Buscar:the earl

• Sony Music Masterworks and Milan Records announce the vinyl release of “My Hero Academia: World Heroes' Mission” with music by composer and arranger YUKI HAYASHI. The film adaptions are based on the original Comic Series “My Hero Academia”, which sold over 50 million copies worldwide.

• Based on Kōhei Horikoshi’s most successful manga series, ‘My Hero Academia: World Heroes’ Mission’ is an action-adventure film directed by Kenji Nagasaki. When a sinister organization threatens to wipe out all superhuman powers, the fate of the world is on the line. But before they can succeed in putting their evil plans into action, the Pro-heroes around the world assemble to come up with a counter plan to stop the worst from happening.

• The soundtrack of the critically acclaimed, hugely popular film adaptation is now being released as a stunning double coloured vinyl with a double gatefold.


• My Hero Academia: World Heroes’ Mission is the third movie, following the success of My Hero Academia: Two Heroes and My Hero Academia: Heroes Rising (75M streams to date), and marking a major shift in the series' story - putting Deku in a precarious position of being painted as a villain.


• Besides the movie adaptations, the comic was adapted into an anime series. The 5th season of the series is currently on air. You can watch it on Funimation and Crunchyroll in the UK and you can find “My Hero Academia Season 1” on Netflix.
About the composer Yuki Hayashi:
• Yuki Hayashi was born in Kyoto, Japan in 1980. Being an active member in a men's rhythmic gymnastics team in his early years spawned his interest in BGM while selecting songs to complement performances. This led him to begin teaching himself music composition while at university, despite not having a background in music itself. After graduating, Yuki acquired the basics of track making under house techno DJ and sound-maker Hideo Kobayashi and started producing his first range of music accompaniments for dance sports. His experience as a rhythmic gymnast has enabled Yuki to intuitively incorporate an eclectic range of music and produce a unique sound, empowering scenes from TV drama, animation and film.

THE NOW LEGENDARY 1985 UK TV SPECIAL CELEBRATING THE 30TH
ANNIVERSARY OF THEWORLD-RENOWNED TRACK IS BACK ON VINYL.
Written in October 1955 & released in January 1956, ‘Blue Suede Shoes’
was an instant classic earning a place in the history books when it
became the first million-seller to crossover from the Country chart to the
Pop & R&B listings
Swiftly covered by Elvis Presley & later The Beatles, the song remains a
Rock’n’Roll anthem. Fitting then that Carl Perkins, the man who wrote & first
performed ‘Blue Suede Shoes’, should be accorded a television special to
celebrate its 30th anniversary. On 21st October 1985 at London’s Limehouse
Studios a superstar cast of friends & fans joined Carl Perkins to record a TV
special celebrating his career & the classic songs that he had recorded during it.
Perkins was joined on stage by George Harrison & Eric Clapton along with other
stars including Dave Edmunds, Slim Jim Phantom & Lee (Stray Cats) Rocker plus
Earl Slick & singer Rosanne Cash, daughter of the legendary Johnny Cash.
George Harrison struck up a lasting friendship with Perkins & much of the
continued interest in the programme lies in the prominent role played by Harrison.
The former Beatle takes lead vocal on several tracks as well as playing guitar &
having a great time. The Beatles connection is even stronger in that Harrison is
joined by former colleague Ringo Starr with the show representing their first
reunion gig since the mid-1970’s.
This album captures the concert & the All- Star band performing Perkins’ finest
songs including ‘Blue Suede Shoes’, ‘That’s Alright Mama’ & ‘Whole Lotta Shakin’
Going On’. CARL PERKINS & FRIENDS FEATURING GEORGE HARRISON, ERIC
CLAPTON & MORE AVAILABLE VIA MADFISH.

Debut full-length collaboration from Jack Burton and Rory Glacken (Tourist Kid)
Follows Jack Burton's solo LP on Analogue Attic and Tourist Kid's solo LP on Melody As Truth
Early support from Ben Fester, Best Effort/DJ Earl Grey, Biscuit (Good Morning Tapes), Brian Not Brian, Ewan Jansen, Kato, Merve, Sleep D & Wax'o Paradiso
Dentistry is the dual energies of Rory Glacken and Jack Burton, Boorloo originals now living in Naarm. The pair have previously released an EP, "Ribbons," on their own Deep Water label, and a track on its local showcase comp "Greenhouse Vol. I" at the end of 2021. This transmission is their debut full length offering, channeled through hometown beacon Good Company Records.

"LP1" was created in unusual conditions between September and December of 2020, when the duo's shared Northcote studio became a site of remote collaboration. One person would start working on a track and leave the session open for the other, with no overlap of physical space shared. Responding to an invitation from GCR to make a record, the initial impulse was to write dance music. But what dance floor were these incorporeal partners writing for?

The album takes a spectral approach to the dance space, wrapping up air in a strata of textural tech, pulsing dub house and fractal illbience. Drawing on dub production techniques, "LP1" combines the structure of an ambient record with intricate percussive elements. Results are both atmospheric and material, abstract and palpable: a synthesis which expresses sonic relations of surface and depth, with the correlating mirage of light and shadow.

At times tinkering methodically and others in mercurial lurch, there is an immediacy to this album that stems from the way it was produced, using a mixing desk and outboard gear to rich and living effect. When we listen, we commune with the artists in the heat of working out of an otherworldly space, and feel every tweak and and turn. "LP1" is a current which carries the substance of process in communicable form. Intuitive and moving, breathing, dancing.

A voice in the ether. A calm, clement drone. A gentle, pulsing throb. Like the ghost of a forgotten future as imagined by the distant past, Certain Creatures' sophomore LP Nasadiya Sukta is a study in timelessness - crystalline, heartfelt ambient music designed to push light through shadow. Nasadiya Sukta is the debut release on Mysteries of the Deep, a record label dedicated to total sensory immersion. Mysteries (as it's known colloquially and affectionately) launched in 2011 after a particularly fruitful late-night mixing session, first as a cult podcast series dedicated to narcotic music of all kinds, subsequently expanding into a series of seasonal events. Now, with the release of Nasadiya Sukta, Mysteries of the Deep becomes a full-fledged outlet for music to play in the dark. Certain Creatures is the alias of Brooklyn-based artist Oliver Chapoy, and Nasadiya Sukta was crafted especially for Mysteries of the Deep. Its genesis came when Grant Aaron, Mysteries' proprietor, tapped Chapoy to perform at Mysteries' Halloween event in 2015. His performance was the night's axis point, bridging earlier subdued sounds with late-night upbeat moods. Two years later, reworked and reconfigured, this performance is reborn as Nasadiya Sukta. Although divided into six tracks, Nasadiya coheres into a single extra-terrestrial mass, its beautiful understated elegance encouraging repeat listens. Simultaneously harking back to ambient classics from the '90s (you know who they are) while cementing Chapoy as a visionary artist with his own unique voice, Nasadiya Sukta is one for the space travellers indeed. Releases on Styles Upon Styles, Medical Records Label Promo + Tour

OZRIC TENTACLES' ED WYNNE ANNOUNCES NEW ALBUM WITH GRE
VANDERLOO FROM 'GRACEROOMS'.Since 1983, the Ozric Tentacles have
woven psychedelic audio-tapestries that capture the almost dangerous
musical diversity of the free festival scene, blending acid rock with dub,
reggae, ethnic world music & electronic, jazzy experimentation
Ed Wynne, founding member & leader of the outfit, now presents a new project. A
long- term admirer & friend of Gre Vanderloo, better known from his project
'Gracerooms', the two have now teamed up to record 'Tumbling Through The
Floativerse'.
"I've always enjoyed the synth orientated musical worlds he creates with his
project 'Gracerooms'" says Ed of his new collaborator. "Shortly before lockdown
2020, whilst making the early stages of the recent Ozrics album 'Space for the
Earth', we decided to try & make some tunes together. Gre came over from
Holland where he lives, to the Blue Bubble Studio here in Fife & we started
recording pretty much straight away. We ended up with about six definite starting
points, which then developed & unfolded into a harmonic realm we referred to as
'The Floativerse'… A place where you might escape gravity for a moment".
Featuring guest appearances from 'Gracerooms' bassist, Paul Klaessen & longterm Ozrics synth player Silas Neptune, the entire album was recorded at Ozrics
headquarters; Blue Bubble Studios, engineered & produced by Ed Wynne &
mastered by Adam Goodlet. Mind- bending artwork comes courtesy of Valerie
Fangman.

Surfacing from ethereal and dreamier planes, UK shoegaze and
dreampop act GRAYWAVE are one of the latest additions to the Church
Road Records roster
Following on from their 2021 debut EP proper, Planetary Shift, GRAYWAVE is set
to release their second extended play, Rebirth, on June 24.Formed in Birmingham,
UK in 2019 as a solo venture and creative outlet for Jess Webberley, GRAYWAVE
has already amassed a steady stream of singles and qualitative short form
releases - drip feeding fans a highly ambitious and modern take on dreampop and
shoegaze’s storied sonic spectrum. Returning in 2022, Rebirth is the most
revealing and entrancing look into GRAYWAVE’s evolution as an artist. Trading in
some of the lo- fi tendencies of her earlier output, Rebirth sees Webberley
embrace darker soundscapes and sonic weight across the release’s five
tracks.GRAYWAVE’s latest effort is a confident seizing of identity and assured
meeting point for the project’s initial potential and newfound blossoming. Opener,
Build, and Rebirth’s title track rattle with rhythmic unease and confrontation, as
Webberley’s voice drifts between somnolent hypnosis and arresting command.
Elsewhere, Closer and Exoplanet effortlessly tie together 90s influence in the vein
of Cocteau Twins and Drop Nineteens with a modern touch similar to US
contemporaries Citizen.Following their recent union with Church Road Records,
2022 will see GRAYWAVE continue to shine across the UK live circuit. Having
already sold out hometown shows, as well as getting through to the latter stages
of the Isle of Wight Festival’s ongoing musical showcase that offers a spot on the
festival’s New Blood stage, and performing with UK hardcore upstarts Cruelty.
Living up to its name, Rebirth is already proving to be a fruitful time of growth for
Webberley and GRAYWAVE’s creative self- actualisation - offering fans new and
old the most conceptually realised iteration of the project’s limitless avenues of
artistic promise yet.

Three albums in the novelty has worn off, but Dengue Fever has smartly
chosen to keep evolving - Venus on Earth is at once the band's most
accessible and most varied release
A recap: when first heard from in 2003 on their self- titled debut, Dengue Fever
was like no other band, fronted by a Cambodian-born woman, Chhom Nimol, who
paid homage to that Asian nation's pre-Pol Pot cheesy psychedelic-cum-loungesurf-garage pop sound of the '60s/early '70s. For Venus on Earth, the mainstream
beckons, or comes as close to beckoning as it's ever going to for a band as nonmainstream as Dengue Fever. Nimol's vocals are as beguiling as ever, Ethan
Holtzman's Farfisa organ still swirls, Zac Holtzman's guitars still chime and chunk,
and Paul Dreux Smith's drums clang happily along. With horns provided by David
Ralicke and bass from Senon Gaius Williams, Dengue Fever has softened some
of the rougher edges, injected some serious soul, and added more swing to their
thing. "Oceans of Venus" could be an outtake from the first B-52's album, "Clipped
Wings" a lost Blondie tune, and "Woman in the Shoes" is just one of the most
cuddly pop songs in ages. The groovelicious Nimol- Zac Holtzman duet "Tiger
Phone Card," a tale of a long distance Phnom Penh- NYC romance, is the pop
smash Yoko Ono might have had in an alternate universe. Drenched in reverb,
soaked in sweat, marinated in some phantom historical moment yet tethered to
the now, Dengue Fever is more innovative and resourceful than 99-percent of the
bands that receive 99 times the publicity.

Hypnagogia remains one of the most mysterious and haunting daily states of mind. Moments of revelation are wont to traditionally hit us particularly in the hinterland between dream and waking, It’s this particular headspace that’s very much the world of ‘Pö om pö’, the second Rocket Recordings released full-length record from Sweden’s equally mysterious OCH. Pö om pö (meaning ‘little by little’) is a journey further into inner space from ‘II’, the previous Rocket outing (which followed a 2014 cassette only release) What’s mapped out here is a trajectory on the kosmische continuum that touches on the terrain of late-‘70s Sky records style ambience, the more overgrown quarters of Swedish experimental prog and the sun-baked lo-fi DIY cassette culture of the US early ‘00s.Dwelling in a smoke-clouded glow that’s equal parts sunset gold and effects pedal red, OCH have here transcended all influences to creating a tapestry of potent psychotropic sound. A record in which new horizons open up beyond the small hours, and where primeval wah-wah-abetted skronk and mantric folk tinged repetition can collude to reveal new third-eye perceptions. Little By Little, Pö om pö , these forty minutes are here to bridge the chasms between conscious and subconscious, and in style.

On the outskirts of late 1970s Olympia, Washington, something stirs, sings, and breathes. Cheri Knight, a music composition student at the Evergreen State College, is developing her practice in a quaint but adequately equipped campus recording studio, amalgamating with the sonic timbre of the surrounding time, space, and place, while devoting to her own inner maxims. At once performative and meditative, electronic and organic, collaborative and self-contained, Cheri’s early compositions are simultaneously complete and sketches of a ceremonial process at play. American Rituals captures the artist’s environmental emergence, unearthing a unique compositional voice and signposting a regional sonic ethos.

The path to Evergreen seems gently preordained for Cheri, a whisper in the trees. Growing up in a musical household in Western Massachusetts, she learned to play piano and clarinet, demurring from notated music but composing piano pieces in the minimalist mode of Erik Satie and folk songs inspired by Joni Mitchell. In high school, her class studied John Cage’s work, an epiphanic moment
for the young artist. The group also visited a studio outside Amherst where she encountered the modular limitlessness of a Moog synthesizer. Cheri studied philosophy and music at Whitman College in Washington, and then took a year to build a stone house with some friends in New Hampshire. She settled at Evergreen soon after, carrying with her a zeal for improvisation, creative investigation,
and hands-on experimentation.

Starting life in the early 1970's, US legends Pentagram is one of the most
enduring underground bands in heavy metal history - Influenced by
British bands 'The Groundhogs' & 'Black Sabbath', their own take on Doom
Metal has subsequently influenced everyone from 'Paradise Lost' to
'Cathedral' - Though the band line-up has changed many times over the
years, enigmatic vocalist Bobby Liebling remains at the helm, with
Pentagram now widely-regarded as a true cult band with a fanbase
transcending whole generations
'Relentless' was the band's debut album & was originally self-released in 1985 as
'Pentagram' - later to be renamed & released by Peaceville in 1993, after a long
search for a suitable record label. With its numerous timeless heavy metal
anthems & the distinguishable voice of Bobby Liebling eerily ringing out,
'Relentless' remains the most iconic release of the band's studio output & a staple
of the entire heavy doom genre.

