Cerca:the collection

Café Society opened the 69th annual Cannes Film Festival to rave reviews. Woody Allen became the first and only director to have three opening night films selected for the Cannes Film Festival.

It’s New York in the 1930s. As he has more and more trouble putting up with his bickering parents, his gangster brother and the family jewelry store, Bobby Dorfman feels like he needs a change of scenery. He decides to go and try his luck in Hollywood where his high-powered agent uncle Phil hires him as an errand boy.

In Hollywood he soon falls in love, but unfortunately the girl has a boyfriend. Bobby settles for friendship - up until the day the girl knocks at his door, telling him her boyfriend just broke up with her. All of a sudden Bobby’s life takes a new turn, and a very romantic one at that. The soundtrack features a great collection of the music from the 1930’s. The music is featured prominently in the movie and has been chosen by Woody Allen himself and features newly recorded jazz standards by Grammy Award winners Vince Giordano & The Nighthawks and classic recordings from Ben Selvin, Benny Goodman and Count Basie.

Woody Allen says about the soundtrack: “The soundtrack consists of music from the 1930s since that’s when the picture takes place. Most of the material is Rodgers and Hart who is very dominant in those year and Lorenz Heart have that bitter sweet romantic quality that defines the spirit of the movie itself.”

This is a limited edition of 500 individually numbered copies on blue coloured vinyl. A 4-page booklet with pictures from the film and credits is included.

Zero 7 have released Shadows EP via Make/BMG. The four-track release is the British duo’s first collection in more than half a decade and sees them team with renowned new singer-songwriter/multi-instrumentalist Lou Stone.

From the melancholic electronica of Shadows, the ambient sheen of Outline to the lush arrangements of After The Fall & Take My Hand, Zero 7 fuse their long-standing gift for soulful songcraft and inventive production with the London-based Stone’s standout vocal delivery.

“The Shadows EP came together after a very fertile period of writing together with Lou Stone” explain Sam Hardaker & Henry Binns. “It’s the first body of work we’ve released since EP3 back in 2015 and hopefully is the start of many more creations".

Early tracks have received a groundswell of support from the likes of Lauren Laverne & Chris Hawkins at 6 Music, Robert Elms at BBC Radio London, as well as plaudits from Clash, The Independent, American Songwriter, Flood Magazine & KCRW.

The group recently shared a stunning live video for Outline which Clash described as ‘a spell-binding union of inventive production and that beatific vocal from Lou Stone’.

It’s almost twenty years since the release of the duo’s Mercury nominated debut Simple Things, which simultaneously catapulted Sia into the spotlight back in the early 00s. Shadows EP hears Zero 7 still at the very top of their game, and with an open ear for collaborating with rising talent along the way.

Anne-Marie’s second studio album, ‘Therapy’, is the official follow-up to her multi-platinum and four million-selling 2018 debut, ‘Speak Your Mind’ the UK’s biggest-selling debut release of that year. An artist whose everywoman candour and knock-you-down vocal range has reverberated across the globe, ‘Therapy’ is a collection of songs that embody Anne-Marie’s characterful artistry, self-effacing attitude and beautiful honesty; attributes that have not only catapulted Essex-born Anne-Marie to platinum status in the UK to the USA and everywhere in-between, but ones that have seen her reign supreme a fearless Gen Z role model.



With the full tracklisting yet to be announced, Mind Charity ambassador Anne-Marie is delighted to confirm that ‘Therapy’ will feature her already-released UK Top 3 and Gold-selling ‘Don’t Play’ with KSI and Digital Farm Animals; recent feel-good Nathan Dawe and MoStack collaboration ‘Way Too Long’; as well as Niall Horan collaboration, ‘Our Song’, which the pair wrote with Phil Plested and TMS (Lewis Capaldi), with the latter also on production.



An album of candour and vivacity in equal measure, Anne-Marie wrote ‘Therapy’ with Max Martin (Ariana Grande, Taylor Swift), Kamille (Little Mix, Headie One), MNEK, Raye, TMS, Blake Slatkin (The Kid Laroi, 24kGoldn), Ed Sheeran, Nathan Dawe and Plested (Lewis Capaldi) – production comes from Mojam (Aitch, Fredo), Fred Ball (Rihanna), TMS and Blake Slatkin.



Anne-Marie has become one of the globe’s most successful pop stars since hear breakthrough in 2016. An artist with over five billion streams to her name, in her home market, she has secured 1 x platinum album alongside five Top 10 singles to date. And 2021 has seen her continue her winning streak, too – her January release ‘Don’t Play’ spent twelve weeks inside the Top 10 in the UK’s Official Singles Chart and has subsequently become the biggest song of 2021 so far by a British female artist (OCC). Not to mention her prime time debut as the new, and winning, judge on talent show, The Voice, earlier this year.



Rewind to 2020 and alongside charitable work and recording, Anne-Marie released her first-ever documentary titled ‘How To Be Anne-Marie’, exclusively with YouTube. Shot in her home county of Essex at a time when her years’ plans were turned upside down due to the pandemic, Anne-Marie took us back to where it all began. In the hour-long film, we saw her recounting her difficult school years, the close bonds she shares with her family, fans and friends, as well as the plights of stardom that she candidly spoke about with her peers, Little Mix.

After signing to the Toolroom in 2018, Friend Within is finally ready to unveil his debut album titled ‘Hope’ with four of the standout tracks being compiled for this 12 inch sampler. An established producer in his own right, having worked with countless DJs and producers over the years Friend Within has come full circle with his debut album ‘Hope’. Written during lockdown in 2020, it is a collection of his finest tunes to date, packed full of club bangers and dancefloor fillers leaving little room to disappoint.

Released back in 2020, the first single to the album ‘For You’ is a self-assured classic house track with no need for an introduction, maintaining the albums theme of absolute bangers. Despite it being one of the more chilled out moments on the album, ‘Love Goes On And On’ cements its place as a straight up house banger. Next up, A-Trak makes an appearance as the pair collaborate on 'Know Each Other', upping the ante from their previous 2019 hit ‘Blaze’. Going from strength to strength, the late night, feel good nature of the song speaks for itself and is a definite high point of the album. Finishing things off is instant dancefloor classic, 'Rola', an uplifting Disclosure esque record sprinkled with subtle hints of Friend Within magic for good measure.

Although the album leaves a sense of longing for live music again, it gives hope that better times are yet to come. Hope is destined to soundtrack and define nightlife post pandemic, known the world over as a classic debut by one of the most exciting artists of this decade.

John R. Miller is a true hyphenate artist: singer-songwriter-picker.
Every song on his thrilling debut solo album, ‘Depreciated’, is lush with
intricate wordplay and haunting imagery, as well as being backed by a band
that is on fire.
One of his biggest long-time fans is roots music favourite Tyler Childers, who
says he’s “a well-travelled wordsmith mapping out the world he’s seen, three
chords at a time.” Miller is somehow able to transport us to a shadowy honkytonk and get existential all in the same line with his tightly written compositions. Miller’s own guitar-playing is on fine display here along with vocals that
evoke the white-waters of the Potomac River rumbling below the high ridges
of his native Shenandoah Valley.
‘Depreciated’ is a collection of eleven gems that take us to John R. Miller’s
home place even while exploring the way we can’t go home again, no matter
how much we might ache for it. On the album, Miller says he was eager to combine elements of country, blues, and rock to make his own sound. He wanted
‘Depreciated’ to conjure references to recently lost heroes like Prine, Walker,
and Shaver without sounding derivative.
Miller has certainly achieved his own sound here with an album that is almost
novelistic in its journey not only to the complicated relationship Miller has with
the Shenandoah Valley but also into the mind of someone going through transitions. “I wrote most of these songs after finding myself single and without a
band for the first time in a long while,” Miller says. “I stumbled to Nashville and
started to figure things out, so a lot of these have the feel of closing a chapter.”

Hailing from Brownsville, Brooklyn Taphari got his start in the underground queer clubscenes of Bushwick. His live performances are explosive dance parties and an aggressivecall to action. Truly charismatic on stage, music is Taphari's most efficient means ofcommunication. He writes of his struggles as a young loner from the hood seeking asylum inlaughter, queer expression, hip-hop, and the internet. On 'Blind obedience' we find Taphari on a journey of self-actualization, transcending suffering through the power of self-love and authentic musical expression. this hard-hitting,confident debut centers the skilled rapper's syllable hopscotchover mutating beats. staying in a lane he's forged himself, therap alien's rage is explosive out the gate. on lead single "Table42" featuring seasoned rapper pink siifu, taphari sings of lostlove and the end of the world over drum 'N Bass beats. "Backsoon" featuring label mate Benét is a generous breath from thiskinetic collection of bangers.

'Triage' offers a rare look inside of the songwriter. This album finds Rodney Crowell introspectively looking for answers and for healing, resulting in what he has called his most personal record yet. This new collection of songs was written during the great political, environmental and economic upheaval that has marked recent years. The noise of that chaos encouraged Crowell to look inward for solace and answers. The result is this series of songs that contend with these themes, but approaches them from a place of healing, love and solution. That they are being released while we find ourselves walking through a global pandemic, is a gift of perfect timing.

Rolling through with a fresh release for Concrete Castle Dubs comes Dutch producer Kid Sundance. An esteemed beat maker and producer who’s been known for his Hip Hop & Breaks over many years behind the mixing desk, always applying that original analogue style of production to his material. After leaving the Drum & Bass scene in 1999 he always kept a weak spot for the tracks that changed his life, he never sold his collection and last year he took them from the top shelf to the ground, rediscovered the love, linked with Disorda @ Concrete Castle Dubs and decided to get back on and release a record for the label...

Reissue for John Joseph’s own all-star group 2017 debut album

At its purest, there is little that can match the visceral thrill and empowering spirit of hardcore. As front-man of New York City hardcore kings Cro-Mags, this is something John Joseph knows very well, and with Up In Arms, he and his Bloodclot compatriots deliver a furious collection that hits hard on every level. "In this band we're doing what each of us have always done: give it our all," he states plainly. "We work hard, and we have a lot to say. Look around the planet - people are fed up with the corrupt ruling class. They destroy the planet and kill millions for profit, and the formula for our response is simple: Anger + applied knowledge = results. Don't just bitch. Change it."

The results reflect the roots and passions of the individual members. Danzig/Murphy's Law guitarist Todd Youth was the first piece of the puzzle. "We've always talked about doing this record together, Todd had songs written and I had notebooks full of lyrics. In late September 2015, I went out to LA to do a triathlon and injured my calf muscle, so I couldn't race, and Todd said he could get some studio time. So, we went in and cut the demo. While there are things we may perceive as a negative in our lives, in fact the universe has a bigger plan, and that experience ultimately resulted in the record." Having been friends with Queens Of The Stone Age and Danzig powerhouse drummer Joey Castillo for three decades, the two musicians had long admired each other's work, and their collaboration has been a long time coming. Following Castillo's suggestion of bringing in Nick Oliveri (Queens Of The Stone Age/The Dwarves) to handle bass duties, the lineup was complete. The songs that comprise Up In Arms manifested after the quartet plugged in and let the music speak for them. "We didn't decide to try to play anything, these are the songs that happened when we started jamming, and I love this band because there are no egos involved. Our goal is to make the best music possible, period. I love it when those guys contribute with melodies, etc., and I've even helped with some of the arrangements. Because we all think alike, our lyrics deal with the issues of the day, and that makes for better songs."

Every track on Up In Arms lives up to the rallying cry of the album's title - the bursts of high energy hardcore act as the perfect accompaniment to Joseph setting his sights on injustice and the seemingly endless flaws of the contemporary world. The breakneck thrashing of "Slow Kill Genocide" is an anthem for everyone sickened by those responsible for "killing the planet and all its inhabitants through industry and war. They're fucking maniacs and must be stopped." The suitably titled "Manic" attacks with bared fangs, Joseph making it clear that you can only push someone so far before they will react with violence - a call to arms for the disenfranchised who want tomorrow's world to be better than today's. Tracked at NRG in Los Angeles, the raw, old-school production that leaps out from the speaker comes courtesy of producer Zeuss (Hatebreed, Revocation), and the record was mixed by Kyle McAulay at NRG. From the moment the opening title track explodes to life, it's clear that everyone involved is having a blast and playing from the heart, and that this is no frills / no bullshit music at its most passionate - every song evoking mental images of utter chaos in a heaving mosh pit.

For anyone approaching the album for the first time, Joseph has only this to say: "Turn the volume way the fuck up!" And with plans to tour everywhere, Bloodclot will be getting in a lot of faces in 2017 and beyond. "We are already writing material and the next album is in the works. But, for now, all we want is to hit the stage to support 'Up in Arms', and every single night leave every ounce of ourselves up there."

