded the album in a storage space owned by Evan’s boss. Ornamentation through collaboration followed: there’s Aaron Goldstein on Pedal Steel in the Go-Betweens’ “Cattle and Cane”-channeling interlude “Patience Wearing Thin,” Eliza Niemi on cello (“18 Cigarettes,” a song loosely inspired by a 1997 Oasis performance of “Don’t Go Away”), and backing harmonies from Carpark labelmates The Beths (on an ode to friendship at a distance, “How Lonely Are You?,” “Always There,” and on the sped-up Syd Barrett stylings of “Under The Rolling Moon.”) While in his native Australia due to covid-19, Evan worked closely with producer James Cecil (The Goon Sax, Architecture in Helsinki) on Modern Fiction’s finishing touches—at one point, in the mountains of the Macedon Ranges in Victoria, recorded a string quartet (featured on “Fit to Burst,” “Always There,” “Sullen Leering Hope,” “Twere Ever Thus,” “Grand Final Day.”)

It’s danceable, depressive fun, with some relief: in “Always There” and “Sullen Leering Hope,” Modern Fiction’s faithful heart. “There’s a tendency in my writing, because of my world view, to be very bleak.” Tom explains. “A quality I don’t always see in myself and really appreciate in others is the courage to go on.” And yet, the record manages resiliency—enough for pop fans to fall in love with.

"Future indie classics that reek of modern New York City Charm” – DIY Magazine
"Captures honest-to-god truths in a new light’ – The Line of Best Fit
“A nostalgia-tinged hit, filled with jangly guitars and contagious melodies” – Wonderland
‘WANDERKID’ is the sophomore album from New York’s next lo-fi legend, JW Francis, and will be released whilst its creator is in the middle of trekking 2000 miles along the Appalachian Trail in the US. The follow up to JW’s critically acclaimed debut album ‘We Share A Similar Joy’, ‘WANDERKID’ will be released on 3rd September by Sunday Best Recordings. “WANDERKID is an album about escape. It’s supposed to be a gut punch of a record about an anti-hero named WANDERKID who wants to get OUT: out of his living situation, out of his head, out of his life. This album is like looking out the car window with an urgent desire to be on the other side. It was finished during the most recent global pandemic, so hopefully folks find it relatable.”
JW is fast making a name for himself as one of the most exciting new artists around. Born in Oklahoma, JW landed in New York City at 19 to study Economics at Columbia University, but not before making stops, stays and stints in Vermont, aged 12 and Paris, aged 13. Whilst at Columbia, the troubadour started music blog Rare Candy and founded student-run recording studio CU Records. Musically, JW takes his lead from the greats of the Downtown scene - Patti Smith, The Velvet Underground, Television, Talking Heads, The Strokes, Yeah Yeah Yeahs - and is fast emerging at the forefront of the next generation.

Many peoples from Miami, Brussels and Montreal cities recently spotted some mysterious creatures that appear in their street. They look like apes but when you look at it they also seems to be as human as we are. They are coming from Planet Hanuma and came on earth to spread their message through analog drum machines and synths.

Cindy is a band built around the singing and guitar playing of Karina Gill. She became a musician only recently, having sat on the sidelines while ex-partners and friends made their stabs at it. Gill describes a chance encounter with an abandoned Squire Strat left in the basement by a previous tenant, “mummified in electrical tape with the remnants of a burrito on the head stock”, that led her to begin carefully strumming her way through simple chords and making her own songs. After one interesting self-released LP, still finding their footing, the band made the masterful and buzzed-about Free Advice, which went from a limited cassette on local SF label Paisley Shirt to vinyl pressings on Tough Love (UK) and Mt St Mtn (USA).

Cindy’s third LP arrives in quick succession, the quietly devastating 1:2. Jesse Jackson on bass, Simon Phillips on drums and Aaron Diko on keyboards weave the perfectly thin web behind Gill’s slow Velvety strums and murmured melodies. The rhythm section brings the crude flow, while the keys add subtle and surreal counterpoint to the withering world Gill depicts in her lyrics. “Songs tie together seemingly disparate things by the logic of mood,” Gill tries to explain. This isn’t dream-pop sunshine bliss; half-closed black drapes hang on the window where the narrator stares into the middle distance. “Sometimes you say you’re feeling small/You plan all day for your own funeral”, she intones in Party Store. Gill has a way of halting her phrasing that makes it feel like her thoughts are gently tumbling into the abyss. It’s this unsettling quality mixed with the hazy atmosphere that makes Cindy’s new LP 100% addicting and the perfect antidote to comfort listening. Glenn Donaldson, 2021

Ganze acht Jahre haben sich die schwedischen Viking-Metaller THYRFING Zeit gelassen, um ihr achtes Album zu präsentieren: VANAGANDR ist eine alternative Bezeichnung für den Fenriswolf aus der nordischen Mythologie!

Auch diesmal geht es bei THYRFING inhaltlich um Mythen, Märchen und Geschichten aus Skandinavien. Der kraftvolle, schwere und aggressive Opener DÖP DEM I ELD eröffnet das neue Album mit Groove und Melodie, es folgt mit TRÄLDOMSORD der wohl intensivste Song der Band bis dato, das Epos JORDAFÄRD schliesst voller schwermütiger und stimmungsvoller Sehnsucht das Werk perfekt ab. Co-produziert wurde VANAGANDR von Jakob Herrmann (In Flames, Machine Head, Evergrey) in den Göteborger Top Floor Studios, während Jacob Hansen (Volbeat, U.D.O., Katatonia) Mix und Mastering und Niklas Sundin von Cabin Fever Media (ex-Dark Tranquillity) das Artwork beisteuerten. VANAGANDR ist ein eindrucksvolles Statement, mit dem sich THYRFING zurückmelden, nachdem sie in den letzten Jahren ihren Fokus auf Livegigs legten und u.a. das Wacken Open Air, Summer Breeze und das Sweden Rock Festival zum bersten brachten.

“40 years ago my international career started for real when I got
a call from the musical mastermind Thad Jones, asking me to
join his new big band project Ball of Fire in Milan, Italy.
“Guess if I said yes!
“Since then I have walked winding musical paths and I still do.
“As the pandemic started to spread, I got stranded at home in
Skillinge Sweden from 13 March 2020.
“Many many months later, I can present something I’ve never
done before, a solo performance. Only me, myself and my
trombone in a beautiful-sounding church not far away from
where I live with my wife Beatrice, Ingelstorp Kyrka.
“I do not really know exactly when the idea got stuck in my head
but I guess around Christmas 2020. Having spent a strange but
personally wonderful year being at home, I suggested a solo
recording to my wife, and she thought it was a great idea.
“I called the priest in the church, named Maria, and she
immediately said ‘Yes, go for it. I will see to it that the church is
heated and ready for you.’
“The first time was almost a shock. Such a beautiful sound,
making the tone of my trombone just fly through time and
space. Beatrice and I looked at each other in silence, knowing
that this can become something special.
“I picked a wide range of songs and hymns for these occasions
and it felt very special to be able to record it in a wonderful room
with only one person in the audience, the one I love the most.
“All the songs have a special meaning to me, whether they are
songs I sang in church as a child or just picked them up on the
way. One is even written by one of my ancestors, Israel
Kolmodin.
“They present a side of me that is always there, but not always
to be seen. I hope you like it.
“Love, Nils.” - Nils Landgren

FOUR STROKE BARON return with their third full length studio album ‘Classics’, mixed by Devin Townsend and brimming with catchy riffs and unforgettable choruses. Having streamlined into a duo, Kirk Witt and Matt Vallarino cast a sardonic eye over the human condition - as seen through their own uniquely distorted lens, and told via tales involving a murderous rampage at a kegger while dressed as a knight, to being trapped in a casino during a robbery whilst on acid, and other such adventures. They are our guides as we traverse the filthiest folds in the dark underbelly of Reno, Nevada; illuminating the darkest corners of their twisted psyches with their upbeat and insanely catchy pop hooks.

Having scraped off the detritus of their city, rubbed the crust from their eyes and molded it into the heavy pop songs you hear before you today, they enlisted the only person they knew who could add the extra layer of embellishment that the album required. Enter Devin Townsend. They gave him only one instruction for producing Classics: go as hard and insane as possible. The added textures brought in by Townsend during mixing elevate these 10 tracks to another level.

If you’re unsure of what constitutes a classic, a good place to start is with FOUR STROKE BARON’s 2020 release, Monoqueen, which features covers of the likes of Chvrches, The Beatles and Death Grips. Sometimes it’s necessary to allow time to pass to reveal the true nature of a classic track; FOUR STROKE BARON have shaved the waiting time all the way down to zero. Hit play - the classics are all there waiting for you.

Simultaneously a tribute to depression & wellness, L’Orange’s “The World Is Still Chaos, But I Feel Better” shows a musical & emotional growth from the North Carolina producer. Tension is built & released throughout the 23 track album. The album features guest narration from comedian Nish Kumar & Jeremy Scott (CinemaSins) as well as musicians Marc Rebillet, Solemn Brigham (Marlowe) & Jeremiah Jae. As the narrator closes the album, “The world is the same as always is. The only difference is that I feel better.”

Released via Columbia Records in the UK, 'Respect' is a 2021 American biographical musical drama film based on the life of American soulk legend Aretha Franklin. Directed by Liesl Tommy (in her feature directorial debut) from a screenplay written by Tracey Scott Wilson, the film stars Jennifer Hudson as Franklin. Forest Whitaker, Marlon Wayans, Audra McDonald, Marc Maron, Tituss Burgess, and Mary J. Blige are featured in supporting roles. The CD was released in mid August. This is the 21 track double vinyl format with songs featured in the film, including one new original track produced by Will I Am. Continued promo/marketing activity across all media outlets (for both film and soundtrack).

Dans le Sable is the first new album in over 40 years by composer, pianist, and digital audio pioneer Loren Rush (b. 1935). Active in the Bay Area new music scene since the late 1950s alongside composers such as Robert Erickson and Pauline Oliveros, he also co-founded the Stanford University’s Center for Computer Research in Music and Acoustics in 1975. His music has been performed by the Boston Symphony, the New York Philharmonic, and the San Francisco Symphony Orchestra amongst others.

The title piece "Dans le Sable" (1967-68, 70) covers the first side of the record, of which Charles Shere in the Oakland Tribune (1972) writes: “A surreal opera scene. A narrator dwells on the significance of passing time. A soprano sings Barbarina's cabaletta from Figaro, which describes her distraught search in the sand for a lost pin. The chamber orchestra—mostly solo instruments—plays soft, half-forgotten tunes reminiscent of the Parisian music hall. If Marcel Duchamp wanted to put painting once more at the service of the mind, so did Rush seem to want to make a composition that speaks directly to that thing behind the mind—the point where it connects with the soul. And he succeeded. But only because the work is so brilliantly constructed, so careful in its structure and the timing of its phrases, so well balanced in the disposition of its parts that it quite overcomes the audience.”

The second piece on the album “Song and Dance” begins with the watery held tones of “Song.” Melancholy phrases are deconstructed and stretched in different retellings, invoking a harmonic fog. We are then thrust into “Dance,” one of the first orchestral pieces to employ computer-generated digital synthesis. A hypnotic and percussive march is propelled into a storm of early computer-processed cannonades.

Recital is proud to now illuminate the deeply overlooked composer Loren Rush, whose meticulous attention to detail has perhaps kept his toiled-upon works in the shadows these past decades. Dans le Sable is among the most gorgeous records I have heard.

For its first standalone release of 2021, Climate of Fear is proud to announce the debut album by NYC avant punk duo Clebs, aka Jason Nazary & Emilie Weibel. “Feed Me Gently” is one of those works that hits out of nowhere: a collection of songs so finely honed and unflinchingly unique it’s hard to believe this is the group’s first outing. Opening with “Negative Space,” the duo pull a deadly fakeout, with gurgling, saliva drenched musique concrète suddenly dive bombing into a ricocheting, noise-encrusted panic attack. Seasoned with trace amounts of 90’s electronica, Weibel’s atomized vocal work and Nazary’s careening drumwork set the tone for the rest of the album. “Feed Me Gently” draws its power from the tension between its snarling aggression and its eerily calm sensuality, with Weibel’s poetic incantations and choked birdsong weaving around melted synth lines, jazzy interludes and brutally deconstructed percussion. A deeply strange, fully formed soundworld, “Feed Me Gently” invites you to bask in its eerily sensual violence.

Forty years ago, on July 8th and 9th in 1981, a group formed by the splintering of some of Bristol’s essential post punk bands, entered the hallowed studio at Berry Street in London to record their debut single. What would emerge was not only an exuberant post funk classic on the A-side, but also a wildly influential dub workout on the flipside, whose reverberations can still be heard today. Both songs have proven essential in very different ways.

A focal point for the unique punk-funk that was coming together in Bristol as the bridge from the 70s to the 80s arrived, Maximum Joy was formed by Glaxo Babies multi-instrumentalist Tony Wrafter and 18 year old vocalist and multi-instrumentalist Janine Rainforth. Soon they drafted in additional Glaxo Babies in the form of drummer Charlie Llewellin and bassist Dan Catsis, along with guitarist John Waddington, fresh from The Pop Group. The group set about making a one-of-a-kind mix of funk, punk, pop, jazz, dub, soul, afrobeat and reggae; creating a brilliant charge of danceable tunes wrapped around elastic basslines and complex percussion, punctuated by melodic horns and stabs of guitar, all of it highlighting Rainforth’s naturally enthusiastic vocal style.

Bursting at the seams, “Stretch” feels like it can barely be contained within the studio walls. Rainforth delivers a vocal performance that can only be found within the freedom of someone recording their first ever single. I’m not lying when I say there isn’t another song that sounds quite like it. The group’s love of funk is evident on “Stretch”, but the heavy influence of dub and reggae from their surroundings shapes the moody skitter of “Silent Street”. Here, the sing song vocals seem to drift across the heavy late night air. The two songs are wildly different, yet both could only have come from this key collection of players. Paired with the likes of The Pop Group, The Slits, The Raincoats and the On-U-Sound collective, Maximum Joy still stands out as a unique voice in the movement.