DJ Swagger Minor Major Grand Schemes Nearing that halfway mark into 2022, you'd think Bielefeld's most illustrious producer DJ Swagger would have begun losing steam. Following a successful string of releases throughout the New 20's - consistently solid slabs on Thirty Year Records, ec2a, Timeisnow, plus killer collaborations with LUZ1E as DJ DOOM - the young musician pulls out his second full-length on his own GODDESS MUSIC imprint in the form of a slick, multi-genre double-pack: Minor Major Grand Schemes. MMGS is as much a refinement as it is an expansion of Swagger's stylistic bag of tricks, maneuvering through modern styles of club music, pop sensibilities and sleek production techniques that ticks off boxes for both DJs and casual listeners alike. You got your cheeky intros/interludes and your trap-pop miniatures; dusky UKG street devotionals and bonkers dubstep tools; sexy vocal features, clickity-clack percussion, and biiiig low-end. This is what DJ Swagger says about his new LP: This album is the most DJ Swagger sound yet. It wraps up all my influences from techno over hiphop to breakbeat and IDM. I had such a great time working on this and watching the process. I'm beyond grateful for the features and beautiful people that consistently helped me shape this piece of music. As said this is my very own project on my own label. Probably the largest project I ever started and drove to finish. Minor Major Grand Schemes stands for the balance between objective and subjective reality. Your perception of things mirrors on how you see them, feel them and take them for yourself. Minor major, so to say, important or not-so-important, grand schemes, means that things might get more or less important on how you value them. This is at least what I learned for myself doing a long-term therapy late 2020 into early 2021 against depression and OCD. As my view changed, so did my surroundings. As my surroundings changed, so did my view. I found that to be a really important and crucial lesson on how to deal with fear, anxiety and feelings alike. The toughest thing is to learn how to shift your mind towards another, more positive direction. That might take time, a lot of hard work and a strong will. Be sure that it is okay to ask for help, always. If I didn't get the help I got during my down times, I don't know where I would be now. This is why I decided on that name for this album. Consider yourself important and beautiful at any given time. Have fun and enjoy listening to Minor Major Grand Schemes.

Tape

On her second album (first one on Umor Rex), the Minsk born / Paris based artist Lina Filipovich continues her experiments on deconstruction and re-appropriation of classical pieces. BFHC includes seven electronic interpretations of the works of Baroque composers such as Bach, Handel, Frescobaldi, Carleton and Couperin. Inspired by memories of her experience of interpreting Bach's pieces in early childhood, Filipovich explores the desire to push the limits of performing classical music in the traditional way. Her baroque compositions are manipulated, modified, transformed into loops, cut, slowed down and recycled like any content could be, becoming a raw material for new compositions accompanied by electronic sequences, rhythms and basslines. Through the recycling, sampling and reassembly, Lina creates new listening experiences. And if BFHC can be interpreted as a tribute to baroque music, it can also be understood as a call to action to the work of contemporary artists like Oval, and to all the boom of clicks and cuts at the beginning of this millennium.

Mastered by Rafael Anton Irisarri
Artwork by Daniel Castrejón

Austudy Records is proud to present it’s debut release Burning It Up: Australian Reggae (1979-1986). A
compilation surveying the influence of Reggae on Australia’s preoccupation with Rock, Pop and New Wave
between the years of 1979-1986. This selection of 8 obscure tracks originally issued on 7” records represent
some of the earliest examples of Reggae sounds in Australian recorded music.

“Total Terror 2” is another collection of early Front Line Assembly demos remixed and remastered for a CD released for the first time in 1994. The original recordings of these songs were done in 1986/87. The equipment used was primitive, but then so is mankind.

Deluxe re-release including all tracks from the first edition plus some bonus taken from old compilations. Limited pressing of 500 copies with double vinyl record, deluxe gatefold sleeve and new vintage artwork.

'Dry Water Wet Land' is the debut album by underground Detroit rapper Dirtee Curt, set for release by Australian based label Fifty Records. Featuring production from Dakim and Ahkatari, the album pairs Curt's raw delivery and personal lyricism with faithfully innovative, late '90s/early '00s inspired, sample-laden hip hop.

Following up their 2020 EP Barcelona IRREAL delivers eight troglodyte anthems of radikal hardcore punk. Borrowing heavily from the Hear Nothing era DISCHARGE and echoing equally Suomi classics DESTRUKTIONS/ MELLAKKA and AOQ demo era CRO-MAGS, IRREAL creates a maelstrom of hypnotic feedback. Era Electrónica Catalan and Spanish anarchist lyrics bind the bands primitive sonic assault, delivering a modern hardcore punk record without an ounce of modern attitude. Punk as it is meant to be; nasty, aggressive, political and uncompromising. Recorded, mixed and mastered by Markus at No Master's Voice in Copenhagen. Cover art by Arturo PS. IRREAL will be touring the Iberian Peninsula early June with TENSÖ.

Tartelet are proud to introduce the blissful, psychedelic electronic soul sound of ABUNAI on his sophomore album Chrysalis out May

20th. Across 11 songs the Oakland, CA-based multi- instrumentalist lays down a dreamlike style which should chimewith fans of Tame Impala, Khruangbin and James Blake alike. As well as the sun-soaked surrounding of his Californian home, ABUNAI’s family connection to Hawaii casts its influence over an album which has all the makings of a crossover success. Look no further than early support from the likes of Gilles Peterson, Don Letts, and Wayne Snow for further proof this album is set to blow up.

“My sound is definitely influenced by the live music I grew up with in the Bay Area,” says ABUNAI. “There's plenty of musical legacy here, including the '60s psychedelic and counterculture movements, the '90s rave scene, and the hyphy movement. "I'm always trying to connect the dots and blend all of my influences.

Chrysalis was, like so many recent albums, a project made largely in isolation during the pandemic, although ABUNAI did reach out to close collaborators Gravity and Raquel Marie to contribute some guest vocals, Kevin Farzad from Sure Sure for the acoustic drum parts and a few additional production touches from Tartelet regulars Glenn Astro and Max Graef. He bills the songs as an exercise in therapeutic self-care through lockdown as much as a balm for others. “It's music for healing,” ABUNAI explains, “for the listener to be able to marinate in the slow tempos, the dreamy textures, the swirling vocals, and the lush synthesizers. It’s very much about growth, re-emergence, and dreaming of a better future.”

As well as dealing in ear-catching pop melodies and sweet vocals, there’s an underlying theme of the ocean, which stems from his coastal surroundings and his family roots in the Pacific. “I think the album is aquatic,” he reflects, “and it feels like a voyage to me, or like a long shower, being reborn in the water. I played the album for my grandpa, who's a veteran sailor and pilot from Hawaii, and he said it was the perfect music to play when you're sailing on the open ocean at sunset.” Cast in nostalgic, soft-focus tones and endlessly soothing for the soul, Chrysalis is your new favourite record for tender moments, hazy days and starry-eyed reveries alike.

Magnonic Signals are proud to welcome the mighty Inkipak to the roster.

Having released serious heat on the likes of Mighty Force, Ping Disc and Moatun 7, Confine is a sublime 4 track EP that straddles the lines between Acid, Electro & IDM.

The record kicks off with the majestic title track Confine (+) beautiful & shimmering with hallmarks of early UK techno and break laden IDM that sets the scene for what’s to come.

Next up is the atmospheric brilliance of Outbreak (++) an almighty track that will take you to a far-off place, with some delicate acid work for those 303 nuts, seriously good!

On the flip we find Alastria (-) and the ominous sounding Omichron (- -) both of which fire up thunderous breakbeats and otherworldly synth lines together with some acid from the dark side.

All in all a superbly crafted EP from this exciting newly emerging artist.

Signal are getting stronger…

Incl. Schacke Remix

Having been extensively road-tested this past year by DJs including Daniel Avery, HAAi and Gerd Janson, Highdive arrives with tangible anticipation. The work of less-than-shadowy figures Gramrcy and John Loveless, the pair have passed lockdown and beyond remixing artists such as WH Lung, Discovery Zone and Ghost Culture. Debuting their first original material, closely following Gramrcy’s recent appearance on Loveless’s own Hot Concept imprint, Highdive is a long-anticipated explosion of energy.

Built around a sonic-boom breakdown, glossy rave chords and pounding post-punk drums, Highdive feels immediately at home on Phantasy. Having worked closely alongside founder Erol Alkan in recent years to shape the imprint's diverse output, Loveless' collaboration with the Peach Discs founder nods to the electro landscape of the label's earliest days. Having never left dance floors since, Gramrcy & John Loveless take a golden opportunity to plunge dancers into the sublime and the ridiculous.

While a stripped-down ‘Beats Mix’ sees the pair adopt a less-maximal approach, leave it to Schacke to stretch Highdive into hardcore rave heaven. The already-influential Copenhagen artist underscores his refreshing funk in the ‘fast-techno’ scene through which he has risen, turning the screws and upping the tempo with intense but elastic results.

*** REISSUE OF AN UTRA-RARE MODERN-SOUL MONSTER BY (JAMES) VAN BUREN ***

Born in Arrow Rock, Missouri Van Buren started sharing his love of blues and jazz with the public in 1956. Originally a drummer, he spent many years on the road with such legends as T. Bone Walker and Lou Rawls. In the early 1980s Van Buren founded his own JVB record label on which he released a couple of records and later CDs.

These two tracks are definitely the most obscure of his discography. With its positive and uplifting vibes it will certainly put a smile on the face of all our listeners and Tramp fans too.

Side A contains the vocal version of "Bronco Queen" which has already been featured on the 3rd volume of our "Can You Feel It" compilation album. Side B contains the equally great Part 2 which justifies alone this re-release.

LIMITED TO 500 COPIES

By popular demand 1993 now available on a Limited edition vinyl release.

C.M. Toni originally released music on Partners Inc Records for a short spell between 1991 and 1993. The label was inspired by the deep jazzy, soulful US house labels like Nervous, Strictly Rhythm and the NY house scene in general. These previously unreleased tracks were found recently on a tape recorded in 1993. The raw classic sound of 12 bit samplers, drum machines and early synths are all over these lost cuts recorded in the Dollis Hill attic, authentic house music from 1993.

First ever repress of the sought after psychedelic tinged funk rock private press album 'Eclipse of the City' from 1980 New York. Originally recorded between 1975 and 1977 in Manhattan's garment district. Eclipse of the City lay dormant on a reel to reel player whilst frontman Carlos Fire Aguasvivas muddled through life working as a data entry clerk away from his fellow band members. It wasn't till he rediscovered the tapes that a sudden life affirming moment drove him to get the music pressed. Putting pen to paper Carlos created the artwork as a homage to his love of comic art and brought the band to life on the reverse with his spindly characters engrossed in the jam. Only 300 copies were pressed at the time leading to eye-watering prices for a copy. with a recent digital re-release from Indian Summer's Anthology Records, Sticky Buttons stepped up to repress the record with a limited run of 500, lovingly manufactured in the UK in all its vinyl glory.

Arriving in the Bronx from the civil unrest of Santo Domingo in the early 60's Aguasvivas was surrounded by the raucous sounds of rock, jazz and prog. Absorbing the humdrum atmosphere of life in New York, Eclipse of the City came from the minds of close friends Carlos Aguasvivas, Steve Garcia and Eddy Garcia. Meeting at Monroe High School the three of them quickly formed a strong bond over their shared interest in music. It wasn't long after that they began rehearsing in a basement under a neighbourhood cleaners and in the attic of Steve and Eddy's family home piecing together their extended sessions of tripped out cinematic psychedelia.

Recording got off to a rocky start as a car accident left the three band members in A&E after taking an early morning cab ride through Manhattan to watch the sunrise on their way into the studio (a theatrical artistic statement of intent conceived by Steve Garcia) - as Eddy mentioned "Eclipse was forged from a lot of pain". Their recording sessions were postponed but a few weeks later they were back and with the added energy of John Ortega on Bass and Vincent Anderson on electric piano and organ - with just a few microphones and a reel to reel recorder, Eclipse of the City was laid down as the stark bold homage to New York's downtown.

Influences ranged from the cinematic behemoth Jaws to the UK prog rock bands of Genesis, Yes and Emerson Lake & Palmer but only could Eclipse of the City take its unique form in the attics and basements of New York with the full band adding their Puerto Rican and Dominican slanted New York energy. Side one includes 3 fully formed tracks breaking out into eerie moments of calm before diving into well timed jolts of reprise as each element weaves over the top of one another whilst side two presents a 30 minute narrative work following the night adventures of a young group of friends exploring the vibrant nightlife of downtown New York. A rumbling half hour of wobbling guitar, tight drumming and synth organ licks jutting out from the glistening lights of the night before the sun rises down Manhattan's East-West axis as the lilt changes and the organ lulls the friends back home. A truly idiosyncratic take on the heady world of New York in the 70's and one that still resonates with our urban landscapes and love for the nights they bring today.

a 01: Think Positive (Live) feat. Steve Garcia, Edward Garcia & John Ortega
b 02: Jennifer (Live) feat. Steve Garcia, Edward Garcia, Vincent Anderson & John Ortega
c 03: Try It All Again (Live) [feat. Vincent Anderson, John Ortega, Edward Garcia & Steve Garcia]
[d] 04: Eclipse A (Beginnings) [Live] [feat. Vincent Anderson, John Ortega, Edward Garcia & Steve Garcia]
[e] 05: Eclipse B (First Movement) [Live] [feat. John Ortega, Steve Garcia & Edward Garcia]
[f] 06: Eclipse C (Hustle Bustle) [Live] [feat. Vincent Anderson, John Ortega, Steve Garcia & Edward Garcia]
[g] 07: Eclipse D (Funky Side of Town) [Live] [feat. Vincent Anderson, John Ortega, Steve Garcia & Edward Garcia]
[h] 08: Eclipse E (Midnight) [Live] [feat. John Ortega, Steve Garcia & Edward Garcia]
[i] 09: Eclipse F (First Movement Continued) [Live] [feat. Vincent Anderson, John Ortega, Steve Garcia & Edward Garcia]
[j] 10: Eclipse G (Home) [Live] [feat. Vincent Anderson, John Ortega, Steve Garcia & Edward Garcia]

Back In Stock!

‘Cranes In The Sky,’ was originally written by Beyonce’s baby sister Solange alongside Raphael Saadiq, for her album back in 2016 that was cited by Rolling Stone as one of the most important 500 records of all time. The words exploring a fearless journey inward, pulling up the root of a problem, and the first glimpse of blue sky after the storm has passed.

Fast forward to 2022 - Ross Allen and Andy Thompson’s Foundation Music Productions enlist the expertise of Baltimore club legend, Dj Oji, together with Tracy Hamlin (Pieces Of A Dream), to take Solange’s breakout delivery to the dancefloor. Soulful vocals will heal you, while the mid-tempo moments will mellow the masses, and UK Funky grooves will keep the shuffle moving along way into the early hours. Three remixes come in the form of the ethereal DJ Pope Funkhut Reprise, a signature Joe Goddard groover and the Star One. KDA. Meltdown Dub.

DJ Feedback:

FRANCOIS K
Yes! I played the vocal version the other day again.

KAI ALCE
Dope re-interpretation from Baltimore stalwarts OJI, POPE & Tracy!

GREG WILSON
What's not to like? Love the orig Solange jam!

DANNY KRIVIT
Nice, I like a lot of DJ Oji.

SOUL CLAP/ ELI GOLDSTEIN
Fire right here

DAZ I KUE/ BUGZ IN THE ATTIC
Yea I love this one…cool vibes.

THATMANMONKZ
Oh yeah, love the Solange original, and I’m a big Oji fan! That reprise version might come in very useful for the right set!

TERRY FARLEY/ FAITH
Got to be contender for single of the month with that story x

HOT TODDY
Simply beautiful.

CRAIG SMITH/ 6TH BOROUGH PROJECT
Loved the original of this from Solange a few years back, this is a real nice interpretation of it. Liking the reprise and Dub, handy tools

CHARLES WEBSTER
Nice soulful groover. Like this.