A collection of rare tracks for the very first time on vinyl. A series of 70s and early 80s musical sketches used for advertisement, tv series and movies. A who’s who of the italian golden age of soundtrack and libraries era, featuring outstanding numbers by Maestro Morricone, Alessandroni, Brugnolini and the likes.

Album Description BROS VOL 2 takes you on a technicolor journey via your ear drums. The eclectic flavours of VOL1 are taken to new heights. The musical scope is wider, and the worldly sonics more exotic. The power pop refrains sink their hooks deeper, the sly musical jokes sell out harder and the hard charging grooves really pack a wallop. BROS make music that is fun and colourful, the way it's supposed to be. Bio After boldly displaying their full musical range on the 2016 debut album Vol. 1, BROS—aka The Sheepdogs’ Ewan and Shamus Currie—return with Vol. 2, an endlessly surprising new 13-track collection that’s something akin to a party thrown by your friends with the best record collection. Recorded over a two-year span with producer/engineer Thomas D’Arcy in Toronto, BROS sought to expand their scope on Vol. 2 by inviting a host of collaborators, from a horn section and tabla drummer, to Sheepdogs guitarist Jimmy Bowskill (on a range of instruments he doesn’t normally play) and even their father Neil Currie on piano. The results contain something for everyone, from the Tropicalia-inspired “Sunflower” and the smooth jazz of “Clams Casino,” to the lowdown funk of “Never Gonna Stop” and the vintage AM radio homages “Crazy Schemes” and “You Love This Song.” With Vol. 2, the combination of visually evocative instrumentals and finely crafted Pop and Soul nuggets is now undeniably BROS’ trademark sound, one that’s utterly distinct from The Sheepdogs’ arena-ready, guitar-fuelled rock. As a pure studio creation, the album not only displays the Curries’ dynamic creative bond, but also their playful sense of humour and easy-going relationship, something that can’t often be said of fraternal musical partnerships. So as we all wait patiently to return to bars and concert halls, BROS Vol. 2 is here to provide the perfect soundtrack for whatever you happen to get up to within your bubble, just as long as the intention is to have some fun. For Fans of: The Sheepdogs, Dan Auerbach, The Doobie Brothers, The Allman Brothers Band, Eric Clapton, The Band, The Black Crowes

A little over a year ago, Nathan Williams found himself back in San Diego, writing what would eventually become Hideaway, his seventh album as Wavves, in a little shed behind his parents’ house. It was also the place where he made some of his earliest albums, before he became known for his uncanny ability to write songs that sneered at the world while evoking pathos, sympathy, and a deep understanding of how sometimes we’re our own worst enemies, and that can be okay. Williams’ return to his childhood home was not just a symbolic attempt at jumpstarting creativity. It came as a result of a series of major life changes. A decade ago, Williams released King of the Beach on the maverick indie label Fat Possum. The album was a cocky collection of pop punk gems that catapulted him into the public consciousness, eventually prompting a jump from Fat Possum into the major label system, where he released two albums before becoming disillusioned by the lack of creative agency available to him. In 2017, Williams self-released You’re Welcome on his label, Ghost Ramp. Now, Williams has returned to Fat Possum with a barbed collection of anxious anthems that grapple with the looming sense of doom and despair that comes with getting older in an increasingly chaotic world. “He’ll always skew toward the Bart Simpson character,” says Matthew Johnson, founder of Fat Possum. “But that does not mean that he doesn’t have some commentary, and once in awhile, it’s totally spot on.” Across its brief but impactful nine tracks, Hideaway is about what happens when you get old enough to take stock of the world around you and realize that no one is going to save you but yourself, and even that might be a tall order. The album features Williams’ most universal and urgent songs yet. “Honeycomb” lopes along sunnily, as Williams sings affecting lines like “I feel like I’m dying, it’s cool, it’s great, just pretend I’m okay.” His directness is shocking, and proof that Williams is the kind of songwriter who can capture pain and uncertainty with resonant brutal force. “It’s real peaks and valleys with me,” Williams says. “I can be super optimistic and I can feel really good, and then I can hit a skid and it’s like an earthquake hits my life, and everything just falls apart. Some of it is my own doing, of course.” It’s this self awareness that permeates each of Hideaway’s songs, marking them each as mature reckonings with who he is. After realizing the material he’d been working on in the hideaway was starting to take shape, Williams, along with bandmates Stephen Pope and Alex Gates workshopped the songs in a series of now-abandoned studio sessions, before linking up with musician and producer Dave Sitek of TV on the Radio to help fully realize their new songs.

Legendary psychedelic guitar music from the Islamic Republic of Mauritania finally available on vinyl!
Originally released as a double CD in 2010, Wallahi Le Zein! has persisted as a cult classic, a collection of a rarely heard and utterly unique underground music scene, raw and unfiltered.
For fans of the more raw side of Sublime Frequencies, Sahelsounds, the ripping tape-hiss psychedelia of Les Rallizes Denudes, and anyone remotely interested in GUITARS.
12” 160 gram black vinyl LP, with 2 spot color reverse-board jacket, and 8-page full sized booklet with extensive notes and photos, and a history of Mauritanian guitar playing.
‘’this is the first curated collection of unfiltered Mauritanian guitar music ever, and I'm glad it's been introduced with such thoroughness and care.’’ 8.0 Pitchfork
The LP version we now present is intended as an immersive entry into this music: gnarled and virtuosic electric guitars weave hypnotically throughout melismatic sung poetry and exclamations, pulsing hand drums, party chatter, buzzing rigged desert sound systems, and all manner of the ambient sounds of Nouakchott wedded to oversaturated cassette in all its swirling, breathing, psychedelic glory. Operating entirely outside of any local recording industry, these songs were collected from bootleg tape stalls, wedding souveniers, and networks of musicians, expertly curated, researched and produced by Matthew Lavoie.
Drawing from the deep well of Mauritanian classical music, the gamut of musical modes and the tidinitt lute repertoire are transposed to the electric guitar - often with frets removed or additional frets installed, “heavy metal” distortion pedals and phasers built into guitar bodies, blurring the lines between Haratine and Beydane musical cultures, the ancient and the futuristic. At times transcendent and transfixing, and conversely a furious and cascading intensity that commands jaw-dropping attention.

Blue Vinyl

The 10-track release, Collection Agency, is Curren$y’s first project of 2021. The album marks his 11th solo studio album, and 90th overall project. Even more impressively, the quality has remained consistent throughout his prolific career. The Louisiana rapper links up with several notable producers on the project including DJ.Fresh, Harry Fraud, Rsonist of The Heatmakerz, Trauma Tone, Purps, & Black Metaphor. We also see an appearance by longtime friend and collaborator, Larry June. At just under 24 minutes, Curren$y delivers another unforgettable round of smooth joints and cruising music.

For nearly two straight years following the release of their critically acclaimed debut, Chasing Lights, Ida Mae lived on the road, crisscrossing the US from coast to coast as they performed hundreds of dates with everyone from Willie Nelson and Alison Krauss to Marcus King and Greta Van Fleet. And while those shows were certainly formative for the electrifying British duo, it was what happened in between — the countless hours spent driving through small towns and big cities, past sprawling suburbs and forgotten ghost towns, across rolling plains and snow-capped mountains — that truly laid the groundwork for the band’s transportive new album, Click Click Domino. Written primarily in the backseat of a moving car, the record embodies all the momentum and possibility of the great American unknown, offering up a series of cinematic vignettes full of hope and disappointment, promise and regret, connection and loneliness. The songs on Click Click Domino are raw and direct, fueled by an innovative mix of vintage instruments and modern electronics, and the performances are loose and exhilarating to match, drawing on early rock and roll, classic country, British folk, and 50’s soul to forge a sound that’s equal parts Alan Lomax field recording and 21st century garage band. Turpin and Jean produced the album themselves, recording primarily on their own in their adopted hometown of Nashville during the COVID-19 pandemic, and while the collection is certainly bolstered by appearances from high profile guests like Marcus King, Greta Van Fleet’s Jake Kiszka, and Ethan Johns, the heart and soul of the record remains Ida Mae’s intoxicating chemistry, which has never felt more vibrant, ambitious, or self-assured. Now married, Turpin and Jean first met a little over a decade ago while attending university in Bath. The pair bonded immediately over their love for the sounds of bygone eras, and they quickly earned rave reviews everywhere from the BBC to the NME with their raucous first group, Kill It Kid. Starting over fresh as a duo named for Sonny Terry and Brownie McGhee’s “Ida Mae,” the first song they ever harmonized on, Turpin and Jean relocated to Nashville in 2019 and released Chasing Lights to similarly widespread critical acclaim. Rolling Stone hailed the album’s “stomping swirl of blues and guitar-heavy Americana,” while The Independent lauded its “retro lustre” and “impressive experimentation,” and NPR’s Heavy Rotation called it “tightly drawn, harmonic and hypnotic.” The music helped the earn the duo a slew of support dates with the likes of Greta Van Fleet, The Marcus King Band, Blackberry Smoke, Josh Ritter, Rodrigo y Gabriela, and The Lone Bellow, as well as performances at Bonnaroo, the Telluride Blues & Brews Festival, the Philadelphia Folk Festival, Germany’s Reeperbahn Festival, and Switzerland’s Zermatt Unplugged.

"These Exit Times" is the name of a newsletter sent by an environmental organisation advocating the extinction of the human race as a solution to save the planet. When Victor Ramirez first came across the group on the internet a couple of years ago, it brought a smile to his face. But after some pondering on the subject, he decided that "Exit Times" would be the name of his sensational third album as Ramirez Exposure.

The record started to take shape in early 2020, after a musical hiatus that had lasted a year. It had been somewhat of a dark period, and Victor felt it was time to go back to recording songs. It would be the first time he would be doing so at home. He had managed to set up a small studio that would allow him to make some proper recordings, and without having to use a computer. He'd also started a new job, as an orderly in a hospital, which gave him time to record and cash to pay the rent.

Victor was ready to take on the task of making the album with the help—albeit from a distance, this time—of Ken Stringfellow (Posies, Big Star) and Brian Young (Jesus & Mary Chain, Ivy, Fountains of Wayne), both regular accomplices of the Valencian in production and instrumentation. Working with the two of them feels very natural for him, even though they are in three different countries.

Looking back, it seemed as if he'd prepared himself for what was coming.

And so, the pandemic happened, and Victor found himself turning the ideas he had outlined on his phone into the songs for Exit Times. He was in a good place, personally and, despite the situation, he was happy to be able to contribute to society through his job at the hospital and, after coming home, to concentrate on his music and isolate himself from everything else.

Gradually, the sketches turned into luminous songs, with bright harmonies and lyrics that exude a fine irony. Victor admits that he strives to be a good pessimist every day, and the songs reveal a way of understanding life that relativises almost everything in order to stick with what's really important. This subtle sense of humour in the lyrics, like the luminosity of his music, is vintage Ramirez, and is present throughout the album, and even on the cover. The artwork is a painting by German painter Angela Dalinger, depicting Victor himself, their dog, Colombo, and some meaningful objects. The vinyl record featured is George Harrison's Brainwashed.

Exit Times is a shiny collection of songs with a universal vocation, bathed in sunshine pop with touches of new psychedelia. All simmered under the Mediterranean sun—the same sun that illuminates the entire planet.

• Hailing from Heston in West London, The Bluetones (Scott Morriss – bass, Eds Chesters – drums, Adam Devlin –
guitars, and Mark Morriss – vocals) arrived on the scene in 1995 with their debut single “Are You Blue Or Are
You Blind?”. They followed this up with “Bluetonic” and then “Slight Return”, which reached # 2 on the UK
singles chart. The debut album “Expecting To Fly” was released in February 1996, and went straight to # 1.
• This 3 LP box set contains the original 1996 album, a 12 track LP of non-album A- and B-sides, as well as the
collection of pre-fame demos “The Early Garage Years”. The box also contains the 12 x 12 booklet from the
original limited edition sleeve, as well as a note by 6Music DJ Steve Lamacq.
• The three LPs are pressed on 180 gram blue vinyl.
























[x] e1. Are You Blue Or Are You Blind? [demo]
[y] e2. Talking To Clarry [demo]
[z] e3. Carnt Be Trusted [demo]
[xa] e4. Slight Return [limited edition UK/Japan 7" single]
[xb] e5. No. 11 (Bluetonic) [from the Fierce Panda "Return To Splendour" EP]
[xc] f1. The Fountainhead [demo]
[xd] f2. Time & Again [demo]
[xe] f3. Cut Some Rug [homemade 4-track recording]
[xf] f4. Talking To Clarry [homemade 8-track recording]
[xg] f5. Are You Blue Or Are You Blind? [homemade 8-track recording]

Here is the the effortless work of a band entirely confident in their own craft - the consolidation of nearly three decades of peerless songwriting and almost telepathic musicianship amongst the band's three founder members: Norman Blake, Raymond McGinley and Gerard Love. Recorded with the band’s soundman David Henderson alongside regular drummer Francis Macdonald and keyboard player Dave McGowan in three distinctly different environments (initially at Vega in rural Provence, then at Raymond’s home in Glasgow before mixing at Clouds Hill in the industrial heart of Hamburg), it’s a record that embraces maturity and experience and hugs them close.