Y Records head Dick O’Dell would join the sessions and give the release a warm home in the UK while legendary 99 Records in New York took on the US release since Maximum Joy made perfect sense being equal parts ESG and Liquid Liquid. This 12” has been a staple for DJ’s in the know since day one.

Vinyl reissue of this classic Oi! compilation originally released on Secret Records in 1981.

It features tracks by the biggest bands of the genre like: 4 Skins, Blitz, Red Alert, Peter & The Test Tube

Babies, Infa-Riot or The Business. This album went straight to number four of the independent charts and became probably the best Oi!

compilation ever issued. Includes original artwork inner bag.

AMSIA is one of those hidden representatives of Basque experimental music that happened and disintegrated long ago.

Called "The other musics" or "Risky music" it originated two decades ago in the slaughterhouse of the Basque town of Azkoitia (Gipuzkoa).
This native music scene was an attempt to summarise the evolution of contemporary pop/experimental/ contemporary music, rather than an attempt to generate something new.

Its character is solitary and its nature is electronic; the result is a sound collage of MIDI orchestrations combined with synthesized sounds, vinyls and sampler libraries.

The sound of it is chaotic, unpredictable and strangely beautiful.

Neon Christ, the Atlanta hardcore luminaries founded by Alice in Chains singer William DuVall have announced the official release of 1984 for 17th September. This collaboration between Southern Lord Recordings/DVL Recordings was originally released on Record Store Day U.S.only, now to be made available more widely.

The package includes a full-colour gatefold sleeve and a 12-page oral history booklet featuring dozens of never-before-seen photographs. Heavyweight vinyl at 45 RPM for maximum fidelity.

Neon Christ formed in the fall of 1983 with William DuVall on guitar, Jimmy Demer on drums, Danny Lankford on bass, and Randy DuTeau on vocals. They made their debut in the early morning hours of New Year’s Day 1984. That March, they recorded their eponymous debut 10-song EP. Released in June ’84, the EP's songs exemplify the band's signature musical diversity, from DRI-style thrashers like "Parental Suppression" to the atmospheric improv of "After." A short east coast tour followed. On Labor Day 1984, the band recorded four tracks in the home studio of Nick Jameson, of Foghat fame. A few months later, "Ashes to Ashes" was included on the International Peace/War compilation released by MDC's R Radical Records, bringing the band worldwide exposure.

Neon Christ shared the stage with the luminaries of 80s hardcore including the Dead Kennedys, Circle Jerks, and Corrosion of Conformity. In 1985, the band added Shawn Devine on second guitar, as their sound and songs became slower, heavier, and more melodic. DuVall wrote an album's worth of songs in 1985, but only "Savior (Drawn In)" was ever recorded in what would be the band’s final studio session on December 26, 1985 (the master tapes were lost). Returning to the four-piece original lineup, the band played a handful of Atlanta shows and then took a break in March of 1986. A few months later, William moved to Santa Cruz, CA, to join BL’AST!, and Jimmy, Danny, and Randy formed Gardens of…William later founded jazz/punk/world improvisers No Walls. In 1999, he would form Comes With The Fall and move the band to Los Angeles, where he struck up a friendship and musical collaboration with Jerry Cantrell. William joined Alice in Chains as vocalist and guitarist in 2006. On February 2, 2008, Neon Christ reunited to headline the Ratlanta Punkfest 2.

To this day, the band members maintain a close friendship, as well as a desire to honour the legacy of the group. So when longtime fan Greg Anderson of Southern Lord contacted them about reissuing a deluxe edition of Neon Christ's 1984 sessions, "1984" quickly came to life. To remaster the original tapes using an all-analog process, William DuVall made multiple trips to Nashville to one of the few remaining studios maintaining the vintage technology to play and process the audio. Side one of "1984" features the original Neon Christ 7" EP, and side two contains the four songs of the Labor Day session

The Madness, originally released in May 1988, is the only album recorded by Suggs, Chas Smash, Chrissy Boy and Lee Thompson of Madness. Calling themselves “The Madness”, the group explored a new direction without Mike Barson, Woody and Mark Bedford. The result was an album bathed in all the new technology the late 1980s had to offer, and features some of this incarnation of Madness’ most experimental work.

Lead vocals were shared between Suggs and Chas Smash, while all members of the group contributed music and lyrics. The album also features a host of other musicians including Steve Nieve (Elvis Costello & The Attractions) on keyboards and The Specials’ Jerry Dammers on piano.

Although short-lived, this version of Madness marked a significant detour from the original band’s trajectory and preceded one of the most extraordinary music comebacks ever witnessed, when the whole band reformed in 1992 for two sold-out “Madstock” shows in London’s Finsbury Park. The fans’ excitement led to a legendary mini-earthquake, and ‘Madstock’ would prove that no members of Madness ever truly leave the band.

This LP reissue is pressed on 180g black vinyl and features brand new liner notes by Chrissy Boy, Chas Smash and Lee Thompson.

Mixed Colored Vinyl

The London label continues to innovate with their biggest release to date.

10 tracks – 10 incredible artists adding to their string of solid releases by new and established art-ists.

Setting fire to the rage of acceptance.
–
Sublime Creatures, defiant of society’s cages, its definitions of power, beauty and status. A higher stance above bitter re-sentment. A pro-active community of thin- kers. A patch-work of empowered souls, ideas and experiences.

Directly related to one of the sentences in our manifesto, Sublime Creatures is a call to our most powerful selves.
–
The name of the label itself is about us working on bettering ourselves and being united in all our differences. “Reptile” is about our relationship with the reptilian brain and our efforts to understand what truly means to be human (tools to perfect your instinct), becoming aware of our-selves and the others around us. “House of” is a direct allusion to the “house and ball culture” movements in NYC in the early 80s.

The sense of a real family of strangers coming together around a shared sense of purpose.

Clear Vinyl

Superb transparent record with transparent serygraphy.
Music by praised Tzii : experimental cinematic ambient, deep distortions of oriental soundscapes.
Noises surprises !


recorded from 2010 to 2012 at Venetie studio and erasmus studio by tzii himself, this record is perfectly situated in his own discography between HUMANS (TZII 2008/ARN008) and A SHOT IN DARK (TZII 2018/TS004) passing by the first TZII on NIGHT ON EARTH in 2001 or even SAND HEART RAGE (TZII 2013/TUT031 & 2nd F52) and THE GREEDY RAVEN AND THE FOUR BRANCHES (SOLAR SKELETONS 2015/ZZR054).
the central tool of this record is an electronic tabla, an MS20, voices, a shenaï, many effects and increasing the use of various samples of voices, violon etc.
mixing in side a two hits between muslimgauze and third type tapes, buddha bar as an introduction of a piece with tendency harsh surgical ethnic-breakcore noise well severe all that in frank cuts, brutal with a good toast of noise. at the end of side a we also find an enigmatic mental ketamine hole more calm and intimist sprinkled with ultra sounds.
side b as for her, is opened by an ultra violent white noise but very quickly caught up by two long ambient tracks to intensely lose the balance, very close to the door between the conscious and the unconscious with drones of shenaï and delay.

mastering & cut by angstrom mastering in 2020 kali yuga.
visual by ssm.
published during summer 2021 kali yuga in 33rpm 12" by kali nada.
223copy.

In the summer before Covid, Lauren Flax and Posthuman played a b2b show at I Love Acid in London. A plan was hatched: “You remix one of my tracks, I’ll remix one of yours, and we’ll stick it out on vinyl” And here we are, two club jackers and two remixes. Hand numbered edition of 303 vinyl – clear wax but with wisps of pink and blue haze.

Picking up DJ support from Nina Kraviz, Josh Wink, Laurent Garnier, Anja Schneider, Scuba, Dusky, Luke Solomon, Martyn Bootyspoon, Vladimir Ivkovic, Nikki Nair, John Barera, Kindimmer, Mystic Bill, Harri, Ford Foster, Santaigo Salazar, Lo Shea, Ciel, Joshua James, Cici, Jackson Ryland, Kristian (Amé), Terry Farley, Dam Swindle, Paul Frick, Luke Sanger, Raw Silk, Hassan Abou Alam & loads more

Highly anticipated debut from 2020 breakthrough artist, London-based musician and poet Arlo Parks.
“My album is a series of vignettes and intimate portraits surrounding my adolescence and the people that shaped it. It is rooted in storytelling and nostalgia
- I want it to feel both universal and hyper specific.” - Arlo Parks
This album news continues an outstanding year for Arlo, who was included on the BBC Sound Of 2020 poll and Radio 1 Brit List, as well as the Dazed 100 list,
and was named as an ambassador for mental health charity CALM.
Winner of the BBC Music Introducing Artist Of The Year 2020.
Includes the Radio 1 A-listed singles ‘Black Dog’ and ‘Hurt’.
First LP pressing is on 180g deep red vinyl with foldout poster and digital download code

With 10 years in the 'biz' firmly under his belt, Jiah Wells is poised to release the first full-length LP of his Galtier project, Pulchra Es Elementis. Whilst Galtier is arguably one of the originators of the percussive style that would eventually fall under the Hard Drum label, the heightened theatrics of his recent output have seen him channel Blade Runner-styled sonics and move further away from absolute club functionality. Whilst Galtier's output often seems to soundtrack hypothetical, off-planet words, Pulchra Es Elementis turns the focus inwards: towards Wells' own emotional constellation, his evolving spirituality and his attempts to tap into planes of existence beyond the tangible. The album's Latin title translates to 'Elements are Beautiful' and encapsulates the artist's belief that there is grace in all of life's aspects; pushing past what we deem as good or bad, minuscule or massive.

Pulchra Es Elementis begins with Crystalised Larva, a brooding opener of breathy pad synths and expansive kick drums which reverberate through the mix as if the hits originate from the bottom of a valley. There's an indistinct sense of tension on this track, in part due to a central melody, which never resolves but only descends lower in pitch. This tension turns to explorative wonder on Wilfull Saviour, where a mirage of musical ideas come in and out of focus. Although the sonic worlds Galtier explores are internal to him, Wilfull Saviour still possesses that sense of a cosmic journey we've come to expect from Wells; an ardent fan of dystopian films and literature.

Continuing this emotional odyssey, Bruised, But Not Broken sees the artist push deeper into the psychological undergrowth; its murky tonality juxtaposes crisp, Reggaeton-inspired drum patterns with a heavily compressed one-note synth line that modulates wildly - cutting through the mix like a nagging thought that won't leave your mind. Next up is U Were, U Are & What U Will Be, one of the more club-ready tracks of the LP, which gets us moving with a snarling bassline and layers upon layers of percussive hits and inflections.

At Pulchra Es Elementis' mid-point is the LP's title track, a drumless interlude where blissful, shimmering synths create a patchwork of intensities. Galtier's approach to songwriting shines through here; ignoring musical pragmatics, he opts to feel his way through his compositions without knowing where they might end up. Following on from that weightless breather, Phantasiai turns up the freneticism with its head-spinning mix of drum programming and a glitched-out synth line that yo-yos up and down octaves. Things get even more furious on the Superficie-featuring Cavernam, a hollow Hard Drum banger inspired by Eskibeat sensibilities and designed to create a sense of self-implosion.

The album's penultimate track, (U Are) Beautiful, is a tale of two halves: beginning with a moment of serenity as synthesizers swell like an ocean tide before evolving into a marching crescendo of raw energy. Rounding off the album, Shine Forth hurtles through pacey drum work and all manner of strange zaps and klaxons before giving way to a final dose of nebulous ambience.

A musical journey unlike any other 'club music' albums, Pulchra Es Elementis is an LP that demands to be consumed in one sitting. Reflecting on his place within the universe and the musical landscape, the album could be viewed as a musical exorcism which sees Galtier working through and shedding huge chunks of his ego that stuck to him out of fear of the unknown. Pulchra Es Elementis begins on an insecure, overwhelming or, even, existential note before rounding off with a related sense of vastness seen with new, more positive eyes. It's a voyage we hope you will join him on.

Dark Star Safari is a musical entity comprised of Jan Bang, Erik Honoré, Eivind Aarset, Samuel Rohrer and John Derek Bishop. Their second fulllength offering Walk Through Lightly is the first to feature all five musicians together in the studio from the outset, making for a more organic refinement upon their already established methodology: gradually sculpting distinct songs out of collective improvisations, or using the raw material from initial recordings as the basis for more carefully articulated compositions. The final mix is one that invites few stylistic comparisons to other musical peers, and in fact few comparisons to existing genres. Though this second offering from the project is frosted over with a Scandinavian sense of spatiality and
melancholy, it’s best listened to without considering any origin points, geographic or otherwise: from the opening moments of “Walk Through Lightly,” listeners will feel as if teleported directly into the middle of an enigmatic film-in-progress.
The album opener immediately and successfully sets the table for what is to follow. The electronic and acoustic instrumentation is pensive, but not passive, with restrained scrapes and stridulations in the background combining with backwards-looped passages and perlescent or granulated sound effects to better emphasize the carefully arranged latticework of guitar, percussion, strings, and bass. In some places, such as on “Father’s Day” and “Measured Response,” the silences or breaths between passages are pronounced enough to be an instrument in their own right (and an elegant confirmation of the fact that silence is also a conveyor of information). This nuanced production, which wisely opts for intimacy instead of relying on overdone "instant atmosphere generators" like lengthy reverb, provides just enough tension to contrast with the sense of elevation provided by Bang’s vocal contributions: smoky, evanescent, and impressionistic recitations offering not snapshots of specific events, but rather complete emotional environments for the listener to hover through and explore.
Within these environments, the lyrical imagery focuses upon coming to grips with sudden transformations on both micro and macro levels (the opening “this was a perfect place / till we lost our way” from “Patria” or the foreboding “Poems that explore / Their silence / Crush their violence / Now their time ends” from “Measured Response.”) It focuses as well upon coming to thresholds or crossings, be they physical crossroads or internal states of mind, or both (see especially the striking turns of phrase from “Murmuration.”) With such things in mind, it’s only natural that there would be consideration of dreaming as well, and indeed four different titles on the LP make different reference to a dream or dream state, seemingly valuing dreams as part of the continuum of consciousness rather than something totally cut off from waking experience.
Given the sense of foreboding, anticipation, and even unease that these kinds of subjects often bring with them, the spare and un-hurried music is all the more intriguing, especially when the eponymous finale arrives and the percolating sound bed seems to hint at a coming resolution, but then leaves the listener with more questions than answers. By competently fusing a mature, economical approach to sincerely romantic lyrical themes, Walk Through Lightly is a rare accomplishment.