FISH GOO DEEP/ GREG DOWLING
Lovely re imagining of one of my favourite tracks of all time

FRANK BOOKER
Love this package. Reprise mix is the one for me. Very cool!

NICK V/ LA MONA
Thanks a lot I actually prefer the dub version :)

JIMPSTER/ FREERANGE
Killer groove on this and really nice to hear a housed up version of Cranes which is such a stunning song in it’s OG form. Def something I’d like to play out.

FELIX JOY/ SWU.FM
Yes ! I flippin love a good reprise mix and this one is doing it for me. Love the original version by Solange and this is a really great rework!

STEVE PARRY / FOR SASHA
Really Smoove love it.

GROOVE ARMADA/ TOM FINDLAY
THIS IS LOVELY!!

RALPH SESSION/ HALF ASSED RECORDS
Wow the dubstrumental really gives it new life.

QUENTIN HARRIS
I love this package.

GRAME PARK/ THE HACIENDA
This is tremendous

HECTOR ROMERO/ DEF MIX
Good to see this one got picked up. I’ve played this a few times since 2018 but will get it back in rotation. Glad to see this song is getting some traction. I look forward to the unreleased versions.

ANDY BUCHAN
What a sun-dappled slice of beauty! Full support on this, what a gorgeous EP. And those drums are ace, really propulsive.

DANIELLE MOORE/ CRAZY P
Yeah I really like this. I mean I love the original but theres something quite interesting about this. Nice yeah x

MARC MEISNERE/ SOL POWER SOUND
Yes please! Can’t wait to play this one!

STEFANO TUCCI/ HELL YEAH
This is one of the best best vocal of recent times, I love It, the crescendo towards half of the track is nothing but gorgeous!

TREVOR FING/ GRAFITTI KINGS
Love these remixes.

MAX P/ HELL YEAH
Yeah, full pack is what I needed !

HORSE MEAT DISCO/ SEVERINO
Really into this!

SEAN JOHNSTON/ ALFOS
I wouldn't play it, but it's a beautiful piece of work

GRAEME PARK/ THE HACIENDA
I’m gonna enjoy playing this its lovely.

NICK V/ LA MONA
Thanks a lot I actually prefer the dub version :)

TREVOR FUNG/ GRAFITTI KINGS
Love this !!

QUENTIN HARRIS
Being a fan of the Original I love everything about this.

ALAN DIXON/ MIDNIGHT MAGIC
Killer!!!!

DAVE JARVIS/ FAITH
This is amazing! Absolutely love xx

NICK V/ LA MONA
This is a fantastic track!

MAX P/ HELL YEAH
Oh yeaahhhh

RICK GILL/ OUTLAWS YACHT CLUB
Beautiful soulful house. Quality production and top draw vocals.

MICKEY JUKES/ 1BTN
Ooof! Such a strong record to step to but i love this. Classy production, vocals are killer. All round winner!

TOMMY TURBO JAZZ/ JAXX MEDICINE
I was a fan of the OG but I really needed this cut!!

RUSSELL FORMAN/ PIKES/ HARRYS KEBABS
This is great .... I'm writing an article on the Coney Island Boardwalk house parties atm.

JIM LISTER/ 1BTN
Loving the reprise and the dub!I'm a big fan of the Solange original, so it's nice to hear a new angle on it

CHRIS DE BEURRE/ THE EAGLE
Gorgeous vocal! And such a deep production - really like this! Infectious x

DAIRMONT/ ROOM WITH A VIEW
Amazing track. Loving it!

STEVE PARRY/ FOR SASHA
Beautiful super smooth.

LES CROASDAILE/ FREIGHT ISLAND
Tune this, reminds of Southport weekender!

It’s going off and The Chisel are back to cause a bit of bovver. Following a trio of explosive singles, the band finally bring us their debut full-length album, Retaliation, on the London-based punk institution La Vida Es Un Mus. Having formed in early 2020 and featuring a crew of members with long-term associations to the London punk scene, The Chisel quickly secured a reputation as one of the most exciting bands from a pool of contemporaries that includes Chubby & The Gang, Stingray and Big Cheese. Their sound is rooted firmly in Punk but with influences that run across the board to create a distinctive blend of Oi!, anarcho, UK-82 and hardcore. Retaliation is an unmistakably British record that draws a line from 1982 up to the present day, pushing its way into your collection and torching your stereo. Opening with the agitated force of ‘Unlawful Execution’, the tone is firmly set by a song that addresses the brutality of the Met Police (“Tell me what’s the difference between right or wrong / When a copper gets to blast a lad who did nothing wrong”). ‘Come See Me’ is a ferocious ode to camaraderie in the face of mouthy boneheads and bellends. ‘Shit Life Syndrome’ is a poisoned reference to the same cynical phrase used by physicians to describe the effects of people living under poverty and in the grips of substance abuse (“How can you expect people to act nicely, they’ve all been left on the edge of society”). It’s one of many songs influenced by singer Cal’s experiences of growing up in the working-class town of Blackpool. Cal states: “Blackpool as a town is often overlooked or even looked down upon, I wanted to write lyrics which gave the people of my town a voice”. With tunes like these The Chisel show that they’ll never pull any punches. However, beyond the fury and the swagger there’s another side that plays to an additional strength; the ability to write a memorable hook. Songs like ‘Retaliation’, ‘Tooth & Nail’ and ‘Not The Only One’ could be described as modern day anthems (the latter has become a fan favourite since the arrival of their first live shows) and cement their identity as a band not to be defined by their influences. Recorded by Jonah Falco at Total Refreshment Centre, London, March 2021.
Mixed by James Atkinson at the Stationhouse in Leeds. Mastered by Daniel Husayn at North London Bomb Factory. Cover painting by Tara Atefi.

Giallo is the fourth in a series of five double vinyl releases that bring together some of Ennio Morricone’s greatest soundtrack music. Each collection centres on a different movie genre, together they allow the listener to rediscover the unmatched genius of the greatest movie composer of all time. The Maestro. This collection was announced before Ennio Morricone passed away on July 6, 2020. We’ll continue to release the series to honour this great composer.

When we think of 1960’s Italian pulp cinema, the spaghetti western is the genre that comes to mind. However, Italy was responsible for another classic cinematic exploitation movement around the same time, one that is equally as compelling, but less widely recognised. Giallo…

Giallo, meaning ‘yellow’, is the Italian term for crime fiction, it was named after the bright yellow colours of early pulp fiction paperbacks. Film audiences adopted it as the name for a peculiarly Italian sub-genre of thriller cinema that had its heyday in the 1970’s - just as the Spaghetti Western movement was waning. The Giallo can be difficult to define, but essentially it is an Italian crime film that draws from a pool of common themes: stylized murders, amateur sleuths, sleazy glamour, psychological crimes, enigmatic titles and all these themes are underpinned by creepily atmospheric Ennio Morricone music scores. Starting 70 years ago as an arranger for the piece Mamma Bianca, Ennio Morricone is the emperor of scores and soundtracks. Morricone has always been a huge influence for the likes of Hans Zimmer, Danger Mouse, Muse, Metallica and many more musicians. He was one of the most successful composers of all-time, selling over 70 million records and winning dozens of awards.

Giallo is available as a limited edition of 3000 individually numbered copies on “giallo and black marbled” (clear, yellow and black mixed) vinyl. The package includes a 4-page insert with liner notes written by Claudio Fuiano. The gatefold sleeve contains a silver foil spot varnish on the outside and images of iconic movie posters on the inside.

Originally released back in 2007. This edition includes two bonus songs, "Of Unholy Blood" (From the split 7"EP w/ Evil Incarnate) and "To Walk The Path Of Unrighteousness" (From the split 7"EP w/ Adumus). Debut album from Texas' Blaspherian. Allegiance To The Will Of Damnation is pure, unadulterated and sinister death metal. An album that evokes the roots of the genre. Any fan of early-day American and/or European death metal bands, will definitely find something here... Something swampy and suffocating... Something reminiscent of the atmosphere invoked on those first albums by Immolation and Incantation. One outstanding riff after the other, compositions full of high speed thrashing mingled with tormentingly heavy slow doom. The sound is dirty, heavy and dense, massive and thick. It's muddy without the individual instruments being indistinguishable, sludgy without being unlistenable... It would be a disservice to call Allegiance to the Will of Damnation a throwback to the golden days of death metal, because this is no second rate imitative knock-off. This is death metal the way it's meant to be played, heavy, mean and evil! 200 copies on Black Vinyl (Includes insert & sticker) 200 copies on Picture Disc (In black paper PD-sleeve w/ insert & A3 size poster). All copies come with an OBI including a download code.

During the summer of 2020, SACRILEGA burst from the void with their debut EP, Rites of Macabre. Although a brand-new entity, the Californian power-trio features members currently aligned with Rites of Thy Degringolade, Impure Consecration, and Invocation War among others. As such, it was not surprising that that their Impious Death Metal worship was so powerful and punishing this early on. However, SACRILEGA are set to eclipse those not-inconsiderable expectations with their full-length debut, The Arcana Spear. Recorded at Ramona Studio with Charlie Koryn, SACRILEGA's debut album is a veritable firestorm of finessed fury - malice, malevolence, and mesmerizing visions writ large across throttling death metal songwriting both classic and contemporary. Driving that propulsion is underground drum-god Paulus Kressman, whose veritable eight octopus arms create a dizzying, dread-inducing landscape for his bandmates to slay with their razor-wire strings. Their songwriting always pushes forward with a near-bestial pulse that cannot be denied; still, attention is duly paid to detail within riffing and atmosphere alike, elevating The Arcane Spear beyond a mere exercise in ultraviolence. SACRILEGA thus locate that elusive balance between the cunningly precise and rabidly maximal, placing due emphasis on the songwriting itself and allowing the execution to tell the grandiose-yet-doomed tales it so requires. Featuring suitably stark-yet-grandiose artwork courtesy of Artem Grigoryev, SACRILEGA deliver one of death metal's most stunning debuts with The Arcana Spear. Embrace the grand tyranny!

Since forming on O'ahu, Hawai'i, in 2009, The Green has become one of
the most successful and beloved bands in the reggae genre
During their relatively short career, the band has been awarded a "Best Reggae
Album" nod from iTunes (2010, for their self-titled debut), four coveted Na Hoku
Hanohano awards in their native Hawai'i (2014, including Group of the Year, two
time Reggae Album of the Year and Entertainer of the Year), and two #1 Billboard
Reggae chart debuts, along with charting on the Billboard Top 200. Not bad for a
band that was formed by six members of Hawai'i's tight- knit music scene to
record a few songs and have some fun. The Green was one of the first Hawaiian
reggae bands to tour extensively on the mainland, as well as going further afield
to New Zealand, Japan, and other locales. Before becoming a headliner on their
own, the band supported bands like Bruno Mars, Rebelution, Iration, Soja, and
Damian Marley. The Green's fourth studio album, 'Marching Orders' continues the
group's steady march to the top ranks of their genre and beyond, with early
reviews already calling it "innovative" and "imaginative."

"It's a wonderfully uplifting album
As invigorating as a cold, sunny, Swedish morning, Kolonien have the freshness
of The Cardigans' early albums while at the same time sounding something like a
Nordic Fleet Foxes." - SonglinesKolonien is a four- member family band from
Sweden that has been one of the leading voices of the Swedish folk revival for
over a decade. With a sound that blends acoustic roots music with anthemic,
sing- along pop, Kolonien has a fresh, appealing sound that brings multiple
musical worlds together.Kolonien's lush vocal harmonies are reminiscent of Fleet
Foxes, their Nordic folk-pop sound might remind some listeners of Of Monsters
and Men, and their hipsters with strings vibe makes them Sweden's answer to
Mumford & Sons. At the same time, Kolonien's music and inspirations are deeply
rooted in the Swedish folk tradition as well as the natural environment and
progressive philosophies of the alternative-lifestyle community where they were
raised.Kolonien is made up of brothers Erik and Arvid Rask, their cousin Anna
Möller and their childhood neighbor, and "brother from another mother," Mischa
Grind. The members of the band were raised in and around Järna, a community
south of Stockholm that is known as a back-to-the-land destination for hippies,
progressives and people seeking an alternative lifestyle. While they had been
making music together since childhood, the band formally came together during
a music festival in Tanzania in 2010. Since then, they have toured extensively
across the world and released a number of well-received albums and EPs.

Limited to 500 copies worldwide.


Heavy as f-ck and deep as hell, this devastating split album gleefully corrupts and corrodes Dub’s sunshine reflections. Celebrating rhythm & noise in its dank echo chamber, these demolition dub tracks are built from obsessive studies in distortion, overdrive and seriously ruff textures, amongst an absolutely insane amount of sub-bass level.

‘Disintegration Dubs’ is a three way low end collision, between G36 (The Bug aka Kevin Martin/Gorgonn’s rig torturing beat project) and JK Flesh (Justin Broadrick of Godflesh/Jesu etc…). As the album title suggests, this instrumental pile up of floor crawling, sound system crushers, is a clearer sign than ever, that these three producers crave their dub cuts to be mutant and heavyweight, totally damaged and completely atomised. Dub as sonic obliteration

Anyone previously smitten by Techno Animal’s deeply psychedelic face off with Porter Ricks, on the long out of print ’Symbiotics’, or who worshipped Zonal’s recent rhythmic wreckage via Relapse records, will surely gorge greedily on Disintegration Dubs’. Likewise, newbies, who have snapped up this year’s ‘Fire’ by The Bug or ‘New flesh in dub’ by Godflesh, will find endless pleasure within these dread-tech, annihilated dubs and Industrial strength steppas rhythms. Echoes of Basic Channel, early Iration Steppas, Public Image Limited or even Andy Stott can be heard within this collection’s haunted atmospherics and bulldozing rumble. Yet, these three individual producers have obviously found their own recognisably original sound, within these monolithic grooves, and what makes this album so utterly refreshing, is just how well the three disparate sound manipulators complement each other fully, as they collectively set their sights on some shared, relentlessly futuristic sci-fi vision, for a new form of dub.

Obviously, Martin as The Bug, and Broadrick with his colossal dubs of Godflesh and his filthy back catalogue of JK Flesh releases, have both long since subscribed to the genre, aesthetic and fragmentation of Dub. Meanwhile relative newcomer, Gorgonn, is The Bug’s long time, live soundman, and former bandmate with DJ Scotch Egg in Devil Man, as well as having formed Dokkebi Q with Kiki Hitomi (ex-King Midas Sound), so he is no stranger to the art of deviant dubs either…

G36 dropped their appropriately titled debut EP ’Floor Weapons’, in 2018, on PRESSURE, as well as providing the backing riddim for the first ever release from Jamaican MC phenomena Nazamba, with his startling debut, ’Vexed’. Alternately, Justin has previously released seven albums solo, as JK Flesh, that systematically contorted, distorted and completely bastardised techno for labels such as Hospital Productions, Downwards and Speedy J’s Electric Deluxe… (Next year will also see a full JK Flesh album on PRESSURE too…!)

This album is Mastered by Stefan Betke aka POLE, at Scape Mastering.

Since the initial release in 2003, Kurt Rosenwinkel’s Heartcore has been lauded by listeners and musicians alike for its forward-thinking vision and conception and seamless integration of electronic elements with acoustic jazz interplay

The album features Kurt Rosenwinkel on guitar, electric bass, voice, and synthesizer, Mark Turner on saxophone, Jeff Ballard on drums, Ethan Iverson on piano, and was produced by Q- Tip of A Tribe Called Quest. Much has changed since the early 2000’s- all of the musicians involved with Heartcore have since risen to the forefront of the global contemporary music scene, and the album itself has gained the status of a ‘cult classic’ in many circles. Now, Rosenwinkel and Heartcore Records are releasing an updated version of Heartcore, remixed, remastered and including a bonus track from the original sessions.