As ever, song-wise the Fanclub present a textbook representation of democracy in action, the record offering four each by Blake, Love and McGinley. From the almighty chime of opener I’m In Love through The First Sight’s ecstatic soul-search and the paean to unerring friendship With You, Here is a a collection of twelve songs about the only things that truly matter - life and love.


Teenage Fanclub will be touring the UK extensively throughout the Autumn, including two London shows – Islington Assembly Hall and Electric Ballroom – both of which sold out within days of going on sale. Glasgow's finest will also be making an exclusive appearance at this year's End Of The Road festival in early September.

Jackie Mittoo is one of Jamaica’s musical giants, a towering figure in the development of reggae whose skills as a keyboardist and musical arranger led to indelible changes in the evolution of Jamaican popular music, helping it to reach international prominence. An exceptionally-expressive player whose mastery of the organ was truly outstanding, Mittoo was also a gifted arranger with an intrinsic feel for what would work best, his key instruction giving shape to ska at Studio One and roots reggae at Channel One and other Kingston studios, as well as lover’s rock at Wackies in New York and with Sugar Minott and UB40 in Britain, Jackie’s own productions later incorporating far-out synthesizer experiments and vocoder techniques. Reggae as we know it would never have existed without Mittoo’s essential input, making him an under-sung icon of Jamaican song. Jackie Mittoo went on to make all kinds of other incredible music in Jamaica, the UK, USA, and Canada before dying of cancer in 1990 at the tragically young age of 42; the dramatic send-off he received at the National Arena in Kingston gives some indication of the stellar status he achieved in his lifetime and the universal respect with which he was regarded. In an exemplary career full of exceptional music, 'Showcase', originally released on Bunny Lee's own imprint Jackpot in 1977, remains one of his greatest, an enthralling collection of stunners that shows why he will always be regarded as Jamaica’s keyboard king.

Born in Naples, educated in New York and now residing in Paris, drummer Francesco Ciniglio combines spotless drumming facility with substantial compositional flair, and has the capacity to move, reflect and express through his music. An in-demand sideman, Ciniglio has collaborated with Wynton Marsalis, Shai Maestro, Aaron Parks, Dayna Stephens, Seamus Blake and Tony Tixier. Following his debut solo release (‘Wood’, with Parks and Joe Sanders), Ciniglio returns as leader for his Whirlwind debut, ‘The Locomotive Suite’, a set of compositions for sextet that combine a personal metaphor of resilience with snapshots of his formative familial influences. Barcelona-based Raynald Colom (trumpet), fellow Paris emigr e Matt Chalk (alto) and Matteo Pastorino (bass clarinet) take the frontline duties, with Frenchman Alexis Valet on vibraphone and rising star Felix Moseholm on double bass. The suite is a collection of substantial, knotty harmonies, rhythmic shifts and spacious textures. But it also experiments internally, with chordal horn textures giving bass and vibraphone more melodic freedom. The unusual scoring is inspired by the soundworlds of Pat Metheny and Ben van Gelder, bridging the gap between music for large ensemble and harmonically focused trio music. Or, as Ciniglio puts it, it’s all about “finding an ensemble that’s not too big or small.” “This album is all about movement - getting a train here, marching there,” summarises Ciniglio. But it also reflects on people and places, and on the personal growth that helps make ‘The Locomotive’ Suite a significant compositional statement.

Toronto’s PACKS make music that’s like leafing through a diary entry of a time without visible movement, a subtle beauty that appears only when paying close attention. The band’s debut is a collection of songs that marry the loose but incisive jangle of early Pavement with the barbed sweetness of Sebadoh and the wideeyed wonder of the first Shins LP. Written in two different settings, between the city limits of Toronto where Link was living in 2019, and the Ottawa suburbs where she was quarantined with her parents in the spring 2020, both remain complementary emblems of selfreflection and wry observation of the mundanity of daily life. Packaging: LP Printed Inner Sleeve

After 15 years of releasing music under the Frank Black pseudonym, Black Francis returned in 2007 with the new album ‘Bluefinger’.
Whilst recording the album, Black was "gripped by the spirit of Herman Brood“ – the fabled Dutch musician and artist. The result is a collection of 11 loud and rowdy songs inspired by Brood including the single ‘Threshold Apprehension’.
Now available on vinyl for the very first time, this reissue features the complete album pressed on 140g marbled blue vinyl.

An actor, musician, visual artist and unyielding creative spirit, Dreaming of You (1971-1976) gathers for the first time the best of Karen Black’s studio and demo recordings. Produced by Cass McCombs and meticulously restored from the original tapes, the collection’s fifteen tracks are a holistic depiction of Black’s dreamy, introspective and earnest musical identity. Cass McCombs and Karen Black became fast friends. They collaborated again on “Brighter!” from McCombs’ 2013 album Big Wheel and Others, and also wrote toward a solo album for Black. “She’d given me all of her poetry and I was trying to work them into some kind of meter that would work as songs,” McCombs says. They were able to record two of them before she died, “I Wish I Knew The Man I Thought You Were” and “Royal Jelly.” See EPK for full description

Collection Of Classic LPs 180 Gram Vinyl + Bonus CD Digipack Included Inside. Chet Baker-Bill Evans: Alone Together (LP + CD) Bonus CD contains the complete album Alone Together aka CHET The Lyrical Trumpet of Chet Baker + 6 bonus tracks, completing all conjunct recordings between Chet Baker and Bill Evans. Including updated liner notes. 76:39 minutes playing time.

Beautifully presented translucent blue heavyweight vinyl LP, cased in 4 panel printed outer and inner sleeves.
Subexotic Records presents our first project with talented producer Onepointwo. Konstantinos Giazlas (aka Onepointwo) hails from Thessaloniki, Greece, and sites influences from the late 50s electronic experimental sounds, motorik,krautrock, lush shoegaze melodies and modern electronica. Talking about hiscreative outlook, Kostas says: "I continually look to emulate a musical journey into space, time, memories and frequencies". This journey is conducted with the use of minimal electronics, abstract and distorted shortwave radio signals, dystopian soundscapes, all carefully wrung out from criss-crossing digital and analogue sources, fused with a passion for heavyeffects and percussive sounds. Fashioned from a collection of tracks hitherto believed to be lost to a cruel computer malfunction, Synchronization was salvaged from a final reboot. No editing, no tweaking, no second chance - these tracks have reached terminal velocity. Luck is on our side, as what remains reveals a series of intricate yet powerful soundscapes, with finely wrought motifs that repeat and build to create Onepointwo's trademark shimmering psychedelic impact. His previous discography includes Keene (Poeta Negra) / SANS (Lotus RecordShop Editions) and various appearances & remixes on domesticlabel compilations. 2020 brought about 2 album releases on highly regarded cult UK labels Miracle Pond and Woodford Halse, garnering a slew of positive reviews, including warm praise in Electronic Sound Magazine.

The Dwellers is the first Various Artist’s release under Satta Records. This release consists of six tracks featuring seven artists from New York, Berlin, Paris & London. The Dwellers is a deep jazz house collection of tracks with the combination of downtempo & ethnic genres.

Etruria Beat founder Luca Agnelli unveils his long-awaited debut album, ‘Source Drops’ – presenting a ten-track journey through techno and beyond.
A name at the centre of Italy’s rich house and techno scene for over a decade, Etruria Beat head-honcho Luca Agnelli continues to showcase his talent as a leading DJ, producer and label boss on the international stage. With releases via a host of globally renowned labels, plus standout remixes including Moby’s iconic ‘Porcelain’, the Tuscany native’s reputation has seen him become of the genre’s leading artists when combining energetic, entrancing productions throughout his powerful DJ sets. Yet, the core of his work has always found a perfect home on his own Etruria Beat imprint, with July now welcoming the arrival of his highly-anticipated debut album ‘Source Drops’ – an in-depth musical story presenting growth, development, self-reflection and raw emotions via a collection of ten tracks ranging from powerful peak-time anthems through to EBM influenced cuts and slower, hypnotic productions.
“This is the journey that traces my musical evolution of the last 20 years, discovering more conceptual, deeper musical territories; taking inspiration from what influenced me in my career as a DJ and from my continuous research without musical barriers. A journey always in equilibrium, at times dark and sharp, solar and fluid, that develops a different creative vision in each track trying to convey my most intimate and strongest emotions". – Luca Agnelli
Opening via the slow-blooming builds and atmospheric and waves of ‘Black Mirror’, before diving into the heady and menacing tones of ‘Mutant Circle’, the ten-track project quickly showcases a wide-reaching range of influences and nuances central to Agnelli’s development as an artist over his career. Productions such as ‘Balance’ and ‘Oxigen’ contrast with one another whilst bringing space to proceedings, guided by breaks-influenced percussion, minimal arrangements and warping leads, whilst the driving ‘Resistance’ harnesses classic techno tendencies to provide an energetic and lively, snaking journey through rich soundscapes.
Title cut ‘Source Drops’ brings that trademark Luca Agnelli energy to the heart of the project, merging scintillating melodies, acid-tinged stabs and icy hats to unveil a high-octane ride into the peak-time, whilst ‘Raw Surface’ keeps the tempo high with sweeping leads, oscillating basslines and resonant lasers. Next, ‘Omega’ spirals into an off- kilter ride through glitchy echoed vocals, crunchy percussion and rumbling low-ends, with the epic ‘Losing Control’ welcoming an infectious lead melody at its core guided by punchy kicks and slick drum licks. To close, the package veers to an eerie yet ethereal close as hazy, celestial vocal chants meet panning sirens and swooping electronics – punctuating an expansive and diverse offering from the Italian favourite and shaping up an impressive debut LP in the process.

As one half of Red Axes, Dori Sadovnik could perhaps already stake a claim as one of the most prolific men in electronic music. A natural artist, Sadovnik is the sort of musician who never stops recording, a creator ahead of a consumer, well-adapted to a frenetic lifestyle.

This particular impulse has been funneled into a project known as Kapitan, an already expansive collection of tracks clocking in anywhere between 130 and 150 beats-per-minute.

As for a home, it just so happened that DJ Tennis, friend, collaborator and founder of Life and Death, was processing similar instincts, borne out of his love and association with the nineties heyday of IDM, pioneered by labels such as Warp and Rephlex.

“I don't really know what led me there but I had a feeling that I needed to be in the mountains”, explains Sadnovik. “I'm not a nature guy, nor do I feel particularly spiritual, but I was always struck by the harmony of it all. Everything is in the mix.”

This all-encompassing, blissful philosophy is deeply felt throughout this journey, a fluid blend of analogue and digital sounds rendered as organic as the landscape that inspires the album. Interlocking rhythms evolve into unexpected chamber pieces and bubbling acid lines blossom into rave psychedelia on opening tracks such as ‘Weird Day’ and ‘Flowers’, progressing to the sound of ‘Takak’, which inspires meditations on enormous bass weight, as mantras creep in from the surrounding forest of sound.

In the album’s second-half, this sincere sense of awe expands further still. Centrepiece tracks ‘In The Valley’ inspires a true sense of wonder and transcendence, complex rhythms blending with wide-eyed reverence. ‘Smile’ is trippy and innocent while ‘Elleven’ crackles with whispering energy over whiplash breakbeats. Concluding with ‘Heart’, Sadnovik reduces the pace to a stepping, heavy rhythm, commanding a deep sense of respect for the untamed wilderness that has served as such a unique muse.

Banoffee Pies Records 17th Original Series release comes via a 4 track Solo EP from Gallegos, making a return after his debut EP "Mad As Hell" in 2018. Along with multiple appearances on compilations and other series on the label, this record is a nostalgic reflection of UK club culture. A "Sentiment Of Love" - the EP title and opening track is a tribute to a different time.

A positive selection of tracks, starting on the A1 with a Winehouse sample, immediately carves the path for what is always a collection of expert sampling from our longest standing label member. The A2 offering, "Put Me In", is a beating club anthem full of heavy distortion and all the acid lines you'd hope for in a moment at the back of a club. A feeling evoked. One Mitsy down.