"Flower Studies", the enchanting third album by Australia’s Blue Chemise, consists of eight intimate, delicate and touching ‘études’, reflecting Mark Gomes’ introspective musings on a series of floral studies by 19th-century French photographer Adolphe Braun (1812-1877).

Behold whither eventually
Imposing sounds and a grandiose bleakness
Majestic flowers in centuries-old photographs
And silences where heather grows

No story, only depictions of flowers
Nature filtered through a temperament
The suggestion of poetical ideas
Nature draws the imagination to infinity

Paysages composés
Like beautiful melodies
Nature’s great harmony
Is that of an immense and divine keyboard

The diffused freshness of budding greenery
A cult for flowers
Privately eavesdropping on nature
To hear the voices of the trees

— Mark Gomes (Blue Chemise)

Natalie Imbruglia returns with her brand new album Firebird later this year, kicking off with the first single 'Build It Better' in June. The single marks the first new music from Natalie in almost a decade after choosing to remain out of the limelight following her monumental success in the nineties and early noughties, accumulating 5 x UK Top 10 singles, 10 x UK Top 40 singles, 1 x UK #1 album, 3 UK Top 10 albums, 2 BRIT Awards, 8 ARIA Awards, 3 Grammy Award nominations and much more. The forthcoming new album was written and recorded between the UK, the US and her homeland of Australia, co-written with the likes of Albert Hammond Jr of The Strokes, Romeo Stodart of The Magic Numbers, KT Tunstall, Eg White (Adele, Dua Lipa, Sam Smith), Luke Fitton (Little Mix, Girls Aloud), Fiona Bevan (One Direction, Ed Sheeran), Rachel Furner (Little Mix, Jason Derulo, Craig David) and more, and produced by Natalie and My Riot with additional production from Albert Hammond Jr, Gus Oberg and Romeo Stodart.

CAVE Interactive CO., LTD., in collaboration with Limited Run Games and Brave Wave Productions, is proud to unveil the 19th entry in the Generation Series of video game soundtracks, DoDonPachi SaiDaiOuJou The Definitive Soundtrack for CD and vinyl. Originally released for Arcade (2012) and on Xbox 360 (2013) in Japan, DoDonPachi SaiDaiOuJou is the latest arcade release in the DoDonPachi series in the legendary hardcore bullet-hell shoot-’em-up franchise, long respected by dedicated players for its frantic action and rewarding gameplay. The soundtrack features 13 memorable songs by acclaimed Japanese game composer Manabu Namiki. Whether players are scrolling through a relatively simple section or fighting for survival as they’re assaulted by enemies on all sides, this gem of a soundtrack is seeing its first release outside of Japan for the first time on physical formats.

All Nations Records come again with a proper 7inch full of roots flavour. The man at the control of the label, Simon Nyabinghi, here calls out the talent of Belgium producer Unlisted Fanatic who
deliver once again a heavy riddim track, topped up by some deep horns arrangement from the Moonshine Horns. The riddim is sufficient by itself so when you hear the deep melodical voice of
MariJah on it with her uplifting lyrics hailing for more consciousness in this world, it ends up with a wonderful tune that surely will convince every great selector to put it on their deck now and for years
to come. Once again, just flip the records over to get the full dub treatment. This is roots dub music at its best.

Blind, Chicago soul singer Willie Williams was first discovered performing in clubs in and around the Windy City. He was signed to ABC records by their A&R Director for the Midwest Johnny Pate a former Jazz bassist, independent producer, arranger and songwriter in his own right. Pate was a friend and colleague of fellow musician, songwriter and founding member of one of ABC’s prolific vocal groups The Trends, Tom Dorsey. Pate and Dorsey would contribute heavily as writers and producer throughout Willie’s recording career, beginning with his first ABC 45 release in 1966 “Have You Ever Been Played For A Fool/With All My Soul”. The release’s b-side became a popular radio play at the time with Willie becoming known as Willie “Soul” Williams for a while. Two further ABC releases were to follow “It Doesn’t Pay/Just Because” (1967) and “I’m Through With You/Strung Out” (1968).

Willie’s next 45 release although recorded in Chicago under Johnny Pate’s supervision found it’s way to another major label, RCA, although credited as a GWP Production (Gerrard W. Purcell). The 45 in question being the excellent Tom Dorsey penned songs “Just To Be Loved By You/Name It” released during 1969.

Two Willie Williams 45 releases did appear on the Gamma label but I’m unsure if one or both of these are by the same Willie Williams in question.

Throughout his recording career Willie continued to work the clubs with his own band which was led by his bass guitarist and confidant Bradley (Brad) Bobo a man who featured as a session musician on many recording sessions including the creation of The Notation’s album of the same name for Curtis Mayfield’s Curtom subsidiary label Gemigo.

On the 22nd of December 1970 a recording session was held in RCA’s Studio B, on North Wacker Drive, Chicago with sound engineer Russ Vestuto. The session was financed by Tom Dorsey who amongst other song writing gratuities had been paid handsomely for the 3 songs “Love Machine”, “My Baby’s Love” and “How Are You Fixed For Love” which he had wrote and contributed to the blue-eyed hit group, The O’Kaysion’s “Girl Watcher” ABC album. The result of this session yielded four Willie Williams tracks. Brad Bobo played bass guitar on the session, the composer of the four songs Tom Dorsey supplied the arrangements and Tom’s wife Carolyn (also a former group members of The Trends) joined both he and Brad on backing vocals.

The four songs were then offered to Eddie Thomas who chose two of them to release on a 45 single. The two songs being “Must Mean Love” which was later renamed “The Baa Baa Song “and “Psyched Out” which Eddie then released on his own Lakeside label, thus leaving the two other songs to remain unissued in the can.

Willie has now sadly passed away but in his later life once the opportunity’s for performing artists began to dwindle he chose a different path in his life, gaining a Doctors degree, he went on to become a College Lecturer. Tom Dorsey too turned his back on the music industry apart from his publishing company to concentrate on his family life as well as founding a very successful business involving one of his other great life passions, photography. Luckily for us he never lost the master tape of Willie’s sessions and after several years of tentative enquiries he graciously relented to my request to put them out. So now before you we have the two excellent previously unissued Willie Williams songs that Eddie Thomas passed on, the delightfully soulful “Give It All I Got” backed with the funky, social conscience themed “Do You Understand”, lost early 1970’s Chicago Soul at its finest.

Forming off the back of contemporary jazz outfit Zeitgeist, Voronoi take the power and rhythmic complexity of heavier prog-metal and fuse it with the sophistication of classical music and jazz. A passion for science fiction thematically drives the band’s heaving and

chopping style, whereas artists such as Autechre, Car Bomb, Tigran Hamasyan and J.S. Bach help shape the rigid, experimental structure of The Last Three Seconds.

“Compositionally and stylistically we have moved into much heavier territory than our contemporary jazz foundations,” says Keyboardist Aleks Podraza. “It really shows. If you were to put this record against the first tunes we played together as Zeitgeist, it would be like introducing a much capable Thelonious Monk to a less hectic Dillinger Escape Plan.” 

As the first single off The Last Three Seconds, Gamma Signals serves as a toe in the water for the depth of things to come. The full-bodied riffwork captures the stop-start format of prog-metal heavyweights without being explicitly metal. Yet beyond this, glitchy, experimental electronics cut through the composition like a knife. The final product is something that captures the magic of the cosmos – a place where worlds orbit worlds, genres orbit genres. Each element remains different and unique, but still intrinsically tied to the other.

“Gamma Signals is about pulsars and how when Jocelyn Bell-Burnell first discovered them, the media thought they were aliens trying to contact us,” says Podraza. “Broadly, this song is about my love for and fascination with cosmology as a whole. That's a theme that runs through the veins of most of the album.” 

Those following Vorono’s career will need little convincing on the quality of The Last Three Seconds. Collectively, band members have performed and recorded with groups like The Cinematic Orchestra, KOYO, NJYO, Jenova Collective, The Often Herd, Mik Artistik’s Ego Trip, Wandering Monster and more. This in turn has garnered sizable attention at festivals such as Leeds and Reading Festival, Download Festival, Ronnie Scott’s Jazz Club - not to mention Voronoi’s thrashing set at 2019’s ArcTanGent.

The cool and collected chaos of The Last Three Seconds serves as a snapshot of this live energy, as passion and fury hum at the end of every complex composition. From start to finish, the record is nothing less than executed perfectly, undoubtedly appealing to even the most seasoned of prog-lovers

Black Country Communion the rock supergroup comprised of vocalist/bassist Glenn Hughes (Deep Purple Black Sabbath, Trapeze), drummer Jason Bonham (Led Zeppelin, Foreigner), Derek Sherinian (Dream Theater, Billy Idol, Alice Cooper) and blues rock guitarist Joe Bonamassa.

Their debut album “Black Country Communion” was originally released by Mascot Records in Europe in 2010. Three Black Country Communion albums will be re-issued as part of the Black Country Communion Glow In The Dark Vinyl Series: On September 24, "Black Country Communion" and "2", and on October 22, 2021 their latest studio album "BCCIV".

On "Black Country Communion" most songs are sung by Glenn Hughes, with the exception of 'Song Of Yesterday' and 'The Revolution In Me' which are both sung by Joe Bonamassa. Hughes and Bonamassa share lead vocals on the songs 'Sista Jane' and 'Too Late For The Sun'. Also included on the album is a new version of Medusa, the classic rock song that Hughes originally recorded with his first band Trapeze. Black Country Communion initially came to fruition when Kevin Shirley saw Glenn Hughes and Joe Bonamassa join forces on stage in Los Angeles in November 2009 for an explosive performance at Guitar Center’s King of the Blues event. Shirley then recruited powerhouse drummer Jason Bonham and keyboardist Derek Sherinian. The band is named after the industrial area in the British Midlands where both Hughes and Bonham were born and raised.

Black Truffle is pleased to announce the latest offering from underground legend Richard Youngs. Hyperactive since the late 1980s, Youngs is widely celebrated for his remarkably extensive and varied body of recordings. His works range freely over a vast terrain, wandering from tender acoustic balladry to raging psychedelic noise and orchestral D-beat, always imbued with his distinctive, often mournful, melodic sensibility and irrepressible sense of joyous experimentation.

Comprised of two side-long pieces, CXXI carried on the experiments with chance operations used to generate material on many of Youngs’ recent releases. On ‘Tokyo Photograph’, a slowly changing, randomly generated sequence of 121 minor chords played by sine waves and accented with a brushed snare hit on every change provides the harmonic foundation for Youngs’ fragile yet impassioned vocal performance, shards of field recordings and electronics and Sophie Cooper’s long, tape-echoed trombone notes. While the melancholic drift of the chords calls up prime Robert Wyatt sides like Old Rottenhat or Dondestan, only the most vestigial sense of song remains here, as Youngs arranges his minimal ingredients over a spacious fifteen-minute expanse that often drops to nothing more than the rich hum of sine waves.

‘The Unlearning’ carries on directly from the first side, presenting another, more harmonically varied, sequence of randomly generated chords played by sine waves, distressed with tape echo flourishes and sparsely sprinkled with electronic touches. Like some of Youngs’ most single-minded instrumental works in recent years, such as his recordings of foot-played guitar or his shakuhachi pieces, ‘The Unlearning’ is deeply meditative but entirely remote from ambient or minimalist cliches.

Named after the number of chord changes on the opening piece and (Chicago-style) the number of records Youngs has released, CXXI arrives in a striking monochrome sleeve featuring play-along chord charts for both pieces. Both rigorously conceptual and endearingly off-the-cuff, CXXI is classic Richard Youngs.

“After many years and EP released, the idea of working on something bigger was growing in me. This project is a natural way for me to introducing myself by showing my musical signature, a generous & mesmerizing sound, taking influences into ethereal colors in order to impact the listeners with a powerful & vibing sound, also by bringing some ideas I never dare to put here. “

Nikitch is a versatile musician, making his unique signature by using classical music as much as Jazz & electronic music. He rapidly get supports by tastemakers Gilles Peterson & Laurent Garnier, playing his music all around the world, and also working with labels like Ninja Tune, Brownswood or Soulection. France based but open to the whole musical world, his projects and collaborations goes from Brussels based producer Kuna Maze to french Rapper Grems passing by UK singer Andreya Triana. After a bunch of remixes ( DJ Cam, Submotion Orchestra, Ghost Of Christmas) and some releases on prestigious labels as Chateau Bruyant, Cascade Records or Tru Thoughts, he just joined the Casamance team to release his first LP, which will be out in September 24th.