This new version of Heartcore promises to be even more spellbinding than the first iteration, and is now released as a top quality Double Vinyl LP in limited production.

Always on the hunt for the freshest, most diseased sounds in death metal, BLOOD HARVEST RECORDS is proud to present CADAVERIC FUMES' debut mini-album, Dimensions Obscure. With their split mini-album with Demonic Oath in 2014, CADAVERIC FUMES showed that a French death metal uprising was at hand, and now with Dimensions Obscure, they make good on that bountiful potential. Compared to their earlier work on that split and the preceding demo, here on Dimensions Obscure, CADAVERIC FUMES forego the all-manic/all-the-time morbidity for a highly dynamic and nuanced take on death metal. Granted, flashes of mid '80s insanity and early '90s darkness remain, but a cool confidence is at play here, each passage measured to inflict both maximum cranial damage and spiritual atmosphere. These songs exude a patience and maturity most death metal bands take many albums to accomplish, if at all, and all without compromising the core values of total and utter DEATH METAL. Putting the finishing touch on a swift 'n' compact totality, the production across Dimensions Obscure is as warm and live as it gets, but not once is an ounce of clarity sacrificed. Hear the beginning of something masterful and enter Dimensions Obscure...

Hailing from Portugal, PHENOCRYST was formed in early 2020 by D.S. (Archaic Tomb, Summon) and P. Tosher (Extreme Unction, Scum Liquor, ex-A Tree of Sign), with N. (Summon, Sepulcros, Concilium) and V.M. (Systemik Violence, Necrobode) joining later on, during the recording of their debut EP. The band is based in the outskirts of Lisbon, and the origin of such conjuration is a rigorous consequence of a vibrant underground activity in the city. D.S. and P. Tosher wanted to create the foundation of a death metal act crossing other influences like doom and some psychedelic vibes, to illustrate soundscapes of disastrous, catastrophic, and annihilating volcanic and natural events. There are not many artists actually singing about this specific topic, if any, and therefore, the lyrical content is also something to explore. As such, the moniker PHENOCRYST is fitting. Aptly titled Explosions, PHENOCRYST now reveal their debut recording. Totaling five tracks (one instrumental) over 23 minutes, Explosions unsettles with preternatural ease, reeking of death stench and obscure delirium. PHENOCRYST are proudly and purely death metal, but are emboldened in their liberation to explore within this rich language: Only Death is Realer. Indeed, Explosions is an explosive event, and one which marks PHENOCRYST's forthcoming debut album, which is currently being prepared. Take the first step into their burnt lands...

In the old attic, among dust and dimness, I once found an old children's magazine, that opened itself on a photograph of three melancholic girls eating soup. A distant voice, quietly singing ravels of poems from the 19th century, all gone and forgotten long ago, is accompanied by monotonous loops, played on toy keyboards, or are they maybe a rustling and hissing of twigs on the roof? repeating gusts of wind, slightly moving curtains over a flaking window frame? the pace of moonlight on the carpet? Do you also hear a horn, every now and then sounding from a frayed and yellowed picture of a castle on flower dotted wallpaper? Kot Kot’s "i pni" ("and stumps") LP brings another glimpse into Lena Filatova’s sound gathering & recording process and her unique sensibilities. Feeling as though born from some kind of advent calendar hiding forgotten sounds, neglected moments and haunting sentiments, waiting there for those inclined to have a look. Lena is curiously opening doors individually and in new unisons to arrive at sound collages & compositions born from both accident and design (see the 5/4 odd time signature in „Ottepel“). Vocals that are fragile yet often laced with a feeling of determination and emotive persuasion. Lyrics pulled from old children’s books, juxtaposed with often dark and foreboding loops and samples that dance asynchronously around each other beneath Lena’s voice & piano/toy keyboards. Often recognising and embracing the magic in imperfection and choosing to keep early takes & improvisations, capturing and treasuring what others might have failed to recognise and hold dear. Lena is always demonstrating an innate ability to sew all of these things together in such a way as to cast a spell on the listener from inside a zoetrope of curiously collected & curated frames. „i pni“ is a big and serious poetic work about the most hidden, almost lost and perished, but forever wandering between sleep and waking in an eternal hauntological dream of an old attic.

On July 1st Ploy's ascendance continues with 'Unit 18' – a new EP dedicated to his record label and club night Deaf Test's spiritual home – Venue MOT Unit 18 in Bermondsey, South London. With an already loyal following and fabled atmosphere, the parties inform Ploy's productions and vice versa. "These are three rave tracks, all influenced by sound system culture, with my take on different styles, made for various times of the early hours in our sweaty venue", he comments. Maintaining the floor-focused approach of his previous, acclaimed 'Rayhana' EP, here Ploy brings more organized chaos. Sound waves blast away cobwebs with gale-force power, and jolt you awake, like an intravenous shot from the mains. These forthright, no-nonsense workouts appear simple, but are incredibly well-made, revealing discreetly clever touches likely to provoke 'how did he do that?’ scrutiny from other producers. With ten-ton-kick-drum pressure, snares like booted dustbins and an intense build of energy, on 'Stinky' a soundclash turns into a back alley brawl... with lazers. Influenced by drill bass lines, UK bass music and soundsystem culture, the 'stink and perspiration’ lyric will be surely be apt, especially with a July release date. Imagine the scene: whilst a deranged, malfunctioning robot MC yaps and undulates, vampires chase their victim through a packed rave, before feasting on flesh. Ravey and riotous, with horror flick tropes and a touch of electro, the 138bpm wallop of 'Ninety One' is an ode to his year of birth, when magpie like, sample heavy tracks made for innocent, non-overthought, but compelling anthems. Grimey like the dance after which it's named, title track ‘Unit 18’ is a 155bpm half-time stomper, with nods to bounce, 00s hip hop, UK drill and dubstep. Combining flying congas, wookie moans and a classic DMZ stye flute line, this low slung, personality filled throbber will stand out and turn heads.

Lolina project emerged at a time when CDJs became standard in clubs and artists from many disciplines began exploring their possibilities. In Lolina’s records and performances, they are used as a live sampling tool allowing her to move between composition and improvisation. On “Fast Fashion”, discarded vocal takes and phone recordings made while watching videos online or walking down the street are re-sampled across long-form collages. “Mark Ronson’s TED Talk Intro (Using Computer Remix)”, restyles a lecture about sampling and constructed of samples into a track that can’t be contained by any of its elements. Relaxed beats break down into stuttering, jokes turn into abstract situations, and meaning is altered through repetition. With transitions between different parts defining the listening experience, “Fast Fashion” reveals a process by which one thing can be changed into another. “Fast Fashion” is Lolina’s fifth album and first working with Deathbomb Arc. Digital to be released on Oct 27th with vinyl to follow in early 2022 ~ both on pre-sale now. Lolina previously released music as Inga Copeland and was a member of the band Hype Williams between 2009 — 2013.

Watch Over Me (Early Works 2002 - 2009) is collection of previously unreleased songs from Lissie's archives which chronicle formative moments from the early years of her career until the release of her iconic debut album Catching A Tiger. "For the listener who has charted this journey alongside me, I hope you'll get some insight into my life as you enjoy these songs." - Lissie

Imperfect Stranger is the pseudonym of Glasgow based soundtrack composer and producer Kenny Inglis. “Everything Wrong is Right” is his debut solo album for Castles in Space.
Born in 1975, Kenny didn't listen to much music, unless it was the opening credits to a TV show or a film score that had caught his ear. "I loved the pre-title music on a lot of those 80's U.S. TV shows. From the family orientated stuff like The A-Team, to darker dramas such as The Equalizer. My mother would let me stay up to watch the opening sequence of the latter then send me to bed because the story would be too heavy for a kid. That left me with this hanging sense of ambiguity as to what would happen in that hour after the titles came up.”
Exposure to a work colleague’s tiny project studio in a kitchen cupboard was a lightbulb moment for him and the experience of utilising music technology as a way of writing and producing entire tracks stirred a wave of determination to chase a career in music using the opportunities that technology could offer. Kenny figured the best way to move forward was to start a small project studio and learn his craft as a recording engineer. "It was a bit of a shock to the system. I literally had no idea how to work any of the equipment. Kenny focused on learning as much about the craft as he could whilst winging his way through recording and mixing everyone from the likes of singer/songwriters to bands, to voiceovers artists and anything in between. "Eventually, I stopped writing the music I thought people would want to hear, and started writing the music I wanted to make. I didn't come from a music loving background, but I was always obsessed by the way music and film would interact - how music brings this atmosphere and tone to even the most mundane visual stuff. I wanted to capture that. I wanted to grab some of that ambiguity I felt from the TV shows of my childhood and make it into a project of some sort". That project was Spylab. A dark, downtempo project with a cinematic edge. The initial demo consisted of three tracks, with the melancholic 'This Utopia' leading the playlist.
"At the time you did demos on normal cassette tapes. I remember having this endless battle with the bias control to try and get the best sound I could on these little tapes. Ten went in the post one Monday morning, and the following Monday there were three offers from three different labels. Studio K7 were interested in a singles deal, as was Flying Rhino in London. But then there was an offer from a Chicago based label by the name of Guidance Recordings. They wanted an album, and were offering a $15,000 advance. It wasn't a difficult decision to make"
Writing and recording Spylab 'This Utopia' began in 1999. The album took a whole year to produce. The album was to catch the attention of Mary Anne Hobbs at Radio One. At the time Mary Anne was presenting The Breezeblock - a late Sunday night show with an eclectic playlist of alternative electronic music. Picking out the album's title track 'This Utopia', Mary Anne would go on to play it no less than 8 weeks in a row. A request for Spylab to DJ on the show was to follow. "I had never DJ'd before. I think I had a week to figure out how to do that and put a playlist together. I'm not entirely sure how I pulled that off.” In March 2001 the Spylab album was finally released to a hoard of excellent reviews. A North American live tour would follow. From the launch party in Los Angeles, to a sell out show at SXSW in Austin. "I then started a new project under the name Cinephile. It had some of the core elements of the Spylab sound but it was deeper, more cinematic.” Kenny received news that a track from the previous project Spylab had been requested by HBO for the first episode of a new TV drama called Six Feet Under. This was to become a major turning point in Kenny's career. The Spylab track 'Celluloid Hypnotic' dropped during a poignant party scene of the first Six Feet Under episode. Within a couple of days Kenny was getting requests for music from other music supervisors. "It was a chain reaction. The Six Feet Under sync was like the tip of an iceberg. One day I called CBS in America and they put me on to the CSI music supervisor and I managed to get on a call with him. I sent the Cinephile stuff out and within a few months I got this fax through from CBS - a quote request for one of the tracks for a potential use on CSI. It changed my life."
The tone and style of Kenny's music sat perfectly with the CSI score requirements. So much so he found himself part of a pool of incidental writers who worked on all three aspects of the franchise - CSI, CSI: NY, and CSI: Miami. This would continue until 2013, when the last of the series would come to an end.
"I was juggling a bunch of stuff for those ten years. Writing material for CSI, whilst releasing new Cinephile stuff and playing live. As Cinephile continued to gather pace, one of the tracks from Kenny's efforts on CSI was chosen for the Hollywood trailer for the Samuel L. Jackson film 'Lakeview Terrace'. Further trailers would follow, from Gangster Squad to Dead Man Down, Spike Lee's Undisputed Truth, to Fifty Shades Freed.
At the same time, Kenny picked up his first factual commissions in the UK, and this too would be the beginning of a regular run of fully scoring factuals and documentaries. By 2021, six of these had won BAFTAs. He also would find himself soundtracking adverts for the likes of Nike, Audi, and American AirlinesIn early 2020, Kenny made a return to focusing on his own music under the pseudonym Imperfect Stranger. A tweet from Colin Morrison from Castles In Space regarding a charity compilation album 'The Isolation Tapes' caught his eye. Kenny had made a start on his debut album as Imperfect Stranger and submitted the track 'Hymn To The Sun' (which would become the lead track on the album). Further discussions ensued, and the album found a home on CiS. "I had been doing TV and film stuff for almost ten years. It paid the bills and was as close to a 'real job' as I'd had, but I yearned to get back to writing for myself, so doing an album for Castles in Space was a joy.
“The music I write is like a diary. There's an authentic narrative to everything i do. I don't write tracks for the sake of writing. I write tracks to diarise and process the stuff that I've lived through, and the experiences that have come along with the passing years. That's what makes me tick. It's a very public and vulnerable way of expressing myself. If people want to know the real me, all they have to do is listen."

“Babygirl” is the new album by CTM out on Posh Isolation. In its composition channels a sensuous consciousness. The music is like a prism reflecting tactile perceptions, light, movements and memories. Relations between the composed structures and the undetermined of the improvisations, the cracks in the form and the digital glitches, create a poetic and open elsewhere. With a sensibility of pop, the musical landscape moves from nostalgic popballads through the austere pomp of a deconstructed baroque menuet for solo cello, to lingering piano ornamentations and distorted guitars. There is a soft and wild intimacy to the music. Common collective musical languages are weaved effortlessly into the musical canvas, while the form and perspective change and move. With a profound emotional resonance in the music, tenderness and devotion are reflected in the narrative. The sense of nostalgia comes like glimpses of pastimes revisited, when life cycles reveal themselves repeating in the now. Babygirl continues in the track of her latest album “Red dragon”, exploring feverish dreams and personal material through a digital ephemera. Digital effects splinter the intimacy and transform into something more than human, shaking the balance between the codes of the popsong and the unexpected digressions, guided by the voice of CTM that is central throughout the album. The album is produced by Holger Hartvig, Malthe Fischer and Cæcilie Trier. It features vocal and instrumental contributions by Ydegirl, Coco O., Johan S. Wieth (Iceage), ML Buch, Jakob Littauer (Yangze), Emil Elg, Claus Haxholm among others. The album, containing bits and pieces of recordings and compositions made over several years, is like a musical platform with expressions of many voices, and with relations and time weaved into the compositions. Trier is a Copenhagen based cellist, singer, and composer, with her classical training apparent across her many and varied projects and collaborations. Having received critical acclaim from the earliest moments of her career, Trier's previous album 'Suite For A Young Girl' was nominated for the prestigious Nordic Music Prize in 2017.

Eighteen sacred psychedelic suppositories from the laboratory of mad scientist and scalpel-happy pop mutilator Jean-Pierre Massiera. Includes
the rarest and most sought after fuzz funk, spooked surf and
interplanetary prog from ‘The French Joe Meek’ and all his schizoid splitpersonalities and freakish friends - The Maledictus Sound, Chico
Magnetic Band, Visitors, Human Egg, The Pirhana Sound and Jesus
himself.

 Let Finders Keepers introduce you to some old friends of theirs - Charlie Mike Sierra, Jean-Pierre Areisam, JPM and Co. Erik, The Horrific Child, Jesus, Les Maledictus Sound, Human Egg... This might sound like they’re flicking through the imaginary LP racks in the record shop from ‘A Clockwork Orange’ or perhaps congratulating the runners up in a
Halloween fancy dress competition but for the previously uninitiated you
have just been ordained into the congregation of the many split
personalities of one Mr. Jean-Pierre Bernard Massiera. Bow down to the
nine-headed monster as he mutates and shape-shifts back through time
to his humble beginnings in a Buenos Aires province ravaging and
pillaging the music of the European people for his own twisted
benediction along the way.