The B1 "Together Flyin' High" continues this moment with an elevating vocal and ringing synths layered with Broken Beats and the heavily percussive drum patterns Gallegos' sound is so closely developed around. The last track on the release "Before Or Since", immediately teleporting you to the end of a night. Something inward, for a time and place, future or past. BPR x

Gondwana Records are delighted to announce '7" Series', our first ever 7" vinyl collection series. Featuring bespoke artwork from Gondwana Records designer Daniel Halsall, cut at Calyx in Berlin, and manufactured at Optimal, each 7" is limited to strictly 300 copies and housed in a reverse board printed sleeve with classic 'dinked' centre holes.

To launch this collectable series, we are excited to share new and previously unreleased music from Mammal Hands and two catalogue favourites from Matthew Halsall. Over the next coming months, we will share series part 3 and 4 and beyond.



Matthew Halsall & The Gondwana Orchestra ft Josephine Oniyama

Badder Weather / As I Walk 7" (GOND07003)

Manchester based composer, arranger, producer, DJ and band-leader Matthew Halsall has carved out a niche for himself as one of the UK's brightest talents. His languid, soulful, beautiful music has won international acclaim and for his first ever 7" he revisits his 2015 masterpiece, Into Forever, selecting two classic cuts, featuring the great vocalist Josephine Oniyama to create an instant, timeless, classic.

Side A Badder Weather is deep and soulful built around a groove that never quits.

Side B As I Walk is a lush, soulful affair, featuring swelling strings and deep vocals.

Manchester based composer, producer, trumpeter, DJ and founder of Gondwana Records, Matthew Halsall is one of UK's most creative talents. A gifted trumpeter with a beautiful, expressive tone, his music has explored his love of the transcendental spiritual and modal jazz of Alice Coltrane and Pharoah Sanders, as well as more contemporary dance music and electronica.


a a1 Badder Weather (feat. Josephine Oniyama) clip
b b1 As I Walk (feat. Josephine Oniyama) clip

DJ Loser returns to Veyl with ‘Urban Survival Anthems’, a collection of indestructible high-speed rave workouts, acid hooks and his trademark self-awareness. Marking new territory for both the label and the Greek producer’s genre-spanning discography, these 7 tracks will make you feel like you’re simulating a 90s rave through VR in 2046
The limited edition cassette features photography by Tomaso Lisca.
For fans of AFX, the Blade club scene, The Matrix trilogy and The End of Evangelion.

Rock ‘n’ roll is often hard to define, or even to find, in these
fractured musical times. But to paraphrase an old saying,
you know it when you hear it. And you always hear it with
The Wallflowers. For the past 30 years, the Jakob Dylanled act has stood as one of rock’s most dynamic and
purposeful bands - a unit dedicated to and continually
honing a sound that meshes timeless songwriting and
storytelling with a hard-hitting and decidedly modern
musical attack.
That signature style has been present through the
decades, baked into the grooves of smash hits like 1996’s
‘Bringing Down the Horse’ as well as more recent and
exploratory fare like 2012’s ‘Glad All Over’.
But while it’s been nine long years since we’ve heard from
the group with whom he first made his mark, The
Wallflowers are silent no more. And Dylan always knew
they’d return. “The Wallflowers is much of my life’s work,”
he says simply. That life’s work continues with ‘Exit
Wounds’, the brand-new Wallflowers studio offering. The
collection marks the first new Wallflowers material since
‘Glad All Over’.
‘Exit Wounds’ is an ode to people - individual and
collective - that have, to put it mildly, been through some
stuff. “I think everybody - no matter what side of the aisle
you’re on - wherever we’re going to next, we’re all taking a
lot of exit wounds with us,” Dylan says. “Nobody is the
same as they were four years ago. That, to me, is what
‘Exit Wounds’ signifies. And it’s not meant to be negative at
all. It just means that wherever you’re headed, even if it’s
to a better place, you leave people and things behind, and
you think about those people and those things and you
carry them with you. Those are your exit wounds. And right
now, we’re all swimming in them.”

We’ve all been fans of each other from the start, says Jimmie Dale Gilmore, “but the thing that’s always struck me about The Flatlanders is that, first and foremost, it’s a band rooted in friendship. Beyond the music, we just connect with each other in these deep and personal ways, and that’s been a lifelong treasure.” Take a listen to Treasure of Love, The Flatlanders’ first new album in more than a decade, and it’s clear that those bonds are deeper and stronger now than ever before. Completed during COVID-19 lockdowns with the help of longtime friend and collaborator Lloyd Maines, the record finds the iconic Texas trio of Joe Ely, Jimmie Dale Gilmore, and Butch Hancock in classic form, serving up a rollicking collection of twang-fueled, harmony-laden performances full of wry humor and raw heartbreak. While a few of the songs here are never-before-heard originals, the vast majority of the tracklist consists of vintage tunes the band picked up during their 50-year career, some stretching as far back as the group’s earliest performances in the honkytonks around Lubbock, TX, where you might have spotted Willie Nelson or Townes Van Zandt in the audience on any given night.

Hailing from Rotterdam, DJ Crisps returns to Time Is Now with another hot and heavy four tracker, teasing experimental genre play on the newest addition to his fast-growing discography. This exciting collection of modern garage reinventions is not to be missed.

No Dirty Money EP showcases DJ Crisps' clever production style, a mix of drama and fun; "Don't Need No Dirty Money" kicks the record off with staccato minimalist percs that have a metallic edge, effervescent vocal samples contrasting the momentous sub bass. "Dynamic Reflections" creates an icier soundscape, juxtaposed arpeggios echoing each other across a calm, deep bassline and cavernous pads - gentle, but still alive and kicking.

Lazy sax and ghostly pads open the expansive B side; "Release the Pain" then flips the energy with a Niche style bassline and cheeky garage synths. The jazz samples remain to create a real fusion sound. To end, "Sweet Melodies" pairs dirty garage with funk n soul, chopped up vocals and a classic James Brown sample making this high energy track even more vibrant - a joyous end to the EP

‘Teenage Gizzard’ is a newly unearthed collection
of some of the very first material ever recorded by
King Gizzard and The Lizard Wizard between 2010
and 2011.
It includes three early singles, two B-sides, four
tracks from the band’s first non-official EP
‘Angelsea’ and one track considered to be long lost
- until now.
‘Teenage Gizzard’ is a glimpse into the past of one
of the most prolific bands in rock history.
LP pressed on magenta and yellow vinyl with
yellow splatter in a die-cut jacket with front window,
rainbow foil inner sleeve and exclusive back cover
t by Ahmad Ok

Frost* was formed in 2004 by keyboard player and singer Jem Godfrey, Released in 2006 the band’s debut album “Milliontown” was an instant success and is regarded by many as a classic in the modern prog rock genre featuring John Mitchell on guitar, John Jowitt on bass and Andy Edwards on drums. This 2021 reissue features the remastered audio included on 2020’s “13 Winters” collection, and will be the first time the album has ever been released on vinyl. Available as a Limited CD Digipak & Gatefold 180g 2LP + CD + LP-booklet.

In 2015 we stumbled across an EP by a low-profile Romanian producer, which retrospectively was a pivotal event for the development of the label. This record was Serb's 'Transient Recs 1', released via Listen2me from Bucharest. We were deeply touched by the harsh and progressive sound of the tunes, which at the same time were so musical.
After a remix for Fehlzuendung and his LP 'A12 Proceedings' in 2018, things are coming full circle in 2021 as Șerb returns to NDR with 'Transient Recs 2', a collection of tracks produced between 2015 and 2018.

Frost* was formed in 2004 by keyboard player and singer Jem Godfrey, and ‘Experiments In Mass Appeal’ is their second album from 2008. It featured a much more stripped back sound, more concise songs and a new band member and singer in the form of Dec Burke. This 2021 reissue features the remixed & remastered audio included on 2020’s “13 Winters” collection, and will be the first time the album has ever been released on vinyl. Available as a Limited CD Digipak & Gatefold 180g 2LP + CD + LP-booklet.

A nice collection to relax in a warm and cosy musical atmosphere

3xtape pack

* Three Cassette pack shrinkwrapped together therefore no returns for opened items *

Three part journey into an imaginary Indian Sub-Continent from three artists working on the fringes of Field recordings. Stories of the Dotted Indian Whale features italian artist Giovanni Lami, Hannibal Chew III aka Gonçalo F Cardoso and Argentinean noise prankster Bardo Todol.

First part from Italian sound artist Giovanni Lami, entitled Soap Wolf Giovanni presents a collection of ghost recordings from several places in India.

Second part from Hannibal Chew III is a collection of re-assembled recordings and in situ jams made in Arambol, Jaipur, Pushkar, Varanasi, Thar Desert, Pondicherry & Auroville between 2009 - 2019. Re-assembled in 2020.

The third and final part from Bardo Todol contains abrasive tape and digital field recordings manipulation made by Pablo Pico in Nepal, Kolkata, Varanasi and NewDelhi in 2012.

A new weird collection of re-interpreted field recordings from artists connecting the dots between musique concrete, naive improvisation and field recordings processing.

Artwork by Pablo Picco

Tape Crackers: An Oral History Of Jungle Pirate Radio. Rollo Jackson is a London-based filmmaker who grew up immersed in the city's dance music culture of the mid-90's. His films, whether for the likes of Hot Chip, Man Like Me, or Warp Records bare the traits of someone whose formative years were spent clad in the brash hues of a Versace print shirt and the bright white of a fresh pair of Reeboks. Whatever his subject, the spirit of too many late nights spent doing homework to the crackling sounds of pirate radio, or of weekends spent in booming, sweaty warehouses on the outskirts of London is always threaded throughout. Rollo presents a documentary DVD entitled Tape Crackers, an oral history of Jungle music and an affectionate, touching, and, at times, incredibly funny, tale of bedroom obsessiveness. Told through Michael Finch's tape collection which he recorded while growing up in Islington, North London, it's also an untold (or more accurately unheard) history of UK underground music of the last 10 years - Jungle, Garage and Grime are all knitted into the story through the MCs and DJs who manned the decks and mics. Movers of the underground today such as Riko Dan and B Live are on some of the tapes played in the film. The D90s might be dusty but this music still sounds ultra-crisp. Warning, may contain: late days of Dream FM, middle days of Kool FM/MC Ruff and DJ Uproar on Dream FM/MC Fize and DJ Swiftly/Riko Dan on Pressure FM/Evil B on Rude FM/DJ Target and Maxwell D on Rinse FM/DJ Brockie, MC Five-O and MC Moose on Kool FM in 1993/DJ SL with Strings, Koji and Flinty Badman (Ragga Twins) + Demon Rockers.

Andrés Vargas Pinedo is a prominent composer of Amazonian popular music from Peru. He is blind and has excelled as a player of the quena and the violin. He was born in the city of Yurimaguas but he developed as an artist in Lima, for thirty years he has worked as a traveling musician on a street in the San Isidro district of Lima. Throughout his career, he has formed and joined various popular music groups. This compilation presents fifteen songs of his authorship, belonging to his first two groups: Conjunto típico Corazón de la Selva and Los Pihuichos de la selva, active between 1965 and 1974, and which helped define the sound of Amazonian popular music.

These years saw the emergence of an Amazonian popular music movement led by Vargas Pinedo as well as groups such as Los Solteritos, Flor del Oriente or Selva Alegre. These artists based their music on the rhythms of the Amazonian folklore (pandilla, sitaracuy, movido, cajada, chimayche) and were nourished by influences from the coast and the highlands of Peru, as well as by the tropical rhythms of Brazil, Colombia and Ecuador, achieving a musical synthesis that is an invitation to collective celebration and endless dance. A sound that is defined by a constant and hypnotic rhythmic base of kick and snare drums, upon which the quena and violin develop imaginative melodic lines. Sometimes there is a singing voice, sometimes the voices playfully appear as sounds that identify Amazonian popular speech or that emulate jungle animals.

The fifteen tracks gathered in 'El fabuloso sonido de Andrés Vargas Pinedo: Una colección de música popular amazónica' (1966-1974) / 'The fabulous sound of Andrés Vargas Pinedo: A collection of Amazonian popular music' (1966-1974) are a good introduction to the work of an essential creator of Peruvian music, whose sound expresses the spirit of the Amazonian people and summarizes the transition from tradition to the popular in the context of the emergence of a record industry of Amazonian music. Andrés Vargas constitutes a fundamental basis for the music of the Amazon, as his work synthesizes diverse influences, having that original root as its main motive.

This compilation is presented in vinyl format and includes a brochure with extensive information and photos. The audio has been remastered directly from the original tapes. Edition of 300 copies. Art by Jordy García (Blumoo Posters).

