Suche:that dog

This new quartet recording by saxophone maestro Evan Parker is the first for many years to be released on vinyl. Parker, one of the great
post-Coltrane saxophonists, has played a monthly gig at the London club The Vortex, for a considerable time.
Evan called these events his ‘jazz’ gigs and it seemed that the trio’s performance came close to seeing Coltrane or Ayler playing at the 5 Spot or one of the legendary New York venues. When Cadillac asked Evan if he would record an album for the label, it was this aspect of his multifaceted talents they had in mind. The quartet you hear on this album (with Paul Lytton, John Edwards and Alexander Hawkins) came together for a gig at the Vortex in Evan’s regular slot on June 20th 2019, and what a fine gig it was!
Then the next day they relocated to the beautiful barn-like studio of Rimshot, deep in the Kent countryside to record the album. The location, close to Evan’s home, had other resonances, which journalist Chris Searle has described in his
sleevenote. The subsequent (and over long) process of mastering and producing the album coincided with the first Covid lockdown and the coincidence of Evan and Mike @ Cadillac both reading Defoe’s “Journal of the Plague Year”, which provided context and some track titles.
This put in mind of Stephen Fowler’s brilliant rubber stamp artwork, and he has created a visual representation that expresses many of the themes of the
album.

“This is the time. And this is the record of the time.”

Laurie Anderson’s 1982 debut album, Big Science, will return to vinyl for the first time in 30 years with a new red vinyl edition on Nonesuch Records. The release includes the re-mastered original album first released on CD for the 25thanniversary in 2007.

In the early 1980s, Laurie Anderson was already respected as a conceptual artist and composer, adept at employing gear both high-tech and homemade in her often violin-based pieces, and she was a familiar figure in the cross-pollinating, Lower Manhattan music-visual art-performance circles from which Philip Glass and David Byrne also emerged. While working on her now-legendary seven-hour performance art/theater piece United States, Part I–IV, she cut the spare ‘O Superman (For Massenet)’, an electronic-age update of 19th century French operatic composer Jules Massenet’s aria ‘O Souverain’, for the tiny New York City indie label 110 Records. In the UK, DJ John Peel picked up a copy of this very limited-edition 33⅓ RPM 7” and spun the eight-minute-plus track on BBC Radio 1. The exposure resulted in an unlikely #2 hit, lots of attention in the press, and a worldwide deal with Warner Bros. Records.

’Cause when love is gone, there's always justice.
And when justice is gone, there's always force.
And when force is gone, there's always Mom. Hi Mom!

At the time of its original release, the NME wrote of Big Science, ‘There’s a dream-like, subconscious quality about her songs which helps them work at deeper, secret levels of the psyche.’ With instrumentation ranging from tape loops to found sounds to bag pipes, Big Science anticipated the tech-savvy beats, anything-goes instrumentation and sample-based nature of much contemporary electronic and dance music. On the album’s 25th anniversary, Uncut noted, ‘The broader themes of alienation and disconnection still resonate, while Anderson’s use of loops and traditional/synthesized instrumentation is prescient.’

“In the ’70s I travelled a lot,” Anderson recounts. “I worked on a tobacco farm in Kentucky, hitchhiked to the North Pole, lived in a yurt in Chiapas, and worked on a media commune. I had my own romantic vision of the road. My plan was to make a portrait of the country. Big Science, the first part of the puzzle, eventually became part two of United States I–IV (Transportation, Politics, Money, Love). My goal was to be not just the narrator but also the outsider, the stranger. Although I wasfascinated by the United States, this portrait was also about how the country looked from a distance. I was performing a lot in Europe, where American culture was simultaneously booed and cheered. But the portrait was also a picture of a culture inventing a digital world and learning to live in it. Big Science was about technology, size, industrialization,shifting attitudes toward authority, and individuality. It was sometimes alarmist, picturing the country as a burning building, a plane crash. Alongside the techno was the apocalyptic. The absurd. The everyday. It was also a series of short stories about odd characters – hatcheck clerks and pilots, preachers, drifters and strangers. There was something about Massenet’s aria ‘O Souverain’ – which inspired ‘O Superman’ – that almost stopped my heart. The pauses, the melody. “O souverain, ô juge, ô père” (O Lord, o judge, o father). A prayer about empire, ambition, and loss.”

Laurie Anderson is one of America's most renowned – and daring – creative pioneers. Her work, which encompasses music, visual art, poetry, film, and photography, has challenged and delighted audiences around the world for over 40 years. Anderson released her first album with Nonesuch Records in 2001, the critically lauded Life on a String. Her subsequent releases on the label include Live in New York (2002), Homeland (2010), the soundtrack to Anderson’s acclaimed film Heart of a Dog (2015), and her Grammy-winning collaboration with Kronos Quartet, Landfall (2018). Additionally, Anderson’s virtual-reality film La Camera Insabbiata, with Hsin-Chien Huang, won the 2017 Venice Film Festival Award for Best VR Experience, and, in 2018, Skira Rizzoli published her book All the Things I Lost in the Flood: Essays on Pictures, Language and Code, the most comprehensive collection of her artwork to date.

The Shapeshifters’ studio mastery and dedication to his craft has resulted in singles that stand up alongside golden era disco records as much as they sound fresh on dancefloors today. His rich relationship with Glitterbox has yielded instant classics that epitomise the label’s ethos for preserving disco’s mission to uplift and empower, especially with his latest release and debut collaboration with the Grammy, Tony and Emmy Award-winning Billy Porter, ‘Finally Ready’. Now this special 2 x 12” vinyl package includes an array of remixes from some of dance’s most esteemed artists. A real record box essential, the first disc features the original, as well as previously unheard versions from The Shapeshifters and two remixes from disco master and Glitterbox regular Dimitri From Paris. The second disc features housier, club-friendly versions from long standing friend of Defected David Penn and ubiquitous Polish duo Catz ’N Dogs, as well as Dimitri’s ‘The Sound of Paris Remix’ and the Acapella, an essential DJ tool. This is a stand-out package, with remixes you will want to keep hold of, securing ‘Finally Ready’ a position as a modern-day disco essential.

LP on light blue marbled vinyl.Steiger eagerly explore the outer margins of jazz and dive into other universes (contemporary music, electronica, pop, free improvisation), yet remain faithful to the genre's long-standing core principle; that of a flexible transformation.

Marvin & Guy return to Permanent Vacation with the "Migration" EP, which marks their third ep for the label and a new evolution in the M&G sound.

Migration means moving, understand when a territory is no longer hospitable and find new livelihoods. In this specific case means new inspirations, new ideas, exploring new sounds.
Marvin & Guy take birth from a synergy between two eclectic minds, more into sounds than technique that after several years into a specifically Dance scenario they’ve decided to start a transition towards a purer form of sound, more ancestral. To do this they’ve just benched all dogmas from the beloved Dance Music and they focused more on just playing and having fun with Synthesizers and Drum Machines to create a fully analog session like it was made 40 years ago. Migration was born out of jam sessions recorded in real time and then make them work it out with an intense postproduction and scrupulous editing.

Migration is the transition, their prelude of the very first M&G Album which will comes out in 2022.

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


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

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


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

Bad Colours is the moniker of London-born, Maryland-raised, Brooklyn-based DJ and producer Ibe Soliman. With influences of garage from both sides of the Atlantic as well as funk, post-disco, proto-house and rap samples; his debut album 'PINK' is set for release by Bastard Jazz on 26th February 2021.

The drive to record an album came about while isolating at home in Flatbush during the COVID-19 pandemic. Inspired by some rough ideas and samples that friends sent him, Ibe focussed his attention on making music. From time well spent soaking up and storing sounds from clubs around the world, Ibe found, now with the time to dedicate towards it, the tracks flooding out. Taking cues from early Trax records and Larry Heard, the UKG musicality of MJ Cole, Todd Edwards' vocal sampling techniques, the brashness of Bmore, and an encyclopedia of disco, funk and soul knowledge; Ibe got to work and quickly compiled more than enough tracks for a full-length release.

Flowing from the album intro 'PINK!', first single 'Cookin' vibes over a Chris Faust sample and saxophone from south California virtuoso Carras Paton. 'Feelin' Like' was originally built around a short vocal sample by Jarv Dee, but grew to include additional lyrics on black power from the Seattle rapper after he heard it: "Dancey stuff with a message" says Ibe.

Slow jam 'Heyyy', with its preemptive lyrical synths, bridges to the album's next single 'Get You Off'. Ibe had been listening to a lot of Marvin Gaye - particularly 'I Want You' - during lockdown, getting into the production and vocals. After writing the "I just wanna get you off" hooks, he handed the track over to talented singer, actor and playwright Marcus Harmon who wrote the verses and provided the stunning vocal performance.

Keeping the sensual vibe, 'Skin To Skin' samples vocals from 'Private Play' by Wash 'N' Set, also produced by Ibe, with the Chris Isaak-esque guitar lines by Lex from Foreign Tapes. Made late at night, CMYK reminded Ibe of driving at night in the rain in NYC, where the colors bleed together on the wet road while 'Boss', the first track made for the album, is based around a Sunny Jones sample. The closing track 'Feel' was made at the peak of Black Lives Matter protests. "I just wanted something hard sounding," says Ibe.

Known for his residencies at some of New York's top venues, Ibe has been rocking crowds as a DJ for over a decade, and has shared the decks with the likes of James Murphy, Mark Ronson, and Q-Tip. He's performed alongside Wiz Khalifa, Snoop Dogg, Pusha T, and Young Thug, to name a few. In high demand as a private party curator, he's helped set the tone for Jeff Koons, FKA Twigs, Justin Timberlake, Travis Scott, and Usher. When Ibe's not behind the decks, he's in the lab, where he's produced for Kendrick Lamar, Faith Evans, Keyshia Cole, and Rick Ross, among others.

Two classic cuts from the Presidentcatalogue.

Doris Willingham ‘You Can’t Do That’ - A big Northern floorfiller from a renowned soul backing singer who cut her own material later as Doris Duke.

Her only release under the Willingham name, originally out on the super cool UK Jay Boy imprint in 1968 (the label’s debut release - BOY1).

Produced by Bernard Purdie (Funky Donkey label) who was at the controls for a number of super rare Northern sides.

An early gem from the artist who ended up working with the legendary Swamp Dogg (Jerry Williams) charting with the ballad ‘To the Other Woman (I’m The Other Woman)’.

Pat Hervey With The Tiaras ‘ICan’t Get You Out Of My Mind’ - An anthemic, handclap-friendly gem that goes for anywhere between £50 to £100. Released on the UK President label from 1966.

Blue-eyed Canadian soul backed by black Canadian harmony group The Tiaras (not to be confused with the LA harmony outfit).

A slow burner that ramps up the horns and strings behind some funky guitar chops and Hervey’s euphoric vocal, her one-off stab at the soul charts guaranteeing obscurity and legendary status.

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

After a 7-year hiatus, funk legend Steve Arrington returns with his uplifting and soulful new album ‘Down To The Lowest Terms: The Soul Sessions’, with artists including Mndsgn, Knxwledge and Jerry Paper on production. The album portrays his diversity of influences, which sees Arrington drawing on funk, soul, jazz, electronic and R&B.
Steve Arrington is known for his innovative vocals on classics including ‘Watching You’ and ‘Just A Touch of Love’, with Slave, as well as his solo work with tracks including ‘Dancin’ in the Key of Life’, ‘Weak at the Knees’ and ‘Nobody Can Be You’. His music has greatly influenced the hip hop generation, having been sampled by Jay-Z, A
Tribe Called Quest, Pharrell, 50 Cent, 2Pac, De La Soul, Snoop Dogg and many more. ‘Down To The Lowest Terms: The Soul Sessions’ is Steve Arrington’s first solo album since 2009’s ‘Pure Thang’.

New Pagans create music that's not only vivid and engaging but also home to massive riffs and rare dynamics. The bands audible influences range from PJ Harvey to Sonic Youth while lyrically the band deliver protest songs, songs about women, songs about mothers and songs about conversations overheard on Belfast's public transport systems. Their live shows are also something to behold and have just been the recipients of the best live act at The Northern Island Music Prize 2020. Music is the focus and an important vehicle for the healthy message the band promotes. New Pagans is a proud advocate for women’s rights, visibility and inclusion in the global music industry – an industry dogged with a history of stark gender inequality. The arts community and media have responded to the bands refreshing social and historical lyrical stance which includes protest songs, songs of suffrage and an ode to Lily Yeats, the often overlooked sister of Jack and William B and a key mover in the world of Irish arts and crafts back in the day along with her younger sister, Elizabeth. New Pagans have headlined events as part of Women’s Work and Lyndsey McDougall has proudly embraced the demands of live performance and recording whilst pregnant twice!. The band are committed to promoting honest inclusion, demonstrating the female force and showing that you can be born as or identify as female, raise a family and have your place as a career musician. Young women, young mothers see Lyndsey as a symbol of strength and hope in her fearless and forthright attitude to motherhood whilst fronting a band. A lot of young mothers feel the need to hide that aspect of their personal life for fear of how people may perceive it as a limit in achieving creative breakthroughs. New Pagans are that breakthrough, a visible work in motion

Seven years and a handful of lifetimes ago, New Bums came
out of nowhere with their debut album, ‘Voices In a Rented
Room’ - a record the New York Times described as “feeling like
it’s falling apart.” New Bums took this as a compliment and,
thus emboldened, they toured relentlessly in support of the
release: criss-crossing the USA in the spring of 2014, with a
European run that summer. Then, silence descended, as the
Bums withdrew to the place from which they’d mysteriously
emerged.
Now, the Bums are back. 2021 finds them with a new album in
hand. Following a West Coast US tour in late 2019 it’s clear that
the duo of Donovan Quinn (Skygreen Leopards) and Ben
Chasny (Six Organs of Admittance, Rangda, etc) are fully
reanimated, as evidenced by the songs and sounds of ‘Last
Time I Saw Grace’.
Retaining the drunk-dog-locomotion of their debut, New Bums
sprinkle a bit of fresh fancy into their signature twin guitarsand-vocals sound, with cleaner recording techniques, further
developments in harmonies and a new appreciation for a song
with more than two parts, making ‘Last Time I Saw Grace’
nothing less than the perfect progression from the purposefully
murky mixes of their debut.
Continuing to embrace an acoustic rock ’n’ roll sound, inspired
by artists such as Jacobites, Robyn Hitchcock, Johnny
Thunders, Replacements and such, New Bums push the words
and the stories to the front of the line, crafting tales with satiric
glee on ‘Last Time I Saw Grace’. However, this world of empty
perfume bottles, bodies tied to masts and moving onward to
devastation (after the bottle on the table pulls out a gun) feels
much more Gombrowiczian dreamscape than drunken night on
the town. Yes, everything is wasted but this is an existential
wasteland rather than a substance-laden one. This combination
of arch Californian post-aristocratic melodrama with torn and
frayed acoustic guitars opens up a new genre entirely, one
those at Drag City are tempted to call Rent Control Romantic.