 This might, as intended, sound a little bit dramatic but if there is one
single ingredient that gives the eccentric Jean-Pierre Massiera his
distinct flavour it’s a large dollop of drama. Add sprinklings of
schizophrenia, shock, myth and macabre and you are on the way to a Bmovie broth with an acquired taste that has, like all the best cheese,
taken over thirty years to mature to perfection. Like all the best monsters,
his split personality is the key to his infamy and the secret of his blood
sucking success.

 This is why Jean-Pierre Massiera is (un)commonly known for two key
periods in his career which, like a worm, can be split down the middle to
thrive and flourish independently. To cut a long story short, Massiera is,
above all, a lover and purveyor of musique fantastique, and is willing and
able to hijack whichever stylistic vehicle that passes him buy in order to
do feed his lust. In the earlier part of his career he honed his sordid craft
amongst psychedelic circles in Nice and Quebec. From late 1972
onwards he moved to Antibes and started a disco revolution and
became an in demand cosmic record producer. For years, prog rock
obsessives and disco aficionados have wondered if there was two
unrelated freak merchants called Jean-Pierre Massiera but, in this rare
instance, exploito-maniacs from both sides of the cosmic coin are united
by the work of this singular, single-handed monstrous music
manufactory.

 Remastered and available once again on deluxe black vinyl since the
initial Finders Keepers limited edition 2009 pressing

From a previous album dedicated exclusively to Soul music by the Roman producer Nerio Papik Poggi, this new project in the artistic name 'The Soultrend Orchestra' was born in 2017. The album titlereleased that year, '84 King Street', definied the musical genre to which it is dedicated. In fact, the address is that of the legendary New York club Paradise Garage from where Disco music in the late 70s was definitively launched all over the world by deejays David Mancuso and Larry Levan in the first place. So Soul and Disco are the predominance of this first album which has had great success in the sector so much so that the band has performed live in important European festivals.

This new album entitled Live For Funk starts from where the first left us musically to enter much more on the Funk sound, especially the English one of the early 80s and the American one linked to jazz musicians such as Donald Byrd or Roy Ayers who have been re-evaluated so much in the years starting from the Acid Jazz scene from the 90s onwards.

15 songs in total, including three covers, all three already released as digital singles. The three covers are remakes of cult songs from past
years in the Disco Funk world and exactly Get Down Saturday Night by Oliver Cheatham, Outstanding by the Gap Band and Act Like You
Know by the Fat Larry's Band. In the project Nerio Poggi brought with him his historical musicians such as Alfredo Bochicchio on guitars, Peter De Girolamo on keyboards, Massimo Guerra on trumpet, Fabio Tullio on sax, Simone 'Federicuccio' Talone on percussion and Luca Trolli on drums. In addition to a dozen other guest musicians also 8 different singers among which the names of Alan Scaffardi, Al Castellana, Kenneth Bailey and Danny Losito of Kaigo stand out

Tape

Charlemagne Palestine (born Charles Martin ni 1947 in Brooklyn, New York) wrote intense, ritualistic music in the 1970s, intended by the composer to rub against audiences' expectations of what is beautiful and meaningful in music. A composer-performer, he always performed his own works as soloist. His earliest works were compositions for carillon and electronic drones, and he is best known for his intensely performed piano works. He also performs as a vocalist. Palestine's performance style is ritualistic; he generally surrounds himself (and his piano) with stuffed animals, smokes large numbers of kretek (Indonesian clove cigarettes) and drinks cognac.

Oren Ambarchi (born 1969 in Australia) is a composer and multi-instrumentalist with longstanding interests in transcending conventional instrumental approaches. His work focuses mainly on the exploration of the guitar, "re-routing the instrument into a zone of alien abstraction where it's no longer easily identifiable as itself. Instead, it's a laboratory for extended sonic investigation". (The Wire, UK).

Oren Ambarchi's works are hesitant and tense extended songforms located in the cracks between several schools: modern electronics and processing; laminal improvisation and minimalism; hushed, pensive songwriting; the deceptive simplicity and temporal suspensions of composers such as Morton Feldman and Alvin Lucier; and the physicality of rock music, slowed down and stripped back to its bare bones, abstracted and replaced with pure signal.

From the late 90's his experiments in guitar abstraction and extended technique have led to a more personal and unique sound-world incorporating a broader palette of instruments and sensibilities. On releases such as Grapes From The Estate and In The Pendulum's Embrace Ambarchi has employed glass harmonica, strings, bells, piano, drums and percussion, creating fragile textures as light as air which tenuously coexist with the deep, wall-shaking bass tones derived from his guitar.

Ambarchi works with simple constructs and parameters; exploring one idea over an extended duration and patiently teasing every nuance and implication from each texture; the phenomena of sum and difference tones; carefully tended arrangements that unravel gently; unprepossessing melodies that slowly work their way through various permutations; resulting in an otherworldly, cumulative impact of patiently unfolding compositions.

Ambarchi has performed and recorded with a diverse array of artists such as Fennesz, Otomo Yoshihide, Pimmon, Keiji Haino, John Zorn, Rizili, Voice Crack, Jim O'Rourke, Keith Rowe, Phill Niblock, Dave Grohl, Gunter Muller, Evan Parker, z'ev, Toshimaru Nakamura, Peter Rehberg, Merzbow, Kassel Jaeger, Anthony Pateras, Crys Cole, Giuseppe Ielasi, Judith Hamann, Sunn 0))), James Rushford, Stephen O'Malley and many more.

For 10 years together with Robbie Avenaim, Ambarchi was the co-organiser of the What Is Music? festival, Australia's premier annual showcase of local and international experimental music. Ambarchi now curates the Maximum Arousal series at The Toff In Town in Melbourne and has recently co-produced an Australian television series on experimental music called Subsonics. Ambarchi co-curated the sound program for the 2008 Yokohama Triennale. Ambarchi has released numerous recordings for international labels such as Touch, Southern Lord, Table Of The Elements and Tzadik.

Belgian drummer Eric Thielemans is one of the most idiosyncratic figures in Belgian music, someone who not only demonstrates that special musicians always seek out (and find) their own place, but above all that they always remain students of the art of questioning and listening. No musician better illustrates the difference between playing music and playing with music than percussionist Eric Thielemans. He gets to the heart of the matter with an at times extremely minimalist approach, but on the other hand he frequently relies on a range of objects beyond the regular drum kit: a drum placed on its side, a bicycle wheel with a bow, hands and the body.

Tape

Charlemagne Palestine (born Charles Martin ni 1947 in Brooklyn, New York) wrote intense, ritualistic music in the 1970s, intended by the composer to rub against audiences' expectations of what is beautiful and meaningful in music. A composer-performer, he always performed his own works as soloist. His earliest works were compositions for carillon and electronic drones, and he is best known for his intensely performed piano works. He also performs as a vocalist. Palestine's performance style is ritualistic; he generally surrounds himself (and his piano) with stuffed animals, smokes large numbers of kretek (Indonesian clove cigarettes) and drinks cognac.

Oren Ambarchi (born 1969 in Australia) is a composer and multi-instrumentalist with longstanding interests in transcending conventional instrumental approaches. His work focuses mainly on the exploration of the guitar, "re-routing the instrument into a zone of alien abstraction where it's no longer easily identifiable as itself. Instead, it's a laboratory for extended sonic investigation". (The Wire, UK).

Oren Ambarchi's works are hesitant and tense extended songforms located in the cracks between several schools: modern electronics and processing; laminal improvisation and minimalism; hushed, pensive songwriting; the deceptive simplicity and temporal suspensions of composers such as Morton Feldman and Alvin Lucier; and the physicality of rock music, slowed down and stripped back to its bare bones, abstracted and replaced with pure signal.

From the late 90's his experiments in guitar abstraction and extended technique have led to a more personal and unique sound-world incorporating a broader palette of instruments and sensibilities. On releases such as Grapes From The Estate and In The Pendulum's Embrace Ambarchi has employed glass harmonica, strings, bells, piano, drums and percussion, creating fragile textures as light as air which tenuously coexist with the deep, wall-shaking bass tones derived from his guitar.

Ambarchi works with simple constructs and parameters; exploring one idea over an extended duration and patiently teasing every nuance and implication from each texture; the phenomena of sum and difference tones; carefully tended arrangements that unravel gently; unprepossessing melodies that slowly work their way through various permutations; resulting in an otherworldly, cumulative impact of patiently unfolding compositions.

Ambarchi has performed and recorded with a diverse array of artists such as Fennesz, Otomo Yoshihide, Pimmon, Keiji Haino, John Zorn, Rizili, Voice Crack, Jim O'Rourke, Keith Rowe, Phill Niblock, Dave Grohl, Gunter Muller, Evan Parker, z'ev, Toshimaru Nakamura, Peter Rehberg, Merzbow, Kassel Jaeger, Anthony Pateras, Crys Cole, Giuseppe Ielasi, Judith Hamann, Sunn 0))), James Rushford, Stephen O'Malley and many more.

For 10 years together with Robbie Avenaim, Ambarchi was the co-organiser of the What Is Music? festival, Australia's premier annual showcase of local and international experimental music. Ambarchi now curates the Maximum Arousal series at The Toff In Town in Melbourne and has recently co-produced an Australian television series on experimental music called Subsonics. Ambarchi co-curated the sound program for the 2008 Yokohama Triennale. Ambarchi has released numerous recordings for international labels such as Touch, Southern Lord, Table Of The Elements and Tzadik.

Belgian drummer Eric Thielemans is one of the most idiosyncratic figures in Belgian music, someone who not only demonstrates that special musicians always seek out (and find) their own place, but above all that they always remain students of the art of questioning and listening. No musician better illustrates the difference between playing music and playing with music than percussionist Eric Thielemans. He gets to the heart of the matter with an at times extremely minimalist approach, but on the other hand he frequently relies on a range of objects beyond the regular drum kit: a drum placed on its side, a bicycle wheel with a bow, hands and the body.

Naomi Alligator is fed up. She’s sick of trying to make relationships work that have already run their course, and tired of sitting in a wintry apartment waiting for her life to kick into gear. On »Double Knot«, the modern folk singer/songwriter from Virginia attempts to unwind her life from all that is holding her back. In a way, it’s a coming-of-age record about shedding what no longer serves you and, ultimately, finding something like deliverance.

On the opening track, “Seasick,” Naomi Alligator is already in the midst of a sort of awakening. Right off the bat, she sings, “I don’t know what’s happened to me / It’s like I turned 16 / It’s like I grew to be 6-feet tall.” This is the announcement of a wide-eyed artist coming out of hibernation and into their own. Still, Naomi’s vocals ache with guilt and longing, belying the track’s playful catchiness. Longing for what? Maybe attention from a crush, but mostly a sunnier place to call home.

Naomi Alligator began writing Double Knot while living in Philadelphia during the height of the pandemic and the deterioration of a longterm romance. “I scream: How’d the hell I end up here? / I’m 1-inch tall, it’s crystal clear,” she chants on “Neighborhood Freak,” returning to height and size as an emotional barometer. When asked though, Naomi rejects the notion that Double Knot is a breakup album, or autobiographical at all. Moreso, she says, it’s a personal reckoning in which, “the minute before you make a big decision, you tally up the reasons why you don’t want to do what you’re doing anymore.”

That desire to turn the page expands to the production of the album as well. Naomi Alligator generally houses her narratives in beds of minimal, home-tracked instrumentation—influenced by the stripped-down poeticism of Joan Baez and Liz Phair’s Girly-Sound tapes. Double Knot finds Naomi continuing to hone the winning combination of guitar and banjo she established on 2021’s Concession Stand Girl EP. For Double Knot though, Naomi wanted a fuller, more dynamic sound: more instruments, more harmonies, more layering, more, more, more. Inspired by the impressionistic melodies of Animal Collective and MGMT, Naomi peppers in computer-generated synths throughout the album, most notably on the song “Burn Out.” These electronic flourishes augment the more grounding string instruments, arriving somewhere more ethereal than Naomi’s earlier work while still maintaining her warm songwriting.

If anything, Double Knot is a reminder that you can always pack up your bags, try something new, and change your life. As for Naomi Alligator herself? She moved west, to California.

Produced by Heidecker, Drew Erickson, Eric D. Johnson and Mac DeMarco, High School sees Heidecker emerging as an increasingly playful and poignant story teller, infusing childhood tales with new gravity. In conjunction, he announces Tim Heidecker Live! Featuring Tim Heidecker and The Very Good Band, his first two-act tour of comedy and music. Since 2016, Tim Heidecker has chronicled the annals of adulthood on a series of supreme singer-songwriter albums. The crushing devastation of divorce and the existential malaise of middle-age, the minutiae of home ownership and the ritual of family vacation, child rearing and global warming: Heidecker has handled it all with humor and heart. But, there’s one pivotal lodestar of human development he has yet to mine that’s right, High School. First single “Buddy” is a composite of a few woebegone friends, which finds Heidecker reminiscing on the familiar tragedy of the adolescent stoner, manifesting the destiny of undiagnosed depression and parents who didn’t care much. The song itself is a jangly delight, but it’s hard not to mourn for “Buddy,” then re-count whatever blessings you may have. After initial and fruitful sessions with Jonathan Rado, Heidecker started recording tunes with DeMarco and Erickson, who had also worked on 2020’s collaboration with Weyes Blood, Fear of Death. At DeMarco’s studio, they added drum machines and synths and sidewinding solos to Heidecker’s big strummed chords. Johnson (Bonny Light Horseman, Fruit Bats) helped Heidecker finesse the tunes even more, making the music as rich as the feelings. Kurt Vile contributed to one song, as well. Through all those sessions, it slowly became clear: Heidecker was writing not only about the adventures and misadventures of life as a Pennsylvania teen in the early ’90s, but also how it felt to lose a juvenile sense of mystery and possibility as an adult. He was writing about high school and, really, the way it helped shape everything else. Back at Pennsylvania’s Allentown Central Catholic High School, Heidecker dreamed of making it with one of his many rock bands — Time and Other Things, Shaggy’s Beltbuckle, and (incredibly) The Pulsating Libidos. Two years shy of his graduating class’ 30th anniversary, Heidecker admits he had little of substance to say when he was 17, like all but the rarest of precocious minds. In college, though, he found the friends with whom he built his comedy career, largely apart from music and without much thought for his time back at Central Catholic. He was focused on his future. It is fitting, then, that as Heidecker has become such a delightful singer-songwriter and collaborator, he returns to the first scene of his time as a musician. Maybe he’s right — he didn’t have anything to say or sing about life back then. But across the earnest and amusing High School, he finds plenty to say about those weird and wonderful and ordinary times.