Nearing 100,000 UK sales for their breakthrough album ‘The Race
For Space’, indie phenomenon Public Service Broadcasting return
with their fourth album, ‘Bright Magic’, the follow up to 2017’s ‘Every
Valley’, which entered the chart at Number 4 on release.  Inspired by the Rory McLean book ‘Berlin: Imagine A City’ and named
after a collection of short stories by Alfred Döblin, the record
celebrates one of the greatest cultural capitals of the world, Berlin.  Written and recorded entirely at Hansa Studios in Berlin, the album is
split into three parts - Building A City / Building A Myth / Bright Magic
– and Side B of the album is a homage to Side B of David Bowie’s
‘Low’. Side A of the record includes the singles ‘People, Let’s Dance’
and ‘Blue Heaven’.  The album features guest appearances from Berlin legend Blixa
Bargeld (The Bad Seeds, Einsturzende Neubauten), Andreya
Casablanca of Berlin band Gurr and Berlin Based artist EERA.  Hansa is world renowned as the studio responsible for classic albums
including ‘Low’ and ‘Heroes’ by David Bowie, ‘The Idiot‘ and ‘Lust For
Life’ by Iggy Pop and Depeche Mode’s third, fourth and fifth albums
‘Construction Time Again’, ‘Some Great Reward’ and ‘Black
Celebration’.  The artwork is designed by Berlin artist Torsten Posselt, who has a
long relationship with the Erased Tapes label, designing art for the
likes of Nils Frahm, Olafur Arnalds and Rival Consoles, among
others.

Global reggae stars SOJA are back with their first album in 4 years.
‘Beauty In The Silence’ features special guests Rebelution, UB40, Dirty
Heads, Slightly Stoopid, Collie Buddz and more.  SOJA deliberately took their time in creating ‘Beauty In The Silence’ as
they explored new sonic terrain, recording in such iconic spots as
Miami’s Circle House Studios and Dave Matthews Band’s Haunted
Hollow, and teaming up with producers like Niko Marzouca (Bob Marley,
Pharrell, Rick Ross, A$AP Rocky), Mariano Aponte and Johnny Cosmic.
The band eventually phased into working remotely as stay-at-home
orders set in across the country and, in that process, lead guitarist
Trevor Young (formerly SOJA’s guitar tech) took on a much greater role
in the band’s creative direction, co-producing alongside Hemphill and
carefully shaping the album’s hypnotic sound.  For more than two decades, SOJA have elated audiences across the
globe with their fresh yet timeless take on roots reggae, a sound born
from their shared passion for making music that transports and inspires.
The band was originally formed by a group of friends while still in middle
school and they have since built a massive, dedicated global fanbase. In
the years following, SOJA have headlined shows in over 30 countries
around the world, received multiple GRAMMY nominations and
generated 7 million social media fans and more than 1 billion streams;
attracting an international fanbase along the way, with caravans of
diehards following them from city to city.  “Charismatic bandleader Jacob Hemphill writes SOJA’s lyrics as an
attempt to find a path to unity in the world.” - NPR
 “SOJA has cultivated a dedicated global fanbase with their socially
conscious lyrics, catchy sound and a ceaseless touring schedule.” - MTV
 “Contemporary reggae with a forthright social conscience.” - Billboard
 “Over the course of their near-20-year career, SOJA has amassed a
loyal following for their social justice-minded brand of roots reggae.” - USA Today

Lava Love is the new album by Zoe’s Shanghai. Led by singer Zoé Renié Harris, the band has
made a splash into the crowded neo-soul scene with their debut EP A Mirage (Meant To Last
Forever) released in 2019 - a deeply evocative sound and Zoe’s extraordinary voice gained them
immediately the spotlight as ones to watch (“a worthy torchbearer for heady and hearty soul music”-
Earmilk).
Following a successful string of EPs and singles, the Barcelona & Paris-based four-piece band is
now ready to share with the world their first full-length album.
Lava Love was recorded in an old stable in the French region of Auvergne - known for its mountain
ranges and dormant volcanoes, this region could not have been a more apt setting.
Lava and love portray in fact a dynamic flow of memory and meaning pouring out of Zoe’s
Shanghai’s heart. In and out of the metaphor, Lava and love can be powerful, frightening, beautiful,
dangerous and at the same time are essential elements that create fertile change and growth.
Through the 11 songs, the band evoke memories and pose questions - inner dialogues, life stories,
encounters and relationships – the album depicts a kaleidoscope of moods and feelings, prompting
the listener to open to the conversation: while each song presents a microcosm on its own, the album
manifests itself in the shared musical experience - immersive music to listen to and enjoy with your
loved ones.
Produced with Oli Barton-Wood (Nubiyan Twist, Joe Armon-Jones, Nilufer Yanya), the sound of
Lava Love brings together hypnotic melodies, groovy rhythms and thoughtful lyrics - fusing the
essence of multiple music styles and forging Zoe’s Shanghai unique contemporary soul.
The album follows the critically acclaimed EP ‘A Mirage’, which garnered the support of Gilles
Peterson & Huey Morgan (BBC 6 Music), Jamz Supernova (BBC Radio 1Xtra), Worldwide FM and
Earmilk to name a few.

VERY LIMITED COPIES OF THIS PREVIOUSLY RSD U.S. ONLY RELEASE

Engine Kid, the post hardcore collective featuring Greg Anderson (Southern Lord label owner, also in Sunn O))), Goatsnake & Thorr's Hammer) announce a special Record Store Day 6 x LP box set release Everything Left Inside, featuring the Novocaine/Astronaut 12 inch, Bear Catching Fish 2xLP, Angel Wings 2xLP and Split w/ Iceburn / Everything Left Inside 12 inch.

Almost 30 years since the inception of Engine Kid and the trio find themselves comprehending the enormity of their creation, honouring and celebrating the mountains they formed and the canyons they created.
Engine Kid was born in Seattle, WA 1991. The band's original lineup consisted of guitarist/vocalist Greg Anderson (Southern Lord, Sunn O))), Thorr's Hammer, Goatsnake), drummer Chris Vandebrooke & bassist Art Behrman. The three had all been in hardcore/punk bands around town and all had a burning desire to create a sound that was unlike anything they had done in the past. After just a few months of existence they quickly recorded and self-released the Novocaine 7”. Circa 92’ a close friend and bassist Brian Kraft (Krafty) replaced Behrman, and at that moment the entire aesthetic and execution of sound became heavier, darker and extremely dynamic. The power trio was picked up by local label C/Z records and set out upon recording the new music they were quickly creating. In 1993 the band had two releases on C/Z; their first offering was the Astronaut five song EP recorded by John Goodmanson. The songs were primitive and exemplified the bands worship of Slint and their loud/quiet song dynamic In the summer of 93’ the band drove all the way to Chicago to record with their hero Steve Albini in the basement of his house. They emerged with the eight song album they called: Bear Catching Fish. Albini intuitively captured the band exactly as they were at that moment: raw, vulnerable and mammoth.

Shortly after the albums’ release Jade Devitt replaced Vandebrooke on drums. This transition was extremely crucial in the “second phase” of the group. Devitt was an absolute beast and his power helped launch the band miles beyond where they had ever been before. The sound of “The Kid” started to transform into a sound much more of their own. The three dudes were hellbent on pushing the bounds of sonic exploration to its absolute fullest. Suddenly there was an abundance of depth within the sounds they were creating. Eclectic influences of punk/hardcore (Black Flag, Die Kreuzen), Metal (Entombed, Carcass) and even jazz (Mahavishnu Orchestra, Miles Davis electric era) were in a full collision course with the already dynamically heavy foundation of the band. The levee had broken and the resulting flood of sound completely saturated everything in its path.

Engine Kid toured relentlessly. They were constantly on the road playing every nook and cranny they possibly could. Any moment not spent on the road was instead spent focused on making their new material as potent as possible. Early in 94' the band decided to pay homage to their mutual love of jazz/fusion and recorded three instrumental pieces that would become a split album with like minded powerhouse Iceburn. The Engine Kid/Iceburn album showcased each group's love of jazz loosely framed by the intense enthusiasm of underground music. The album was released by Revelation records in 1994.
During the summer of 94’ the band reconvened with producer John Goodmanson at Bad Animals & AVAST! studios to record the new material that was literally bleeding out of the reinvigorated trio. These recorded songs were much more progressive, heavier, harder and more focused than past works. They even tackled John Coltranes’ “OLE” adding saxophone and trumpet from their brothers in Silkworm. In March of 1995, Revelation Records released these recordings as the Angel Wings album. Unfortunately "the Kid" flew too close to the sun and broke up very shortly after the album's release.

Everything Left Inside 6xLP box set (RSD release) includes:
LORD 288.1 Engine Kid-“Novocaine/Astronaut” 12”
LORD 289 Engine Kid-Bear Catching Fish 2xLP
LORD 290 Engine Kid-Angel Wings 2xLP
LORD 288.2 Engine Kid-Split w/ Iceburn /Everything Left Inside 12”
16-page color photo/liner note booklet.

one hand on the steering wheel the other sewing a garden is the name of the second album by Canadian songwriter Alexandra Levy, publicly known by the moniker Ada Lea. On one hand, it’s a collection of walking-paced, cathartic pop/folk songs, on the other it’s a

book of heart-twisting, rear-view stories of city life. Ada Lea has followed up the creative, indie-rock songcraft of her debut what we say in private with surprising arrangements and new perspectives. The album is set in Montreal and each song exists as a dot on a personal history map of the city where Levy grew up. Due on September 24th from Saddle Creek and Next Door Records in Canada, the physical record will be released alongside a map of song locations and a songbook with chords and lyrics, inspired by Levy’s love of real book standards.

Levy penned and demoed this batch of songs in an artist residency in Banff, Alberta. After sorting and editing she made her way to Los Angeles to record with producer/engineer Marshall Vore (Phoebe Bridgers) who had previously worked on 2020’s woman, here E.P. After a long walk to the studio each morning, Levy spent her session days diving into the arrangements, playfully letting everything fall in place with complete trust for her collaborators. She notes “Marshall’s expertise and experience with drumming and songwriting was the perfect blend for what the songs needed. He was able to support me in a harmonic, lyrical, and rhythmic sense.” Other contributors that left a notable fingerprint on the soundscape include drummer Tasy Hudson, guitarist Harrison Whitford (of Phoebe Bridgers band), and mixing engineer Burke Reid (Courtney Barnett). Many songs came together with a blend of studio tracks and elements from the pre-recorded demos.

The resulting sounds range from classic, soft-rock beauty to intimate finger-picked folk passages and night-drive art-pop. And the textures are frequently surprising due to the collage of lo-fi and hi-fi sounds that tastefully decorate the album without ever clouding the heart-center of the song. Tracks like “damn” and “oranges” feel timeless with their AM gold groove and 70’s studio sheen, while songs like “my love 4 u is real '', “salt spring” and “can’t stop me from dying” sound completely modern in their use of electronics, sound effects, and pitched vocals. In their subtle, sonic variety, all of the album’s songs flow together with ease into one big, romantic dream for Levy’s silken vocals to float above.

Inspired by personal experience, daydreams, and Elena Ferrante’s Neapolitan novels, the lyrics of one hand... center storytelling on a bigger scale. The experience and emotions of a year are communicated through Levy’s vignettes of city life. Her prose is centered in its setting of the St Denis area of Montreal as it draws up memories from local haunts like Fameux, La Rockette, and Quai des Brumes in rearview reverie. Levy creates a balance through the album’s year by splitting her songs evenly into four seasons. Opening track “damn”, as a song of winter, kicks off the narrative with the events of a cursed New Year’s Eve party. Immediately this timeline becomes jumbled into a Proustian haziness. The listener is then led through the heat-stricken, brain fog of Summer song, “can’t stop me from dying” and then into the autumnal romanticism of “oranges” before returning back to New Year’s on “partner,” which Levy describes as “a woozy late-night taxi blues reflection on moments when timing can be so right, yet so wrong…”. These collected stories as a whole chart the unavoidable growth that comes with experience. “All is forgiven in time. All is forgotten in time. And when the music stopped, I heard an answer” (from “my love 4 u is real”).

Whether to consider these songs fiction or memoir remains unknown. On one hand, Levy says “Why would I try to write a story that’s not my own? What good would that do?” but on the other hand, she is quick to note the ways that language fails to describe reality, and how difficult this makes it to tell an actually true story. The poetic misuse of the word “sewing” in the album’s title serves as a nod to the limitations words provide. What does it mean to sew the garden? And how can we appreciate its carefully knit blooms when the rearview mirror is so full of car exhaust?

one hand on the steering wheel the other sewing a garden is the name of the second album by Canadian songwriter Alexandra Levy, publicly known by the moniker Ada Lea. On one hand, it’s a collection of walking-paced, cathartic pop/folk songs, on the other it’s a

book of heart-twisting, rear-view stories of city life. Ada Lea has followed up the creative, indie-rock songcraft of her debut what we say in private with surprising arrangements and new perspectives. The album is set in Montreal and each song exists as a dot on a personal history map of the city where Levy grew up. Due on September 24th from Saddle Creek and Next Door Records in Canada, the physical record will be released alongside a map of song locations and a songbook with chords and lyrics, inspired by Levy’s love of real book standards.

Levy penned and demoed this batch of songs in an artist residency in Banff, Alberta. After sorting and editing she made her way to Los Angeles to record with producer/engineer Marshall Vore (Phoebe Bridgers) who had previously worked on 2020’s woman, here E.P. After a long walk to the studio each morning, Levy spent her session days diving into the arrangements, playfully letting everything fall in place with complete trust for her collaborators. She notes “Marshall’s expertise and experience with drumming and songwriting was the perfect blend for what the songs needed. He was able to support me in a harmonic, lyrical, and rhythmic sense.” Other contributors that left a notable fingerprint on the soundscape include drummer Tasy Hudson, guitarist Harrison Whitford (of Phoebe Bridgers band), and mixing engineer Burke Reid (Courtney Barnett). Many songs came together with a blend of studio tracks and elements from the pre-recorded demos.

The resulting sounds range from classic, soft-rock beauty to intimate finger-picked folk passages and night-drive art-pop. And the textures are frequently surprising due to the collage of lo-fi and hi-fi sounds that tastefully decorate the album without ever clouding the heart-center of the song. Tracks like “damn” and “oranges” feel timeless with their AM gold groove and 70’s studio sheen, while songs like “my love 4 u is real '', “salt spring” and “can’t stop me from dying” sound completely modern in their use of electronics, sound effects, and pitched vocals. In their subtle, sonic variety, all of the album’s songs flow together with ease into one big, romantic dream for Levy’s silken vocals to float above.