Young Knives will announce their fifth album, Barbarians, to be released on 4th September 2020. The announcement will be accompanied by a single, ‘Sheep Tick’, and its extraordinary video.

Barbarians was written, recorded and mixed by Young Knives (brothers Henry Dartnall and The House of Lords) in their studio near Oxford, UK. John Gray’s book Straw Dogs inspired the brothers to dial into the ultra-violent, brutal nature of human beings. Our progresses in science and knowledge have not made us any less barbaric: our entertainment is obsessed with it, our world is full of it. What if cruelty to others is just part of who we are? How do we live with that?

Building on a base of loved hits from their early work last decade (Voices of Animals and Men, Superabundance, Ornaments from the Silver Arcade) and the metamorphosis of 2013’s Sick Octave, Barbarians is a leap into sonic experimentation by a band who love to confuse and entertain in equal measure.

The ultimate pressings of the Beach Boys discography from Analogue Productions!
Original mono mix produced by Brian Wilson
One of 10 titles featuring 33 1/3 mono and stereo remastered editions: Surfin' USA, Surfer Girl, Little Deuce Coupe, Shut Down Vol. 2, All Summer Long, Today!, Summer Days (And Summer Nights!!), Beach Boys Party!, Pet Sounds and Smiley Smile
Mastered by Kevin Gray at Cohearent Audio, most from the original master tapes or best sources available
Lacquer plating by Gary Salstrom and 180-gram vinyl pressing by Quality Record Pressings!

"It was Pet Sounds that blew me out of the water…I love the album so much. I've just bought my kids each a copy of it for their education in life. I figure no one is educated musically 'til they've heard that album." – Paul McCartney

"All of us, Ginger (Baker), Jack (Bruce), and I consider Pet Sounds to be one of the greatest pop LPs to ever be released. It encompasses everything that's ever knocked me out and rolled it all into one." – Eric Clapton

"For those in search of an original mono in pursuit of sonic quality, search no more. This Analogue Productions pressing is now the definitive pressing and the one we chose to feature at our Classic Album Sundays events to honour the 50th anniversary of Pet Sounds, an album that helped change the course of pop music." — Colleen ‘Cosmo' Murphy, Classic Album Sundays

"Overall though, this new reissue is the best sounding of all. The bottom end has more weight and solidity and the instrumental separation and front to back layering is nothing short of astonishing compared to the pleasing mush offered up by other editions. ... Pet Sounds belongs in every serious rock record collection and if you're going to have but one version this one from Analogue Productions is the one to have." — Music = 11/11; Sound = 11/11 - Michael Fremer, AnalogPlanet Read the whole review here.

"What I can say is that Kevin Gray has been able to extract every last bit of information from whatever tape is in the box, and present it in a way that is pleasing and natural to the ear. ... in my opinion, the Analogue Productions pressings are now THE definitive issue of each Beach Boys album, and will be my reference copies until if and when something better comes along — which may be never." — Lee Dempsey, Endless Summer Quarterly, Summer 2015 Edition

To meet the standards of Analogue Productions, our Beach Boys album reissues had a mission to achieve: Present the band's music the way that Brian Wilson — famed co-founder, songwriter and arranger — intended. Mono mixes created under Wilson’s supervision were how the surf rockin’ California crew rose to fame! And we’ve got ‘em!

For the early part of the Beach Boys' career, all of their singles were mixed and mastered and released only in the mono format — they didn't release a single in stereo until 1968. In those days, hits were made on AM radio in mono. And the mono of those times worked well for Wilson, who suffers from partial deafness. In fact, for their first 13 albums, Wilson originally turned in all the final mixed Beach Boy albums to Capitol Records only in mono. The mono mixes were where Wilson paid intense attention, and the dedication paid off!

We’ve taken 10 of the most classic, best-sounding Beach Boy titles ever and restored them to their mono glory!

But there’s no disputing that the close harmonies and one-of-a-kind rhythms of hits like “Surfer Girl,” “In My Room,” “Little Deuce Coupe” and more lend themselves naturally to stereo. So we’ve got your 2-channel needs covered with prime stereo mix versions as well.

Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in "old school" Stoughton tip-on jackets, these time honoured favourites shine brighter than the originals!

Pet Sounds is famous for its use of multiple layers of unorthodox instrumentation as well as other cutting edge audio techniques for its time. It's considered the best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound.

Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. "Wouldn't It Be Nice," "God Only Knows," "Caroline No," and "Sloop John B" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as "You Still Believe in Me," "Don't Talk," "I Know There's an Answer," and "I Just Wasn't Made for These Times." It's often said that this is more of a Brian Wilson album than a Beach Boys recording (session musicians played most of the parts), but it should be noted that the harmonies are pure Beach Boys (and some of their best).

VH-1 named Pet Sounds as the No. 3 album in the Top 100 Albums in Rock 'n' Roll History, as judged in a poll of musicians, executives and journalists. It's been ranked No. 1 in several music magazines' lists of the greatest albums of all time, including NME, The Times and Mojo Magazine. It was ranked No. 2 in Rolling Stone's 500 Greatest Albums of All Time list.

Ma Rainey’s Black Bottom is the official soundtrack to the 2020 Netflix original film of the same name about “Mother of the Blues” Ma Rainey. The album features score music by critically-acclaimed saxophonist, instrumentalist, composer, bandleader and educator Branford Marsalis, as well as newly-recorded covers of both popular Ma Rainey tracks and blues and jazz standards from the era. The multi-GRAMMY Award® winner brings over four decades of experience across stylistic boundaries to the project, imbuing the film with an authentic 1920s Chicago soundscape. The film was directed by George C. Wolfe and stars Viola Davis and Chadwick Boseman. It is lauded by critics and moviegoers alike, and it is expected that Ma Rainey’s Black Bottom will be a favorite at many 2021 award ceremonies. Ma Rainey’s Black Bottom is available to watch on Netflix now.

Hunter And The Dog Star is the band’s fifth studio album and their first since 2018’s Rocket—a record that marked a major return for the group following a twelve-year hiatus and was released to widespread critical acclaim. Of the album, Associated Press declared, “a triumphant return…their joy in recording together again is clear on Rocket, a record that touches on a variety of musical styles with ease,” while NPR’s World Café proclaimed, “explosively joyful” and the Austin American Statesman praised, “a beautiful, inspiring, sensational album.” Since forming in Dallas in the mid-1980s, the band has toured extensively across the country and had their music featured in several hit shows including Miami Vice, Girls, Cold Case, Ugly Betty, Wet Hot American Summer: Ten Years Later, American Dad! and more. Since the release of their 1988 debut, the 2x platinum-certified, Shooting Rubberbands at the Stars, the band has continued to earn their reputation as an unclassifiable, genre-blending force. Returning to Arlyn Studios in Austin, TX to record with producer Kyle Crusham, Brickell and the New Bohemians—Brandon Aly (drums), John Bush (drums, percussion), Brad Houser (bass, synthesizer) and Kenny Withrow (bass, guitars, synthesizer)—once again put forth a collection of diverse musical ideas and styles on Hunter And The Dog Star, as they have continuously done for the past three decades. Reflecting on the album, Brickell shares, “Hunter And The Dog Star is a collection of songs reflecting the mystery of self-expression, loyalty, companionship and love in the darkest sky just before dawn.” In addition to Brickell (vocals, guitars), Crusham (background vocals, mellotron, piano, Rhodes, synthesizer) and the New Bohemians, the album also features Matt Hubbard (background vocals, organ, piano, synthesizer, wurlitzer), Burton Lee (pedal steel) and background vocals from Kelly Micwee and Alice Spencer.

Old, but still functioning computers are simply scrapped, made redundant and without remorse left to corrosion and an existence without a task and no perspective. That this doesn’t need to be so, and that even computers with limited storage capacity can still take on a function in society, is illustrated by Alexei Shulgin’s outdated 386, now serving as a musician. Performing Classic Rock's Biggest Smash Hits! The Clash! The Doors! The Sex Pistols! Hendrix! and more... gone digital, gone to 8-bit computerized chip-music with a singing computer, with all the charme available to a text-to- speech- programm.

Created by Russian artist Alexei Shulgin, 386 DX was “the world’s first cyberpunk band.” Known for its live performances on city streets and in nightclubs, the performer is a dingy, singing PC that runs Windows 3.1, equipped with a vintage sound card and loaded with MIDI files of drums, guitar, and synth and accompanying lyrics.

The ironic comment delivered by Shulgin and his singing computer is well within the context of the performances by the 386 DX rockband, with which he “toured” Europe in 1998 and performed on nearly 60 occasions. This one- man-one-computer-show was based on a similar idea as his current installation: Shulgin presented himself as a performer carrying a keyboard, and by simply hitting a key elicited the text-to-speech singing, accompanied by very simple music and a few Seventies-style visual effects.Alexei Shulgin simply is the King of Cyberpop.

‘As The Love Continues’ was produced by Dave
Fridmann (Mogwai, Mercury Rev, The Flaming
Lips) and features guests Atticus Ross (Nine Inch
Nails) and Colin Stetson (the saxophonist who has
collaborated with Bon Ivor, Arcade Fire).
Recorded at Vada Studios, England by Tony
Doogan (Grey Dogs, Mogwai, Belle & Sebastian)
with Fridmann in full remote control from the US.
This new album will please old Mogwai fans and
gain new as it has something for everyone. Both
transcendent and surprising, ‘As The Love
Continues’ shows that Mogwai are still offering
solace from the mundane, supplying the
soundtrack to whatever movie you are making in
your head.
CD box set features gatefold CD, bonus CD of
demo tracks plus photo booklet.
The vinyl box set includes red vinyl gatefold double
LP, single standard weight black EP of demo
tracks, gatefold CD, photo booklet and digital
download code.

‘As The Love Continues’ was produced by Dave
Fridmann (Mogwai, Mercury Rev, The Flaming
Lips) and features guests Atticus Ross (Nine Inch
Nails) and Colin Stetson (the saxophonist who has
collaborated with Bon Ivor, Arcade Fire).
Recorded at Vada Studios, England by Tony
Doogan (Grey Dogs, Mogwai, Belle & Sebastian)
with Fridmann in full remote control from the US.
This new album will please old Mogwai fans and
gain new as it has something for everyone. Both
transcendent and surprising, ‘As The Love
Continues’ shows that Mogwai are still offering
solace from the mundane, supplying the
soundtrack to whatever movie you are making in
your head.
CD box set features gatefold CD, bonus CD of
demo tracks plus photo booklet.
The vinyl box set includes red vinyl gatefold double
LP, single standard weight black EP of demo
tracks, gatefold CD, photo booklet and digital
download code.

‘As The Love Continues’ was produced by Dave
Fridmann (Mogwai, Mercury Rev, The Flaming
Lips) and features guests Atticus Ross (Nine Inch
Nails) and Colin Stetson (the saxophonist who has
collaborated with Bon Ivor, Arcade Fire).
Recorded at Vada Studios, England by Tony
Doogan (Grey Dogs, Mogwai, Belle & Sebastian)
with Fridmann in full remote control from the US.
This new album will please old Mogwai fans and
gain new as it has something for everyone. Both
transcendent and surprising, ‘As The Love
Continues’ shows that Mogwai are still offering
solace from the mundane, supplying the
soundtrack to whatever movie you are making in
your head.
CD box set features gatefold CD, bonus CD of
demo tracks plus photo booklet.
The vinyl box set includes red vinyl gatefold double
LP, single standard weight black EP of demo
tracks, gatefold CD, photo booklet and digital
download code.

Demon Records is proud to present a new series of vinyl reissues from American singer-songwriter Black Francis / Frank Black
“Salutations from the Twilight Zone, and if you think I mean the 1960s sci fi television program you are correct;
I am quite literally inside of a 1960s sci fi television program. And in that context Demon have allowed
me to correct certain anachronisms in my published works and are releasing some for the first time on vinyl
(https://en.wikipedia.org/wiki/Polyvinyl_chloride).” - Black Francis
• First released in 1996, The Cult of Ray is Frank Black’s third studio album and includes the singles ‘Men In Black’, ‘The Marsist’
and ‘I Don’t Want To Hurt You (Every Single Time)’.
• Black Francis explains the Cult Of Ray “was the band that was also the band for the first Frank Black & The Catholics record. I
hadn't stumbled on to my live to 2 track obsession just yet, but I was quite enjoying the parameters of 16 track 2 inch. Fat and
warm, aided by my sweet as candy pal Lyle Workman on lead guitar. Lyle can be best described as a HOT DOG with a
telecaster in his large, supple hands. Super fun motorcycle ride.”
• Long out of print, this new vinyl reissue is pressed on 140g blue vinyl, housed in a printed inner sleeve.

Jupiter, the gas giant in our Solar System, with thunderstorms a thousand times more powerful than on Earth, rainfalls of diamonds in the atmosphere, temperatures below -100°C, plenty of hydrogen, 79 moons and a South pole that looks like an abstract painting, has just the kind of environment this music seems to emanate from.