Clear vinyl LP edition of 500 copies. Vacant Gardens is Glenn Donaldson (of The Reds, Pinks and Purples and a hundred others) and Jem Fanvu, collaborating on music and with the latter responsible for vocals and lyrics. The project began with the idea of combining heavy fuzz and slow-mo drum machine beats with Fanvu's gentle almost trad-folk style vocals. Almost all of Donaldson's otherworldly sounds are achieved through layers of guitar fuzz and copious delay, while Fanvu offers an ideal counterpoint, taking the listener on a celestial melancholy trip with her opaque poetry and melodies. So inspired were the duo by this blend of styles, they immediately recorded at least two albums of material, Under the Bloom and Obscene, released in quick succession in 2020 and 2021 in swiftly-disappearing micro editions on the secretive Tall Texan label. With those records close-to-impossible to find at an affordable price, Tough Love are now reissuing both LPs. From Reds Pinks and Purples' Glenn Donaldson, Vacant Gardens is an interstellar recording project that combines celestial, shimmering guitar on the verge of breaking like a massive, emotive wave and an ethereal vocal style from Jem Fanvu (visual artist, Minor Ghost Band also, plus collaborating with Tune-Yards, Cavity Fangs and many more) recalling Hope Sandoval or Liz Fraser that sails in its wake. Simply put, this is some of biggest, heart-tugging guitar music you'll hear in recent times. Sold out at once debut Under The Bloom, is followed now a continuation and development of the group's sound on Obscene: a frayed tapestry of Slowdiving, Flying Saucer Attack guitar noise wall married with an angelic vocal from Fanvu that glitters in counterpoint to the stringed distortion like Hope Sandoval or, in the way it shines bright in the fog, like Jonsi's surfing the surging waves of emotion in early Sigur Ros. Originally released in February on digital formats, Obscene gets a vinyl press and is sounding massive. Vacant Gardens' music suggests oceanic feelings, a hazy intergalactic consicousness that burbles beneath the surface of everything while also touching the visceral points in the human heart that makes groups like Galaxie 500, Yo La Tengo so timeless.

Moxie’s On Loop label is back with a new release from Eternal Ocean label founder Ronan. The new EP, Interdependence, follows on from his highly acclaimed debut album ‘Reflections On Intrinsic Value’ and further contributions to labels such as Pressure Dome, Vanity Press and Jungle Gym.

Ronan’s productions are described as ‘aquatic sounds for healing’ and this release for On Loop is no different. Very much driven by percussion, the EP opens with a trippy dub-infused ‘Suderoso’, whilst the second track ‘Interdependence’ showcases a more emotional driven production, filled with blissful, ethereal pads and hypnotic vocal samples. It’s a moment of reflection before picking things up again on ‘Geodesis’ where excitable drum patterns lead the way, bringing you to the centre of the dancefloor. ‘Morning Glory’ rounds off the EP in glistening style - the perfect sunrise anthem.

Deciding to take a brief hiatus after the 2020 release of Moxie Presents Vol. 5, On Loop made its return at the end of last year with the stunning release of Matisa’s ‘Peace Building’ EP. Back for good, the label has now evolved into a new era, signifying the start of this chapter with the the brilliant On Loop 001 compilation earlier this year. The release showcased Moxie’s global impact, enlisting new tracks from the likes of Eris Drew, Nicola Cruz, Space Ghost, Olive T, Nachtbreaker and more.

Dana Kelley, aka DKMA, is a much revered writer, producer, remixer, performer and creative force whose releases have become timeless classics and Holy Grails amongst DJs, music heads and collectors alike. A true artist and innovator, his productions possess the unique ability to engage, transport, challenge and enthral as only next level musicians can.

Grounded in the deep, soulful US House sound of the mid '90's, his earliest releases can be found on Strictly Rhythm, before moving on to produce under his DKMA alias as well as releasing music as Callisto on Guidance. Although Dana sadly passed away in 2013, he left us with a remarkable body of work that has remained both exciting and relevant throughout the last 2 decades and beyond.

Boston Boy Vol.2 is the 2nd in a series of compilations that focuses on Dana's visionary work as DKMA, during his most compelling and creative phase between 1997 and 2002. The compilations themselves are collated from an incredible & far reaching archive of over 20 of Dana's original DATs that have been generously shared with us by the Kelley Family. In the archive, some of Dana's most sought after & cherished works were uncovered, restored and meticulously assembled alongside previously unheard archival material.

The tracks themselves are bold, clever and inventive, characterised by a need for innovation. Passages of deep soulful house underpin more forward thinking electronics without ever losing dance floor appeal. Jazz solos sit imaginatively on top of gritty swinging rhythms, deep infectious b-lines, eerie textures and chord sequences are warm and effortlessly soulful yet with a sound design, sonic range, dynamism and a technical prowess that most could only dream of.

These compilations celebrate the life, vision and art of one of house music's most hallowed producers. Unique and essential, these collections pull together DKMA's most coveted works. Respectfully sourced, restored and compiled from all audio sources courtesy of the Kelley family and Above Board Projects.

Mastered by Frank Merritt at The Carvery, London, with special artwork by Atelier Surplus featuring a special unseen image of Dana from his family's photo albums.

Hot Creations welcome back Fabio Neural and DJ Fronter who join forces once again for their second release on the label titled Ding Dong. Following on from their success with the first release, the eagerly anticipated second drops in May.

The title track opens proceedings, plunging straight into a heavy 4x4 beat, creating a stripped back, minimalistic base, expertly layered with finely chopped vocals. Foghorn like sounds and sharp percussion bring the piece together, resulting in a raw, industrial experience. Shocked follows, encapsulating the Hot Creations sound in true style, packed full of energy. Riveting bass lines paired with fanfare-esque melodies lay at the forefront of the track, transporting the listener to a bustling, colourful dancefloor.

Fabio Neural threw himself into the music industry at an early age. His productions have seen him release on Steve Lawler's Viva Music and feature in Pete Tong’s 500th Essential Mix. His eclectic DJ sets have enabled him to share the stage with heavyweights such as Carl Cox, Richie Hawtin and Adam Beyer. Colombian native DJ Fronter has become one of the greatest promises to come out of South America with releases being supported the likes of Paco Osuna, DJ Sneak and Matthias Tanzmann.

White Vinyl.
Includes postcard and poster.
Part of the Optic Sevens 3.0 Reissue Series.
Originally released on the Sub Aqua label in 1988. It appears here on 7” for the first time. This is a previously unreleased version of Back Between Places. The band were never really happy with the original single release and having discovered the master tape of a superior version, it is to be mixed and released here for the very first time.
From East Village
Both tracks were recorded at Greenhouse Studios at the same one day session in August 88 and are technically unreleased.
‘Back Between Places’ is an alternate mix made at the time and better than the one we chose to release.
‘Violin’ is a completely unreleased recording. It was planned as the original B-side but ended up being replaced by two early recordings ‘Her Fathers Son’ and ‘Precious Diamond Tears’ on the actual 12” release.
We rerecorded ‘Violin’ at few months later at Scruttocks along with ‘Freeze Out’, ‘Vibrato’ and a couple of others that have appeared on the ‘Hotrod Hotel’ LP.

North London-by-way-of-Suffolk soundsmith Gerry Read delivers his first release for Circus Company with the Lean on Something EP. After countless examples of his bold production moves on many of our brother and sister labels including Herbert’s Accidental Jr to more recently on Koze’s Pampa Records, Read has always displayed a kindred spirit mindset to ours in his adventurous musical angles, and we are very happy to present this particular set of rock-solid and uniquely diverse pieces.
The title track “Lean on Something” starts things off in fine and classic Read form, with knocking found-sound percussion, fizzing textures and slick use of chopped and disorienting vocal sample
bits, as the track layers unfold into a whimsical and wondrous melodic stargazing anthem. “Wooer at the Well” then follows and picks up the tempo with those fly live acoustic drum lines that gives
Gerry’s tracks that special beyond-electronic feeling, while once again the deft layering of such a rich sound palette builds and builds giving other mavericks like Four Tet a sincere run for their money. The mood then brilliantly shifts on the next track “Paramol”, where Read treats us to an almost Robotnik-era Italo sprinkling amidst his otherwise forward-thinking club floor-filling tendencies, with an amazing array of synth sections and an arrangement that should satisfy even the neo-purists out there amongst us. Finally, “Risotto” wraps up the proceedings with a warm, jazzy bouncer reminiscent of both Read’s as well as our own catalog’s charming early offerings, and a kind of landing-at-home-base sensation with smoky cubist funk feelings and an equal parts rough-yet-undeniably cool effervescent groove.

Regimental Sgt Zippo is the legendary ‘album that never was’ for Elton John. Signed to DJM as an artist in early 1968, he cut 12 tracks at DJM studios in London’s New Oxford Street, for a debut album. It is unclear as to why the album was never released, but a running order was allotted. As part of the excavation of material for the Jewel Box, the original running order was located: after the success of its limited release in mono for Record Store Day in 2021, we are now offering an industry-wide release in stereo, mixed at Abbey Road with the customary care of Elton’s catalogue team. In addition to the previous release, this new LP edition comes with a printed inner bag with full lyrics. The CD edition contains both stereo and mono mixes.

Matte Gold 180g. Free MP3 Download. GUM aka Jay Watson is a multiinstrumentalist, founding member of POND and touring member of Tame Impala. Gum’s 2015 album Glamorous Damage has been newly remastered by tour mate Kevin Parker. ‘Glamorous Damage,’ is a warped comb running thru the shiny blonde hair of pop and disco. Produced and mixed by GUM and mostly recorded at home, the album is at times reminiscent of the elastic robo-glam of Prince, the sci-fi waves of Chrome, early Eno experimentalism and a love of Beach Boys melody. In 2015 ‘Glamorous Damage’ was critically acclaimed by the likes of Pitchfork, NME and Stereogum and featured on the longlist of the 2015 Australian Music Prize. Glamorous Damage features lead single ‘Anesthetized Lesson.’

As the daughter of a blues musician, Chastity Brown was born with an
innate ability to channel complex circumstances into beautiful, uplifting
songs
But after surviving the isolation of the early pandemic and witnessing the global
racial reckoning that manifested itself in the riots mere blocks from her South
Minneapolis home, even she is surprised to hear the way her new album 'Sing To
The Walls' turned out. "It's a love album, in a way I didn't plan on," Chastity says.
Like so many artists who endured the uncertainty of the 2020 lockdown,
Chastity's instinct was to turn inward, at first out of self- preservation, and then
because the new songs kept coming and coming. Since finishing her last album,
2017's 'Silhouette Of Sirens', she estimates she's written nearly 100 new songs,
10 of which found their way onto 'Sing To The Walls'. Produced by Brady Blades,
'Sing To The Walls' is a sonically expansive album; it mines the roots of
Americana, folk, and soul music, but Chastity's stories are delivered in a style that
feels remarkably timely, modern, and forward-thinking. "I celebrate the emotional
richness in the tradition, but in my music I've committed myself to moving
forward and reflecting the experiences of those overlooked by tradition."
Chastity Brown has been praised by NPR, CMT, American Songwriter, the London
Times, Paste Magazine, and The Independent, among many others, and appeared
on the U.K.'s Later… with Jools Holland. She tours nationally and internationally,
having shared the stage and supported artists such as the Indigo Girls, Ani Di
Franco, Andrea Gibson, Jayhawks, The National, and Micheal Kiwanuka.

'Soul Food - Cooking with Maceo' blends raw, old-school funk with the
flavours of the New Orleans school of music
Parker worked with Ivan Neville, Nikki Glaspie and Tony Hall, as well as a host of
local musicians to record the songs. The funky flavour of the city weaves its way
through the album as the funk father and his band take on iconic songs of the
Mississippi masters such as Dr. John's voodoo funk of 'Right Place, Wrong Time',
The Meters 'Just Kissed My Baby,' 'Yes, We Can Can' recorded by Allen Toussaint
as well as takes on Aretha Franklin's 'Rock Steady', Prince's 'The Other Side of the
Pillow' and Maceo's long-time hero and Ray Charles Saxophonist, David "Fathead"
Newman's 'Hard Times'. We also get funky workouts from Parkers own back
catalogue on 'Maceo' and 'Cross The Tracks'. The latter adopted by Giles
Peterson at the staple song of his iconic WAG Club in Soho, London in the 1980s.
The amazing P-funk Parker has been at it with his legendary sound for time that
dates back to the 1960's. That's when Maceo and his drummer brother Melvin
climbed on board the James Brown funky soul funk train. It wasn't long before
James coined the solo summoning signature, "Maceo, I want you to Blow!". To
most musicologists it's the musically fertile group of men from this period of
James Brown's band who are recognized as the early pioneers of the modern
funk and hip-hop whose sounds we still jump to in the present day.

“V I N C E N T” is FKJ’s second album and signals a new dawn, not just as a go-to producer and remixer for artists like PinkPantheress and Moses Sumney but as an artist in his own right, continuously selling out headline tours across the globe with his acclaimed ‘one-man-band’ live shows, and having a billion plus streams across all platforms for his music.

The concept for “V I N C E N T” came about during a solo trip to Los Angeles before 2020. “I just stayed in this house totally on my own, turned my phone off and had some time away from everything to figure out what I wanted to do.” He realised he wanted to tap into the freedom of being a teenager: “back then, I was making music strictly for playfulness, without overthinking it,” he says. “V I N C E N T’s” opening and closing songs underline the sentiment of the new album: the future-jazz of ‘Way Out’ (a playful mini soundtrack in one; a dainty piano motif underscored by a skittering trap beat and serene strings) and the lullaby-styled “Stay A Child”. “I wanted to get back some of that lost innocence of making music purely for pleasure,” he says.

Back in his home studio in the Philippines, with no wifi and an impending global lockdown, FKJ was quite literally cut off from the world, able to explore music’s endless possibilities. “Sometimes I would get into it for the whole night and go to bed when the sun came up.” Out of this freedom comes an expressionistic, touching album that’s impossible to pin down. There’s no more hiding behind a branch of leaves, as he did on the cover of his 2017 debut: “V I N C E N T” marks FKJ out as a crucial new voice. He’s redefining chillout music with his bursts of late-night jazz sax and piano, coupled with his wood-cabin whispery vocals, recalling Bon Iver’s early work, and those Santana-styled guitar flourishes.

Much of “V I N C E N T” is wilfully romantic, sometimes super sexy, and often with its head in the clouds, as on tracks like “Us”, a dreamy ode to his wife June, or “IHM”, which has a 90s hip-hop flavour slowed right down to lights-out tempo. Not entirely a solo record, ((( O )))) appears on ‘Brass Necklace’ – which has the soft power of The Internet and Stevie Wonder’s keys. It’s no wonder that lead single ‘A Moment of Mystery’, featuring Toro Y Moi, has a spacey vibe: while recording in San Francisco together, FKJ, Toro and his keyboard player Tony took some of what Tony called “holy water” – “we shared this bottle and took a bit of a trip,” laughs FKJ. The result is a gentle electronic ode to long-term love that could rival Tame Impala for melodic progginess.

Little Dragon’s Yukimi Nagano vocal, meanwhile, laces its way through the stunning “Can’t Stop”, and there is a call back to FKJ’s dancier beginnings with “Let’s Live”, a galvanising techno-pop number that blends piano, handclaps and soulful vocals to dazzling effect. Each of FKJ’s songs glistens, lambently, with a myriad of ideas but it never sounds overblown or too dizzying.

“V I N C E N T” is a marvel – and testament to the magic that can happen when you dig deep. “This was a challenging record,” he says. “I’m a perfectionist and it’s hard to shake that off. But once I did, and I let the music take over, I felt totally free.”

Re-release of Steffi's successful debut album Yours & Mine on her new imprint. The classic house album that reminds of early Detroit and Chicago tracks with a modern touch!!!

TRANSMISSION REISSUE CLASSIC INSTRUMENTAL COMPILATION
FROM THE LEGENDARY PORCUPINE TREE

'Voyage 34', an instrumental composition from 1992/93, is a journey split into 4 phases that rocks for over an hour, this was P.T.'s entry into the ambient trance genre popularised by artists such as the Orb. Combining trance rhythms alongside more typical Porcupine Tree textures & guitar solos, 'Voyage 34' was a big hit in the ambient/ chill out club scene of the early 1990's (when it was originally issued across two 12" singles). Following the now sold-out first box set
of Porcupine Tree's 'Delerium Years' & the near sold-out second box set, Kscope are re-releasing the band's records from the era, including 'Voyage 34', as a series of LP's presented in gatefold packaging.