Inspired by personal experience, daydreams, and Elena Ferrante’s Neapolitan novels, the lyrics of one hand... center storytelling on a bigger scale. The experience and emotions of a year are communicated through Levy’s vignettes of city life. Her prose is centered in its setting of the St Denis area of Montreal as it draws up memories from local haunts like Fameux, La Rockette, and Quai des Brumes in rearview reverie. Levy creates a balance through the album’s year by splitting her songs evenly into four seasons. Opening track “damn”, as a song of winter, kicks off the narrative with the events of a cursed New Year’s Eve party. Immediately this timeline becomes jumbled into a Proustian haziness. The listener is then led through the heat-stricken, brain fog of Summer song, “can’t stop me from dying” and then into the autumnal romanticism of “oranges” before returning back to New Year’s on “partner,” which Levy describes as “a woozy late-night taxi blues reflection on moments when timing can be so right, yet so wrong…”. These collected stories as a whole chart the unavoidable growth that comes with experience. “All is forgiven in time. All is forgotten in time. And when the music stopped, I heard an answer” (from “my love 4 u is real”).

Whether to consider these songs fiction or memoir remains unknown. On one hand, Levy says “Why would I try to write a story that’s not my own? What good would that do?” but on the other hand, she is quick to note the ways that language fails to describe reality, and how difficult this makes it to tell an actually true story. The poetic misuse of the word “sewing” in the album’s title serves as a nod to the limitations words provide. What does it mean to sew the garden? And how can we appreciate its carefully knit blooms when the rearview mirror is so full of car exhaust?

SEX was composed during the formation of Imhof’s art show of the same name, previously exhibited at Tate Modern, London, The Art Institute of Chicago and forthcoming at Castello di Rivoli, Italy, this September. Imhof, Douglas and Bultheel, reworked the songs from how they appeared in the exhibition ‘SEX’. The result is a compelling record that acts as an imaginative accompaniment to the ‘SEX’ performances, as well as standing alone as a progressive collection of contemporary compositions.

SEX references punk, industrial and grunge, and boldly juxtaposes these forms with music of the classical and baroque period. The album combines classical formals and orchestration with vocals that are rooted in subcultural traditions, thus beautifully overdrawing and overwriting these forms with the composer’s own. Harpsichord and oboe are combined with distorted electric guitar, or exuberant string ensembles with heavy industrial drums.

The amalgamation of genres contained in the album was also integral to the choreography of SEX, where walzes and tangos were contrasted with stage diving, slam dancing and moshpits. What resulted was a surreal ballroom, loaded with desire and aggression. In the same vein, the record fearlessly shapeshifts, blends genres and styles evoking an impressive array of moods. Oscillating between fragility and flamboyance, Imhof and Douglas’ versatile voices reinvent themselves from one song to the next, while singing songs of love and hate.

The last song on Sex is ended by a quote of the band LOW, `All you Pretty People, you`re all gonna die`. This ambiguous moment, a prophecy sung in Douglas’ vibrating baritone voice, rattles the listener despite the mundane truth of the statement. This complexity is reflected in the album itself, allowing for an unusual multiplicity of emotions and interpretations with impressive depth and dynamism.

The album is mixed & engineered by Ville Haimala and mastered by Rashad Becker, featuring design by ZAK Group and photography by Nadine Fraczcowski. All tracks by Anne Imhof, Eliza Douglas & Billy Bultheel, track 6* by Eliza Douglas & Ville Haimala.

UK multi-instrumentalist and story-teller Mara Simpson's new album In This Place will be released on September 24th, 2021. A heady blend of alt-folk, analogue synth and classical composition, In This Place is a tale of quiet rebellion, and taking back control. Fittingly, the new album marks the start of another new journey for Mara. In This Place will be the first record to be released on Downfield Records, a non-profit imprint set up by Simpson, placing artists at it’s centre. “I want to try and promote transparency and equality, assist other artists to get public funding and to ‘pay’ forward the time and resources I’ve benefited from,” she says. The label’s mission is to see musicians paid fairly and release records through a creative and joyous process.

Whilst the struggles of 2020 will go down in history, for Mara it was 2019 that was the tough one. A year spent consumed by worry, whilst in and out of hospital with her one year old daughter, had left Mara feeling like she was playing a constant game of catch up with a world that wouldn’t slow down. With songs ready to be recorded for her new album, she headed into the studio. “I stepped into the studio not needing my hand held, just my voice heard” explains Mara, who quickly came to the realisation that she was working in a toxic environment. Enough was enough

It was whilst waiting for a train that she had the sudden realisation that the album she was recording would never see the light of day. Struck by an overwhelming feeling of failure, Mara began to ruminate on the time and money she had wasted but then something clicked. “Perhaps it’s something about train stations, the coming and the goings, that allows a stagnating frame of mind the grace and space to clear” she says. “The funny thing is, upon realising failure, the despair I’d been feeling was now replaced with something else...Relief”.

Feeling re-energised, Mara called her dream producer Ellie Mason, of Voka Gentle, and together the pair began working on a new record. “I’ve been more hands-on with this album than I’ve ever been, taking a much more active role in production. Throughout the whole process Ellie has heard my voice, and been open to any possibility” explains Mara. “We’ve stumbled across golden moments, recording four part harmonies in Brighton’s oldest church, using every drum there is in Brighton Electric, layering New Zealand bird song with tape delayed piano, all thanks to her nurture, playfulness and kindness” she continues.

Album opener ‘Serena’, named after the apartment building in Brighton where Mara’s daughter was born, is based on the experience of becoming a mother and the responsibility of making important healthcare decisions. “How will I know how to love you” she sings over undulating synths and sparse piano chords. Title-track ‘In This Place’ is about the confrontation between mother and new-born child. The ‘sizing-up’ of one another as they embark on a new journey together. “When I left home to travel around the world and was so worried about breaking my Mum’s heart,” says Mara. “I just remember her saying that your children are never yours to keep. This is a song about the rawest of loves, and the fact that however much we love someone, they are never ours, and the beauty in that.”

In addition to the experience of motherhood, the songs on In This Place take inspiration from a wide range of places, including Mara’s ‘second home’ New Zealand. ‘Christchurch’, written in response to the Christchurch Mosque shootings in 2019, layers New Zealand birdsong on top of swirling piano and moving choral vocals. ‘Fault Lines’ was inspired by The Waitangi treaty. Signed in 1840 in New Zealand by the British Crown and Maori chiefs. The British understood that the Maori were signing over land that the British could now govern and effectively ‘own’, however to the Maori people it is impossible to own land, in the same way that you can’t ‘own’ air. “We live and die, the land remains and we are just it’s keepers for the very short time we are here. This song is about us not owning this earth - how can we? We are only the guardians of it while we are here” says Mara.

Backed by a band of accomplished musicians (Jools Owen (Bears Den) on drums, James Smith (Anaïs Mitchell) on banjo, Alexandra Hamilton-Ayres on clarinet and strings by Poppy Ackroyd) on In This Place, Mara sounds the most confident she’s ever sounded. With her new material, Mara Simpson hopes to promote a gentle, yet radical shift toward kindness and it’s this warmth that can be both heard and felt across her new record.

“So much has happened since last year.” After the release of his 2020 debut album Armlock, School of X was hurtled into a new life. Having spent most of the past ten years touring and working on music non-stop, SXSW was cancelled just as he was about to make his first trip to the states under his own name and this life was suddenly put on hold for Rasmus Littauer, the man behind the School of X moniker.

While School of X’s self-produced indie-pop has always been revealing and reflective, “these sudden changes thrust me deep into my emotions.” Littauer took off to his childhood home in the countryside to write, capturing these swelling emotions and reflecting on his childhood. And then there was the news of a little one on the way, bringing his thoughts to his soon-to-be son. “I was facing a lot of


things from my life that I want to do differently for him.” Did he want him to grow up in the city or the countryside? What did he want to teach him about politics? Sexuality?

The result is School of X’s sophomore album, to be released in ‘21 via Tambourhinoceros. “It’s about trying to find the meaning in things. Juggling with the different parts of life that make it a full life. Asking why do I do what I do?” Following his ‘20 debut album Armlock, his ‘19 EP Destiny and his ‘17 EP Faded. Dream, School of X’s new album will be a more varied display of styles and emotions. “It makes it easier to create if there are no boundaries,” says Littauer.

A Fable is Tigran Hamasyan’s first solo album after having recorded three previous albums as a leader. Released in 2011 it was hailed for the rare maturity of an all young musician to deliver such a landmark recording. At that time the pianist has been identified as one of the most important jazz revelations by critics impressed by his artistry. Well known for the way he fuses potent jazz improvisation with the rich folkloric music of his native Armenia, Tigran once again borrowed from the rich tradition he inherited and made a giant step with A Fable. Hamasyan gives a stunning one-man show with definite nods to Monk and Miles Davis, to Liszt and Debussy, while creating a space that is distinctly his.

Ancient Africa represents Nat Birchall’s official follow-up to last year’s universally acclaimed Mysticism of Sound.

Nat once again plays all the instruments here, tenor and soprano saxophone, bass clarinet, bass, drums and percussion. But this time around the Korg synth is replaced by piano as

Nat wanted to utilise a more “classic” Jazz sound to express his musical visions. He has also arranged the songs for multiple horns, with melodies and harmonies played by up to five different instruments to achieve a fuller and often glorious sound.

An exception to this is Mirror Mind, a ‘duet’ featuring tenor saxophone and piano, hence the title.

With most of his compositions Nat tends to come up with titles depending on the thoughts or images the music manifests within him as he listens back to the recording.

The title track conjures up images of an African sunrise, the horns perhaps invoking the sun as it begins to illuminate the land which was the origin of the human story on Earth.

“Africa is the root of everything, and is the source of civilization, art, music, you name it.”

Paladins is so titled for the African heroes of the past and the present, in all walks of life, social, political, the arts etc.

“Anyone who fights against oppression, whether it be through activism or art, not only in Africa but throughout the whole diaspora, is a Paladin in my book.”



Song for John Blanke is named for the African trumpeter who played in the court of Henry VIII. The horn line sounding

a little like a fanfare, but in a lower register than the Tudor trumpets might have played for the court of the king!

Malidoma is named in honour of the African writer Malidoma Patrice Some. His excellent book ‘Of Water and The Spirit’ is a deeply

moving and illuminating narrative of his life’s journey. From his abduction by Jesuit priests at an early age from his village in Burkina Faso to

his being reunited with his people and subsequent assignment to spread his people’s ancient knowledge to the Western world.

The final song, Ancestral Dance, is a musical reminder to both celebrate life as and when the occasion demands, but also to not forget where we came from, as individuals and as a species.

Black Country Communion the rock supergroup comprised of vocalist/bassist Glenn Hughes (Deep Purple Black Sabbath, Trapeze), drummer Jason Bonham (Led Zeppelin, Foreigner), Derek Sherinian (Dream Theater, Billy Idol, Alice Cooper) and blues rock guitarist Joe Bonamassa.

Their second album, simply called "2" was originally released by Mascot Records in Europe in 2011. Three Black Country Communion albums will be re-issued as part of the Black Country Communion Glow In The Dark Vinyl Series: On September 24, "Black Country Communion" and "2", and on October 22, 2021 their latest studio album "BCCIV".

Producer Kevin Shirley explains "On '2', you can hear the band own their music, own their sound, and it is an astonishing musical group unlike any other and they are absolutely the kings of their genre." He continues sstating, "I wanted to explore more of the Bonham sound and more importantly each member of the band gets a unique opportunity to shine, but the music always has the distinct sound that is BCC." Black Country Communion initially came to fruition when Kevin Shirley saw Glenn Hughes and Joe Bonamassa join forces on stage in Los Angeles in November 2009 for an explosive performance at Guitar Center’s King of the Blues event. Shirley then recruited powerhouse drummer Jason Bonham and keyboardist Derek Sherinian. The band is named after the industrial area in the British Midlands where both Hughes and Bonham were born and raised.

Effortlessly hopscotching between vintage acid and 80s Rn’B, insouciant Francophone pop and twinkling electro house, Lou Hayter has delivered something at once utterly unique and defiantly timeless with her much anticipated debut solo LP, released on Skint Records. It has been a long time coming for London native Hayter, who first made her mark professionally as keyboardist for New Young Pony Club, one of THE bands at the epicentre of the white hot day-glo nu rave scene alongside the likes of the Klaxons and Test Icicles in 2006. But, to fully place her debut album in context, it is necessary to rewind a little bit – to the very beginning in fact, with Hayter growing up on a diet of Bowie, Prince, Human League and Jellybean-era Madonna while concomitantly learning classical piano from the age of five. The flames of this deliciously varied musical palette were further stoked by trips to record shops in Soho with her brother (Soul Jazz was a particular obsession), but it was while studying in Cambridge that the match was well and truly struck – she used her student grant to buy a set of Technics and started putting on club nights, before moving to London and working at Trevor Jackson’s seminal Output Recordings, placing Hayter smack bang in the middle of all the action, with disco punk fever hitting full force and bands like the Rapture and LCD Soundsystem first breaking out.

The hugely successful, Mercury-nominated New Young Pony Club followed shortly after, but it’s through her subsequent output that she started to distil and refine her idiosyncratic tastes. And certainly, you can hear hints of both the New Sins, the 80’s New Wave duo she formed with Nick Phillips, and Tomorrow’s World, the swooning Gallic pop act she fronts alongside Air’s JB Dunckel, in her remarkable debut. Full to bursting with evocative electro-soul love letters to her home town of London alongside addictive disco torch ballads, it’s like Kylie meeting Mr Fingers or, Jam & Lewis producing Jane Birkin – something beautiful and melancholic yet sharply modern and new. From the warm, woozy, lysergic harmonies of opener “Cherry on Top”, which sound like a beloved old cassette unravelling, to the fizzy, infectious “Cold Feet”, which calls to mind Lisa Lisa & Cult Jam at their most heartworn, taken in toto the album perfectly nails the essence of gorgeously nostalgic synth-pop with a twist; crisp, stylish and sophisticated music which heralds the next chapter of Lou Hayter quite nicely, actually. Her retro-futuristic results will give 2021 the pop fix it so desperately needs.