Jupiter and Beyond, the second collaborative effort of composer/performer Rafael Toral and percussionist João Pais Filipe as a duo (after Saturn in 2016), is definitely not quite a record of Earth music. On the contrary, Jupiter and Beyond, is indeed gas music, unfolding over two long movements without solid body or any tangible outline, between ambient and noise. A music of sheer volume and beauty, icy, massive, in which the elements of Toral's signature, in particular his use of jazz-inspired electronics and feedback, dissolve to become a labile, nebulous, expansive material, occasionally struck by abyssal depressions and masterful densities, magnified by the return, after 17 years of silence, of the electric guitar in Rafael Toral's instrumentarium.

Towards the end of Beyond, the second piece on the record, lurking behind the volutes of feedback, a bell and a bass drum, one can detect from the distance... a barking dog, as a surreptitious and prosaic reminder of where we are here and now, a calling back to Earth. Between sadness and joy, anger and peace, movement and stillness, Jupiter and Beyond is indeed a mirror held out to us, music reflecting our times and that emotionally speaks first of all about us.

"While João Pais Filipe was drummer in the Space Quartet, we played a live duo set. During soundcheck we were jamming for a while on bowed gongs and feedback and lost track of time, it just flowed so well. I joked "we could make a whole record with this!". But later we took the idea seriously and set to record an improvised session at his cymbalsmith workshop (he made the gong on the cover and it was used in the recording). When we listened to the first take the mass of sound was amazing. At some point it reminded me of the complex clusters of sound in Ligeti's music as it appears on Kubrick's 2001 scene "Jupiter and Beyond the Infinite". In the end the title felt like an apt choice for Saturn's successor. Back at my studio I felt the need for some more layers of density in some sections. I thought of using trombones, but ended up picking up the electric guitar, which I hadn't used since 2003.” Rafael Toral

'IDMEMO' would not pretend to be a representative compendium of 90’s-00’s Intelligent Dance Music. It was not Vladimir Ivkovic & Ivan Smagghe’s point when they decided on the project. It is a very personal snapshot of a moment in time, when both of them were working in record shops, when they were listening to indie and electronic music. One can not stress enough the importance of this crossing of roads, pop kids getting through to the dancefloor via Aphex Twin and nerdy house heads dissolving their four to the floor into the futuristic world of Warp compilations.

The compilation unfolds in the loosest, the best way to make some kind of sense. There are some classics (Black Dog’s lysergic 'Psyl-Cosin'), there are some rarities (that Zugzwang track), some tested late night floor melters (Reload remixing Slowdive) and some personal outlandish choices that strangely take their place (Spiritualized’s 'Anyway That You want Me-remix 3').

All in all, This is an anti-archive, a choice of tracks primarily lead by emotion, more pads than glitches,”intelligent” music depraved by that last half-pill at 6am rather than high-brow destructurations, Ivkovic & Smagghe hitting, as ever, at their own margins.

'IDMEMO' is a collaborative project between Above Board Projects, Offen Music and Les Disques De La Mort. Selected and sequenced by Vladimir Ivkovic and Ivan Smagghe. Art and design by Atelier Superplus. Mastering courtesy of Keith Tenniswood @ Curved. Manufacture and worldwide distribution by Above Board, 2020.

Hot on the heels of our tentacular project "The Most Famous Unknown", Planet Phuture is proud to welcome rising French talent Cuften to the fold. A most fitting match for PP's phuture-facing vision, Damien Peltier has been pushing some of the finest techno around over the last couple of years, landing a handful memorable cuts via the likes of Parisian label Tripalium and his own imprint, Purusu. Cloaked in dim-lit atmospheres and open-ended post-apocalyptic narratives, his debut solo 12" blends in all of the elements that made his sound stand out from the crowd of releases coming up these days - traversed by dogged primitive rhythms and reassessed 303-infused Detroit'isms, but also stamped with his signature no-frills rave elegance.

Speeding up the cosmic highway like Deckard roams San Fran's neon-splattered alleys on the hunt for replicants, Cuften takes us on a full-immersion journey into dystopian electronic soundscapes. Full-beam on, "Solar Ashes" has us drifting amidst ruins of a devastated city - its lysergic bass languidly threading its way across brutalist concrete facades and cold ember set for reignition. A more martial affair, "The Black Rain Order" pulls out the rattling drums, slo-boiling arpeggios and moebius-strips of wistful acid to score a supremely tense crescendo, both optimally tasted on and off the dance floor.

Moving up closer to the free-spirited vibe of the '90s open-air raves, "Rise Of The Neo-Humans" unleashes a baroque firestorm of sucker-punchy toms and hyperventilating shuffle, woven against an endlessly expanding corolla of hallucinogenic shapes and fluttering harmonics. Sinking further deep into all-dark dubby grounds, "Lasttt Batttle" extrudes its obsessive melody out a thick gangue of squelchy chords and bleepin' engineering to form the kind of brain-washing hybrid pumper that'll roast your last remaining neurones. Trouble-brewing isn't over though and the droney "Kjhfskjoize" shall take you to places unknown through eleven minutes of envelope-shifting shamanism, thinking noise bake-off and gravity-defying arrangements. Bend your mind.

repressed !

Beyond the striking photography of the cover artwork, a cursory glance at this LP may appear misleading. One could be forgiven in thinking that what they had discovered was of a more obvious British provenance, but on closer inspection the truth is revealed… London in fact refers to London, Canada, an artistic hotbed that famously spawned the highly influential insurgent noise ensemble, 'The Nihilist Spam Band'. Less celebrated yet equally remarkable was the improvisational powerhouse 'The London Experimental Jazz Quartet', a short lived group led by the forward thinking saxophonist Eric Stach.

Their debut album, Invisible Roots is an overlooked jewel from the Canadian jazz scene. Inspired by the revolutionary artists from the New York free-jazz movement, (namely Ornette Coleman, Archie Sheep and Cecil Taylor), and fuelled by the exciting possibilities afforded by a completely free approach to music, Invisible Roots is an album of potent spontaneous composition, exhibiting both fiery unharnessed blowing alongside lyrical streams of consciousness. In recent years, the album has achieved notoriety in certain record collecting circles mainly due to the track Destroy The Nihilist Picnic, an infectious piece of vamping avant-funk. Despite the commanding presence of this track, it would be misguided to judge the merits of the album on this piece alone, for Invisible Roots is a much deeper and more complex musical statement. This is confirmed by the Iberian-jazz sketch, Spain Is For Old Ladies, the spiritual introspection of Jazz Widows Waltz or the ferocious yet soulful Eric's Madness, a track which wouldn't be out of place on an ESP-Disk or BYG Actuel album. Behold, a rare piece of fire music from the Canadian Free-Jazz underground.

First LP reissue of rare 1974 Canadian Free Jazz album.
Featuring the Avant-Funk classic 'Destroy The Nihilist Picnic'
Includes liner notes and rare photos.
Tip-on sleeve

At 87 and with an impressive career spanning more than seven decades, Willie Nelson really needs no introduction. Heroes is a testament to his status as a rebel of country music: a beautiful collection of popular pop-country songs, covers of classic songs from the 30’s & 40’s and new songs. It features guest appearances from Kris Kristofferson, Merle Haggard, Snoop Dogg, Sheryl Crow and others. But he also gives us his interpretation of more modern classics, such as Coldplay’s “The Scientist” and Pearl Jam’s “Just Breathe”. Heroes is available as a limited edition of 1000 individually numbered copies pressed on solid green vinyl.

- Rare P-Funk album from 1983 - Funkadelic/Parliament All-Star Line-Up - First ever vinyl reissue - Comes with a repro of the original insert - 180g Black Vinyl Edition - Limited to 500 copies, comes with obi strip // Jerome "Bigfoot" Brailey is an American drummer who started performing in the early 1970s with several R&B groups from the likes of The Unifics, The Chambers Brothers and The Five Stairsteps where he developed his unique style and finesse on drums. Later in 1975 he joined George Clinton's P-Funk collective and has appeared on many of Parliament & Funkadelic's most popular recordings (some of which he also co-wrote). Brailey played on classic albums like `Mothership Connection' and `One Nation Under A Groove'. Samples from that body of work (and his drum arrangements) have since then appeared on hundreds of hip hop and contemporary R&B songs by renowned artists such as Kendrick Lamar and Childish Gambino. Jerome Brailey is a member of the Rock and Roll Hall of Fame (inducted in 1997) and part of their `50 greatest drummers in the Hall' list (stating that his drum style kept Parliament-Funkadelic rooted in the old-school `James Brown-style funk')_next to this achievement, he was proclaimed by Rolling Stone as one of the `100 Greatest Drummers of All Time' for his steady kick drum, shifty hi-hat action and intricately unpredictable snare patterns. Brailey earned numerous Gold and Platinum records with the P-Funk Organization and has worked as a session drummer for many talented artists such as Herbie Hancock, Buddy Miles, Snoop Dogg and Pharoah Sanders. George Clinton's funk empire was not without its disagreements and Jerome Brailey's `Mutiny' project was a direct result of just such a disagreement (as well as one of the more notable offshoots of the P-Funk axis). Mutiny performed in a style not far removed from the classic P-Funk style and with a lot of emphasis on the dual lead guitar work, but what makes them unique compared to their contemporaries is that at times their recordings also emit a darker, more sinister feeling. Besides Brailey on drums (and on most of the lead vocals) Mutiny featured a funk-alumni line-up and released three amazing and collectible albums: `Mutiny On The Mammaship' (CBS, 1979), `Funk Plus The One' (Columbia, 1980) and `A Night Out With the Boys' (J. Romeo, 1983)_these were followed by two comeback albums: `Aftershock' (Rykodisc 1995) and `Funk Road' (Catbone, 2013). The `Mutiny' album we are proudly presenting you today (A Night Out With The Boys) is an underrated gem made by musicians who defined the funk scene of the '70s and '80s! Featuring an all-star line-up that includes Rodney Curtis (Fred Wesley, Maceo Parker), Michael Hampton (Funkadelic-Parliament, Deee-Lite), Kenni Hairston (Cameo) and Maceo Bond of Osiris/Afrika Bambaataa fame! `A Night Out With The Boys' has it all: Jerome's trademark drumbeats, funky bass grooves, driving riffs accented by stinging synth parts, slow spacey (and prominently featured) guitars, top-notch lead vocals and chants that recall Sly Stone's "Loose Booty". The whole album is a hot dance jam with crisp percussion_an extremely infectious, locked-in-the-pocket bass-heavy monster-funk-bomb that any serious self-respecting funk fanatic must have in his/her collection!

Kiwi Jr. is a phenomenal "rock" and/or "punk" and/or "indie-rock" (whichever you like more) band from Canada, made up of Jeremy Gaudet (mic, guitar), Brohan Moore (drums), Mike Walker (bass), and Brian Murphy (guitar). Cooler Returns is their second album, and their first for Sub Pop. Despite being a snapshot of the pandemic-infused beginnings of this decade, Cooler Returns is truly a whole lot of fun. RIYL indie-pop from down under, things that are smart/exuberant/catchy all at once. Buildings burning in every direction; macabre unknowns in your friendly neighbor's basement; undecided voters sharpening their pencils: under pressure we could call Kiwi Jr.'s Cooler Returns "timely." But what year is it, again? On Cooler Returns, Kiwi Jr. cycle through the recent zigs & looming zags of the new decade, squinting anew at New Year's parties forgotten and under-investigated small town diner fires, piecing together low-stakes conspiracy theories on what's coming down the pike in 2021. Put together like a thousand-piece puzzle, assembled in flow state through the first dull stretch of quarantine, sanitized singer shuffling to sanitized studio by streetcar, masked like it's the kind of work where getting recognized means getting killed, Cooler Returns materializes as a sprawling survey from the first few bites of the terrible twenties, an investigative exposé of recent history buried under the headlines & ancient kings buried under parking lots. Not so long since their debut Football Money in archaeological time, unending gray eons later in the dog years of quaran-time, spiritually antipodean Canadians Kiwi Jr return to disseminate this year's annual report to the shareholders, burying the incriminating numbers in the endless appendices of a longform narrative record, a 3,000 word tract for stakeholders to pore over. These stories - memories of Augusts past, unrepressed & transcribed fast - go down easier thanks to meaningful changes enacted in 2019's KiwiCares Pledge: delivering on a promise to transition from Crunchy to Smooth by 2021, the caveman chug of Football Money has been steamed & pressed with the purifying air of a saloon piano - operated with bow-tie untied - and a spring green side-salad of tentatively up-tempo organ taps & freshly fluted harmonica. A chronically detuned spin of the dial through swivel-chair distractions & WFH daydreams, an immersive ctrl-tab deluge cycling through popular listicle distractions like the unentombing of Richard III, or the deja vu destruction of the Glasgow School of Art, Kiwi Jr. sing this song to an indoor audience, crisscrossing canceled, every other prestige distraction source wrung dry, only songwriting remaining to deliver engrossing tales to the populace, just how I imagine it worked in the old days. Fixing loose ingredients into a sturdy whip, Kiwi Jr. beam in live from the 9-5, striding into 2021 with a mastered brainwave that comes equally from the back room of the record store as the penalty box. And how do we, left holding this box of deliberate entanglements, sign off to those as yet uninitiated, undecided, uncertain, unseen, absent return coordinates - Best Wishes, Warm Regards, Good Luck? Cooler Returns, Cooler Returns, C o o l e r R e t u r n s ! Cooler Returns was produced by Kiwi Jr., mixed and engineered by Graham Walsh (METZ, Bully) in Toronto, and mastered by Phillip Shaw Bova at Bova Labs in Ottawa, Ontario.