To celebrate 20 years of the record label Jamaican Recordings,Jah Floyd has cut a track telling the story of its beginnings and the people involved. The initial meeting of legendary Reggae producer Bunny `Striker’ Lee in Jamaica and the various artists that became part of the labels catalogue. Such greats as Tapper Zukie, Niney The Obsever, Black Solidarity producer Ossie Thomas. Artists and Producers who music helped define the labels sound. A great collection of releases for all involved alongside its other label Kingston Sounds.

What would have been the labels 20th year and Bunny Lee’s 80th birthday celebrations have sadly been curtailed by the sad passing of Mr Lee in late 2020.

But makes this 500 only 7’’ all the more poignant and comes with a dub version as its B-Side,which for the Reggae label Jamaican Recordings the dub versions was its driving force.
As the track says in its lyrics… `Hope you enjoy the ride respect… Jah Floyd’.

• With more than 60 MILLION STREAMS across his catalogue listened to by fans all around the world, ‘…TO BE CONTINUED’
is the best ‘greatest hits’ album that you’ve never heard!
• This 12-track Limited Edition Vinyl LP collection, with a brand new floorfiller, features his most popular tracks and fans’
favourites, and this is his first Physical release album to celebrate, LE FLEX has signed 500 prints for this Limited Edition.
• Although LE FLEX clearly states that “I just make Pop music”, his 6 EPs and 6 Studio albums are nothing short of serious and
brilliantly creative blends of nudisco, poolside vibes and slow-jams but retaining the essence of his familiar ‘80s
synthpop/dance-based infusions. The accompanying videos are purely tongue-in-cheek, with more than a smattering of
self-deprecation, as you will see on his dedicated YouTube channel.
• Judging by the comments from long-established fans and music lovers from South America to Australia, via the UK, through
Europe and the Far East, discovering LE FLEX for the first time, they are quick to state that his vocal inflections share more
than a passing resemblance to George Michael, an icon about whom LE FLEX modestly says, “I’m not fit to shine his shoes”.
• LE FLEX is a renowned Producer with his popularity rising, having worked with Jaki Graham, Lemar and Ben Macklin and
was commissioned to produce new Donna Summer remixes in 2020.
• Released on heavyweight 180g Clear Vinyl, if you fancy summery escapism, there aren’t many better ways than doing so
than with LE FLEX

Primal Scream frontman Bobby Gillespie, alongside solo artist and Savages vocalist Jehnny Beth, presents this stunning debut solo project collection - exploring loss, miscommunication and emotional inarticulacy that a married couple experience as they realise that their relationship is breaking down.



‘Utopian Ashes’ draws on the tradition of country soul classics, such as Gram Parsons and Emmylou Harris’s ‘Grievous Angel’ and George Jones and Tammy Wynette’s ‘We Go Together’, to deal with the heavy realities of love turning sour. It’s an album for people who have dealt with the inevitable sadness that comes with age and acknowledged the realities of life. There is no sweetening of the pill, but it does achieve what should be the goal of all good art: to make us feel less alone. And while it’s not autobiographical, it channels heartfelt truth from the songwriters’ own experiences.



In addition to Bobby Gillespie and Jehnny Beth, the album features Johnny Hostile (bass) alongside Primal Scream trio Andrew Innes (guitar), Martin Duffy (piano) and Darrin Mooney (drums).

8-Infinities represents Discos Transgénero’s first contemporary release after several reissues and archival projects. Stepping away from customary North-American guitar traditions, Ameel Brecht (core member of Razen) presents an utterly singular take on early European music with an album which evokes the inner conflicts of growing up and their connection to the concerns of fatherhood.

A classically trained musician, Brecht resorts once again to the use of resophonic guitars and mandolins as a way of finding a middle ground between the virtues of being a schooled musician and the ability to escape pre-established tendencies in pursuit of what he has referred to as ‘metaphysical freeform string music’.

Additionally, the album features a series of fascinating and subtly merged contributions by label associates Marnie Weber and Jabir, along with Bob Rutman’s distinguished steel cello and Walter Hus’ automated glockenspiel. Echoing the likes of Renaissance and Baroque music on plucked instruments, Brecht assembles here a collection of timeless compositions.

Made during summer 2020, Loraine James’ second Hyperdub album, ‘Reflection’, is a turbulent expression of inner-space, laid out in unflinching honesty, offering gentle empathy and bitter-sweet hope. ‘Reflection’ further develops a unique pop sensibility realised on last year’s ‘Nothing EP’, while tones of Drill and R&B seep through into this collection too. In contrast to the brash splashes of 2019’s ‘For You And I’ LP and the grimey anger of ‘Nothing’, ‘Reflection’ is pared-down and confident, taking the listener through how last year felt as a young black queer woman in a world that has suddenly stopped moving, the arc of the album peppered with Loraine's diaristic confessions. Starting positively with the gentle pop-trap of ‘Built To Last’ ft Xzavier Stone, into the bumpy instrumental of ‘Let's Go’, the album switches tone with ‘Simple Stuff’, followed by regular collaborator Le3 bLACK amplifying Loraine's vulnerability on the downcast drill of ‘Black Ting’, then ‘Insecure Behaviour And Fuckery’ is a techno glide which pairs Nova's confrontational plea for respect, delivered in monotone autotune, against deep Drexciyan chords. With Baths on vocals, the weightlessness of ‘On The Lake Outside’ soothes numb feelings, and Eden Samara explores the shadow world of anxious dreams on the airy R&B of ‘Running Like That’. Closing track ‘We're Building Something New’ with Manchester rapper Iceboy Violet brings the album together, confidently suggesting a new world is in reach. ‘Reflection’ is a brave step forward for a unique and creative 21st century musician.

The latest collection by Cascadian resident loscil aka Scott Morgan is a stunning meditation on light, shade, and decay, sourced from a single three-minute composition performed by a 22-piece string orchestra in Budapest.
The subsequent recording was lathe-cut on to a 7-inch, then “scratched and abused to add texture and color,” from which the entirety of Clara was sampled, shape-shifted, and sculpted. Despite their limited palette, the compositions summon a sense of the infinite, swelling and swimming through luminous depths. Certain tracks percolate over narcoleptic metronomes while others slowdive in shimmering shadowplay, sounding at times like some noir music of the spheres.
Although Morgan's compositional premise for Clara was quite defined, the resultant work is wonderfully opaque and spatial, equal parts lush and lurking, traced in fine-grained gradients and radiant silences. The album's title comes from the Latin for ‘bright': a fitting muse for this masterpiece of celestial electric currents and interstitial ether, where “shadows are amplified and bright spots dimmed.”

I attended a trade fair in Rio de Janeiro, Brazil. In this show, we met producers, label and festival managers. It is a privileged moment when it is possible to learn about new trends, new musical forms, emerging groups. The timing of the meal is undoubtedly the most important. We take the time to introduce ourselves and discover each other. When my turn arrived, I took out my little map to locate the town of Sète on the map of France. There, an American promoter exclaimed "Yeah! You live in this beautiful city. Where there is this incredible music. ” I admit that at the time I didn’t quite understand what he meant but flattered by his remark I told him yes. Later, I realized that he was talking about gypsy music that made the whole world dream.



When my friend shared this anecdote to me, it resonated deeply with me. Indeed, for us, people of the south of France, this was nothing exceptional. Indeed, every day you could meet in the street a gypsy musician performing a rumba, another declaiming a fandango or another who liked to paraphrase the maestro Django. It is part of our daily environment, but it is indeed a peculiarity of this region. The territory of the Mediterranean arc, from Arles to Perpignan, is indeed the cradle of gypsy music in France. In addition, we must underline the major influence of the Gypsy artists of Catalonia in the development of these different artistic forms. Through weddings and family reunions, the repertoires have shifted to be reinterpreted according to the identities specific to each and the territories of residence.



With this new collection, we wanted to show, to hear all the musical richness of Gypsy and Manouche artists populating the territory. From appropriation to recreation, they never stop bringing this music to life, re-enchanting it and offering it a resolutely modern reading, open to the world. In this first opus, devoted to the guitar, we will take the routes of latin music, flamenco or jazz alongside renowned artists and young talents. With "The sound of guitars", it is a first door open to the gypsy music of the Mediterranean Arc, that we will discover gradually through the "Mediteranean Gypsies roads" collection.

This is the very first original soundtrack of our new Japanese Anime Collection!

MEGALOBOX is the tribute animation to the legendary Ashita no Joe, produced by TMS Entertainment and broadcasted worldwide since 2018 with a dazzling success.

MEGALOBOX Original Soundtrack is produced by mabanua (Manabu Yamaguchi) and features several renowned artists such as DJ TAKU, KOMA-CHI or Michael Kaneko. It was acclaimed by the critics for its unforgettable rhythm and melodies, inspired by a broad variety of genres such as hip hop, black music and rap.

This soundtrack is now entirely remastered for the sumptuous vinyl format!

The Megalobox Vinyl Edition features:

- The illustrated gatefold with Joe and Yuri

- 2xLP black color, housed in two illustrated sleeves

- A 12-page booklet with comments from the composer and the team (Yo Moriyama, Keiichirô Miyoshi) and the English translated lyrics from the songs

Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

Morgan was one of the most active artists in the Los Angeles underground jazz scene, and a member of the late great Horace Tapscott‘s artist collective Union of God’s Musicians and Artists Ascension (UGMAA). He performed alongside Tapscott, and other Nimbus recording artists like Jesse Sharps, who he introduced to Tapscott. He also performed with Arthur Blythe, Gary Bartz, Azar Lawrence, as well as soul icons Willie Hutch (notably on the Foxy Brown soundtrack) and Rufus & Chaka Khan. Most recently he contributed to Carlos Niño’s 2016 album Flutes, Echoes, It’s All Happening!, and was a part of Niño and vocalist Dwight Trible’s soul-jazz group Build An Ark (which also featured Tribe’s Phil Ranelin).

Journey Into Nigritia was Morgan’s debut as a leader, and the first of three recordings he released for Nimbus West. The album has a strong post-Coltrane spiritual feel, with some modal-based melodies, and some fiery solos from saxophonist Dadisi Komolafe. The record also features a solid rhythm section featuring bassist Jeff Littleton and drummer Fritz Wise.

Review by T J Gorton

At the dawn of the Reagan years, LA jazz pianist Nate Morgan recorded his first album for Nimbus West. Journey Into Nigritia portrays an artist marked by the icons of his day, and striving for reinvention. Although he came from a solid jazz background, coming up through the Pan Afrikan People's Arkestra, Morgan found more exciting work with pop bands in the seventies, including glory years with Rufus w/Chaka Khan. On Journey into Nigritia, Morgan re-embraces jazz. Included in the band are Jeff Littleton on bass, Fritz Wise on drums, and Dadisi Komolafe on alto sax.

The collection opens with the Trane-ish Mrafu. Komolafe blasts off in short order, and while the modal chording recalls Tyner, Morgan shows flashes of the nimble loquacious gift that define him. While Alice Coltrane incense perfumes "Morning Prayer, Morgan's devotional sincerity and personnel expression triumph.

Suitably complex with yearning minors, Mother features the trio performing a memorable composition. Littleton's deep-note sustain contrasts Wise's shimmering cymbals, while Morgan tells heart-wrenching truth. With a somewhat solemn theme, He Left Us a Song regularly bursts through into straight-ahead fast break sprints up and down the court. The unexpected "Study in C.T. offers an homage to Cecil Taylor and Morgan's musical roots with free improvisations on a dense and spiky theme. The exhilarating result has Morgan exploring his own way, with a winking slinging of jagged bass chords halfway through.

While a quarter century's experience has nurtured Morgan's prodigious gifts beyond this ambitious debut, Journey Into Nigritia offers enjoyable insights into his artistic evolution, while adding another precious title to the discography of one of the most woefully under-recorded greats of our time.

It’s with a heart brimming with pride that Bordello A Parigi welcome Italoconnection back to the family with their latest album: Midnight Confessions Vol.1. The team of Fred Ventura, a legend of Italo Disco, and Paolo Gozzetti, a stalwart of Italian electronics, arrive with eight tracks that shimmer with sun-kissed synths and love-filled lyrics. A strew of like-minded musicians have been called upon to bring their own unique ideas and styles to this album. Sweden’s Tobias Bernstrup offers his vocals in the environmentally minded “Rainbow Warrior,” while the unique and unmistakable voice of French pop icon Etienne Daho sings in the charged “Virus X”. Modern day electro-disco maestros feature with Carino Cat collaborating in the warming rays of “The Year of the Sun.” Newcomers to the scene are also represented, Francesca Diprima’s voice accompanying Fred Ventura’s in the lovelorn lament of “Since You Went Away”. And at the heart of the album are Ventura and Gozzetti; a record that explores classic themes while introducing a wider commentary, a collection of bold brilliance and synthesizer subtilty.