This double LP version features the tracks remastered by Steven Wilson in 2016 with more naturalistic dynamics & EQ - remasters previously only available in 'The Delerium Years 1991 – 1993' box set.

The artwork was completely redesigned for the original re-release & contains new images from long- term collaborator of Porcupine Tree frontman & founding member Steven Wilson, Lasse Hoile.

In Wilson's own words, "The whole point about 'Voyage 34' was an exercise in genre. In that sense it stands apart from the rest of the catalogue...back in the early Nineties, there was an explosion in ambient music, a fusion of electronic music & techno music with the philosophy of people like Brian Eno & Tangerine Dream. "

Nuovo singolo per Luca Trevisi con il suo alias LTJ Xperience.
In questo nuovo EP sono stati raccolti quattro dei più riusciti remix prodotti da LTJ dal catalogo IRMA negli ultimi anni.

I brani non sono mai usciti su vinile prima di questa pubblicazione.
Gli artisti remixati sono: Papik & Sarah Jane Morris, The Soultrend Orchestra, Black MIghty Wax e Vasquez. Luca LTJ Trevisi (LTJ Xperience) began his dj/producer career in the 80s. As resident dj in two of the most famous Italian clubs of the time, Kinky in Bologna and Cap Creus in Imola, he was one of the first Italian jocks to spin House and to re-propose those black music, jazz and latin-bossa classics from the 70s that at the end of the same decade would have given birth to the Acid Jazz and Rare Groove movements. His first single
release in 1988, titled First Job, together with Kekkotronics, was also the first release ever on Bologna based Irma Records. It was featured in a lot of compilations of the time and entered several playlists, rapidly reaching cult status for many UK and US djs. During the early 90s LTJ delivered a couple of singles in a kind of pre-breakbeat style: Dont Stop The Sax, released all over Europe, and Funky Superfly. He also produced US singer Tameka Starrs single Going In Circles, always for Irma Records, still a classic in the downtempo/r&b field. In the second half of the nineties Luca began to produce acid jazz bands like Bossa Nostra, still today one of Irma Records main acts. Their first album had Vicky Anderson as special guest and today is still considered one of the most important European acid jazz albums. In the following years he concentrated on developing his activity as collector and rare vinyl merchant, which gave him the chance to get in touch with djs from all over the World and to discover many forgotten gems from the past years. Thanks to this experience he was able to create two extremely successful rarities series on Irma Records:

Groovy and Suono Libero. In the meanwhile LTJ started to dj outside Italy too, performing in important venues like the Blue Note and Jazz Café in London, Giant Step in New York and Montreux Jazz Festival in Switzerland. In 1999 saw the release of his first solo album under the LTJ Xperience moniker. The album was produced with the collaboration of fellow Irma artist and producer Ohm Guru and had Taka Boom and Jackson Sloan among the guests. Two of the main tracks on the album are brazil house classic Sombre Guitar and title track Moon Beat, which became a true hit of the Chill Out genre, featured in dozens of important compilations.

After making countless productions for Irma Records, including their second album When The Rain Begins To Fall (with the participation of the historic Spanish-American singer Joe Bataan), and the recents singles as ORGAN MIND / I LOVE YOU (favorite track by Larry Heard ) & ON THE FLOOR / SOUND MACHINE, LTJ is devoted almost exclusively to re-edit and reconstruct tracks from the past with the addition of sounds and rhythms in post production for labels like SUPER VALUE, SMALL WORLD DISCO, HOT GROOVY RECORDS, OH CRISTO! increasing the production of this new musical genre that is currently defined as beatdown/slo-mo, working with international labels such as Far Out Recordings, Sleazy Beats, Future Classics, E.A.R. Music For Dreams, Apersonal Music, Roam Recordings, !K7.

After two UK #1 albums, 2 million album sales and an array of international acclaim, you might’ve thought you knew what to expect from Royal Blood. Those preconceptions were shattered when they released ‘Trouble’s Coming’ last summer. Hitting a melting pot of fiery rock riffs and danceable beats, they delivered something fresh, unexpected and yet entirely in tune with what they’d forged their reputation with.
The reaction was phenomenal, with highlights including 20 million streams, a premiere as Annie Mac’s Hottest Record and a run on Radio 1’s A-list and earned alternative radio support and media attention across the globe. In short, Royal Blood are primed to be bigger than ever before. That feat is set to be realised when they release their eagerly anticipated third album ‘Typhoons’ on April 30th via Warner Records.
When Mike Kerr and Ben Thatcher sat down to talk about making a new album, they knew what they wanted to achieve. It involved a conscious return to their roots, back when they had made music that was influenced by Daft Punk, Justice, and Philippe Zdar of Cassius. It also called for a similar back-to-basics approach to what had made their self-titled debut album so thrilling, visceral and original.
“We sort of stumbled on this sound, and it was immediately fun to play,” recalls Kerr. “That’s what sparked the creativity on the new album, the chasing of that feeling. It’s weird, though - if you think back to ‘Figure it Out’, it kind of contains the embryo of this album. We realised that we didn’t have to completely destroy what we’d created so far; we just had to shift it, change it. On paper, it’s a small reinvention. But when you hear it, it sounds so fresh.”

Those traits pulsate throughout the new single and title track. Kerr’s spiralling bass riff casts an hypnotic allure as it grows in intensity, while his vocals switch at will between a raw rock roar and a soulful falsetto. It’s underpinned by Thatcher’s thundering beats, his taut rhythms infused with groove-laden hi-hats.



After setting the tone with ‘Trouble’s Coming’, the album opens in breathless, take-no-prisoners style with the fierce metallic grooves of ‘Who Needs Friends’ hitting an early visceral peak. Royal Blood further reference their fresh array of influences by deploying vocodered vocals on ‘Million & One’ before dynamically switching between the biggest contrasts of their sound with ‘Limbo’. Already a fan favourite having been a regular during the duo’s 2019 shows, ‘Boilermaker’ lives up to its reputation and is more than matched by ‘Mad Visions’, which evokes a hyper-aggressive Prince. It ends with a final surprise in the shape of the stark piano ballad ‘All We Have Is Now’, a vulnerable and revealing reminder to live in the moment.

That song’s unguarded sentiments gives the album a redemptive finale. Whether directly or allusively, the album focuses on exploring the flipside of success that they’ve experienced. It comes from the realisation that success is much more complicated than it seems and that having the time to regain perspective is a precious commodity which becomes ever more elusive. The situation called for reflection and change, which Kerr addressed in Las Vegas. He downed an espresso martini and declared it to be his last drink, and soon discovered that his new-found sobriety would have a positive impact upon his creativity and life as a whole.

That new approach manifested itself in the duo’s decision to produce the majority of ‘Typhoons’ themselves. ‘Boilermaker’ was produced by Queens of the Stone Age frontman Josh Homme, the two bands having first connected when Royal Blood supported them on a huge North American tour. Meanwhile, the multiple Grammy Award winner Paul Epworth produced ‘Who Needs Friends’ and contributed additional production to ‘Trouble’s Coming’.

Repress incoming...

Far Out Recordings proudly presents Milton Nascimento's Maria Maria. Recorded in 1974 and unreleased until almost thirty years later, the album was written as the soundtrack to a ballet which dealt with the legacy of slavery in Brazil. Raw, atmospheric and emotionally charged, Maria Maria reveals one of Brazil's greatest ever songwriters at his creative peak. Featuring an all-star cast of fellow Brazilian legends including Nana Vasconcelos, Joao Donato, Paulinho Jobim, and members of Som Imaginario, Maria Maria holds what Milton considers to be the definitive versions of some of his classic songs, including 'Os Escravos De Jó' and 'Maria Maria'.

Originally released in 2003 as a double CD package, with Milton Nascimento's 1984 follow up ballet soundtrack Ultimo Trem, Maria Maria will be available on vinyl for the very first time from December 2019, with Ultimo Trem set for vinyl release early 2020.

Milton Nascimento possesses one of the most immediately recognizable voices in Brazilian music: high and sweet and as breathtakingly sublime as that of any soul singer. It was this voice that the legendary Brazilian singer Elis Regina fell in love with back in 1964, having heard Milton perform his song 'Canção do Sal (Sultry Song)' at a private party in Sao Paulo. Ellis went on to record the song in 1967 -giving Milton his first hit in Brazil and beginning a career that has spanned over 50 years.

Born in Rio on the 26th October 1942, Milton moved with his adoptive parents at the age of 18 months to Tres Pontas, a rural town in the state of Minas Gerais, 500 miles north of Rio. He began his musical career as a young teenager, singing in a crooner style he learnt from listening to Brazilian singers and US groups such as The Platters on the radio. Hungry for more opportunities to perform, Milton moved to Belo Horizonte, the capital of Minas Gerais, at the age of twenty. By the beginning of the 60s Milton had made a name for himself both as an accomplished singer and guitarist.

Milton became part of a local network of musicians, film makers, dancers, theatre directors and writers that included the journalist and song writer Fernando Brant as well as lyricist Marcio Borges and his younger brother Lo Borges. Together these four wrote and produced what would become Milton's milestone album, 'Clube da Esquina (Club on the Corner)'. The originality of 'Club da Esquina' shaped the local scene, and it reflects the essence of 'the Nascimento Sound'. Milton's religious upbringing as an Afro-Brazilian Catholic saw him exposed to church choral music from an early age. His love of this genre of music is apparent in both his celestial falsetto and vocal choral arrangements. This collection also displays his early fascination with evocative, non-verbal, scat-style singing, spare, harmonic guitar work and local folk music, jazz and rock.

In 1976, Milton and Fernando Brant teamed up with a new contemporary dance company called Grupo Corpo, whose Argentinian choreographer Oscar Araiz, would become a collaborator with the two musicians. Together, they conceived a show based on the composite life story of the daughter of a black slave called Maria. Nascimento wrote music to Brant's lyrics and "Maria Maria" was premiered in the main theatre of the Belo Horizonte Palacio das Artes that year. "Fernando wrote the lyrics for the ballet, but there were originally no lyrics for the theme song, "Maria Maria'". Milton and Fernando worked on the lyrics together, basing them on folk stories about black women of the countryside. Adds Milton "These memories are mostly things that we witnessed – Fernando and I – rather than what we experienced ourselves.

Milton's music is impressionistic, emotional and romantic. Relying on songs without lyrics as well as evocative vocalizing and choruses, Milton experimented heavily with Afro-Brazilian percussion and taped jungle sounds. His composing method for these recordings was highly unconventional: "I wrote the music for 'Maria Maria' in a tiny Rio apartment with friends and their kids running around and having fun! I love to be in noisy places, surrounded by people", he says.
The music on 'Maria Maria' was performed by an impressive group of young musicians who are today household names in Brazilian music, including Naná Vasconcelos (percussion and effects), Toninho Horta (guitars) and Paulo Moura (sax). Several vocalist including Naná Caymmi, Fafá de Belém, Beto Guedes, and Milton himself, had hits in years to come with reworkings of these songs.

Milton says his compositions follow his visions "like a movie", and he believes that reflects his long love affair with cinema. "I only began composing because of enjoying the movies so much," he says. "I wrote my first song "Peace for the Coming Love" after seeing 'Jules et Jim' (the cult 60s French film directed by François Truffaut), with my friend Marcio Borges. We went early in the morning and watched it four or five times in a row, then went to Márcio's home and wrote the song."

The songs also include solo spoken passages set to music, clearly influenced by this style of French art cinema. On the title track, Maria's story is narrated and translated to music through the use of African Percussion, drums and metal signifying the field slave tools of the day. 'Trabalhos (Works)' runs to work rhythms and whipcracks: no words, just pain. 'Lília' documents the beating of the slave woman. After 'A Chamada (The call)' and the triumphant 'Era Rei e Sou Escravo (I was a king now I am a slave' things begin to turn and Milton employs tropical jungle cries to symbolize freedom. 'Santos Catholicos x Candomble (Catholic Saints vs Candomble)' represents the battle between African and European religions through the music of both sides. Milton's heavenly falsetto pours into 'Francisco' and 'Pai Grande (Great Father)' and the outstanding 'Eu Sou Uma Preta Velha Aqui Sentada no Sol (I'm an old black lady, sitting under the sun)' conjures images of an old woman sitting deep in the forest, her memories painted in drums, piano and voices.

While awaiting the release of Dignity Of Labour, The Ex headed back into the studio in early 1983; this time with a new friend – The Mekons' Jon Langford – helping produce.

Originally released in April 1983 (only a month after Dignity Of Labour), Tumult marks a major evolution in Ex-sound. Opener "Bouquet Of Barbed Wire" emerges snarling out of post-punk atmospherics with Terrie Ex's glacial guitar, Bas Masbeck's loping bass and cascading tom-toms from new recruit Sabien Witteman, while "Fear" and "Survival Of The Fattest" bring to bear the rhythmic core of the band, their signature angular style.

Lyrically, the songs on Tumult cycle through a series of familiar concerns: animal rights, squatters, the working class, punk's penchant for radical chic and the creeping fascism of nationalist sentiments. G.W. Sok's voice is squalling and perfectly wry throughout.

Tumult remains a high-water point of early Ex, serving as both developmental guide and way-station. The next 18 months would see the departure of Bas and Witteman and the arrival of long-serving bassist Luc Klaasen and drummer Kat Bornefeld (whose supple rhythms propel the group to this day). The album stands as one of the most compelling and unique documents of early '80s DIY exploration. If Mark E. Smith had only one favorite Dutch punk band, then it would undoubtedly be The Ex.

This first-time vinyl reissue comes with 28" x 39" full-color poster

(Incl. Nick Holder & AceMo Remixes)

BURNING HEAT is a potent tincture, a focused distillation now years in the making. Carefully chosen from over 20 new productions and extensively play-tested at parties across New Orleans and beyond, BURNING HEAT is the latest collaborative effort by locals Quickweave (Jalen Dilosa) and Redance (David Yaconi); a split EP forthcoming on Hiatt dB’s New Orleans-based Mystery Zone Records July 1st 2022.

The 180-gram 12 inch features 2 tracks from each artist along with a pair of remixes split evenly between the “WHITE HOT” and “RED HOT” sides courtesy of Toronto’s Nick Holder and NYC’s AceMo, respectively. Its sound draws inspiration from the lessor-dug House stylings of the early 00s. With BURNING HEAT, Quickweave and Redance have repositioned the era’s lush textures and sensual atmosphere against heavier rhythms and more circular, hypnotic arrangements. The result? Deep club workouts focused on fostering connection, joy and romance on the dancefloor.

These hard-hitting, DJ-friendly productions were made in part to power the duo’s post-lockdown come-back party venture, Mercy. Early demos and updated edits became part of the sound of our collective reconnection as lockdowns relaxed and infection numbers fell in Summer 2021. On BURNING HEAT you’ll hear late-night New Orleans in the dead of Summer – warm and inviting club cuts to soundtrack a low-lit, neighborhood backroom disco-dive. Polished from a trove of DJ tools made for the artists’ personal sets, this selection features nothing but guaranteed party-starters, vetted both in the studio and behind the booth.