LTD. LOSER EDITION

Kiwi Jr. is a phenomenal "rock" and/or "punk" and/or "indie-rock" (whichever you like more) band from Canada, made up of Jeremy Gaudet (mic, guitar), Brohan Moore (drums), Mike Walker (bass), and Brian Murphy (guitar). Cooler Returns is their second album, and their first for Sub Pop. Despite being a snapshot of the pandemic-infused beginnings of this decade, Cooler Returns is truly a whole lot of fun. RIYL indie-pop from down under, things that are smart/exuberant/catchy all at once. Buildings burning in every direction; macabre unknowns in your friendly neighbor's basement; undecided voters sharpening their pencils: under pressure we could call Kiwi Jr.'s Cooler Returns "timely." But what year is it, again? On Cooler Returns, Kiwi Jr. cycle through the recent zigs & looming zags of the new decade, squinting anew at New Year's parties forgotten and under-investigated small town diner fires, piecing together low-stakes conspiracy theories on what's coming down the pike in 2021. Put together like a thousand-piece puzzle, assembled in flow state through the first dull stretch of quarantine, sanitized singer shuffling to sanitized studio by streetcar, masked like it's the kind of work where getting recognized means getting killed, Cooler Returns materializes as a sprawling survey from the first few bites of the terrible twenties, an investigative exposé of recent history buried under the headlines & ancient kings buried under parking lots. Not so long since their debut Football Money in archaeological time, unending gray eons later in the dog years of quaran-time, spiritually antipodean Canadians Kiwi Jr return to disseminate this year's annual report to the shareholders, burying the incriminating numbers in the endless appendices of a longform narrative record, a 3,000 word tract for stakeholders to pore over. These stories - memories of Augusts past, unrepressed & transcribed fast - go down easier thanks to meaningful changes enacted in 2019's KiwiCares Pledge: delivering on a promise to transition from Crunchy to Smooth by 2021, the caveman chug of Football Money has been steamed & pressed with the purifying air of a saloon piano - operated with bow-tie untied - and a spring green side-salad of tentatively up-tempo organ taps & freshly fluted harmonica. A chronically detuned spin of the dial through swivel-chair distractions & WFH daydreams, an immersive ctrl-tab deluge cycling through popular listicle distractions like the unentombing of Richard III, or the deja vu destruction of the Glasgow School of Art, Kiwi Jr. sing this song to an indoor audience, crisscrossing canceled, every other prestige distraction source wrung dry, only songwriting remaining to deliver engrossing tales to the populace, just how I imagine it worked in the old days. Fixing loose ingredients into a sturdy whip, Kiwi Jr. beam in live from the 9-5, striding into 2021 with a mastered brainwave that comes equally from the back room of the record store as the penalty box. And how do we, left holding this box of deliberate entanglements, sign off to those as yet uninitiated, undecided, uncertain, unseen, absent return coordinates - Best Wishes, Warm Regards, Good Luck? Cooler Returns, Cooler Returns, C o o l e r R e t u r n s ! Cooler Returns was produced by Kiwi Jr., mixed and engineered by Graham Walsh (METZ, Bully) in Toronto, and mastered by Phillip Shaw Bova at Bova Labs in Ottawa, Ontario.

As Midnight Sister, multi-disciplinary LA artists Juliana Giraffe and Ari Balouzian make motion pictures. Yes, sometimes with moving images _ but most often only with the music they create together. Balouzian's serpentine, string compositions are movie scenes that allow Giraffe, a brilliant character actor, to cloak herself in a new roles and voices. A bit of Jon Brion's score work; some old Hollywood strings; a solid dose of glam and outsider disco from 70s independent cinema. Any perceived artifice is always matched by an indelible human fingerprint, something perfectly off. Giraffe and Balouzian's respective work in fashion, visual art, video and film scoring _ along with the gang of virtuosos with which they surround themselves _ all wonderfully coalesce as Midnight Sister. And if 2017's `Saturn Over Sunset' was their collection of short films about outcast life in The San Fernando Valley, then their new album `Paining the Roses' is the inventive, meta motion picture that cements them as auteurs. `Painting the Roses' is in many ways a fairy tale -- not so much the sweet-and-happyending kind as something richer, packed with imagination and rooted in the complex human messiness beneath a story's artifice. Frontwoman Giraffe describes it as "this tightrope of being real yet synthetic, organic yet staged, light yet dark, logical yet irrational, beautiful yet dilapidated. Joyful nonsense." Here, disguises like masks and paint are not meant to hide but to liberate, to "set a part of us free", and Midnight Sister often embody this themselves, appearing highly stylized, curious, warm and inviting but a little askew. `Painting the Roses' is a story told through the looking glass, one where we examine ourselves in a funhouse mirror but find clarity in its twists. Giraffe traveled to visit family in Argentina during the making of the album and reconnected greatly with that part of her family history, art and culture. Balouzian created the core album opener "Doctor Says" during a session in the desert outside of LA. The guitar, which reminded Giraffe of South America, has a slow, sweltering surf-tango to it, like Dick Dale doing Carlos Gardel. And even though the song was inspired by Giraffe's reconnection with Argentina, the song is about the fading of some close friendships during the making of the album. "Man, you have changed," Giraffe sings, unclear if tis directed to a friend or to herself. Later on the album, "Wednesday Baby" _ named after Giraffe's rescue dog _ is patient, subtly baroque pop. It follows Giraffe through one of those gloomy days spent in tunnelvision doldrums from which only a sunbathing turtle or your canine companion can pull you out. By the time collaborator Max Whipple's saw comes beaming down from heaven in the song's 3rd part, we're hypnotized by the song's charming ennui. The song lands someplace both familiar and aloof, a little slice of timelessness taken straight from The Cake of Perfect Songcraft.

Shame follow up their wildly acclaimed debut with a James Ford-produced peek into the riddled mind of the band's frontman, Charlie Steen. There are moments on Drunk Tank Pink where you almost have to reach for the sleeve to check this is the same band who made 2018's Songs Of Praise. Such is the jump Shame have made from the riotous post-punk of their debut to the sprawling adventurism and twitching anxieties laid out here. The South Londoner's blood and guts spirit, that wink and grin of devious charm, is still present, it's just that it's grown into something bigger, something deeper, more ambitious and unflinchingly honest. The genius of Drunk Tank Pink is how these lyrical themes dovetail with the music. Opener Alphabet dissects the premise of performance over a siren call of nervous, jerking guitars, its chorus thrown out like a beer bottle across a mosh pit. Songs spin off and lurch into unexpected directions throughout here, be it March Day's escalating aural panic attack or the shapeshifting darkness of Snow Day. There's a Berlin era Bowie beauty to the lovelorn Human For A Minute while closer Station Wagon weaves from a downbeat mooch into a souring, soullifting climax in which Steen elevates himself beyond the clouds and into the heavens. Or at least that's what it sounds like. From the womb to the clouds (sort of), Shame are currently very much in the pink.

Shame follow up their wildly acclaimed debut with a James Ford-produced peek into the riddled mind of the band's frontman, Charlie Steen. There are moments on Drunk Tank Pink where you almost have to reach for the sleeve to check this is the same band who made 2018's Songs Of Praise. Such is the jump Shame have made from the riotous post-punk of their debut to the sprawling adventurism and twitching anxieties laid out here. The South Londoner's blood and guts spirit, that wink and grin of devious charm, is still present, it's just that it's grown into something bigger, something deeper, more ambitious and unflinchingly honest. The genius of Drunk Tank Pink is how these lyrical themes dovetail with the music. Opener Alphabet dissects the premise of performance over a siren call of nervous, jerking guitars, its chorus thrown out like a beer bottle across a mosh pit. Songs spin off and lurch into unexpected directions throughout here, be it March Day's escalating aural panic attack or the shapeshifting darkness of Snow Day. There's a Berlin era Bowie beauty to the lovelorn Human For A Minute while closer Station Wagon weaves from a downbeat mooch into a souring, soullifting climax in which Steen elevates himself beyond the clouds and into the heavens. Or at least that's what it sounds like. From the womb to the clouds (sort of), Shame are currently very much in the pink.

Germany Exclusive on Smoke Marble Vinyl, only 1000 copies available. Shame follow up their wildly acclaimed debut with a James Ford-produced peek into the riddled mind of the band's frontman, Charlie Steen. There are moments on Drunk Tank Pink where you almost have to reach for the sleeve to check this is the same band who made 2018's Songs Of Praise. Such is the jump Shame have made from the riotous post-punk of their debut to the sprawling adventurism and twitching anxieties laid out here. The South Londoner's blood and guts spirit, that wink and grin of devious charm, is still present, it's just that it's grown into something bigger, something deeper, more ambitious and unflinchingly honest. The genius of Drunk Tank Pink is how these lyrical themes dovetail with the music. Opener Alphabet dissects the premise of performance over a siren call of nervous, jerking guitars, its chorus thrown out like a beer bottle across a mosh pit. Songs spin off and lurch into unexpected directions throughout here, be it March Day's escalating aural panic attack or the shapeshifting darkness of Snow Day. There's a Berlin era Bowie beauty to the lovelorn Human For A Minute while closer Station Wagon weaves from a downbeat mooch into a souring, soullifting climax in which Steen elevates himself beyond the clouds and into the heavens. Or at least that's what it sounds like. From the womb to the clouds (sort of), Shame are currently very much in the pink.

Shame follow up their wildly acclaimed debut with a James Ford-produced peek into the riddled mind of the band's frontman, Charlie Steen. There are moments on Drunk Tank Pink where you almost have to reach for the sleeve to check this is the same band who made 2018's Songs Of Praise. Such is the jump Shame have made from the riotous post-punk of their debut to the sprawling adventurism and twitching anxieties laid out here. The South Londoner's blood and guts spirit, that wink and grin of devious charm, is still present, it's just that it's grown into something bigger, something deeper, more ambitious and unflinchingly honest. The genius of Drunk Tank Pink is how these lyrical themes dovetail with the music. Opener Alphabet dissects the premise of performance over a siren call of nervous, jerking guitars, its chorus thrown out like a beer bottle across a mosh pit. Songs spin off and lurch into unexpected directions throughout here, be it March Day's escalating aural panic attack or the shapeshifting darkness of Snow Day. There's a Berlin era Bowie beauty to the lovelorn Human For A Minute while closer Station Wagon weaves from a downbeat mooch into a souring, soullifting climax in which Steen elevates himself beyond the clouds and into the heavens. Or at least that's what it sounds like. From the womb to the clouds (sort of), Shame are currently very much in the pink.

“The greatest thing about being a musician is experiencing it with other people,” says Ed Riman, the Brighton-based Eurasian singer, songwriter and sound-scapist who records as Hilang Child. “Whether that’s playing with others, creating together, sharing a vision, whatever, I just think in all aspects it’s a totally elevated experience when you’re not alone.” Proof rings out with force and feeling on Hilang Child’s superlative second album, ‘Every Mover’, released on Bella Union.

In 2018, Riman delivered a serene, textured debut album in ‘Years’, rich in sound and feeling. Lauren Laverne, Q, MOJO and others lavished praise but the “isolating process” of making the album left Riman hungry to find alternative ways of working. Meanwhile, the “lonely, pressured” aftermath of ‘Years’ found Riman grappling with “rough selfesteem and anxiety issues,” amplified in part by social media’s “fulfilment narratives.” Duly, he set out to navigate and overcome these mindsets, drawing deeply on his own insecurities and those he recognised in others.

These themes converge emphatically on ‘Every Mover’, an album steeped in everyday emotional states and crafted for cathartic, communal performance. Drawing on a rich spread of collaborators, sounds and themes, Riman uses his frustrations as the impetus to transform the brimming promise of ‘Years’ into upfront and expansive new shapes. “I wanted it to sound a bit gutsier than the first album,” he says, succinctly, “heavier and closer to the kind of stuff that hits me when I go to shows or blast music in the car. I started out in music as a drummer playing for pop or beat-driven artists and grew up listening to louder stuff, but a lot of the music I’ve made as Hilang Child has been more ethereal. I wanted to bring it back to a place that feels more ‘me’ and make more of a thing of having big hypnotic drums, aggressive bass, ripping distorted instruments and a general energy to it.”

‘Good To Be Young’ serves swift notice of this leap, its banked synths and twinkling sound clusters leading to an assertion of fresh force when the main beat lands and a congregation of friends - AK Patterson, Paul Thomas Saunders, Dog in the Snow, Ellen Murphy, members of Penelope Isles - unite for the gang-vocal refrains. “It’s all iridescent colour I’m on,” Riman exults, a claim lived up to on the full-flush folktronica of ‘Shenley’.

A reflection on spiralling insecurity, ‘Seen The Boreal’ ups the ante again with its monkish chorales, looping samples, spectral woodwinds (from multi-instrumentalist John ‘Rittipo’ Moore, of Public Service Broadcasting and Bastille previous) and ecstatic chorus, Riman transforming a meditation on hindsight’s limiting effects into a spur to look forwards. And surge forwards he does with the glittering synths, spacey guitars and Krautrock propulsion of ‘King Quail’, developed in jam sessions with dream-pop wonder Zoe Mead (Wyldest) in her basement studio.

Brought to a sublime close with ‘Steppe’, the resulting album projects its own epiphanic force. Thankfully, most of the main parts were recorded pre-lockdown between East London, Gateshead, Brighton, Wandsworth and elsewhere, before mixing proceeded remotely. Meanwhile, alongside indie-pop trio OUTLYA’s Will Bloomfield (percussion/coproduction on ‘Play ’Til Evening’), visual design collective Tough Honey (accompanying videos) and other collaborators, Riman’s bond with co-producer JMAC (Troye Sivan, Haux, Lucy Rose) proved crucial. “It felt freeing to work collaboratively and have that push-andpull of ideas,” says Riman. “Even the moments where we didn’t see eye-to-eye made it feel like I wasn’t alone, with someone else working just as passionately on the project.”

LP pressed on red transparent vinyl.

NAPPYNAPPA and Pat Cain’s Model Home project realigns with Dolo Percussion for SE, their second album on Future Times. A deviation from their self-released run of numerically-titled LPs, SE builds on the impact of REV b/w Flesh - released earlier in 2020 on the label - and shows the Future Times formation of Model Home in full Special Edition mode.

If you’ve been sleeping on Model Home, Nappa and Pat have become a prolific and potent unit of “liberated sound, vision and performance” emblematic of DC’s thriving musical underground community. Self-releasing nearly 20 albums in two years, Pat Cain and Nappa have perfected a sound; a raw expression that is wholly their own. A perfect musical balance attained through intense experimentations in sonic and lyrical imperfection.