Limited coloured marbled vinyl edition of this album
Remember 1961 - This compilation , compiled with love, is a musical chronicle with a lot of nostalgia and
pathos. The international super hits of 1961 not only trigger memories and emotions, but also reflect the
unique spirit of the times of this calendar year.
In addition to the chart positions of the individual songs, the record also reviews the great events of the
year 1961 and this makes it an exceptional gift for all those who celebrating their 60th birthday in 2021, but
also a fascinating contemporary document and addition to any collection.

Tin Pan Alley is the name given to a collection of New York City music publishers and songwriters who dominated the popular music of the United States in the late 19th century and early 20th century. It originally referred to a specific place: West 28th Street between Fifth and Sixth Avenues in the Flower District of Manhattan. Haruomi Hosono (Apryl Fool, Happy End, YMO), Masataka Matsutoya (music producer, arranger, keyboard player and composer married to popstar Yumi Arai), Shigeru Suzuki (also guitarist in Happy End) and drummer Tatsuo Hayashi (later on in fusion prog-bands such as Aragon and Parachute) took the name for granted. Their 1975 self-titled debut is stil one of the most sophisticated venture in the so called city pop scene.

Repress! Seventh album by Minneapolis hip hop heroes Atmosphere. Producer Ant and lyricist / rapper Slug have been making music together as Atmosphere for over 20 years and have managed to continually tweak and strive to perfect their formula, while neither straying too far off their path, nor resorting to playing it safe and that holds true on the new set. Fishing Blues is a collection of songs that both define and redefine the Atmosphere sound and features 18 new tracks written and produced by Atmosphere with appearances from DOOM, Aesop Rock, Kool Keith, The Grouch, deM atlaS, and more.

Nina Simone: The Montreux Years is released as part of a brand new Montreux Jazz Festival and BMG collection series “The Montreux Years”. The collections will uncover legendary performances by the world’s most iconic artists alongside rare and never-before-released recordings from the festival’s rich 55-year history, remastered in superlative audio. Each collection will be accompanied by exclusive liner notes and previously unseen photography.

Nina Simone’s story from the late sixties to the nineties can be told through her legendary performances in Montreux. Taking to the Montreux stage for the first time on 16 June 1968 for the festival’s second edition, Simone built a lasting relationship with Montreux Jazz Festival and its Creator and Founder Claude Nobs, which uniqueness, trust and electricity can be clearly felt on the recordings. Simone’s multi-faceted and radical story is laid bare on ‘Nina Simone: The Montreux Years’. From Nina’s glorious and emotional 1968 performance to her fiery and unpredictable concert in 1976, one of the festival’s most remarkable performances ever witnessed, the collection includes recordings from all of her five legendary Montreux concerts – 1968, 1976, 1981, 1987 and 1990.

Featuring rare and previously unreleased material from Claude Nobs’ private collection, Nina Simone devotees worldwide will be thrilled by the inclusion of the powerful I Wish I Knew How It Would Feel To Be Free, poignant and fearless Four Women and Simone’s hauntingly beautiful performance of Ne Me Quitte Pas. A spine-tingling version of Janis Ian’s searing and potent Stars, which Simone covered for the very first time during her 1976 Montreux performance, sits alongside her bold and electrifying re-imagine of Bob Marley’s ballad No Women No Cry in 1990. The collection closes with the encore of Nina Simone’s final Montreux Jazz Festival concert and one of Simone’s most-loved and best-known recordings, the exuberant My Baby Just Cares For Me, showcasing the deep and multidimensional facets of Simone’s life and music.

Since the release of the first volume in 2019, we knew we couldn't stop there. In 2021 we are even more excited to present the 'Drum'n Voice Remixed 2' album by the legend Billy Cobham in collaboration with Italian producers and composers Nicolosi / Novecento. As a taster to the album we are very happy to be releasing an EP containing remixes of ‘Interactive’ from the legend Louie Vega.

Acclaimed as jazz-rock fusion's greatest drummer, Billy Cobham has dedicated his whole life to musical exploration and creative expression. Born in Panama, he has been surrounded by music. His father was a pianist, his mother was a singer and Billy started playing drums at four years old. Throughout his career he has collaborated with artists like Miles Davis, Horace Silver, Airto Moreira, George Benson and appeared on over 300 recordings, including icons like Peter Gabriel, Quincy Jones, Jack Bruce, Bob Weir, and James Brown, and to date, has produced and released more than forty albums as a leader. The first album ‘Spectrum’ is a masterpiece and still considered a reference album today.

Billy and Nicolosi composed so many songs of the highest quality and class that we immediately wanted to get to work preparing a second volume of remixes. We are really happy to present the Louie Vega remixes of ‘Interactive’ in the run up to ‘Drum’N Voice Remixed 2’ collection that's set for a release later in the year.

‘Little’ Louie Vega does not need any introduction. One half of the Masters At Work (that are back now after a long time with their new single), he is one of the most important House Music duo of the last 30 years, even receiving a nomination in the last Grammy Awards. With the collaboration of Josh Milan (aka Honeycomb and former one half of Blaze) at the keyboards, these incredible remixes of 'Interactive' make track shine thanks to a powerful blend of funky cosmic disco and a perfect killer groove that makes us dance on Brian Auger's magnificent Hammond improvisation.

Parisian label Chuwanaga proudly presents Latitude, Saint-James label co-founder new studio project. Keeping it close to the deep jazz-funk ethos of the label, Latitude brings to the light two luminous songs of joy and hope for a better day, highly danceable yet rich and complex grooves with a human feel to feed your soul and make you move. Their new EP Leo / Attitude presents these first effort with a Dub Remix by Mato: plenty of diverse tastes for every music enthusiasts. Available as Vinyl 12" and Digital.

Latitude is french. Not a random collection of chansons sung in french. Latitude is so french in its sheer elegance, in its simple yet so sophisticated seemingly effortless attempt to groove in a pop context, trying to create moments of grace in the process. Latitude is here with the right vibe as the chorus of "Attitude" says it in french: "It’s the bad attitude, always the good latitude". Latitude is sprung out of the wicked musicianship of Parisian jazz-funk and fusion mavericks and Saint-James tight and adventurous compositions and production. All that jazz combined with David Cukier (Greita) retro-futurist engineering skills in these intense sessions captured in his cutting edge vintage Delta studio.

On A Side, "Leo (Extended Mix)" is an uptempo disco track for the dancers but also a beautiful song for the summer. A seductive number with a pregnant classic French jazz-funk feeling with the help of Parisian singer Club Celest’s energy and beautiful voice. It comes on digital as a short edit for radio but as a serious extended 12inch mix on the vinyl with 8 minutes and 10 seconds of pure pleasure, ending in a real climax after an irresistible percussion break.

On B1, "Attitude" enchanting quality shines with a banging rhythm section and goes for the win as an anthem chorus while sweeping synths keep on growing till the very last drop. On B2, Reggae/Dub don Mato (Stix Records) delivers a sweet dub wise riddim for the Lovers Rock massive.

A sonic clash of Tropical, On-U and Eastern proportions, t-woc drops 6 tracks of dope sound system bashment for Strangelove. Informed by Mick's musical wanderlust and prolific digging, Pentangle deftly blends a mélange of influences where Caribbean steel drum, Anatolian melodies and the sounds of the Maghreb all float through the mix.

Like his work for Macadam Mambo/ Emotional Response- its a sound hard to pin down and all woven into a heady brew percolating somewhere in the dance-floor twilight zone. With early works created pre-lockdown at an artist residency in The Dock in County Leitrim, the heads down groove of 'Crazy Bronco' & 'Goddy' don't sound out of place with an early 90's Uk bass culture. Elsewhere the deeper cuts rub against a little sunshine as the late night swing of Midnight Magic riffs off Junior Delgado's roots classic.

With killer artwork c/o Marius Houschyar Strangelove is super stoked to release this collection of outernational rhythms from the Irish vinyl wallah, mix engineer and producer

Vital Sales Points:
Follow up to the labels previous exotic waves of Scribble & Sjunne Ferger,

Etta James: The Montreux Years is released as part of a brand new Montreux Jazz Festival and BMG collection series “The Montreux Years”. The collections will uncover legendary performances by the world’s most iconic artists alongside rare and never-before-released recordings from the festival’s rich 55-year history, remastered in superlative audio. Each collection will be accompanied by exclusive liner notes and previously unseen photography.

‘Etta James: The Montreux Years’ is a treasure trove of timeless classics, powerful and electrifying performances and raw, soaring vocals by one of the greatest ever female vocalists. The collection, featuring recordings from James’ Montreux Jazz Festival concerts in 1977, 1978, 1989 1990 and 1993, encapsulates and reflects Etta’s dynamic artistry and long-lasting impact. Spanning performances from across three decades, ‘Etta James: The Montreux Years’ offers deeply personal and intimate snapshots into James’ acclaimed musical journey, highlights and her phenomenal career.

From one of Etta James’ earliest successes, the infectious and endlessly elegant Something’s Got A Hold On Me, a medley that consist of At Last, Trust In Me and Sunday Kind of Love, which is a fusion of highlights from the early 60s, to the raw and emotional I’d Rather Go Blind and soulful horn-driven Tell Mama. The collection closes with Baby What You Want Me To Do, James’ homage to Jimmy Reed and the encore of her 1979 concert.

In 1975, Montreux Jazz Festival captured a significant moment of musical history – Etta James’ very first concert in Europe, performing at the festival’s 9th edition. The CD edition of ‘Etta James: The Montreux Years’ will include this special landmark concert, held at Montreux Casino on 11 July 1975.

• The tracks from the group’s two 1984 EPs together on a swanky 10-inch vinyl LP. Inner bag features liner notes by Kris Needs incorporating new interviews with all three Delmonas and a series of great photos by Eugene Doyen.

• Sarah Crouch, Hilary Wilkins and Louise Baker started singing together as a unique spark of spontaneous magic inextricably linked to their boyfriends in the Milkshakes, then rocking a garage-punk antidote to shiny synth-pop and brash chart stars with a direct lifeline back to rock’n’roll’s original simplicity and wildness. After Billy Childish and Bruce Brand formed the Pop Rivets in 1978, the guys hooked up with Micky Hampshire and Russell Wilkins to found the Milkshakes. Sarah shared a student house with boyfriend Micky plus Billy. After she and Hilary, then dating Russell, sang backing vocals on the Milkshakes’ rollicking Beatles-translated take on the Shirelles’ ‘Boys’, Louise’s arrival turned them into a girl group pretty much by accident.

• “I loved the music the Milkshakes were playing,” Louise recalls. “Loved the small, intimate venues and most of the bands that played with them, especially the Prisoners. I’d gone with the Milkshakes to Belgium and was somehow persuaded to get up on stage and sing something. Next thing I knew, there was some kind of plan to get the three of us in the studio.” At first the three girls were called the Milk-boilers, renaming themselves the Delmonas by the time Ace Records’ Roger Armstrong and Ted Carroll suggested recording the EPs that furnish this collection. “I think we were asked to each think of three songs and turn up,” says Louise. “I mostly listened to music from the 60s: lots of girl groups, Irma Thomas, Dusty Springfield, Bo Diddley, Velvet Underground, Kinks. Bruce had the best record collection; Mel Tormé was in there somewhere and one of my faves. Sarah came up with doing the Doors cover.”

• ‘Comin’ Home Baby’ was written as an instrumental before Bob Dorough added lyrics and Mel Tormé recorded it in 1962. The Delmonas’ finger-clicking, noir-dynamic version kicked off their first EP with authentic-sounding 60s production resonance, iced with mysterioso organ. The Cookies scored a hit with Goffin & King’s ‘Chains’ in 1962, the Beatles’ version providing the Hamburg Star-Club template for the Delmonas’ energised rendition. The first EP, “The Delmonas Volume 1”, rounded off with two songs from the Childish-Hampshire songwriting partnership: ‘Woa’ Now’ and ‘He Tells Me He Loves Me’, the latter recalling the New York Dolls covering the Shangri-Las’ ‘Give Him A Great Big Kiss’, mainly because it has similar chords.

• “The Delmonas Volume 2” opened with Sarah’s idea of covering the Doors’ hit. “We thought, ‘How would the Kinks have played it?’” she affirms. ‘Hello, I Love You’ had got the Doors into hot water with the Kinks’ publishers for its resemblance to ‘All Day And All Of The Night’. The Delmonas home in and highlight that similarity, adding bonkers psychedelic drop and evocative new coda. Their surf-tinged version of the Milkshakes’ ‘I’m The One For You’ is followed by the swampy screaming of ‘Peter Gunn Locomotion’, a cover of a 1963 single by Freddie Starr in his pre-stand-up comedian days as singer with the Midnighters. The set closed with the sultry organ-led vamp of the Milkshakes’ ‘I Want You’, the nearest the Delmonas get to the slowies Sarah helpfully points out they referred to as “shag songs”.