Trompe Le Monde bookended a golden run of landmark records - a mini-album followed by four albums, released in quick succession - that cemented Pixies as one of the best for a generation. Translated from French to mean "fool the world", Trompe Le Monde showed the band still restless to push their sound forward. Recorded between Burbank, Paris and London, with producer Gil Norton again at the controls, their fourth album is arguably their most playful with Black Francis's lyrics on UFOs and conspiracy theories keeping things weird while power pop creeps in to amplify the space rock established on predecessor Bossanova. Featuring singles 'Planet of Sound', 'Alec Eiff el', 'Letter to Memphis' and a fl awless cover of The Jesus and Mary Chain's 'Head On', Trompe Le Monde goes full throttle with 15 tracks coming in a quickfi re 40-minute salvo. Receiving critical praise at the time and being supported by a huge tour that included playing stadiums with U2, it also proved to be the end of act one for the band with them taking over a decade before returning to stage together. A brilliant record, Trompe Le Monde sounds just as fresh 30 years on with outlets such as Pitchfork concurring, retrospectively scoring it 9.3, they called it "more aggressive than anything in their catalog but also more confi dent. They can handle this now, and they do."

Starting their 2020 with a bang, OdD swiftly follow up their D Construction EP with another trio of reductionist sure shots for adventurous travelers in the minimal realm. "Pythagorean" lives up to its name with an intricately arranged pattern of percussive threads creating a kind of geometry that crystalises around a sturdy minimal groove. "Do Re Me" features plenty of tripped out FX sweeps and swishy pads that give this roller a dubbed out flavour perfect for the after hours. "Solfegio" switches things up with a crooked broken beat template and some pointed chord drops that really lift the track into an intriguing new realm - this is classy minimal with personality so don't sleep on it!

Around the year, the sturdy red brick walls of an old Cable Factory stand there like a mountain, facing weathers of all kinds rising from the Gulf of Finland. It might be freezing winter winds whipping the whole shore line into submission, fog heavy as concrete, or the relentless sun of the summer months, softening the asphalt to a boiling point. Whatever the weather may be, the narrow courtyard of the old factory embraces those musicians, who are looking to get down. They gather from all directions, making their way towards a pair of doors that lead towards a flight of stairs, again through a few doors all the way to the last portal, where an open padlock and a loosely hangin crossbar signal that Cold Diamond & Mink are inside, locked in a groove.

Who could it be with them this time, perhaps the jazz prophet Jimi Tenor beaming out of his space ship, maybe it's the golden voiced knight of soul Tuomo "Pratt" Prättälä, the number one trumpet wielding dandy Jukka Eskola or the saxman Pope Puolitaival, who loses nothing in coolness compared to the former? The reel to reel is always there in the monitoring room, catching each analog layer of sound, even the silences and banter between takes. Seppo lays down the guitar and tries to catch the riff on organ instead, Jukka throws a rare tune on the turntable, hoping to guide their unit through that wobbly chorus, Sami waits there bass in hand, maybe already thinking about the next production.

After a whole lot of playing instruments, arranging and taking care of business, after the moon has travelled around the old industrial building for some rotations, Carlton Jumel Smith comes waltzing through those same doors. There's a handful of unnamed tracks waiting for him. He sits there listening and then starts writing, maybe echoes of soul classics from his own record collection in New York projecting inside his mind. Then the tape is rolling again. Starting with a short intro rap Carlton lets it out, singing on the edge of shouting "Woman you made me...". After the vocals are in the can, Carlton ascends out of the basement and heads out to entertain an audience somewhere. Some months later, after the mix is said and done, there's the question of the instrumentals. It seems they're pretty good as they are. And here they are.




d 04: Help Me (Save Me From Myself) Instrumental

A work that literally immerses the listener into an acoustical substance. The sound becomes almost like matter, like jelly. Soon, you're swimming in sound, getting lost inside it.

With the Sonic Waters project initiated in 1978, my aim was to situate field of electronic music within a liberating and futuristic experience, outside the concert halls and in sync with the development of new instruments - in particular the Synclavier digital synthesizer, the first model of which I acquired in 1977. As concert space, the Pacific Ocean seemed to me to be the ideal experimental medium for both acoustic and cultural reasons. I then developed the aesthetic and technical elements that would contribute to the conception of Underwater Music. Numerous performances would follow spanning four decades, in natural sites or in large public pools such as those of Sydney, Paris or Venice during the 2006 Biennale.

Michel Redolfi (1951), French composer and sound artist, is the founder of Underwater Music. The natural elements captured and highlighted by experimental technology are a constant in Redolfi's catalogue: many compositions explore the earth environments such as in 'Pacific Tubular Waves', 'Jungles', 'Desert Tracks' (re-released on Sub Rosa records) and especially with 'Sonic Waters', a work that literally immerses the listener into an acoustical substance. During the mid-seventies Redolfi carried out his electro-acoustic research in the United States, with major electronic music centers including the California Institute of the Arts and chiefly the University of California in San Diego. As invited resident of their studios, Michel Redolfi launched the underwater music concerts, with the series 'Sonic Waters' performed in the Pacific Ocean. Michel Redolfi's underwater creations have since been regularly programmed by major international festivals, with multi-media installations held in ecological marine reserves or in historical city pools. Among them, the Sydney Festival, Paris 'Nuit Blanche', Ars Electronica in Linz, the 2006 Venice Biennale (nominated Golden Lion) and lately the 2018 Ars Musica festival in Brussels. This record presents different variations of Sonic Waters from 1980 to 1987, alternating studio mixes with their re-recordings in the depths of the Pacific. Michel Redolfi CD's and LP's are currently published by Sub Rosa, INA-GRM and Radio France.

Exceptional recordings by this New age maestro. Only recently re-discovered by his friend JD emmanuel & the band Sun Araw. Originally released on cassette in 1983 and now for the first time vailable on 180g Vinyl. For fans of Joanna Brouk, JD Emmanuel and Pauline-Anna Strom.

Randall McClellan was a founding member of the electronic music studio at the Eastman School of Music in 1967 where he later received a Ph.D. in Composition, Theory and Musicology. A growing interest in North Indian music and vocal technique prompted him to develop his personal compositional practice into an active platform for inducing altered states of mind. He constructed his concerts to be spaces for harmonization of mind and body through a musical practice informed by his esoteric studies of ancient mystery schools and sacred geometry, believing these to be primarily teachings on intentional resonance.

These performances were given between 1977 and 1983 in semi-darkened spaces that allowed listeners to relax on carpeting while being enveloped by sound. Each improvisation lasts from twenty-five to forty-five minutes. An entire performance is up to three hours and is designed to provide an environment of meditative sound. They gained in popularity and were soon attended by larger audiences. His final live performance took place at New York City's Alternative Museum in October, 1983.

The “Music of Rana” Enviromental Series uses synthesizers, drone box, tamboura, voice and tape delay to create an environment of continuously evolving multi-layered melody. Described as subtle, graceful and of other worlds. The name RANA, meaning “Sunbreath”, has its origin in ancient philosophical concepts that recognized vibration as the fundamental creative force and central principle of the many esoteric mystery schools of the ancient world. It is now evident that the use of music for its ability to alter mind states and for its effectiveness as a therapeutic aid was music’s original purpose and an important concept of these mystery schools. In the broadest sense, the practice of music for its healing ability may well stand as our oldest continuous musical tradition.

This album is the first volume in the series, previously issued as a cassette in 1983, and part of the cassette box set published by Sun Ark in 2013. This music is based on principles outlined in Randall’s book, The Healing Forces of Music: History, Theory and Practice. These compositions are selected for their meditational and healing abilities. EQ settings of treble and bass levels determine the music's effect upon you. Please explore until the most comfortable settings are found.

FACT MAG: "These deeply meditative pieces are an expert take on how subtleties and concentrated listening go hand-in-hand. There is inherent beauty here, but it’s the deeper aspects that make the biggest impact."

Exceptional recordings by this New age maestro. Only recently re-discovered by his friend JD emmanuel & the band Sun Araw. Originally released on cassette in 1983 and now for the first time vailable on 180g Vinyl. For fans of Joanna Brouk, JD Emmanuel and Pauline-Anna Strom.

Randall McClellan was a founding member of the electronic music studio at the Eastman School of Music in 1967 where he later received a Ph.D. in Composition, Theory and Musicology. A growing interest in North Indian music and vocal technique prompted him to develop his personal compositional practice into an active platform for inducing altered states of mind. He constructed his concerts to be spaces for harmonization of mind and body through a musical practice informed by his esoteric studies of ancient mystery schools and sacred geometry, believing these to be primarily teachings on intentional resonance.

These performances were given between 1977 and 1983 in semi-darkened spaces that allowed listeners to relax on carpeting while being enveloped by sound. Each improvisation lasts from twenty-five to forty-five minutes. An entire performance is up to three hours and is designed to provide an environment of meditative sound. They gained in popularity and were soon attended by larger audiences. His final live performance took place at New York City's Alternative Museum in October, 1983.

The “Music of Rana” Enviromental Series uses synthesizers, drone box, tamboura, voice and tape delay to create an environment of continuously evolving multi-layered melody. Described as subtle, graceful and of other worlds. The name RANA, meaning “Sunbreath”, has its origin in ancient philosophical concepts that recognized vibration as the fundamental creative force and central principle of the many esoteric mystery schools of the ancient world. It is now evident that the use of music for its ability to alter mind states and for its effectiveness as a therapeutic aid was music’s original purpose and an important concept of these mystery schools. In the broadest sense, the practice of music for its healing ability may well stand as our oldest continuous musical tradition.

This album is the first volume in the series, previously issued as a cassette in 1983, and part of the cassette box set published by Sun Ark in 2013. This music is based on principles outlined in Randall’s book, The Healing Forces of Music: History, Theory and Practice. These compositions are selected for their meditational and healing abilities. EQ settings of treble and bass levels determine the music's effect upon you. Please explore until the most comfortable settings are found.

FACT MAG: "These deeply meditative pieces are an expert take on how subtleties and concentrated listening go hand-in-hand. There is inherent beauty here, but it’s the deeper aspects that make the biggest impact."

Tape

Pauline Oliveros and Guy Klucevsek's "Sounding / Way" was originally released on cassette in 1986 and has been out of print ever since. This LP was cut by John Golden and pressed at RTI in order to achieve a quiet, dynamic pressing.

The Sounding / Way concept was simple. Each artist would write a piece for two accordions and then they would perform them together. Thus, side A contains Guy Klucevsek's Tremolo No. 6 performed by Guy Klucevsek and Pauline Oliveros. Side B contains Pauline's composition The Tuning Meditation, also performed by both Pauline and Guy.

This is the second release in an on-going effort between Important Records and the Pauline Oliveros Trust to maintain and promote the music, philosophy and legacy of Pauline Oliveros.

Guy Klucevsek is one of the world’s most versatile and highly-respected accordionists. He has performed and/or recorded with Laurie Anderson, Bang On a Can, Brave Combo, Anthony Braxton, Anthony Coleman, Dave Douglas, Bill Frisell, Rahim al Haj, Robin Holcomb, Kepa Junkera, the Kronos Quartet, Natalie Merchant, Present Music, Relâche, Zeitgeist, and John Zorn.

Pauline Oliveros, composer, performer and humanitarian is an important pioneer in American Music. Acclaimed internationally, for four decades she has explored sound - forging new ground for herself and others.

Through improvisation, electronic music, ritual, teaching and meditation she has created a body of work with such breadth of vision that it profoundly effects those who experience it, and eludes many who try to write about it. Oliveros has been honored with awards, grants and concerts internationally. Whether performing at the John F. Kennedy Center in Washington D.C., in an underground cavern, or in the studios of West German Radio, Oliveros' commitment to interaction with the moment is unchanged. She can make the sound of a sweeping siren into another instrument of the ensemble.

"On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level." John Rockwell

"Through Pauline Oliveros and Deep Listening, I now know what harmony is. It's about the pleasure of making music." John Cage

Andy Compton is undisputedly one of the hardest working producers in dance music. With over 40 albums and 150 EPs released either solo or as part of deep house legends The Rurals, the Bristol-based producer just can't stop creating profoundly funky and vibey music that works on loose-limbed dancefloors, beach bars and shag carpets alike.
He has appeared regularly on quality labels as diverse as Lumberjacks In Hell, Hed Kandi, LARGE and naturally, his own vital imprint Peng.

Andy's latest long player for Tangential Music is a collaboration with LA artists Irantzu Pujadas and Brad Kent under the name Blue Dream.
Aptly titled: 'A Trip To LA' the album is a deliciously louche and laidback twelve tracker of pure LA heat. The project began as many great ones do, without a plan. Visiting Brad's studio to check out his huge vintage analogue synth collection in search of new sounds for The Rurals, they got to thinking...and jamming. With Brad on the dusty old drum machines, Irantzu on the microphone and Andy in synthesiser heaven, Blue Dream was born.

Their first and equally good album 'California Dreaming' was released on Peng in early 2019 and now we are here with a second round of perfectly realised dream-like grooves. Think of the sun-facing vibes of Shuggie Otis, Eddie Chacon, Bobby Caldwell or Roy Ayers at his most relaxed and add a passionate knowledge and experienced grasp of electronic forms. They make this seem easy goddammit.

'I Wanted To See You' sounds like Khruangbin with a 303, 'You Want Me Back' with its mid-tempo shuffling groove, saucy squidge bass line and seductive soul house vocal is pure daytime at Houghton Festival happiness, like Crazy P in the hot tub.