Nappa’s blurry-eyed spoken word raps should be recognised alongside the powerful polemics of Moor Mother or the explosive experimentation of Pink Siifu, or fellow DC legend Sir E.U. Nappa is an artist deeply entrenched in the expression of rap but one that recognises there are so many sonic ways in which to frame his state of mind. Which is why the frazzled sound design of Pat Cain has made Model Home such a perfect backdrop for Nappa to express himself. Rap existing in unison with raw electronixxx, dancehall, noise, industrial and whatever else they throw in the mix.

Add the crisply-programmed drums and chaotic FX of Dolo Percussion into the Model Home mix and SE zones into a murky yet richly detailed space that leaves you going “WTF?” multiple times and hammering the repeat button again and again.

Spread over nine tracks, the Model Home trio approach the game from various angles; swerving from the dizzying Bounce triplets and smudged Nappa vox on “Omnipresent Love” to the spacious lyrical interplay n’ woozy moog of “Bag” via the warped Pan Sonic curdle of “Are You Shur?” and the hyper-kynetic rhythmic aerobics of “Topic.”

SE showcases Model Home at their most expressive; plunging deeper into their own weird universe. “Like the seed in the soil,” as Nappa raps on album closer “Cold Gettin’ Dogg.

Record Kicks reissues mythical Calibro 35's third album "Any Resemblance To Real Persons Or Actual Facts Is Purely Coincidental" sampled by Dr Dre in "Compton".

Completing the trilogy of Calibro 35's reissues, Record Kicks proudly presents "Any Resemblance To Real Persons Or Actual Facts Is Purely Coincidental", the third album by Italian cinematic funk heroes CALIBRO 35, whose title track was sampled by Dr.Dre in "One Shot One Kill" featuring Snoop Dog in his 2015 "Compton" album. After the reprint of the previous two records "Calibro 35" and "Ritornano Quelli Di (The Return Of)", this third and last reissue will be available on December 4th on a limited edition LP and digitally in a Deluxe Edition version. The digital Deluxe Edition includes 3 bonus tracks: the band's original compositions "Ballando In Balera" and "Appuntamento al Contessa" and a cover of Herbie Hancock's "Deathwish".

Recorded in Brooklyn in just five days, with "Any Resemblance" the Milan cult combo, while cultivating its damn-near-perfected cinematic vibes, experiments a more improvisational approach to writing. "Massacre at Dawn" comes straight from afro-funk territory, an homage to Brooklyn heroes Budos Band and Menahan Street Band. "Rain On Concrete" instead sounds like a French soundtrack composed some decades ago by Francis Lai or Jean Claude Vannier. There is also a more globally-inspired flavour to several tracks on the album: from the Indian vibe of the sitar-injected "New Dehli Deli," to the streets of San Francisco with the heavy weight of the clavinet on "Thank You and Good Bye," to the high impact horn riffs of Detroit's Motown Studio sound on "The BBQ Band" and "The Package", and then back again to Italy for retro-scat vocals on "Uh Ah Brrr", reminiscent of the best of Ennio Morrione's and Piero Umiliani's compositions from the 60s. Just like the previously reprinted "Calibro 35" and "The Return Of", 2012 "Any Remblance" LP is highly sought-after by collectors and soundtrack aficionados worldwide and by popular demand a reissue sees the light of day on a limited edition Gatefold LP that includes digital download of the bonus tracks.

Active since 2008, CALIBRO 35 enjoy a worldwide reputation as one of the coolest independent bands around. During their ten-year career, they were sampled by Dr. Dre on his "Compton" album as well as by Jay-Z and The Child of Lov & Damon Albarn, they shared stages worldwide with the likes of Roy Ayers, Muse, Sun Ra Arkestra, Sharon Jones, Thundercat and Headhunters and as unique musicians they collaborated with, among others, PJ Harvey, Mike Patton, John Parish and Stewart Copeland and Nic Cester (The Jet). Described by Rolling Stone magazine as "the most fascinating, retro-maniac and genuine thing that happened to Italy in the last years", Calibro 35 can now count on a number of aficionados worldwide, including VIP fans such as Dj Food (Ninja Tune), Mr Scruff and Huey Morgan (Fun Lovin' Criminals) among others.

In these dark times of Covid we still have our music. We have the sounds to soothe us, distract and take our minds away from the chaos and uncertainty.
We can't dance like we used to but we can hear and feel. Our release must be found in another way, we must look within. We find solace and grant ourselves space and time in the music.

Sam McQueen (Indio co-producer with John Beltran, Indigo Aera, Delsin Records, Furthur Electronix) presents his debut album Dreams In Sepia for Mojuba sub label a.r.t.less and hits us with a real time soundscape of the moment, an epic-like document of these times. The rhythms are subtle, sometimes broken, the time structures often complex, this is not primarily dance floor orientated music. These sounds are way more cerebral, for the heads. They reflect perfectly the complexities of life we are experiencing in 2020.

The edges are rounded with occasional strolling bass lines and comfy chords. Slabs of keys and spaced out female vocals like a psychedelic journey that scares you at first yet comforts you soon after. Sam McQueen's mediatory sounds give an overwhelming sense of the moment. The music makes you take time out and listen. Its purposeful manner suggests there are more hours in the day, like time slowing down a pause, like the sun slithering slowly behind the horizon. These are sunset sounds for dark back-rooms.

Daytime or night, it works. This is the soundtrack for the other room, the deeper sounds not designed to make you dance. This music doesn't get in your face, it creeps up and smacks you on the ass. There are elements of early nineties UK Techno, a warmth and delicateness that pervades a distinct lack of four four dance floor in the beat structures, a softer tone throughout than the harder Detroit techno sounds of the same era but still nods and acknowledgements to the D in the layout and way the sounds present themselves. Think John Beltran, Symbols and Instruments, Black Dog or Kirk DeGiorgio, mid 90s Berlin sounds from Basic Channel / Rhythm & Sound, but in lockdown. Music for today's modern lacking landscape. The sounds often familiar, analogue, the drums, hi hats and snares, shimmer, jazz style. They accentuate and push the rest of the elements around them.
?In a bygone era this would be crudely classed as Chill Out music. In 2020 Covid era its about how it makes you feel as you relax and really listen to it. It is about emotion and empathy, a oneness, a new unknown and a deeper train of thought for the listener. Much like 2020, Sam McQueen lays the pieces round the edge of the jigsaw and lets you fill in the rest.

Catz 'n Dogz are back with album 'Moments'. Written and recorded in the midst of this crisis. Twelve tracks form the backbone to this wide-spanning sonic journey that document the highs and lows of this time. Drawn out of their comfort zone, it's safe to say this shift in their creative paradigm resonates throughout 'Moments'. Inviting you to gaze deeper inside, the album floats in a haze of dreaminess and cottony serenity. Though seemingly simple, the track titles point at themes more complex and universal that will strike a chord with every soul.

Traversed by a vaporous jazz vibe and highlighting an obvious lean towards laid-back atmospheres, 'Moments' effortlessly alternates between. Lo slung house 'Sunrise' features James Yuill, the heavy-lidded, funky bass-heavy 'Memories' and the rolling brass anthem 'Time', in collaboration with Jaw - and more doped up trip-hop-ness. 'Life', the slo-mo chugger that will get the feels on alert, the chillax of 'Nothing' and 'Love,' and the luscious 'Moment' feat. Angelika Nowak, a sample-heavy, soul jam whose naive charm will prove hard to resist, even for the stonehearted.

Catz 'n Dogz explore inwards the heart's non-spoken spheres, where the pop-infused hip-hop 'Meditate' introduces Heather Chelan. A more personal affair 'Listen' makes for a playful interlude. 'It's OK' invites you to let go of the shame at shedding tears, a memorable cut with its joyful whistling, elated guitar riffs and rousing bass.

To close off this sonic micro-odyssey, 'Tomorrow' casts a spell of positiveness. With blazing synth lines and robotised talk, unfolds an anthem for tomorrow's world. One where music holds the crucial place it's always had. So be the kids' dreams, the person they want to be in the future. Be Batman, be a firefighter, be a rock star.

The horn of plenty arrives at your door, full of freshly harvested produce. It contains fruits of artists you already know and from others waiting to be introduced to you. Don’t be afraid though – they are only your new neighbours. Clear Memory Farms recommends this five track Various Artist EP: EDM-free, sustain-able, enriched with biodynamic electro spells and mystic funk chants. Have a try at this asymmetric game but don’t be surprised to turn into a hairy rebel. Is it worth it? Will you experience all die goede dingen? Seems like we can’t find any good answer for that – find out for yourself.

Mastering by Rude 66
Artwork by Dr. Rekorder

-Dedicated to Theo-

Traditionally the liner notes of an album take on a kind of third-party address, where a writer is delivering their thoughts about how an album makes them feel without breaching that space where they are representing themselves or the moment in time directly to the reader. The goal is typically a kind of timelessness, but as we live in unprecedented times, unconventional methods take on new life, and hopefully importance. In the spirit of that idea... man, is this the kind of album we all need right now. So many of us feel like we're constantly walking a tightrope, are feeling like we can't unwind, are in genuine need of a few moments of respite. Every so often an album emerges from an artist that most likely did not realize when they were composing how timely the results would be, and Lofi Dimensions is exactly that kind of record. It doesn't really matter why it's coming when it is, what's important is that it's here, offering peace to the perturbed and inspiration for the downcast. The American Dollar have long been one of those artists operating in a kind of middle ground, a band with a long history of creating moving instrumental rock that has somehow avoided ever becoming synonymous with modern American post-rock acts. They retain a sort of autonomy in a valued position just outside the boundaries of classification. Blending electronic textures with moving guitar and keyboard melodies, their music has always traveled somewhere in the spaces between trip-hop, electronic, post-rock and ambient, and this inability to be defined is ultimately what sets them apart from the trappings of genre, allowing them to be whatever they want The American Dollar to be in a given moment, always on their terms.

Following their live performances at the latest two Dimension Festival Editions and vinyl releases on international labels such as Slices of a dog, Money Sex, Odd socks and Sorry For This featuring a remix by none other than mr. Marcellus Pittman, Nas1 are finally back on Bosconi Extra Virgin with a new album titled Polaris Time. It’s a multi colored sonic adventure, moving from their hip hop and detroit house roots to a new palette of sounds including afro percussions and fresher synth lines blended together into a unique electronic soundscape that creates exotic, psychedelic atmospheres and unconventional, raw midtempo dance-floor tracks. The Album begins with the enchanting ballad of “L’ isola di Serie B” , moving deeper with the spaced out vibe of Domino Skii , landing on the more tropical and frivolous scenarios of “Cicci Briucci” and on the laid-back interlude of “Il Sangue Non Serve A Niente”.
In the beginning of the flip side appears instead the jazzy and uplifting first cut named “Frigo Deca”, followed by the freaky jam of “Come Thru” and the adventurous balearic tune “Hector Savage” ending with the ethereal closing skit “Il Sangue Non Serve A Niente (outro)"
Fans of Kyle Hall, Theo Parrish as well as John Talabot or Nicola Cruz are warned, absolutely not to be missed if you have been following Nas1 music so far.

Favorite Recordings presents Jazz Traficantes by LE DEAL, a new musical adventure from the finest French jazzmen with Florian Pellissier (Piano & Fender Rhodes - Camaraõ Orkestra, Cotonete,
Aldorande, Setenta), Yoann Loustalot (Flugelhorn – Bruit Chic, Old & New Songs, Aerophone, Lucky Dog), Théo Girard (Upright Bass – Pensée Rotatives, Discobole) and Malick Koly (Drums - The Wallace
Roney Quintet). Needless to say, they’re used to play all over the globe and quite often to New York. During one of these
trips to the Big Apple, they discovered that the legendary Van Gelder studio (where most of Blue Note, Verve and CTI albums were recorded) was still active and opened so they decided to book a few days session.

Here is the story told by Florian Pellissier: “The tracks had been written the night before. We were going to run through them and then record. A simple plan. Van Gelder had passed a while back, but he left the keys and secret codes with his faithful assistant Maureen before heading off to create the right sound up in heaven. Nothing had changed in the atmosphere or configuration, not even the way the mics were placed. The studio and its wooden beams still exuded New York’s sixties jazz, dimly lit streets and clubs where anything might happen past midnight. Maureen knew just how to capture the ambiance of the sessions and bottle the energy without spilling a drop, taking infinite care to collect each cymbal tone, drum roll and trumpet phrase, without losing a single vibrating bass string or the slightest keyboard pause.”

Indeed, the four contrabandists succeeded to deliver an outstanding album, filled with themes that’ll get stuck in your head, just like in the 19 minutes long performance “Mexican Junkanoo Suite” and its three
parts. But more than just beautiful melodies, LE DEAL truly managed to bring a sense of drama to their compositions, going into the deepest emotions through gutted arrangements, improvising with great attention to the articulation of their ideas. From the beginning to the end, musicians and engineers did their best to emulate the proper vintage sound. Jazz Traficantes could prove once and for all that
French Jazz can indeed cross the borders. The album will be available as Tip-On Deluxe Vinyl LP but also on CD & Digital with a bonus track, “Noche en la Carcel”

Aber mich macht’s traurig ("But It Makes Me Sad") is Kai Althoff’s first regular release after several records as Fanal and before with his band Workshop. The music for the double album was recorded by Kai Althoff between 2016 and 2019 with numerous instruments - including synthesizers and various flutes, guitars and African drums, rattles, cymbals, ratchets and Japanese string instruments.

"Nobody had to bear this music, neither was it thought out by anyone, played by none, nor dedicated to someone. Also, one no longer is, and therefore this utterance generates itself and is music to nobody’s ears.

Organizing the entombed power structures, paving alongside the most beautiful nettle-seamed trickle of remembered civilization on one’s own authority, which eventually gives in to its assumption; its mouth pasted (over) with the dried-up vomit of its intentions, never to open again. It carries this desparate melancholy, always ready to ridicule all of its (own) forms, to get to the bottom of all matter. Poking in the flesh of doggedly pursued gnosis with fingers, with weary despisement, deflating to crinkly tissue after life’s bloating :Oh, seriously! How could I be sad, the way they carry themselves and sing as they do that Alas, those whose fingers these are, just take those flutes and instruments! —- in liberation without the Idol, to no longer play something."
A.M.