• All these tracks would re-appear on their “Dangerous Charms” album, along with out-takes and recordings from a BBC session, before the original trio splintered, leaving Sarah and Hilary to return for further adventures as Ludella Black and Ida Red. The eight tracks here capture a moment when three fun-loving friends got to live out some musical fantasies and had a blast doing it. 37 years later, it sounds just as contagious.

Tape

It might be easy to assume that the distinctly focused compositional voice unveiled on Rose Bolton's The Lost Clock is the product of its creator's rigorous, almost hermetic dedication to her own particular aesthetic universe. A quick survey of Bolton's artistic career, however, reveals that her carefully sculpted approach to abstract electronica has been forged through a longstanding engagement with a wide range of intertwining creative activities.

This album—coming out on Important Records' cassette imprint, Cassauna—demonstrates both the Toronto-based composer's unique mastery of colour and her gift for breathing a tactile, organic quality into synthetic landscapes. Bolton's distinctive sensibility is akin to that of a painter—every hue has been carefully mixed so as to imbue its accompanying gesture with its own life and personality. This tangible dimensionality her electronic work assumes, however, can be traced back to the work Bolton has been doing since the 1990's. She has produced a large and varied catalogue of work that includes pieces for solo performers, chamber ensembles, orchestra, electronics, voice, and to accompany installations and films. A number of her works reside in several of these zones simultaneously, such as Song of Extinction, an ambitious collaboration between herself, filmmaker Marc de Guerre, poet Don McKay, and multiple live ensembles, that was mounted in an abandoned power station for Toronto's Luminato Festival.

This quasi-instrumental vitality isn't the only feature of The Lost Clock that reflects Bolton's diverse artistic practice. It can also be heard within the structural realm. Each of the collection's four tracks trace a patient unfolding and favour a certain roundness of timbre, even as finer details begin to fidget along the perimeter of the music. As with her writing for the concert hall, Bolton doesn't shy away from the evocative here, yet she doesn't pursue this poignancy through conventional, direct or quasi-narrative means. Her compositions lead the listener gradually through their impressionistic sonic scenery, but neither the path they take nor their ultimate destination are at all predictable. The ostensible gentleness each piece exudes dissolves as dissonances slowly insinuate themselves, obscure textures writhe just out of earshot, percussive lattice work materializes, or as the overall blend begins to exert a heavier weight. Her lucid-dream vision of form functions in tandem with her acute micro-level attentiveness to engender a vivid and elusive soundworld that resists classification.

Over more than two decades Rose Bolton has been garnering acclaim and enthusiasm from audiences and major collaborators alike. Last year, her brooding string quartet The Coming Of Sobs was nominated for Classical Composition of the Year at the JUNO Awards, following earlier accolades such as SOCAN Awards for Young Composers, and the Canadian Music Centre's Norman Burgess Fund. Her music has been commissioned by the likes of the CBC, stalwart experimental music festival the Sound Symposium, as well as key interpreters and ensembles such as percussionist David Schotzko, accordionist Joseph Petric the Esprit Orchestra, Continuum, Arraymusic, the Kitchener-Waterloo Symphony, and guitar quartet Instruments of Happiness (led by Tim Brady). Together with Marc de Guerre, she produced an 8-speaker sound and video installation for Toronto's Nuit Blanche Festival. She's also been featured by the likes of revered pianist Eve Egoyan, The Vancouver Symphony, L'ensemble contemporain de Montréal, The Music Gallery, and AKOUSMA, while appearing in concert alongside the likes of Jerusalem in My Heart (Constellation Records), Tanya Tagaq, and Francis Dhomont. Bolton is also a respected film composer, notably contributing music to the highly regarded documentary Anthropocene: The Human Epoch (co-directed by Jennifer Baichwal, Nicholas de Pencier and Edward Burtynsky).

As a performer, she variously employs electronics, violin, and viola. Parallel to her engagement with exploratory approaches, she's invested in the fiddle traditions of the British Isles, and various Canadian regions. She teaches this repertoire at the Royal Conservatory of Music. Bolton has also performed with Rhys Chatham, Owen Pallett, opened for Charlemagne Palestine, and appears on recordings by the likes of Chatham and Aidan Baker. In 1999 she joined the Canadian Electronic Ensemble, whose fifty-years together make them the world's longest-running live-electronic music group. In February 2020, the CEE held a residency and provided guest lectures at Carnegie Mellon University's music department. Bolton has also led workshops at the Banff Centre, also founded the SOCAN/ Moog Audio-sponsored program EQ: Women in Electronic Music, which worked to foster community and mentorship among (trans/cis) women and non-binary individuals.

Beautiful orange & yellow sunburst vinyl - Solstice '21 sees twelve bright lights of independent electronic music mark the coming Summer Solstice. In such dark days, the age-old practice of celebrating the move from shadow to light, feels steeped in a renewed symbolic power. Solstice '21 marks this significant moment with a rich array of musical offerings. Reflective, lively, and always powerful, this collection is spun with modern twists of an ancient thread. Rotator - This is the first outing under this moniker from Justin Owen, also known under the alias Licit, as well as being a protagonist in the world of modular synthesis as the man behind the Abstract Data modules; Letters from Mouse - "Bubbling analogue synthesis from Scotland." This analogue synth maestro and inimitable broadcaster (aka The Magic Window), boasts a string of quality releases, including the recent highly acclaimed album An gàrradh, also on Subexotic; Cub/cub - "Cub/cub explores the world in-between nostalgia and nihilism, analogue and digital, real and false; creating evocative and mournful musical collages." First discovered on Boards of Canada forum Twoism, Cub/cub's two debut releases with Subexotic demonstrated his considerable talent to mix fascinating texture with beguiling melody. With an astonishing follow-up album coming soon, his rising star feels unstoppable; Orbury Common - "aural ephemera from the home of the orbs." This mysterious duo from the West of England are blessed with delightful musical cunning; their brilliant debut on Subexotic lifted the lid, and this offering reaffirms exciting times lie ahead; Onepointwo - "Minimal electronics, abstract radio signals and dystopian soundscapes are proceeded from both digital and analogue sources." A creator of intricate yet powerful collage, with finely wrought motifs that repeat and build to create a shimmering psychedelic impact. This is Onepointwo's glorious trademark. Spell-binding releases already exist on Woodford Halse, Poeta Negra, Lotus, as well as an imminent powerhouse album forthcoming on Subexotic; Giants of Discovery - "Experimental electronica with the occasional noisy guitar thrown in." Giants of Discovery's ability to get to grips with the musicality of his subject, has lead to previous exquisite sojourns into realms such as Victorian cosmic horror and Greek mythology, as well as an equally fantastical, towering follow up album on Woodford Halse; Wonderful Beasts - "A Wonderful collaboration between boycalledcrow and Xqui." Their playful interaction finds ways of crafting acoustic fragments into unexpected kaleidoscopes of sound. With beguiling debuts on cult label Wormhole World (soon to be followed up by an extraordinary new album on Subexotic), there is a kind of breathless magic about everything they do; Dogs versus Shadows - Electronic Sound Magazine says "A rare example of gamekeeper turned poacher...a welter of impressive electronica." Lee Pylon's ability to straddle a wealth of uncompromisingly inventive creations, and his broadcasting prowess as the much loved Kites & Pylons, is already the stuff of legend. A multitude of releases across many labels including Subexotic, Woodford Halse, Miracle Pond, Third Kind, Submarine Broadcasting, Sensory Leakage, provide a glittering treasure trove of work; Counter Silence - A stalwart of Subexotic, Counter Silence's sparkling and wistful musical work very much stands alone in temperament and style. 2020's Pathways EP on Subexotic remains a precious oasis, imbued with a haunting solitude that lives on in the memory; Transient Visitor - "All music unlocked by Alex Cargill (C.O.I. Central Office of Information) and Martin Jensen (The Home Current)." These two intercontinental maestros (well Sidcup & Luxembourg) boast impressive solo back catalogues across many labels (including Castles in Space, Polytechnic Youth, Woodford Halse). Their newly conceived collaborative Transient Visitor project, brought about the superb TV1 album in 2020 - we can see the sparks fly again in this welcome 2021 return; Simon Klee - "Natural, Electric, Organic Psychedelic - Sounds, noise and psychedelic beats." Klee's playful alchemy engages the mind and spirit, as witnessed in a flurry of top quality releases in recent times (e.g. Subexotic, ANR, Woodford Halse), and there is a visceral joy in his work that is perfectly placed for a midsummer celebration. Klee also produces a truly excellent mixcast and increasingly essential tape label, both under the guise of Anticipating Nowhere; Rupert Lally - "Hailing originally from England but now based in Switzerland, Guitarist, Percussionist and Electronic Musician Rupert Lally began his career as a Sound Designer and Composer for Theatre and TV, before launching his solo career in 2005. Since then his releases have blurred the boundaries between electronic and acoustic music." Lally's consistently brilliant work is always a highlight of the electronic music calendar, including recent stellar works across many labels such as Spun Out Of Control, Third Kind, Woodford Halse, and Modern Aviation.

On 22nd June, 1971, Joni Mitchell released Blue, concluding her prolific four album run for Reprise Records with an album considered by many to be one of the greatest of all time. Its stirring, confessional songs have been celebrated by music lovers and critics alike for decades while inspiring a wide variety of artists as diverse as Prince and Taylor Swift. Even today, its stature as a masterpiece continues to grow. Just last year, the album was named #3 on Rolling Stone’s list of the “500 Greatest Albums of All Time.”

To celebrate the album’s 50th anniversary, Rhino is releasing THE REPRISE ALBUMS (1968-1971), the next installment of the Joni Mitchell Archives series, featuring newly remastered versions of Blue (1971) and the three albums that came before it: Song To A Seagull (1968), Clouds (1969), and Ladies Of The Canyon (1970). In the case of Song To A Seagull, the original mix has been recently updated by Mitchell and mixer Matt Lee. “The original mix was atrocious,” says Mitchell. “It sounded like it was recorded under a jello bowl, so I fixed it!”

THE REPRISE ALBUMS (1968-1971) will be available on 25th June in a 4-LP 180-gram vinyl boxset (Limited Edition Of 10,000).

The cover art for THE REPRISE ALBUMS (1968-1971) features a previously unseen self-portrait Mitchell sketched during the time period. The collection also includes an essay by Grammy winning singer-songwriter Brandi Carlile, another artist who’s been influenced greatly by Mitchell. She writes: “In my opinion Blue is the greatest album ever made. Blue didn’t make me a better songwriter. Blue made me a better woman… No matter what we are dealing with in these times we can rejoice and know that of all the ages we could have lived through, we lived in the time of Joni Mitchell.”

Cinema – which features tracks in English and Spanish – draws inspiration from the classic films and directors that María and Josh grew up watching, including Pedro Almodóvar and Wes Anderson. The title also pays homage to how the band first began creating music in the first place.

The Marías have fast proven among the most visionary and entrancing new bands in recent memory. Born in Puerto Rico and raised in Atlanta, María Zardoya moved to Los Angeles in 2016 where she met drummer Josh Conway after a performance at the famed Kibitz Room Bar at Canter’s Deli. The two began writing together, crafting a remarkable collection of mesmerizing original songs fusing kaleidoscopic soul, gentle jazz, and imagistic, bilingual lyricism.

Last year saw The Marías unleash a series of new songs affirming their continued creative evolution. “Hold It Together” and “Jupiter” were released in the top half of 2020, accompanied by official music videos. The former received praise from The FADER, which wrote, “The pop-leaning and low-key love song features guitar and key lines that interlock hand in hand. Right in the pocket is the cotton candy-textured voice of vocalist María that coolly asks you to slow down with her. ”Meanwhile, “Jupiter” was hailed as “a soothing dream from retro outer-space,” by Melted.

In October of last year, the group released two new songs written and recorded during lockdown – “Care For You” and “bop it up!” – both joined by official videos co-directed by María with longtime visual collaborator Bethany Vargas. “Care For You” received acclaim from V Magazine, which praised it as “a slow, jazzy jam, both sensual and soothing,” while Órale enthused, “‘bop it up!’ is unlike any project The Marías have put out before... Although their signature tenderness is still recognizable, listeners will discover a newfound sense of invigoration. ”International art and fashion magazine Teeth added: “Both tracks are quarantine jams to dance and cry to, the kind of music we need during this endlessly trying time... The Marías have this incredible ability to transport you.”