At no point are we required to sweat. Lie down if you must, stand up and sway if you're ready. This could be lovers music or just for you alone. Irantzu's vocals throughout are whispers and purrs, evocations of humid love drenched in reverb and easy living. Sunset music.

The singles 'I Wanna Go Home' and 'Sandwich Dub' don't deviate far from the endless feeling of hazy cinematic sunshine, one a sultry plea for intimacy, the other a heavily dubbed-out slice of musique française amour.
'Trip To LA' with a vocal more than suggestive of the Balearic classic 'Sueno Latino', spare guitar chords and a prodding repetitive bass line creates a feeling of slinky bliss.

Every track is full of sensual melodies and the space required to be truly funky. Press play and invite a bit of California magic in...

After four highly successful albums and two live albums, it was time for Canadian punk rockers Billy Talent to release their first greatest hits compilation in 2014, simply called Hits. The album contains 12 of the band’s most popular singles, including “Try Honesty”, “Red Flag”, “Fallen Leaves”, “Devil on My Shoulder” and “Viking Death March”. The album also includes two new songs, “Kingdom of Zod” and “Chasing the Sun”. It charted well in both the band’s native Canada as well as Germany and Switzerland.

Whether you’re a punk rocker looking to get to know Billy Talent in 14 incredible songs, or you’re a longtime fan of the band who already knows all their songs by heart, this compilation is an absolute must have. It comes in a UV matte finished gatefold sleeve and contains a
4-page booklet as well as an art print by Ken Taylor.

The Toolroom Family is happy to announce the release of KC Lights' brand new single 'Cold Light' that lands as the highly anticipated follow up to his global hit 'Girl’ which, in spite of the global shutdowns of clubs and festivals last year went on to be the ‘stay at home’ summer anthem for 2020.

‘Girl’ dominated the airwaves with BBC Radio 1 daytime playlist inclusions, KISS FM, Capital Dance, Sirius XM in the US and specialist playlists all over the world. It has now amassed over 5m streams on Spotify alone and still going strong.

As we move further into 2021, timed right on the back of some of his most recent stellar remixes for James Hype, Topic, Blinkie, Lost Kings and Nightlapse, KC Lights returns to lift our bleak spirits with the aptly named ‘Cold Light’.

He has collaborated with UK singer, songwriter Leo Stannard, who is being hailed as one of the most talented and exciting songwriter / vocalists to emerge in recent years, which is quite impressive during these times of quarantines and lockdowns. Most recently, Leo featured on CamelPhat’s track ‘Blackbirds’ which is featured on the Camels album, ‘Dark Matter.” He may also be recognized for his work with Maverick Sabre, Tom Odell, Rae Morris, Lewis Mokler and many more.

‘Cold Light’ is signature KC Lights with a stripped back groove and tribal drums complimented by Leo’s sublime vocal which takes the track to a whole new level! It’s feels like another anthem in making from this emerging star and with a club mix and a 6am remix, it really is the perfect tune to take us into the promise of lighter and warmer months ahead.

Early support by: Laurent Garnier, AME, Marco Bailey, Jennifer Cardini, Terrence Fixmer, Kyle Geiger, Marcel Dettmann, Apparat, Richie Hawtin, Vril, Charlotte De Witte, Sasha, Benjamin Demage any many more..



Fresh off of a remix for Grimes’ “My Name is Dark”, producer Julien Bracht has been powering through CV19 studio seclusion on full-power, with a distinct vision for brighter days ahead. Bracht’s new album, “Now Forever One,” an emblem of dark analog synthwave, is set to drop June 11. Bracht’s first solo album under his own namesake is cut with surgical precision for the shoegazing astral sound travellers who long to break out of their pandemic quarantines, and reconvene for techno-induced ascension. The album’s first single, “Melancholia,” and it’s accompanying video, is already breaking hearts and charts. An exquisite sonic hybrid of communal revelry and profound introspection, “Now Forever One,” focuses Bracht’s multilayered craftsmanship on resolving this era’s angst with sensory exploration and optimism.



As a lifelong drummer, Bracht’s insatiable musical energy lead him to bang out his first 3 EPs within one year of first being signed in 2011-12. In 2015 he founded the band Lea Porcelain with Markus Nikolaus in London. Their hypnotic post-rock debut release in 2017, “Hymns to the Night,” gained instant acclaim from UK tastemakers Lauren Laverne, Steve Lamacq and Zane Lowe, to name a few. The lads broke back onto the international stage with dates on several major festivals around Europe, including the Leeds/Reading Festival, Great Escape Brighton and Latitude. Rich output combined with the inclusion of live drums in his solo live sets quickly gained Bracht recognition and slots on the global tour circuit.

“Now Forever One” forges Julien Bracht’s transition from techno djing, while continuing the explorations of texture and timbre over functional song structures from Lea Porcelain, to a more open-ended search for the aural sublime — the substrate on which music, life and light glide to create momentary nodes of meaning in an increasingly meaningless sociopolitical atmosphere. These are crucial themes to Bracht’s process and approach. “The intention in my music is to strengthen people’s awareness and minds… I want us all to gather in spirit and stick together.”

The album exemplifies Bracht’s hunt for elemental juxtaposition with the warm Prophet 6’s sawtooth howls and bright pads against chillingly indifferent pulsing basslines and percussion. Clocking in at just under 65 minutes, “Now Forever One’s” tracks are sequenced to take the listener through the full emotional arch of a 15-hour rave, with an emphasis on those moments of collective epiphany where heaving techno floors become the perfect microcosm for an idealistic and interconnected future. Interspersed with improvisational one-takes, the album submerges the listener in polyrhythmic meditations, of which “Streets” and “Nocturne” are standout examples, and soars on the vaulted synth melodies of future dance floor favourites “Melancholia” and “Dreams of Euphoria.” Sascha Ring of Apparat & Moderat puts it perfectly: “I played “Melancholia” the night I got it at Mutek Festival in Mexico City, and instantly knew it’ll shine on a big floor at the right time. It’s just the right balance of majestic melodic deepness.” The sounds are both triumphant and exploratory.

Greater than the sum of its parts, Bracht’s latest release hints at the artist’s emerging potential for nailing our moment’s zeitgeist; learning to live smaller while constantly seeking higher heights. Inhabiting the fertile ground between solitary rumination and dance-floor convenance, the launch of “Now Forever One’s” lunar expedition into the techno oblivion of pandemic lockdown is oddly fitting.

After years unavailable, this reissue presents this 1976 album in its full glory, with remastered sound and original artwork, including the rare promo poster.

Pressed on 180g vinyl. Once resettled in Lima, Peru, in 1974 after spending some time playing in a jazz quintet in Berlin, sax player Nilo Espinosa would put together the Nil's Jazz Ensemble, a top-notch array of local talent consisting of Pancho Sáenz (trumpet), Miguel 'Chino' Figueroa (keyboards), Oscar Stagnaro (bass), Andrés Silva (drums and percussion), Jorge Montero, Richie Zellon and Ramón Stagnaro (guitars). They recorded one single album that remains not only as one of the truly grails for collectors of Latin-American jazz but also as an outstanding piece of music on its own. The opening song "Reflexiones" is a mind-blowing jazz-funk number right up there with the very best of the genre, written by Black Sugar's former member Miguel 'Chino' Figueroa, featuring a fantastic work on trumpet and rhodes. The album also includes a cover of the rare groove classic "Hard Work" that could have easily sneaked into the funkiest side of the Prestige catalogue. Following the success of this album, Espinosa would expand his band to a big band format and tour local theatres and clubs in Lima, where jazz music was a popular genre at the time. Our reissue presents this 1976 album in its full glory, pressed on 180g vinyl with remastered sound and original artwork, including the rare promo poster.

After an impressive label debut in March this year, Swedish pair Patrick Siech & Sandra Mosh re-link for a multi-faceted follow-up. Inspired by the '90s production ethos of broad-minded genre agnosticism, the EP spans a trio of dreamy, yet functional cuts, displaying the producers’ fluid production arrangements. A fourth track bucks the sonic trend, ‘PPMV1’ a tribute to a pigeon the duo rescued but ultimately succumbed to the virus of the same name. In contrast the track is a punchy bass-led weapon, simultaneously deliciously disorientating and immersive.

Siech has been a symbol of quality in the Swedish underground techno scene going back more than a decade, collaborating with the revered Sebastian Mullaert and releasing on Minus, Parabel and Break New Soil, among others. Sandra Mosh, similarly, is deeply respected by those in-the-know, gaining wide recognition with a show on Swedish national radio P3, playing festivals and clubs including Sónar, Berghain and Kazantip and running her own label MOSH Muzik.

Born in Brixton, a child of the Windrush Generation, Letts’ slippery and unorthodox career is somewhat hard to define, without taking a few detours around London, New York and Jamaica. He began his working life managing the dauntingly hip Acme Attractions on Chelsea’s Kings Road, where he made a mark with his attitude, dress and, especially, the pounding dub reggae that vibrated the shop’s walls. His first gig as a DJ at the short-lived Roxy in Neal Street, became mythical for turning a generation of punks on to reggae. They in turn hipped him to their DIY ethos resulting in his reinvention as a filmmaker. This led to a shed-load of music videos (Linton Kwesi Johnson, The Clash, Bob Marley) not

to mention documentaries on the likes of Gil Scott-Heron, George Clinton and Sun Ra.



In the ’80s, he was part of Mick Jones’ new venture, Big Audio Dynamite and his innovative use of samples were a core part of their sound. Listeners of his weekly 6 Music radio show are taken on a musical safari that moves seamlessly between time, space and genre. It’s not called Culture Clash Radio for nothing. So this latest bulletin from Letts HQ is merely one angle of a multifaceted personality, his take on the JA tradition of the cover version.



The history of Caribbean music owes a debt to R&B as many of the early island releases were cover versions of US 45s. Ska’s breakthrough commercially, Millie Small’s ‘My Boy Lollipop’, was originally recorded by Barbie Gaye in ’50s New York. Cover versions became quite a thing in Jamaica and Don, following in that tradition, has dug deep with a selection of interesting dubbed out covers including thirteen exclusives.



“A disciple of sound system, raised on reggae n’ bass culture my go to sound was dub. Besides being spacious and sonically adventurous at the same time, its most appealing aspect was the space it left to put yourself ‘in the mix’ underpinned by Jamaica’s gift to the world - bass. But that’s only half the story as the duality of my existence meant I was also checking what the Caucasian crew were up to not to mention the explosion of black music coming in from the States. That’s why this version excursion crosses time space and genre, from The Beach Boys to The Beatles, Nina Simone to Marvin Gaye, The Bee Gees to Kool & The Gang, The Clash to Joy Division and beyond. You’d think it impossible to draw a line between ‘em but not in my world. Fortunately, the ‘cover version’ has played an integral part in the evolution of Jamaican music and dub covers were just a natural extension.”



There’s a diverse mix of classic and new, with legendary figures like John Holt, The Tamlins and Cornell Campbell, mixed in with British veterans Mad Professor and the irrepressible Dennis Bovell, while (relatively) young striplings Kiko Bun, Emily Capell and Prince Fatty deliver the goods, with laidback Texan groovers Khruangbin also offering an exclusive bass heavy-delight.



The song choices are diverse, from French dubsters’ OBF’s renditions of ‘Sixteen Tons’, the miners’ paean popularised by Tennessee Ernie Ford in the 1950s, to Ash Walker’s refix of Omar’s ‘There’s Nothing Like This’ and ‘All I Do Is Think About You’, immortalised by the ill-fated Tammi Terrell and preserved here by Quantic (the latter two both exclusives). Being a Rebel Dread compilation, there’s a cover (by Wrongtom Meets The Rockers) of The Clash’s ‘Lost In The Supermarket’ while Don’s exclusive, naturally, is a rendition of Big Audio Dynamite’s debut hit, ‘E = MC2’.



“Truth be told I’ve wanted to work with the Late Night Tales crew from the get go. We’re talking nearly two decades such was the allure of their musical aesthetic typified by curators like Nightmares on Wax, The Flaming Lips, MGMT, Trentemoller, Khruangbin and countless others. Now being as old as rock n’ roll (born in ‘56) and having nearly 20 years of Culture Clash Radio under my belt I figured I was tooled up to musically juggle with the best of ‘em. But I wanted to carve out a space that was distinctly my own - something that reflected my musical journey and the culture clash that’s made me the man I am today.”

Astrolife Recordings is proud to present this stunning release from U.S producer Chad Pulley. A collaboration with London producer Nigel Hayes, featuring the beautiful vocals of LA songstress Natalia Kissoon and masterfull lyrics by songwriter Tracey Oliver. Included with the superb original version are remixes from Nigel Hayes and legendary producer John Beltran. Also featuring incredible original artwork by Glasgow based artist, Jason McCreadie. This is an absolute must-have for true lovers of quality house music.

Sinner is the debut studio album by American heavy metal band Drowning Pool. Originally released on June 5, 2001 by Wind-Up Records, it is considered to be the band’s most popular album – earning RIAA Platinum certification within the first six weeks of its release. This was due at least in part to their hit single “Bodies,” which remains the band’s most well-known song. Dave Williams, the band’s vocalist at the time explained how the album got its name in an MTV interview: “I got that “Sinner” tattoo tattooed before we named the record. We were working on the song “Sinner,” and our A&R guy said, “That would be a good name for the record.” It was just a natural progression that became the whole theme of the record. There are a lot of religious issues on the record and a lot of relationship issues. It just seemed like it would fit.” This is album is especially unique in that it is the only studio album to feature the band’s original singer Dave Williams. While touring in support of Sinner, he died on August 14, 2002 from cardiomyopathy. This album is available on vinyl for the first time to celebrate the 20th anniversary of its release.