Pavlov’s Dog, the 70’s AOR / Prog-rock band, was an odd crew. The band combined guitar, keyboards, percussion and bass with mellotrons, flutes, and violins. Pampered Menial was their first album, originally released on ABC Dunhill and re-released on Columbia in 1974. At the time the band was signed, they received a $600,000 advance from ABC which was a record advance for any new group signed at that time. The songs “Julia” and “Theme From Subway Sue” received the most airplay. Pampered Menial is a crossover albums of 70’s hard rock and progressive rock and is strongly recommended to fans of either of those genres.

Available as a limited 45th anniversary edition of 1000 individually numbered copies on transparent & black marbled vinyl.

• 180 GRAM AUDIOPHILE VINYL
• GATEFOLD SLEEVE WITH DELUXE LINEN LAMINATE
• LEGENDARY PROG-ROCK ALBUM FEATURING “JULIA” AND “SONG DANCE”
• LIMITED 45TH ANNIVERSARY EDITION OF 1000 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT & BLACK MARBLED VINYL

So much legendary hip-hop begins with a misunderstanding. You might not realise it on first or even hundredth listen, but ‘Insane in the Brain’ is a diss track. What has become one of the hip-hop’s most iconic party anthems, and one of Cypress Hill’s biggest hits, started out with them taking offence at Chubb Rock.
He’d flipped some of their lyrics on his own ‘Yabba Dabba Doo’ song in 1992 and the group didn’t like it. While B-Real’s lyrical attack on Chubb is subtle and almost subliminal, Sen Dog spends most of his verse making fat jokes at Chubb’s expense.
It’s a little known beef, hidden beneath the vast success of this single in 1993, with it reaching number one in the US rap charts and proving a pop hit worldwide too. At this stage, the group’s producer DJ Muggs had perfected an idiosyncratic sound all of his own, lending it to tracks for the likes of House of Pain and Funkdoobiest.

Here he melds samples from Sly and the Family Stone and The Youngbloods with a beat lifted from George Semper’s instrumental cover of ‘Get out my life, woman’. Those subtle songs are alchemised into a boot-stomping head-nodder that transcended hip-hop to become a festival favourite, a rise that ended in Ned Flanders delivering the line, “this may sound just a teensy bit insane in the old membrane, Homer,” in The Simpsons.

The only official 7” of this was released in the Philippines, and fetches prices in the hundreds of pounds – this reissue puts a hip-hop classic in crate-friendly form.

Westcoast Goddess first came to our attention at the end of 2018 following his debut release on Canadian label Heart To Heart, but his productions actually date right back to ’93 (under various different guises) when he first began making music with his trusty Roland DR550 and Kawai K1. With a fresh and distinctive sound, WG successfully fused soulful touches and late 80’s-era digital synths with raw, punchy grooves and a euphoric, ravey atmosphere. Since then, the Berlin-based producer has built a solid following amongst underground house heads with subsequent releases dropping on esteemed labels such as Omena, Slam City Jams and Let’s Play House.

Opening up the EP we have Step Inline (The Narcotic Soul), which is a piano driven, uplifting slice of house heaven. A simple repeating 2 bar chord pattern lays down the foundation for soaring strings, cascading chimes and seductive echoing vocal hook.

Next up we have The Devil In Mr Holmes (The Erotic Soul) which once again goes heavy on the piano stabs but this time developing the arrangement into something that feels more like an instrumental dub of a long lost Prelude release. Crystalline synth lines come and go, whilst electronic tom hits add pace and energy to the unrelenting house groove.

Flipping over we have the epic I Might Be Ok (The Faithful Soul) coming in at over 9 minutes and being all the better for it. A dirty Moog bassline leads the charge with beautiful synth lines layering up on top, creating a blissed-out vibe which can’t fail to lift your spirits.

• Widely and rightly regarded as one of the best ever soul and funk bands, the now legendary Average White Band tore-up the rule book
and conquered the US, UK & International charts with a series of soul and disco hits between 1974 and 1980.
• AWB’s repertoire has been a source of inspiration and influence for many R&B acts and they are one of the most sampled bands in
history, remaining relevant today, continuing to reach new generations of younger audiences.
• Snoop Dogg, Fatboy Slim, Ice Cube, Puff Daddy, TLC, Rick Ross, will.i.am and Mark Ronson amongst countless others, have all borrowed
sections of their grooves.
• After the success of 1979’s ‘Feel No Fret’, the band went into the studio record their next album and in 1980, ‘Shine’ was released with
the worldwide Chart and Club hit ‘Let’s Go ‘Round Again’, reaching #14 in the UK Albums Chart. However, there was a back-story
behind the album’s release, which Alan Gorrie and Hamish Stuart have annotated in the LP notes.
• To celebrate the 40th Anniversary of ‘Shine’, AWB (past and present) have reconfigured the album as they had originally intended,
bringing in the four tracks that they had to ‘leave’ behind when they changed record labels. In addition, due to separate behind the
scenes situations, two further tracks were unable to be included on the album and remained unreleased until this century.
• ‘On The Strip – The Sunset Sessions’ is what ‘Shine’ could have been; a slightly longer 2LP set, heralding in the new decade.
• The album includes the singles ‘Let’s Go ‘Round Again’ and ‘For You, For Love’, as well as ‘Whatcha’ Gonna Do For Me’, which later
become synonymous with Chaka Khan, who recorded it the following year, having sung on an early-take for AWB, when they were
recording the album. ‘Miss Sun’ makes it long-awaited inclusion on the album for which it had been recorded until fate dealt another
hand, with permission being withheld then appearing as the lead track on Boz Scaggs’ ‘Hits’ LP; reaching #14 on the Billboard Hot 100.
• 40 years on, Average White Band still ‘shine’ brightly and remain highly influential for today’s groove-merchants and EDM DJs.

Musique Pour La Danse presents Roomservice, Dutchman Orlando Voorn's forgotten yet unforgettable IDM-leaning, home-listening electronica / techno album from 1994 under his Living Room alias, originally released on the producer's cult Night Vision label.

Praised unequivocally by those lucky enough to have heard it, this criminally underrated record nonetheless deserves pride of place when talking about forward-thinking electronic music from the early 90s.

While it is widely acknowledged that Orlando Voorn's productions are one of the most fascinating prisms through which to experience a European take on the Detroit sound, Roomservice is also a strong reminder that the paradigm shift from sweaty raves to enhanced home listening, championed by Warp's Artificial Intelligence series, early Rephlex releases, along with projects such as The Black Dog, Plaid or Autechre was in fact not only limited to British artists.

As its name indicates, The Living Room is not geared for warehouses but instead interested in a more intimate and domestic setting. As such, it does not contain over the top bangers, but it's hard to find any filler in this album where all the tracks are killer, catchy and memorable. All displaying a sophisticated yet immediate focus on warm melodies and grooves no heavier than a feather, these emotional cuts provide a wonderful and intricate soundscape for introspective listeners to explore, and they will surely find echoes of ideas developped by Manuel Gottsching, Steve Reich and Pat Metheny scattered accross the album.

While some tracks are rhythmic and would fill a dancefloor in a second with their four to the floor or broken beats, the album also gives room for more ambient excursions to occur and develop brilliantly. But once again, it's more likely you'll end up dancing on your couch rather than dozing off.

2020 might be the most difficult year in recent history for dancefloors worldwide, yet that's not going to stop Musique Pour La Danse from reissuing this gem of an album for listeners, dancers, and DJs of today and tomorrow.

Words by Ed Isar.

Mr Bongo presents a new and exciting collaborative project with Swedish label Piano Piano Records.

Hearing the Swedish outfit Sven Wunder for the first time is as refreshing as an ice-cold Limoncello after an Italian meal. One of those bands that feel instantly familiar like an old friend, yet simultaneously fresh and new. Straight away we fell in love with their sound and knew we had to work with them.

The Sven Wunder 'Wabi Sabi' 7" is the second collaborative release between Mr Bongo and Piano Piano Records. 'Wabi Sabi' is Sven Wunder’s follow up to the already contemporary cult-classic album 'Doğu Çiçekleri (Eastern Flowers) from 2019. Not one to be complacent and recreate a carbon copy of their previous works, Sven Wunder switched from the psychedelic-Turkish-funk sounds of 'Doğu Çiçekleri' to the Japanese inspired ethereal funk of 'Wabi Sabi'. We have selected the tracks ‘Hanami’ and ‘Shinrinyoko’ for this collector’s edition 7’. Japanese artists such as Hozan Yamamoto, Tadao Sawai, Kazue Sawai, spring to mind, but also David Axelrod and Dorothy Ashby on the beautiful string-led 'Hanami' with it's laid-back funk breaks. 'Shinrinyoku' has a slightly more raw cinematic-funk sound, yet is cushioned with warm strings and tripped-out keys - pure, rare-library music vibes.

We are delighted to be able to release these amazing tracks, cut at the Timmion Records Cutting Lab in Finland.

Optimo Music presents “Vanessa 77” the debut album from New Zealander Vanessa Worm. Originally due in May it was rescheduled due to the lockdown but we couldn’t wait any longer to get it out into the world, so here it is, on vinyl and digital.

After entrusting us to release 3 much loved singles it seemed right to let Vanessa stretch out across an album and show the world what she is about and how talented she is. Vanessa is exactly the kind of artist Optimo Music dreams of finding; her music fits in with no genre and no scene – it is its own genre and its own scene. Musically free and anarchic, Vanessa conforms to nobody’s dogma. Before lockdown Vanessa played a series of Southern Hemisphere live shows that entranced all who saw them. Hopefully next year she can come and do the same in the Northern Hemisphere.

We asked her for a few thoughts about her album. Vanessa says – “Vanessa 77, like most creative endeavours is a journey of self discovery. Mentally, emotionally and creatively. I spent most of my time alone in winter 2019 – focused solely on personal development & self realisation via the creation of this album. It was a way for me to put my mental state onto a plate – the joys, the fears, the epiphanies, and so on. I so desperately wanted to share what I was learning with the world too – I intended for Vanessa 77 to help others to heal, self-realise and alchemise. It was a 9 month process of death and a re-birth from the old into the new. Much like the world is experiencing now entering 2020, I hope this album can provide some form of healing, soothing, celebration and act as a sub-conscious guide for us as we enter into this New Earth. Thank you to all who listens, enjoy!”

Tropical psych outfit, Lola’s Dice, return with an exhilarating double AA side 45 on “Cacri 'e Playa” b/w “Señor Cartujo” . Venezuelan strains of Caribbean rhythms blend with South American grit and humour; aided and abetted by studio maverick and renown bandleader Alex Figueira ( Fumaça Preta, Conjunto Papa Upa).

Lola’s Dice, an ensemble born and battle-tested by years of punk and hard rock before fusing into its current form, a consolidated tropical-psych quartet. The band’s evolution has resulted in music that is a pure body-moving delight — a fuzzy blend of guitars, synths and musical sabor that is very much rooted in the percussive sounds of Latin America, where all band members hail from, yet still comfortable in its punk-ethos.

One such fusion of sounds took place at the Barracão Sound studio in Amsterdam where they first asked rhythm sensei Alex Figueira (who currently joins them on stage whenever his agenda allows him) to help them twist their sound and bring it into the incendiary tropical realm his production work was known for.

Together they vandalized all sorts of rhythmic traditions. The resulting 4-track EP, “Viaje al Centro de Ritmo”, was a perfect match of genre-defying psychedelic madness and Caribbean cool and was duly signed and released by on-the-pulse NY based Names You Can Trust label.

After two years and a plethora of stages Lola’s Dice returned to Figueira's Barracão Sound for another dose of experimentation, diving deeper into their Caribbean roots and twisting them even further. The first fruits are now offered for release jointly by Names You Can Trust (later this year) and Figueira’s own Music With Soul.

The African Caribbean vibrations of “Cacri 'e Playa” tell a story of a stray dog whose sole habitat consists of the beach. A common phenomenon all across the Caribbean coastline shared by Venezuela and Colombia. Wonky synths and surf guitars interplay over a stomping extra syncopated drum beat. All things collide towards the end into a 1970’s style Salsa street party, the relentless cowbell driving everyone forward.

On the flip, “Señor Cartujo” contains a humorous tale about the most popular brand of anise liquor in Venezuela ("Cartujo") and a shameless ode to the glory days of "Techno Merengue", when Latino rappers in the US started making Dominican Merengue with hip hop influenced vocals and house production techniques and equipment. Lola’s Dice, however, take a more psychedelic approach to this merengue, oozing with funky guitars and percussion.

Startisha introduces Naeem as a restlessly creative artist with an impressionistic, genre-bending album. As a complete work, Startisha exemplifies artistic daring and emotional intelligence while exploring new ideas and sounds, and philosophically excavating the artist's histories. Startisha may be loaded with impressive collaborations and left-field sounds, but don't get it twisted_this music comes straight from Naeem's heart, representing the journey he's taken to get to this point as well as what lies in the future for him. Baltimore-hailing Naeem Juwan has spent much of the last decade stretching his creative legs in a variety of ways: he's hit the road with artists ranging from the Avalanches and Bon Iver to Big Red Machine and Mouse on Mars, took part in a 37d03d residency in Berlin, and was selected as the music resident in 2019 for New York's Pioneer Works space. Through it all, he's been building the songs that make up Startisha, a record a half-decade in the making that featured Juwan pulling from creative circles all across the U.S. to craft a truly unique document of sound. After studio sessions in Philadelphia and New York, Juwan decamped to Minneapolis and holed up in Justin Vernon's home studio, where Startisha continued to come together with contributions from Vernon, Ryan Olson (Gayngs, Polica), Swamp Dogg, Velvet Negroni, Francis and the Lights, and regular collaborators Amanda Blank and Micah James.