Scissor Tail presents the first vinyl issue of Marc Barreca’s
1986 album The Sleeper Wakes, originally only released on
cassette by the Seattle electronic ambient label Intrepid.
Marc Barreca has been creating and performing electronic
music since the mid-1970s. His 1980 album, Twilight,
reissued on vinyl in 2016, was one of the earliest releases
on Palace Of Lights. Recent releases include Shadow
Aesthetics (2018) and three collaborations with K. Leimer.
Previous reissues include work on the acclaimed VOD box
set American Cassette Culture, the Cherry Red compilation
of seminal U.S. electronic music and the 1983 cassette
Music Works For Industry. His work is also included in the
collection of The British Library.”
The Sleeper Wakes has been out of print for many years
and Scissor Tail is very happy to remaster and reissue this
great work that was ahead of it’s time, employing analog
treatments of sampled sounds arranged in a very interesting
and intuitive way.

Marillion’s 2001 Studio Album ‘Anoraknophobia’ Now Available On Kscope
“A collection full of grace and tenacity, thoughtful and thought provoking and
not without moments of real clarity and beauty” - Classic Rock Magazine
Marillion formed in 1979 and have sold over 15 million albums worldwide.
Rightly regarded as legends of progressive rock, the band have also continued
to evolve and have been keen to embrace the possibilities of the internet, using
innovative ways to interact with listeners resulting in an incredibly loyal legion
of fans around the world.
‘Anoraknophobia’ is claimed by Marillion to have been the first crowdfunded
album in the music industry, completely financed by the fans, allowing the
band to record free from any record company pressures. The album is one of
their most absorbing records to date and finds the band departing their neoprogressive rock past in favour of elements of rap, groove, trip hop, blues, jazz
and dub elements to create a more contemporary sound.
Now issued on Kscope, this is a chance to revisit a band in truly inspired form
with a record far ahead of its time.

JP Harris has a secret: his name is actually “Squash.” Long before Harris
became a well regarded honky-tonker, he used his childhood nickname
while playing archaic “old-time” American tunes at underground fiddlers’
gatherings, engrossed in this punkish folk music world.
‘Don’t You Marry No Railroad Man’, his debut recording of traditional music
under the moniker JP Harris’ Dreadful Wind and Rain, features ten tracks spanning the breadth of American old-time repertoire. Harris wades between ancient ballads that traveled from the British Isles to Appalachia like “Barbry Ellen,” to droning banjo ditties such as Hobart Smith’s entrancing “Last Chance,”
here played on one of Harris’ coveted homemade banjos. Harris also works as a
serious carpenter which adds a unique authenticity to his versions of the classic
“House Carpenter” and lesser known “The Little Carpenter.”
Alongside Harris’ haunting vocals, the album prominently features the lowtuned fiddle and harmony singing of his longtime friend and Old Crow Medicine Show member Chance McCoy, who produced the record at his West Virginia studio in an old barn. On this sparse and arresting recording, Harris isn’t
mining his roots as a marketing pitch, he has the chops to back it up. In fact,
this collection of songs made him who he is today. Welcome home “Squash.”

Heading into the spring of 2020, T. Hardy Morris
had 12 demos that he thought would make-up his
next album. Then everything changed. The world
took a break and so his plans to record did as well.
As we all watched and waited out the storms; viral
and societal, we seemed to wake up scrolling
through a whole new century, a time Morris began
to refer to as ‘The Digital Age of Rome’.
He scrapped the demos and began a collection of
songs in quarantine where the unprecedented
times and topics were unavoidable. He wanted to
document the era sonically and lyrically in some
way. “I wanted it to sound like how the world felt to
me in the second half of 2020. Uncomfortable and
chaotic, dystopian but still beautiful.”
‘The Digital Age of Rome’ was recorded in a
deserted downtown Athens, Ga. With long-time
collaborator / producer Adam Landry.

She is the Moon soothed by the ancient lullaby of the Supernal Mother. An array of brightly coloured pebbles lie at her feet, a diadem of daffodils and dream-bits on her head, and a collection of reasonably priced records on her lap. She turns her gaze towards you, eyes filled with the howl of countless centuries and offers you an LP from her pile.

“Here, shove this on. It’s the new Purplehands. It’s class like.”

The record in question is ‘Intimate Fades’, an emotive meander through zones of bleepy ambient techno by way of electro, passing by sonic monuments to the likes of Golding and Rutter as it floats from A to B. In some distant, alternate universe the tracks on this LP soundtrack some 8-bit hero’s journey, a quest compelled by a sombre determination and Purplehands’ stylized sonic ruminations.

It is but the first star in an unfolding cosmos, mapped out to us by the High Priestess in her infinite wisdom.

When Fleetwood Mac released their first live album in December 1980, it captured the legendary band’s most iconic lineup on stage demonstrating the full scope of their collective, creative powers. Recorded mostly during the world tour for Tusk, Fleetwood Mac Live delivered a double-album’s worth of exhilarating performances that included massive hits like “Dreams” and “Go Your Own Way,” “Rhiannon,” and “Don’t Stop.”

Back in April, Rhino gave the band’s live debut a much-deserved encore with a new 3-CD/2-LP collection that features a remastered version of the original release plus more than an hour of unreleased live music recorded between 1977 and 1982. Following this, Rhino will make the newly remastered live album available as a double vinyl on 25th June 2021.


a a1. Monday Morning [3:55]
[b] a2. Say You Love Me [4:18]
[c] a3. Dreams [4:18]
[d] a4. Oh Well [3:44]
[e] a5. Over & Over [4:54]
[f] a6. Sara [7:23]
[g] a7. Not That Funny [9:04]
[h] a8. Never Going Back Again [4:13]
[i] a9. Landslide [4:55]
[j] b1. Fireflies [4:25]
[k] b2. Over My Head [3:37]
[l] b3. Rhiannon [7:43]
[m] b4. Don’t Let Me Down Again [3:57]
[n] b5. One More Night [3:43]
[o] b6. Go Your Own Way [5:44]
[p] b7. Don’t Stop [4:05]
[q] b8. I’m So Afraid [8:28]
[2:25]

On their new studio album, The Murlocs share a
collection of songs reflecting on the people who
leave a profound imprint on our lives, the saviours
and hellraisers and assorted other mystifying
characters.
The Murlocs (whose line-up includes two members
of King Gizzard & The Lizard Wizard) recorded at
Button Pushers Studio in Melbourne, Australia,
dreaming up a prismatic sound that pinballs from
sunshine-pop to blues-punk to wide-eyed
psychedelia.
What emerges from these 11 infectious tracks is
their most personal and boldly confident work yet.
LP pressed on ‘Blue Eyed Runner’ Edition white
with baby blue splatter vinyl.

The first of Sonny’s albums for Impulse!, this 1965 collection caught Rollins at the peak of his creative powers, and is arguably the tenor hero’s best for the label–an intense, freewheeling set, featuring classic takes on ‘On Green Dolphin Street’ and ‘Three Little Words’ in the company of Ray Bryant (piano), Walter Booker (bass) and Mickey Roker (drums). Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

In the beginning, there was just a box of tapes and “Fate’s Gentle Hand.”

It was the autumn of 2010, and an anonymous figure known only as the Head Technician, an employee of Pye Corner Audio Transcription Services (“Magnetically aligning ferrous particles since 1970”), found himself at an auction in the village of Coldred, pop. 110. He was on the hunt for tobacco pipes when he chanced across a trio of boxes listed in the auction catalog, which described their contents only as “archived magnetic recordings.” The sole bidder, he won the lot, and upon receipt of his purchase took possession of an unspecified number of mouldering cassettes and ¼" reel-to-reel tapes. The collection contained no identifying information save for a single phrase scrawled on each box: “Black Mill Sessions.” And so, armed with razors, eyedroppers, and a bevy of solid-state circuitry, the Head Technician sat down at his machines and got to work.

Whether anyone believed it or not, this was the framing device surrounding Pye Corner Audio’s Black Mill Tapes Volume I: Avant Shards, which took the mysterious tactics of artists like Boards of Canada and Burial and raised them exponentially. Much like the narrator of a 19th century novel, the anonymous Head Technician purported merely to be the messenger of secondhand sounds. These were not compositions, we were told; they were tape transfers—“transcriptions” of an unknown author, slathered

Soul Jazz Records’ new Studio One collection ‘Fire Over Babylon: Dread, Peace and Conscious Sounds at Studio One’ features a stellar selection of 70s roots music – classic and rare tracks recorded at
Clement Dodd’s musical empire at 13 Brentford Road in the 1970s.
Rastafarian-inspired Roots music was an ever-important aspect of Studio One’s output from the start of the 1970s onwards and this album features many of the ground-breaking groups and artists that
established the sound of Jamaica during this decade and beyond.
Featured here are seminal artists such as Freddie McGregor, The Wailing Souls, The Gladiators, Horace Andy, Devon Russell, Cedric Brooks, Count Ossie, Judah Eskender Tafari alongside a host of lesserknown rare cuts made at Studio One from artists such as The Prospectors, Viceroys and Pablove Black. Studio One and founder Clement Dodd’s connection with Rastafarianism dates back to the early 1960s, with Dodd accompanying members of the Skatalites up to the hills of Kingston to listen to the music of the Rastafarian Count Ossie and his drummers. The album sleevenotes discuss how Clement Dodd’s musical links, as well as his role in heading the most important record label in Reggae, are in many ways linked to the beliefs of Rastafarianism. This album is released as a heavyweight black vinyl double-album with gatefold sleeve, full notes and
download code, deluxe CD with full booklet and slipcase and digital album.

Soul Jazz Records' new Studio One release Rocksteady Got Soul is a collection of uplifting and superb rocksteady and soulful reggae from the late 1960s and early 1970s. Studio One is the number one label in the history of reggae and he album features - as ever with Studio One - an impeccable and unbeatable line-up of reggae superstars, all soaring at the height of their creative powers. Alton Ellis, John Holt, The Heptones, Jackie Mittoo, The Ethiopians, Lee Perry and more. The album is a mix of classic tunes and rhythms alongside super-rarities that were released in a dazzlingly complex web of Studio One labels and issues, deftly navigated with new sleevenotes from author and Studio One authority Rob Chapman. But enough with the chatter, just spin the platter - these tunes rule the town, hands down! This Soul Jazz/Studio One album is released as deluxe gatefold double-vinyl + house inners + download code. Also as jewel case CD housed in card slipcase. Both formats come with full sleeve notes/discography and exclusive photography.

Soul Jazz Records new 'Two Synths, A Guitar (and) A Drum Machine' is a new collection of current D-I-Y post-punk bands shaped by the mutant sounds of no wave, punk funk and New York Noise bands from the late 70s and early 80s that collided with the world of underground dance music found at the Paradise Garage, Mudd Club in New York City (ESG, Arthur Russell, Bush Tetras, Talking Heads, Suicide, Liquid Liquid). Other influences cited here include Manchester and Sheffield's industrial post-punk sounds of the 1980s (Joy Division, Cabaret Voltaire, Gang of Four) as well as the 1970s German electronic experimentalism of Cluster, Neu!, Harmonia and Can. Featured artists from around the globe include Los Angeles D-I-Y band Automatic, New Fries from Toronto, artist/music collaborators Toresch from Germany, Susumu Makai from Japan/UK, VexRuffin from the Philippines/California and Madmadmad, Gramme, Tom of England and other UK groups. That all the bands featured here manage to make distinctive contemporary music out of these 80s roots is testament to the wide range of other musics that are seamlessly absorbed into a modern melting pot of sound - hip-hop, the electronic European avant-garde, rave culture, and more.

Orange Vinyl

Soul Jazz Records new ‘Cold Wave’ is a new collection of current electronic artists who have all been shaped by the early European cold wave artists of the late 70s and early 80s. This is the first release of Soul Jazz Records’ new Cold Wave overview and a second volume will be released just four weeks later. These first artists created new electronic musical landscapes as well as pursuing a stubborn D-I-Y aesthetic, often releasing material on cassette and pioneering use of lo-fi technology, primitive drum machines and home-recording
techniques. As part of this continued evolution today many of the artists featured here also self-release their own material, run labels, publish fanzines, or are part of wider musical collectives. Aside from the first electronic, no wave, and post-punk artists cited as influences – Suicide, Patrick Cowley, The Normal, Martin Hannett, Laurie Anderson, Public Image – this new generation of artists also show an exquisitely open source of electronic and disparate influences, everything from Underground Resistance to Purcell, from Scientist to New Beat and more besides. Most of the featured artists are based in Europe and include Krikor, Dissemblance and VQOA from France, De
Ambassade from the Netherlands, Moisture from Sweden, Kreidler from Germany, Celine Gillian and Carcass Identity from Belgium. One exception is FIT Siegel out of Detroit, connecting the electronic pathways of Europe to the Motor City.