Take One is the cinematic debut release from the minds of Hampshire born emcee Deeflux and seminal producer Kraze. Created through a chaotic and turbulent life journey, the project was born out of the collective need to change direction musically by both artists.
The results are an accomplished and often brutally honest prose, overlaid across a wide range of soundscapes sca-ling the spectrum of alternative rap music. Themed around cinema, each track tells a story like a window into the ar-tists lives covering a range of topics and emotions with Deeflux’s trademark labyrinthine wordplay weaving effortlessly over Kraze’s diverse production.
The LP, originally intended as a mixtape and picked up and pressed by Broke Records was fraught with tragedy. From faulty metal work, lost livelihoods and the eventual loss of all stock it sadly never saw the proposed release until now. Certain Sound received a phone call out of the blue after the stock was
re discovered and have re packaged with the full intended “Directors Cut” as downloadable content in a limited run of coloured and heavy weight black vinyl.
Take your seats and enjoy the show! Artist Bio - Deeflux
Deeflux comes from a diverse musical background. After falling in love with heavy metal at 6 years old he spent his early years as a song writer and guitarist in ska, punk and metal bands before re discovering hip-hop in college where he used the college computers to start his journey beat making.
Finding his voice at 18 he began to craft his style. Influenced by his home town stable of graffiti writers, MCs and beatmakers. he went from working with Reklews (BLAH) to collaborating worldwide on projects such as Oddio Kin.
He has a number of physical releases with his group C O R N E R S (Deeflux, Beit Nun and Benny Diction), live group Natural Selection and last year released 52 singles with his long running DJ Miracle (Boot Records).

Kraze is somewhat of a musical prodigy. In his early teens he was at the epicentre of the first wave of grime and Began DJing on pirate radio & producing music. He eventually landed an artist development deal with EMI & later Sony/ATV.
He was responsible for Devlin’s standout London City and earned two cuts on
his Bud, Sweat and Beers album. During his time with EMI & Sony, he worked with producers such as Naughty-boy, Mojam & Stargate and a variety of artists before eventually leaving the industry to pursue other opportuni-ties. Take One will be his first solo release.

Bristol experimental jazz collective Ishmael Ensemble reveal their expansive new album Visions of Light. The follow-up to their critically acclaimed 2019 debut A State of Flow, praised by the likes of The Guardian, Mojo, The Wire and tastemakers across BBC 6Music, this sophomore record sees the group reimagine what an ‘ensemble’ can do; expanding into a shifting collective, where human relationships between artists underpin far-ranging, stunningly ambitious and emotionally heavyweight compositions.

Helmed by producer and saxophonist Pete Cunningham, Ishmael Ensemble’s richly inventive 2019 debut A State Of Flow marked them out as an explosive new force in UK jazz, imbuing lush cinematic compositions with left-field dub and electronic sensibilities

redolent of Bristol’s vital musical landscape. NamedThe Guardian’s ‘Contemporary Album Of The Month’ and Mojo’s ‘Jazz Album of The Month’, it saw the group perform Maida Valesessions for both Gilles Peterson and Tom Ravenscroft, as well as feature on compilations for Brownswood Recordings and Soul Jazz Records. Cunningham’s rise as an in-demand producer led to remixes for the likes of techno royalty Carl Craig,as well as legendary jazz label Blue Note Records alongside a plethora of the UK’s finest musical talent on Blue Note Re:Imagined.

Ishmael Ensemble has since become a platform for Cunningham to subvert the conventional notions of producer/artist relationships, unsettling genre tags, and transcending the familiar landscape of UK jazz itself. Across the album’s 10 tracks, Cunningham practices a holistic approach with a long list of collaborators. Together, they explore vast new sonic terrain with an honesty, intimacy and emotional heft impossible for a conventional band.

Visions Of Light tells the story of Ishmael Ensemble’s development across its two sides. The first draws from the energy Cunningham and his bandmates discovered whilst extensively touring A State Of Flow.

The anticipation is there in Elizabeth Stokes’ solo guitar riff under the opening lines of “I’m Not Getting Excited”: a frenetic, driving force daring a packed Auckland Town Hall to do exactly the opposite of what the track title suggests.

As the opener of The Beths’ Auckland, New Zealand, 2020 expands to include the full band, the crowd screeches and bellows. It’s a collective exhalation, in one of the few countries where live music is still possible.

The album title, and film of the same name, deliberately include the date and location, lead guitarist Jonathan Pearce says. “That’s the sensational part of what we actually did.” In a mid-pandemic world, playing to a heaving, enraptured home crowd feels miraculous.

In March 2020, everything seemed on track for another huge year for The Beths. Home after an 18-month northern hemisphere tour, they had just finished recording sophomore album Jump Rope Gazers and were primed for more extensive touring. But within days, New Zealand’s lockdown split the band between three separate houses. All touring was cancelled.

“It was existentially bad,” Stokes says. As well as worrying about economic survival, they lost something crucial to the band’s identity: live performance. “It's a huge part of how we see ourselves... What does it mean, if we can't play live?”

The band found an outlet through live-streaming, returning to the do-it-yourself mentality of their early days to connect with a global audience. The album and film have their genesis in that urge to share the now-rare experience of a live show, as widely as possible.

The fuzzy-round-the-edges live-streams pointed the way aesthetically. Native birds, wonkily crafted by the band from tissue paper and wire, festoon the venue’s cavernous ceiling while house plants soften and disguise the imposing pipes of an organ. The presence of the film crew isn’t disguised: much of the camerawork is handheld; full of fast zooms and pans.

With much of the material still fresh, the band was less focused on re-invention than playing “a good, fast rock show”, Pearce says. The tempo is up on crowd favourites “Whatever” and “Future Me Hates Me” (released as a live single on its third anniversary) as both band and audience feed off the mutual energy in the room.

Certain songs have taken on special resonance post-Covid. Pearce has found “Out Of Sight”, a tender rumination on long-distance relationships, hits particularly hard with live audiences.

Album closer “River Run” visibly brings Stokes to tears as a mix of achievement and relief kicks in. “You can finally relax at that point … You play the last note, breathe out a sigh and look up - and you’re in a giant room full of people happy and smiling.”

Demon’s Souls (Original Soundtrack) is a modern reimagining of the incredible score composed by Shunsuke Kida for the original 2009 PlayStation 3 game, now updated for the 2020 PlayStation 5 remake. This soundtrack features that same amazing score but with dramatic new arrangements, great orchestral soundscapes and dramatic choral songs. Now available as a very limited vinyl set, pressed on a pair of gold LP's housed in a gatefold jacket featuring beautiful artwork by Ken Taylor. This soundtrack was recorded at AIR Studios in London, with a 75 piece orchestra, a 40 person choir and multiple vocal and instrumental soloists. Specialist marketing.

Heidi Fial's Trio Kontrapunk spielt spröden, cineastischen Instrumentaljazz in Tiefen-schürfender Besetzung. Zwei Kontrabässe tanzen mit- und gegeneinander, unverschämte E-Gitarrenklänge setzen den Kontrapunkt, eigenwilliges Schlagzeug trägt und tanzt gleichermaßen mit. Nach ihrer jahrelangen Tätigkeit als Live Stummfilm Musikerin formierte Heidi Fial im Winter 2020 in Folge einer Kooperation bei der Viennale mit Tobias Pöcksteiner und Chris Pruckner das Trio Kontrapunk. Unzählige bei Filmvertonungen gesammelte Soundskizzen, aus Improvisation entstandene Instrumentalstücke und auskomponierte (Film)musik werden in einem Projekt vereint und laufend - quasi bei jeder musikalischen Zusammenkunft - erweitert. Das musikalische Spektrum bewegt sich zwischen Jazz, Desert Rock und barockem Kontrapunkt. Die aus diesen ungleichen Elementen resultierende Harmonie öffnet dem individuellen Kopfkino alle erdenklichen Türen. Ihr im Sommer 2021 erscheinendes Debut Album A MOTION PICTURE (Konkord Records) ist der Soundtrack zu einem imaginären Film über die (allzu aktuelle, aber keineswegs neue) Angst vor Ungewissheit und Vergänglichkeit und den Mut, sowohl kreative Lösungen zu finden als auch unaufdringliche, schlichte Schönheit zu umarmen. Das Album wurde live auf einer 16-Spur Bandmaschine von Chris Janka auf dem original Mischpult aus dem historischen Saal des österreichischen Funkhauses in Wien aufgenommen, analog gemischt & gemastert. Es ist eine Liebeserklärung an den Zauber des unverfälschten Moments.

Blue Vinyl

Park Hye Jin hat gestern ihr mit Spannung erwartetes Debütalbum, „Before I Die“, angekündigt, das am 10. September 2021 bei Ninja Tune erscheint. Das Album - komplett von der in Südkorea geborenen und nun in L.A. lebenden Produzentin, Rapperin, Sängerin und DJ geschrieben, produziert und performt - folgt auf die Veröffentlichung ihrer sehr erfolgreichen EP, „How Can I“ vom letzten Jahr, sowie auf eine Reihe von Kollaborationen mit Künstler*innen wie Clams Casino & Take A Daytrip („Y DON'T U“), Blood Orange („CALL ME“ Freestyle) und Nosaj Thing („CLOUDS“), sowie auf den Remix von Galcher Lustwerk für „Can You“.

Seit gestern Abend ist die Leadsingle und der Album-Opener, „Let’s Sing Let's Dance“ zu hören, ein wehmütiger Dance-Track, der Hye Jins mantraartigen Gesang über Klavierakkorde und wummernden Bässen platziert. Auf den anderen Tracks des Albums demonstriert sie eine deutlich erweiterte Klangpalette, in die sie eine Reihe von Einflüssen aus den Bereichen Elektronik, Hiphop und Downtempo einfließen lässt, um die bisher vollständigste Vision ihres Sounds zu präsentieren.

„Before I Die“ wird am 10. September 2021 auf Ninja Tune veröffentlicht, anschließend geht Hye Jin später in diesem Jahr auf Tour in Nordamerika, darunter eine Co-Headline-Show mit Shlohmo in New York, sowie Shows in Toronto, San Francisco, Miami und New Orleans.

Ihr Debütalbum folgt auf ein paar unglaubliche Jahre für die junge Künstlerin, in dem sie ihre gefeierte „How Can I“ EP auf Ninja Tune veröffentlichte. Eine Platte, die von Rolling Stone, Pitchfork („25 Most Anticipated Albums of the Summer“), FADER, i-D, Resident Advisor und vielen anderen hoch gelobt wurde und in zahlreichen „Best Of“-Listen 2020 von Billboard, The Guardian und anderen vertreten war. Auch in Deutschland fand die EP sensationellen Anklang, mit lobenden Artikeln und Beiträgen in u.a. Süddeutscher Zeitung, Rolling Stone Deutschland, im Missy Magazin, im Deutschlandfunk Kultur, im BR2, bei Radio Fritz oder im Musikexpress, die sie ebenfalls in ihre Liste der hoffnungsvollsten Newcomer*innen für 2021 aufnahmen.

Hye Jin wurde auch in die NME 100-Liste der „Essential emerging artists for 2021“ und in die „Generation V“-Serie des V Mag aufgenommen. Auch die britische GQ und Stereogum bezeichnen sie als „one to watch“. Die Lead-Single der EP, „Like This“, wurde auch im Soundtrack von FIFA 2021 verwendet und erhielt große Unterstützung von BBC Radio 1 und 6 Music, war #1 der „Top Electronic“ in den NACC-Charts (North American College and Community Radio) und in den „Top 200“ insgesamt, mit weiterer Unterstützung von KEXP, KCRW, SiriusXMU und mehr.

37 Years after its original release on Egberto Gismonti's Carmo label, Piry Reis' classic Caminho Do Interior album is finally available again. All original tracks are restorated and remastered. 'Idade Média' is added as a bonus track which has only been released as a B-side on the 7" vinyl 'Quase Meio Dia / Idade Média' printed in small amounts in 1974. This deluxe edition is pressed on 180 gram vinyl.

Special word of thanks from Piry himself:

"Agradecimento especial a Egberto Gismonti pelo apoio constante ao meu trabalho como compositor." - Special thanks to Egberto Gismonti for his constant support in my work as a composer.

Residing in Rio de Janeiro, Vasconcelos Sentimento is a self-taught composer, producer and multi-instrumentalist. A mosaic of lo-fi breaks, cosmic ambient jazz and wonky chromatic funk, the eccentric Brazilian DIY wizard’s debut album Furto beautifully pieces together a huge range of seemingly disparate sonic elements. Calling himself an “amateur euphoric sound researcher”, he has no formal training in either music theory or production, and it’s simply by following his ear that has led him to creating his debut album for Far Out Recordings.

It was his fascination with his fellow countryman, the enigmatic, psychedelic 70s folk artist Jose Mauro, that led the young Vasconcelos Sentimento (real name Guilherme Esteves) to first make contact with Far Out. Coincidentally living in the same region as Mauro, Sentimento managed to track him down and put label boss Joe Davis in touch, after Davis had spent years of what felt like hopeless searching for the man many assumed dead.

When Joe and the Far Out team heard Guilhermes’ own music, there was a sense of shock. “It was unlike anything we’d heard before, but it also sounded curiously at home on Far Out. Like it had taken little pieces of different releases from the catalogue, and all the music from the ‘60s onwards that influences everything we do, and recreated all that magic in such an exciting new way”.

Indeed, Sentimento is not afraid to admit what he himself sees as acts of theft. (Furto=Theft in Portuguese). But while the debate surrounding the ethics of sampling is a never ending one, Sentimento’s music - while it does contain the odd sample, including an interview with Joe Davis himself, “One For The Masta Digga”) - steals in an entirely different way. His creative process involves an intensive period, in which he’ll listen to just one artist or song over and over, for days and weeks on end. Then he’ll head to his rudimentary bedroom studio, which, as he puts it, is “built for speed”, hit record and “blurt” whatever comes out. “I never spend more than a day working on any one song idea”...

Picasso once said “lesser artists borrow; great artists steal”. And it’s through this process of ‘Furto’ that Vasconcelos Sentimento has somewhat ironically cultivated a sound that is unmistakably his own.

Furto is due for vinyl, CD and digital release on 30th July 2021, via Far Out Recordings.