Iconic cultural engineer and prolific music pioneer Daniel Miller, aka The Normal responsible for the timeless post-punk / wave classic “Warm Leatherette” and founder of Mute Records, collaborates with avant-techno artist Nicolas Bougaïeff to instigate another revolution with the inaugural release as Populist on Avi Caspi’s newly founded imprint The Temple and The Low Dive. Miller and Bougaïeff provide four purist modular techno explorations that are prepared to carry the listener into stellar dimensions. Introductory A1 track “Center” is a sophisticated, minimalist, stripped down piece with dynamic elements and a cinematic aesthetic that introduces the mood of the entire EP, defined by spectral micro movements and a touch of liquid textures.

Further navigation through the EP reveals more of the aesthetic intent while, at the same time, retaining a specific uniqueness found in each track. There is a definitive interstellar cosmic feeling throughout that brings the future back to the present and with B2 track “Temple” we discover that Miller and Bougaïeff are no strangers to a provocative and discerning dancefloor. “Temple” guarantees ecstatic dance floor moments that define experience. The digital bonus track “Dogma” continues to keep up the pace and here is what will be imminently essential for any serious purveyor of explorative techno to include in their repertoire.

This first installment on The Temple And The Low Dive gives us something that is as special as it is unique, paying homage to one of electronic music culture’s most admired artists and icons, and introducing the world to new artists and proponents of the global electronic scene, Caspi and Bougaïeff. TIP!

New York City's Macula Dog is a duo known for their singular style of clattering electronic synth music that takes influences like Devo and The Residents to their (un)natural conclusion. Macula Dog return with the Breezy EP containing four new cuts to tease the rhythmically inclined. Breezy is Macula Dog's second release on Wharf Cat Records, following 2016's Why Do You Look Like Your Dog? LP. Breezy was tracked completely live with the help of analog wizard, Paul D Millar (Ariel Pink's Band) at his Bug Sound East studio, and marks the first Macula Dog release recorded with an outside engineer. With Millar they achieve new levels of fidelity including a slapping low-end, perfectly suited to the 12" 45PRPM format and sure to knock over fans who have been waiting for these new songs, a few of which that have entered their recent live sets. Breezy tunes for Breezy times. With tales of industry, aging, apocalypse and insanity, we see the band's first attempts at pop songs and "conventional" song structures only hinted at on past gemstones like "Lawnmower" and "Purchase Power Station." Just when the racketing barrage of echoes cannonading from across the canyon's walls have begun to die down, we hear the sound of an engine reving.

Berlin based duo Evvol will release their second album 'The Power' on their own imprint Mad Dog & Love via the !K7 Collective. A meditation on love, the intimate and personal offering is a product of turning their thoughts inward after time spent considering the state of the world and politics over the last year. "It's about all relationships, including but not limited to our own", they explain, "and It details the intimate powers that bind us together."

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A triumphant return to old form after classic bangers like PROTOTYPE (KOMPAKT 92), FREQUENCY (KOMPAKT 102) or MAXIMIZE (KOMPAKT 145), but also a bold step in a new sonic direction: Kompakt ally REX THE DOG presents his latest offering SICKO - a brand new 12" packed with two incorruptible rabble-rousers that hit the floor right behind the ears, employing sharply focussed thrust and dramatic sweeps to stunning effect.

Having started out with just one synth in 2004 -

the same vintage Korg 700S that was used by Mute Records founder Daniel Miller for his legendary "Warm Leatherette" outing -, REX THE DOG knows perfectly well how to squeeze the most out of a limited set of sounds. A growing intimacy with analog gear finally lead the producer to design and build his very own array of modular synthesizer components, including a sampler fittingly called RTD-001.

Armed with this barn-storming DIY attitude, and using gear he made with his own hands, Rex pulls two strikingly muscular rabbits out of his hat: the A-side's title cut SICKO is a raw, pounding cut-up fest that builds a scary amount of tension just with a few distinct elements, while the flipside's KORGASMOTRON loads up its bleep-ridden

chassis with a succulent, sweeping vocal and some well-placed acid drops. Both tracks showcase a leaner, cleaner, but also meaner approach to dance music, making this a particularly thrilling entry in REX THE DOG's oeuvre.

After a 10 year absence Horizontal is back. 3 songs that revolve around Dinky’s pure musical dogma, arpeggiated basses bounce with the beautiful and contorted voices that play within this psychedelic party. Bathing in blue skies and a deep warm acid glow, this is music to capture your body and soul, made with love whilst dreaming of a brave new world within these innocent melodies.

Apparel Music is the platform, Chevals the protagonist, vinyl the material, end of March 2020 is the period of time decided for the landing of the Frenchman’s first solo body of work for the “lovers dogs” label. “Be Yourself” is the title of the four tracks EP by the artist which, by the headline itself, sounds like a declaration of intentions, an acknowledgement of his qualities as a producer, shaping up four different aspects of his creative attitude in a remarkable musical effort. The EP takes off with the title track which is a perfect display of Cheval’s capabilities when it comes to the art of developing intersecting harmonies and melodies, setting up the perfect ground for a smooth vocal line that keeps on repeating the concept in a hypnotic loop: “just be yourself”! With “Keep On” the Bpm increases to design a beat driven track that winks to northern European rhythmics in an apotheosis of upbeat acid lines, a vibey overlapping of loops we advise against light-sleepers! Side B starts with a more rhythmically classic composition called “Good Good” which is also the last of the three original tracks; here the strings section mashes up with the vocals, as usual expertly crafted by Chevals and again some hints of acid bass line to form a proper dance floor hit. B2 is dedicated to Madcat’s remix of “Good Good”, where the French producer explains his point of view with a more funky oriented version of the track but keeping the essential parts intact. Impossible not to be excited by this EP by the Parisian producer who finally slams his fist on the table in what is his best musical statement so far. Bare with us until the end of March to listen to this pearl.

Back in 2018, Lumière Noire celebrated its first anniversary with a compilation featuring thirteen exclusive tracks by an eclectic group of electronic musicians – a family portrait of sorts. A few months later, a second volume of From Above, compiled by the label's artistic director (and DJ) Chloé, once more brings thirteen established acts together with promising upstarts. The first compilation was the embodiment of the label policy advocating for both artistic excellence and a widening of electronic aesthetics – bopping from deviant house music to adventurous IDM and to the rigor of dancefloor techno, among other electronic explorations. Some of the artists featured are now closely associated with Lumière Noire, while others were more established performers such as Benedikt Frey, Lauer, Jonathan Fitoussi, Il Est Vilaine, Dave e Brun (half of Swayzak) and Frank Agrario, as well as upcoming artists such as C O N T R A (a side project by none other than Iñigo Vontier), Sutja Gutierrez, Théo Muller, Markus Gibb, Bajram Bili, and a sprinkling of UFOs circling the genre (Suuns' Ben Shemie, Drvg Cvltvre, and electro-acoustic combo Lumi). This group photo laid down a number of paths for a label in perpetual evolution.

Since then, the Parisian entity has continued to grow within the international electronic scene, releasing Local Suicide's Leopard Gum EP, Iñigo Vontier's first LP, and planning another slew of releases for 2020. The lineup for this second volume of From Above is once again equally intriguing, offering a crescendo-like track listing over a double LP format, which is a feat of sorts for a "Various Artists" compilation.

Marc Mélias' fascinating, unsettling Permanent Waves gets the proceedings going with a contemplative track that provides a serene opening to the odyssey on which From Above will be taking the listener. Pletnev continues on with the playful, hooky Marco O’Polo, a fundamentally techno track built over a seductive 90s-inspired breakbeat. Douglas Greed (whom Chloé remixed on BPitch a few years back, and had himself remixed track from her album Endless Revisions featuring Ben Shemie’s vocals), supplies Vancouver, a slice of ambiance à la Boards of Canada, supported by a gripping breakbeat. The rhythmic arpeggio of Israeli producer's Middle Sky Bloom makes his contribution a hypnotic, disconcerting slice of dark disco. Thomass Jackson, a safe bet in the new wave of the Latin-American electronic music blowing its sometimes hot, sometimes cold wind, proposes Mithra, a dancefloor incantation to the Antiquity's bull god. With Bells, Goldmoon delivers a track that is both melodic and nostalgic, tinged with rhythmic samples, Moog basses and solar backgrounds. Longtime friend of Chloé, Krikor, who has released two albums on L.I.E.S. Records (Pacific Alley and Saudi), offers a moment of respite with Sally Hardesty (a nod to fans of horror movies), a heavenly and bewitching track that, paradoxically, hints at the highly energetic second half of the compilation. Discovered with Confidences EP released on Lumière Noire, the young French producer Morgan Blanc asserts himself here with Werde Der Du Bist ("Become who you are"), a song with luminous chords and midtempo rhythms to start the second half of the compilation by raising the tension. Galician producer, DJ and designer Cora Novoa continues the rollercoaster's ascent with her Virtual Aesthetics, which once again brings those acid tones – this time without the vertigo. Equally corrosive, but tenser and more percussive, the uncategorizable NSDOS' AL-G attempts to give order to a chaotic electronic world full of violence and danger. Rebeka Warrior (half of the duo Kompromat alongside compatriot Vitalic), takes on a more nostalgic vibe with Ich Komme Zurück, a French/German techno chant evoking a secret dream of a track from a bygone era. Three years after the release by Lumière Noire of Moderna and Theus Mago's stroboscopic Dog Is Calling You, Theus Mago makes a solo comeback with Idealistic Stone, a most acid of club tracks, rattled by the modulations of the inevitable TB 303. French electro-rock saltwarth Yan Wagner's dancefloor alter ego The Populists' Prehistoric Lemurs gives an almost Orientalizing twist to Kraftwerk's techno-pop. To close things off, the collection's last track, the appropriately-named Instant Track by impromptu encounter between Hervé Carvalho (Acid Arab), Jacques Bon (Smallville) and Demian (Kompakt) Acid Love Triangle, releases the pressure with a long, bittersweet reverie that leaves the listener, at the end of these thirteen musical adventures, to rest languorously on an artificial and welcoming shore.

Stap me! When you think you've heard it all, someone comes up with more earth shattering music, restoring your faith in humanity (well, almost). Back in the early 2000s, after locating those first Moondog 78s, and adding them to the mix at Honest Jons, assembling the compilation that became The Viking of Sixth Avenue, was a kind of musical cloud nine - a voyage of discovery, attempting to chart the worlds that Moondog had created. Now it's Spring again - as winter encroaches - and Mississippi expose us to some never before heard material. It's killer grade, recorded by yet another genius, Tony Schwartz, the pioneering Folkways field recordist, the first man to record Louis Hardin, aka Moondog, who in the 1950s also recorded a day in the life of a dog canine variety and a New York cab driver, among many others.

Behold! A survey of Moondog’s earliest recorded works - many of them unreleased until now - through a collaboration by Mississippi Records and Lucia Records. From 1954 - 1962 field recordist Tony Schwartz frequently checked in with Moondog, his favorite street musician. Tony Schwartz made recordings of Moondog’s earliest compositions as they were coming into focus. Sometimes these recordings were made right on the street as Moondog busked, sometimes they were made in Schwartz’s studio, and sometimes they were made on NYC rooftops. The resulting recordings, many of which had never been released, were deposited at the Library Of Congress as part of the Tony Schwartz Collection in 2006 when Schwartz passed away, and this record was culled straight from these original tapes.

Side one kicks off with an unreleased version of Moondog’s classic composition “Why Spend The Dark Night With You?” followed by the first ever complete recording of his “Nocturne Suite,” a beautiful piece of classical music performed with members of the Royal Philharmonic. The side ends with the complete “On The Streets Of New York” 7” EP, which was released on Mars records in 1955 and subsequently re-released by Honest Jon’s Records in 2004 on their excellent Moondog anthology. Side B features sketches of Moondog compositions never released, many with the man himself howling and chanting over his homemade percussion set.

Moondog’s music is as universal as it gets - part classical music, part Native American, part European folk, and part something completely unique. Moondog is one of the towering figures of 20th century music. This record comes with liner notes featuring never before released interviews with Moodog by Tony Schwartz and is housed in an old school “tip on” cover. All tracks fully licensed from the Library of Congress.

Wewantsounds is delighted to continue its Akiko Yano reissue program with the reissue of her superb double album recorded with YMO at a time when she was part of the group’s touring line up between 1979 and 1980. The album is pure Akiko Yano featuring her superb singing and piano playing, enhanced by touches of YMO’s synth-pop sound (check her cult version of YMO’s classic, “Tong-Poo”). It is the first time the album is released outside of Japan and the deluxe 2-LP set features the original artwork with gatefold sleeve and 4-page insert.
When "Gohan Ga Dekitayo" came out in 1980, Akiko Yano had been touring with Yellow Magic Orchestra for more than a year. She'd play keyboards alongside the three founding members, Haruomi Hosono, Ryuichi Sakamoto and Yukihiro Takahashi, plus guitarist Kenji Omura and Synth wizard programmer Hideki Matsutake (as part of the 1980 North American tour, she'd also feature in the group's cult TV appearance on Soul Train for a memorable rendition of "Tighten Up") and they are all present on "Gohan Ga Dekitayo."
The double LP, whose title could be translated by "Dinner is ready," was co-produced with Ryuichi Sakamoto and recorded at two legendary studios: Tokyo's Alfa Studio "A" and Los Angeles' Sound City. It was Akiko's first shift towards a fuller synth sound following four studio albums mixing Pop and Jazz Funk, including her landmark debut from 1976, "Japanese Girl". A shift that would continue with the release of "Tadaima" in 1981, also featuring the YMO musicians.
?The fourteen tracks featured on "Gohan Ga Dekitayo" find Akiko in top form mixing her singer-songwriter's sensitivity with the electro-pop sound of YMO. It's interesting to note though that it is very much an Akiko Yano album even if the group is present on the album (interestingly they do also play analog instruments on the album). Akiko is clearly the one in charge with a string of beautiful compositions and the rendition of one of the group's classics, "Tong Poo" which she reinvents as a slower, less metronomic-paced song adding her own lyrics.
?Other highlights on the album include "Dogs Awaiting..." an hypnotic composition featuring fascinating electro arrangements or "Coloured Water" sung in English by Akiko accompanying herself on Fender Rhodes with subtle percussion by Tatsuo Hayashi and electronics by Ryuichi Sakamoto.
There are many more great moments on this superb album which announces the further experiments of "Tadaima". "Gohan Ga Dekitayo" is an album that urgently needs to be (re)discovered by her growing international fanbase and Wewantsounds is happy to reissue it worldwide for its 40th anniversary.

Long-time friends and collaborators A.M.S & Dogworld! release their debut EP on their own imprint: Club In Theory. Four glassy cuts that orbit around cold digital deep house, big bottom end, lush pads and twisted new jack swing.

Andy Ash has been quietly sneaking out seriously good analogue-driven electronic music on some of the best underground labels for over a decade.

The Liverpool-based producer, DJ and visual artist (the artwork for this re- lease is Andy’s own oil on canvas) has graced the likes of Chicago’s Stilove4music, NYC’s On The Prowl, Sydney’s People Must Jam and has remixed Fantastic Man for Detroit label Kolour LTD amongst many others.

The bottom line is that he’s definitely one of the UK’s unsung heroes when it comes to deep, raw, Chicago and Detroit-influenced house music and we’re proud to welcome him to Delusions Of Grandeur with an amazing three tracker entitled the Bottleneck EP.

The title track opens with snappy hats, flappy congas and sloppy baseline all sitting perfectly in the mix and with a looseness that is much harder to achieve that it may seem. A simple synth melody doubles up the bassline while an extra square wave lead adds that little extra hook without distracting us from the bouncing groove. With Bottleneck, less is definitely more.

Flipping over we have Hump, an altogether darker affair with a twisting acid line joining distorted 808 drums and tripped-out snippets of spoken word coming in and out of focus. The low-slung bumpy groove and spacey synth parts make this a compelling warehouse track which will draw everyone into it’s seductive confines.

Closing the release we have Actual Price, a shuffling, deep groover with rumbling low end and machine-like analogue synth part skipping around the crunchy beats. A cerebral yet punchy and dynamic closer to an excellent release!

For the celebration of the 50th anniversary of the legendary Machine Gun recordings at the Lila Eule in Bremen, Peter Brötzmann put together a trio with the Berlin pianist, composer Alexander von Schlippenbach and the percussionist Han Bennink, who already sat on the drums 50 years ago. They were so pleased with the music ,that they decided to release it and continue to play gigs as the trio.

Machine Gun was originally recorded in May 1968 by an octet consisting of influential musicians of new jazz and improvised music . The LP was repressed on Cien Fuegos in 2018.

Mic Mills, "Global Skywatch" boss dog, friend and family man gives us "ILIO002 - Variety Boy". Mic Mills, originally established with the now infamous "Untzz 12 Inch" and "Big Doint" labels, brings us an EP that is as versatile as the title suggests. Take a plunge with us through dubs, drums, synths and acid lines. Joined by long time amigo "Furious Frank" on the A1, Variety Boy then ebbs and flows from start to finish with low end subs, catchy hi's, addictive percussion and lots of "love" to keep you dancing until the cows come home.

Don't snooze, grow wings and take flight.
Limited to 300 copies - ILIO

Deathprod, a.k.a. Helge Sten, has been deeply embedded in the Oslo music community for decades, but his brooding soundscapes and deliberate process make him seem sometimes like a phantom. Sten is a founding member of Supersilent, adding his sounds and treatments to the avant jazz leanings of that powerful collective, and he has collaborated with artists as diverse as Biosphere, and Led Zeppelin’s John Paul Jones.
But Occulting Disk is the first new Deathprod album in 15 years; his attention to detail is next level, and the darkly powerful soundscapes arch and swell like the shifting of the Earth’s tectonic plates. Raw, emotional, political and deliberate, this is ambient music with deep intention.

Fans of Arca, Oneohtrix Point Never, Tim Hecker, Steve Reich, Autechre, Swans, and GAS will all need this record – Deathprod makes some of the most powerful experimental ambient composition of our time. His last LP, Morals and Dogma, from 2004, was listed as one of Pitchfork’s top 50 ambient albums of all time. FACT calls Sten the “dark ambient master.” The New York Times said “Sten loves to summon up thick, often ominous clouds of sound, gesturing at everything from avant-garde composition to black metal without ever quite revealing his hand.”

There Existed An Addiction To Blood" ist das insgesamt vierte Album von Clipping und ihr drittes für Sub Pop. Es ist der Nachfolger des von Kritikern und Publikum gleichermaßen gefeiertes Album ,Splendor And Misery" aus dem Jahr 2016. ,There Existed An Addiction To Blood" enthält die Singles ,Nothing Is Safe", ,Blood Of The Fang" und ,La Mala Ordina" (Feat. Benny The Butcher, Elcamino, The Rita), die von Clipping produziert, von Steve Kaplan gemischt und von Dave Cooley bei Elysium Masters in Los Angeles gemastert wurden. Das Album enthält auch Gastbeiträge von Ed Balloon, La Chat, Counterfeit Madison und Pedestrian Deposit. ,There Existed An Addiction To Blood" ist Clippings Interpretation eines neuen Rap-Splitter-Genres unter Zuhilfenahme ihrer einzigartigen Lupe. Clipping wenden sich auf dem neuen Werk intensiv dem Horrorcore zu, eines bewusst absurden und kreativ bedeutsamen Subgenres, das Mitte der 90er Jahre blühte. Einige der bemerkenswertesten Pioniere hießen Brotha Lynch Hung und Gravediggaz, aber es umfasst auch bahnbrechende Werke der Geto Boys, Bone Thugs-N-Harmony und die nahezu vollständigen Veröffentlichungen des klassischen ,Memphis cassette tape rap". Der wahrscheinlich subversivste und experimentellste Rap hat sich oft als ,Alternative" zu konventionellen Sounds präsentiert, aber Clipping verzerren das Ganze respektvoll in neue Konstellationen. ,There Existed An Addiction To Blood" absorbiert die hyper-gewaltigen Horror-Symboliken der Murder Dog-Ära, stellt sie aber in einem neuen Licht dar: immer noch dunkel getönt und düster, aber in einem seltsameren und lebendigeren Farbton. Wenn der traditionelle Horrorcore mit ,Blacula", dem populären Blaxploitationsfilm-Klassiker aus den frühen 70er Jahren, verwandt war, so ist das neue Output von Clipping analog zu ,Ganja & Hess", dem blutrünstigen Kultklassiker von 1973, der als unbesungenes Wahrzeichen des schwarzen Independent-Kinos gilt, dessen Score von Sam Waymon, Clipping als Inspiration zum Titel des Albums diente und auch Samples auf dem Track ,Blood Of The Fang" lieferte.ENG The science-fiction visionary Octavia Butler once declared that "there is nothing new under the sun, but there are new suns." The aphorism could apply to any art form where the basic contours are fixed, but the appetite for innovation remains infinite. Enter Clipping, flash fiction genre masters in a hip-hop world firmly rooted in memoir. If first person confessionals historically reign, the mid-city Los Angeles trio of rapper Daveed Diggs and producers William Hutson and Jonathan Snipes have spent the last half-decade terraforming their own patch of soil, replete with conceptual labyrinths and industrial chaos. They have conjured a mutant emanation of the future, built at odd angles atop the hallowed foundation of the past. Their third album for Sub Pop, There Existed an Addiction to Blood, finds them interpreting another rap splinter sect through their singular lens. This is Clipping's transmutation of horrorcore, a purposefully absurdist sub-genre that flourished in the mid-90s. If some of its most notable pioneers included Brotha Lynch Hung and Gravediggaz, it also encompasses seminal works from the Geto Boys, Bone Thugs-N-Harmony, and the near-entirety of classic Memphis cassette tape rap. The most subversive and experimental rap has often presented itself as an "alternative" to conventional sounds, but Clipping respectfully warp them into new constellations. There Existed an Addiction to Blood absorbs the hyper-violent horror tropes of the Murder Dog era, but re-imagines them in a new light: still darkly-tinted and somber, but in a weirder and more vivid hue. The album contains interludes with hissing recordings of demonic invasions, and guest appearances from Griselda Gang's Benny the Butcher and Hypnotize Minds horror queen La Chat. Other tracks feature contributions from noise music legends The Rita and Pedestrian Deposit. It all ends with "Piano Burning," a performance of a piece written by the avant-garde composer Annea Lockwood. Yes, it is the sound of a piano burning. There Existed an Addiction to Blood fits neatly into the broader scope of the band's career, which has seen them expand from insular experimentalists into globally recognized artists. Since the release of their first album in 2013, Diggs has won a Tony and a Grammy (both for his acting/rapping work as Thomas Jefferson and Marquis de Lafayette in Hamilton), as well as co-written and starred in 2018's critically hailed Blindspotting, while Snipes and Hutson have scored numerous films and television shows. Clipping's last album, the 2016 afro-futurist dystopian space opus Splendor & Misery was recently named one of Pitchfork's Best Industrial Albums of All-Time. Commissioned for an episode of This American Life, their 2017 single "The Deep" became the inspiration for a novel of the same name, written by Rivers Solomon and published by Saga Press. But their latest masterwork embodies what the band had been building towards - a work that finds them without peer. This is experimental hip-hop built to bang in a post-apocalyptic club bursting with radiation. It's horrorcore that soaks up past blood and replants it into a different organism, undead but dangerously alive. It is a new sun, blindingly bright and built to burn your retinas.

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January 1981 found Gudrun Gut and Bettina Koster in Christopher Franke’s Berlin-Spandau Studio recording their first Malaria! EP (Zensor Records). Christine Hahn of The Static with Glenn Branca and Barbara Ess, joined in from New York, and Manon P. Duursma fresh from Nina Hagen’s O.U.T. project and Susanne Kuhnke completed the Line-Up.

Malaria! started touring intensively soon after the release of their 12”, commencing with a concert with New Order at Brussel’s Ancienne Belgique, and going on from there to concerts with Siouxsie and the Banshees, Birthday Party, The Slits, The AuPairs, Raincoats, Nina Hagen, John Cale, Einstuerzende Neubauten. They played venues as diverse as the Mudd Club, Peppermint Lounge and Studio 54 in New York, the Documenta in Kassel, the Bat Cave in London, Les Bains Douche in Paris, Milky Way and Paradiso in Amsterdam, ICA in London, the Piazza Santa Maria Novella in Florence and Markthalle in Hamburg and naturally, again and again, at the SO36 in Berlin.

While touring, Malaria! used their time off to record in Studios in New York, London, Brussels, New Orleans, and in Berlin (How Do You Like My New Dog? 7”, Weisses Wasser 12”, New York Passage 12”, Revisited MC, Emotion Album). At the BBC studios in London Maida Vale Malaria recorded an Kit Jensen and a John Peel Session.

Malaria! took a break in 1984 - Bettina and Christine re-located to New York, and Gudrun and Manon stayed in Berlin to form, with Beate Bartel, Matador, but not before they recorded their Mini-Album, Beat the Distance. 1992 Gudrun, Bettina, Christine, and Manon met up in New Orleans with Jim Thirlwell (Foetus) to record Elation 12”. Elation was followed by Cheerio, Album, which again was recorded in Berlin.

Chicks on Speed did their own version of Malaria’s song, Kaltes Klares Wasser in 2001, and the Remix went into the German Top 10.

Malaria has been an instrumental part of Berlin Music History, as recently presented at the „Zurück zum Beton“ at Düsseldorf’s Kunstakademie, Kunsthalle Wien „Punk!“, „Geniale Dilletanten“ Goethe Institut, and in B-Movie.

BIBA KOPF 2019
The theme song for that great German road movie yet to be made, Malaria!’s 1981 single “How Do You Like My New Dog?” etched the E into the motion music of their soon-come debut album Emotion with its trail-out line “Immer vorwärts, nie zurück...”. Always forward, never back: from West Berlin to London, Paris, New York and Tokyo... from here, there and everywhere to eternity, the Autobahn goes on forever, with Malaria! at the wheel, spinning new moves from timelines crossed in records and songs right on the money evoking Zarah Leander, fighting the power, staring down Death, and a whole lot more. In all, one merry hell of a ride, and on the evidence of Compiled 2.0, it’s not over yet.

MARK REEDER 2019
"Even today, their originality in everything from sound to style, has proven just how relevant Malaria! are. In my opinion, their music has stood the test of time. To me, Emotion sounds as good today as it did when it was first released and it was a pleasure to revisit it. They might not have had any zillion selling albums, and their image might have been copied, while their sound could never be. They remain exclusively unique and their influence and legacy will reach far into the future. This band is both an inspiration and a statement and they prove what five very creative girls can achieve, if given the right support to allow them to evolve, and it is exactly that, which has made Malaria! Germany’s most successful and renowned, all-girl band...“

DIEDRICH DIEDERICHSEN 1991
"...Malaria! put across so many clear, manifest, attractive, certain, muscular, and harsh symbols, just as they refused - defying the customs intrinsic to these symbols and the worlds in which they circulate - to weave all these things into a readable, reproducible and manageable, generic text..."

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Five years ago, the expression Russian electronic scene bore a tone of futurology and expectancies rather than a real state of affairs. It was possible to put together musicians of local and genre importance easily in general, but not of significance in national scale. With rise and further development of Gost Zvuk, Russian electronic music achieved power not only as cultural phenomenon within country s borders, but also fully proved to be a thing of international meaning. Starting operations in 2014, the label quickly defined its domains of authority and engagement and created full-bloody community of musicians, where everyone has a special view on his own work and unique sound. The projects presented on this compilation can be rightfully called the contemporary vanguard of Russian and global electronic music.

Each of resonant artists holds his own disparate creative field and impact. However, in this diversity the unity of creation of beauty and ingenuity is born, that distinguishes Russian independent electronica. All compiled tracks perfectly characterize the artists involved, sometimes from extremely striking sides; from HMOT s chaotic improvisations to kedr livansky s ethereal grooves, from unearthly landscapes of Gamayun to undistracted concisions by Ol or Buttechno. Both electric boffinry and club anthems merge into united vision, placed in graceful frame of Rashad Becker s mastering.

Maybe this compilation won t close the question What is the Russian Sound? , which has been arising for more than twenty years. Nevertheless, it is able to give an extensive view on the evolution of Russian electronica in the 2010s.