Saltern’s latest offering marks the first-ever release of “lost minimalist” Terry Jennings’ visionary 1960 composition, Piece for Cello and Saxophone, as arranged in just intonation by legendary composer La Monte Young for renowned cellist Charles Curtis. Born in Los Angeles in 1940, Jennings was a close associate of Young, Terry Riley, and Dennis Johnson, and an early adopter of minimalist tendencies, creating slow, sustained music, influenced by jazz, modalism, and late romantic classical music. Jennings died tragically in his early forties, most of his work lost to a chaotic life; however, his forward-looking music quietly exerted a lasting influence on composers including Young and Harold Budd. Composed over sixty years ago, Piece for Cello and Saxophone, foreshadows a number of movements in postwar avant-garde music.

Despite the title, there is no saxophone on this album. At over eighty minutes, La Monte Young’s justly tuned realization of Piece for Cello and Saxophone for cello alone unifies and extrapolates Terry Jennings’ dense harmonies, creating an extended field of complex sonorities in motion, all brought to life by the immaculate playing of Charles Curtis. The recording captures Curtis in a performance from 2016 reflecting more than twenty-five years of dedication to the piece.

Highlights:
• Saltern latest offering marks the first-ever release of “lost minimalist” Terry Jennings’ visionary 1960 composition, Piece for Cello and Saxophone, as arranged in just intonation by legendary composer La Monte Young for renowned cellist Charles Curtis.

Rome’s own disco wizard L.U.C.A. aka Francesco De Bellis is back for his second LP Terra, hot on the heels of his Venus 12” EP earlier this year. In this far-reaching album, the Edizioni Mondo founder explores the deteriorating relationship between Man and Nature, and the dire consequences. The album is split into two themes - part one is Consacrazione (Consecration) and side two is Coscienza (Conscience) - as L.U.C.A. charts a trip through mankind’s psychic universe, and imagines worlds beyond our physical dimension.

The opening composition Cities is an uptempo number that slowly comes into focus, as dreamy drum machines emerge from the urban bustle, before settling into a soulful groove as keyboard, upright bass and guitar figures dance across bright percussion. As it builds up a head of steam, the piece gives way to an ambient, tribal breakdown, which is also echoed in the following song, Drum Talk. This second tune sets up in a fourth world dreamscape of drums, synths, and abstracted echo effects, and is peppered with word fragments from the bush of ghosts. By the time we’ve reached the third track, Congiunzione sounds like travelling at singularity speed, beaming in from a future where human consciousness and gaia can finally dance on a cosmic plain.

Part two of Terra details how revelation of the spirit can guide the mind, as Time Spirals rises out of a drum motif with a nod to classic ragas, as a disembodied voice asks questions on the nature of corporeality. The sound design is just as front and centre as the sitar and fretless bass, and the song gives way to a richly-layered soup that sounds like the vast space between atoms. It’s this shift from composition to ambience that is the dynamic core of Terra, giving L.U.C.A. plenty of space to showcase his next-level audio and arranging skills. Midway through part two, Giallo Assoluto begins with reverb tails and choral voices before expanding in brightness and texture until the audio field is practically levitating your hi-fi speakers, vibrating them with drones, twinkling keys and shards of digital noise. The closing composition Ritorno al Domani is a perfect balance of optimism and mystery. Tension and release collapse in on themselves as waves of ambient pads crescendo and then break over stretched-out sonic turbulence, before reversed synths bring the listener to a closing door, and the end of the journey.

It’s a mind-expanding musical exploration of other worlds and parallel universes which are surely all around us, and in many ways serve to remind us of the marvel that is our own planet.

The roots of Naima Bock’s music are far reaching. Born in
Glastonbury to a Brazilian father and a Greek mother, Naima spent
her early childhood in Brazil before eventually returning to England
and various homes in South East London. This heritage combines
with more recent pursuits in Naima’s music. From the Brazilian
standards that the family listened to while driving to the beach, to the
European folk traditions she tapped into on her own, and the pursuits
that interest her today - studies in archaeology, work as a gardener,
and walking the world’s great trails - Naima’s music draws from
family, the earth and music handed down through generations.
 Naima’s debut album, ‘Giant Palm’, is undoubtedly infused with the
Brazilian music of her youth and regular family visits. She found
inspiration in “the percussion, the melodies, chords - and particularly
the poetic juxtaposition of tragedy and beauty held within the lyrics.”
 By the age of 15, Naima was embedded in the music scene of SouthEast London, eventually forming Goat Girl with school friends and
touring the world. After six years playing bass in Goat Girl, Naima left
the band to try something new. She set up a gardening company and
started a degree at University College London in archaeology
because, as she jokes, “I liked being near the ground.” During this
time, she wrote music, played guitar, learned violin, worked with evershifting South-London collective Broadside Hacks, and met producer
and arranger Joel Burton through Memorials of Distinction labelhead
Josh Cohen. Joel’s burgeoning interest in Western classical music,
global folk music, and experience in large scale arrangement and
orchestration informed the collaborative process that eventually
culminated in ‘Giant Palm’.
 Recorded with the help of over 30 musicians (including Josh Cohen
on synth / electronics) by Dan Carey of Speedy Wunderground at his
studio space in Streatham, South-East London, and engineered by
Syd Kemp, the songs on ‘Giant Palm’ represent a snapshot of a
specific feeling, of brief moments in Naima’s life that make up a larger
whole.
 The expansive yet delicate arrangements highlight Naima’s love for
the collectivist values of traditional folk music, in which songs belong
to everyone, and singing can take on countless forms without the
need to exactly replicate something. “All the other representations
that I’d had of singing felt so unattainable,” she recalls. ‘Giant Palm’
finds Naima bucking these expectations to let her unique voice and
sense of communal creativity flourish.

“I’ve been playing since I was 11 years old,” says Charlie Gabriel, the most
senior member of the legendary Preservation Hall Band. “I never did anything in
my life but play music. I’ve been blessed with that gift that God gave me, and I’ve
tried to nurse it the best way I knew how.”
 While he’s faced plenty of challenges nursing that gift for more than 78 years,
none likely rank with last winter’s passing of his brother and last living sibling,
Leonard, lost to COVID-19. For the first time ever, Gabriel put down his horn,
filling his days and weeks instead with dark reflection, a stubborn despondency
broken now and then by regular chess matches in the studio kitchen of Hall
leader Ben Jaffe, working overtime to bring his friend some light.
 One such afternoon also included Joshua Starkman, sitting off in a corner
playing his guitar and half-watching the chess from a distance. When Charlie
returned the next day, he brought his saxophone. “I was just inspired to try it, to
play again. It had been a long time, and a guitar makes me feel free. I do love the
sound of a piano, but it takes up a lot of a space, keeps me kind of boxed in.”
That day was to be the first session for ‘Eighty Nine’, almost entirely the work of
Gabriel, Jaffe and Starkman, recorded mostly right there, in the kitchen, by Matt
Aguiluz.
 Charlie Gabriel’s first professional gig dates to 1943, sitting in for his father in
New Orleans’ Eureka Brass Band. As a teenager living in Detroit, Charlie played
with Lionel Hampton, whose band then included a young Charles Mingus, later
spending nine years with a group led by Cab Calloway drummer J.C. Heard.
While he’s also fronted a bebop quintet, played and/or toured with Ella
Fitzgerald, Tony Bennet, Aretha Franklin and many more, this is the first time his
name appears on the front of a record, as a bandleader.
 Since 2006, Gabriel has been a member of the Preservation Hall Jazz Band,
featuring prominently on ‘That’s It, So It Is’, and ‘Tuba to Cuba’. ‘Eighty Nine’ was
different, and not simply due to a smaller ensemble. “We had no particular plan,
or any particular insight on what we were gonna do. But we were enjoying what
we were doing, jamming, having a musical conversation,” Charlie says, further
musing, “Musical conversations cancel out complications.”
 The album includes six standards and three newer pieces on which Gabriel is a
writer: ‘Yellow Moon’, ‘The Darker It Gets’ and ‘I Get Jealous’. The record also
marks Charlie’s return to his first instrument, clarinet, on many of the tracks. “The
clarinet is the mother of the saxophone,” he says. “I started playing clarinet early
in life, and this taught me the saxophone.”
 Finally, ‘Eighty Nine’ includes three tracks of Charlie singing. “I always sung, but
it wasn’t my forte to become a singer,” he says. “The truth is, people often
develop a real relationship with a song once they hear the words. Sometimes I
enjoy singing them.”
 First pressing on translucent gold Loser Edition coloured vinyl

Black Vinyl Repress

For the third release on De:tuned we proudly present The Kosmik Kommando AKA Mike Dred. Mike hardly needs an introduction; considered as one of the masters of the Roland TB-303 Mike has been releasing records under various aliases since the early 90s. He has recorded for high profile labels such as R&S and Rephlex as well as his own Machine Codes label. Together, with Aphex Twin, Mike was behind the Universal Indicator releases which are among the most collectible and sought after records in techno history.

De:tuned has worked closely with Mike to develop an 8 track project that gives props to the American Psychologist Timothy Leary and his proposed theory of 'The Eight-Circuit Model of Consciousness'. This model describes 8 circuits of information that operate within the human nervous system. Each circuit refers to a different sphere of activity, enhanced by experimentation with a particular substance. Each circuit also represents a higher stage of evolution than the one before it and the higher the circuit, the fewer the people have activated it as the higher four circuits exist for those who migrate to outer space and live extraterrestrially.

The 8 Models are applied to the track titles that present a varied collection integrating acid house, techno, electro and rave culture.

3 of the tracks on offer here were written exclusively for Mike's live performance at the De:tuned 'Meeting of Minds' event in June 2012, which was Mike's first full live show in 3 years.

This 8 track project will be available on limited 180 gr white double vinyl with label and sleeve artwork by Mike himself. Stay Tuned!

2022 Silver Vinyl Repress

For the third release on De:tuned we proudly present The Kosmik Kommando AKA Mike Dred. Mike hardly needs an introduction; considered as one of the masters of the Roland TB-303 Mike has been releasing records under various aliases since the early 90s. He has recorded for high profile labels such as R&S and Rephlex as well as his own Machine Codes label. Together, with Aphex Twin, Mike was behind the Universal Indicator releases which are among the most collectible and sought after records in techno history.

De:tuned has worked closely with Mike to develop an 8 track project that gives props to the American Psychologist Timothy Leary and his proposed theory of 'The Eight-Circuit Model of Consciousness'. This model describes 8 circuits of information that operate within the human nervous system. Each circuit refers to a different sphere of activity, enhanced by experimentation with a particular substance. Each circuit also represents a higher stage of evolution than the one before it and the higher the circuit, the fewer the people have activated it as the higher four circuits exist for those who migrate to outer space and live extraterrestrially.

The 8 Models are applied to the track titles that present a varied collection integrating acid house, techno, electro and rave culture.

3 of the tracks on offer here were written exclusively for Mike's live performance at the De:tuned 'Meeting of Minds' event in June 2012, which was Mike's first full live show in 3 years.

This 8 track project will be available on limited 180 gr white double vinyl with label and sleeve artwork by Mike himself. Stay Tuned!

“Oberst and company have eectively crafted a searing punk fueled half-hour funeral march for both small-town life and the days when you were more likely to hear the words mom and pop than multinational corporation. At the record's core, there is a sense of great disillusionment with watching the cold, calculated displacement of human interaction and community while the world tries to fill the void with money and chain stores.” - Tiny Mix Tapes

“Desaparecidos is like nding gold when you're looking for silver.” - Exclaim!

2022 nds us releasing the 20th Anniversary Edition of Desaparecidos' Read Music/Speak Spanish into a world in which the dread and disenfranchisement detailed throughout the album feel as pertinent today as they did then. The characters and settings may have changed, but the startling narrative has not.

In late 2001, Conor Oberst, Denver Dalley, Landon Hedges, Ian McElroy, and Matt Baum spent a week at Presto! Recording Studio in Lincoln, NE recording a punk album. That debut album, released in the post-9/11 fog of early 2002, screamed out observational commentary on urban development, the sacrice of human value for the dollar bill, and the new American Dream in a way that felt distinctly out of sync with the hyper-patriotic atmosphere of peak G.W. Bush-era America.

The Silvertones were steeped in the grand tradition of Jamaican vocal trios along with other greats such as The Heptones, The Abyssinians and The Kingstonians. Formed in 1964 by Delroy Denton, Keith Coley and Gilmore Grant, the group recorded under a variety of names in the ska and rocksteady era for Duke Reid’s Treasure Isle and Coxsone Dodd’s Studio One, before hooking up with producer Lee “Scratch” Perry.

Originally released in 1973, The Silvertones’ debut Silver Bullets was recorded at Perry’s Black Ark studio with vocal tracks captured at King Tubby’s Dromilly Avenue studio in a marathon, all-night session. While firmly planted in roots reggae, Silver Bullets’ dense harmonies and relaxed vibe harken back to rocksteady. The album marks an interesting point in Jamaican music where the past and the future are visible in the grooves of a single LP—from classic rocksteady-tinged love songs like “That’s When It Hurts” and “Rock Me In Your Soul” to the Rasta anthem “Rejoice Jah Jah Children.”

Antarctica Starts Here presents the first widely available domestic release of Silver Bullets. This reissue is part of an archival series that focuses on Trojan’s essential ’60s and ’70s catalogue. Liner notes by JR Gonne.

LIMITED TO 500 COPIES // HIGH-QUALITY TIP-ON COVER // INCL. DOWNLOAD CODE

OFFICIAL RE-ISSUE OF GÖTZ TANGERDING'S BHAKTI JAZZ DEBUT ALBUM !!!

Born in Donauwörth, a small town in Bavaria in 1951, Götz Tangerding studied piano to concert level at the Leopold Mozart Conservatory in Augsburg. In the 1970s he started to make a name for himself on the local Munich jazz scene and traveled through East Europe with drummer Rudi Roth. In 1976 he came to New England Conservatory of Music in Boston to study compositions with George Russell and Jaki Byard with whom he played in the New York Big Band in 1978.

In 1980 he returned to Munich, Germany and founded his formation Bhakti Jazz as well his own record label Bhakti Records. "First Step", recorded at the Loft in Munich on May 1st and 2nd that same year, was the debut album and showcases the huge talent of the young and gifted band leader.

The two best known tracks are probably "Glimpses of Truth" and "Eastern Moods" which have been re-released back to back on 45RPM single by another german reissue label in the late 2000s. However, these are just two out of nine outstanding compositions from the prolific pianist to be found on this album. Tangerding's tasty style of playing, combined with the psychedelic maze created by his fellow band members on flute (Alan Ett), sax (Alan Ett again!), drums (Rudi Roth), and bass (Urs Hämmerli) plus Lisa Dawson's exotic vocal harmonies are sure grab your ear for a mind-blowing experience.

Götz Tangerding, who died much too young early in 1991, left us with dozens of wonderful compositons. "First Step" does not contain a single weak track. It's a true masterpiece and definitely one of the finest independent german jazz albums from the 1980s.

This is the first OFFICIAL RE-ISSUE - limited to 500 (HAND-STAMPED!) COPIES. The record is housed in a HIGH QUALITY TIP-ON record jacket and comes with a FULL ALBUM DOWNLOAD CODE.

Prior to his untimely passing, Chester personally announced a 2017 Grey Daze reunion on social media. As he never got the chance to launch the reunion himself, his bandmates, friends, family, and various collaborators stepped up to give the music the second chance it deserved, finishing what the late singer started. The musicians—longtime members Sean Dowdell drums, backing vocals and Mace Beyers bass as well as Cristin Davis [guitar] recruited in 2017 to tackle this artistic and personal endeavor. A follow up to their critically praised and fan beloved 2020 album “Amends”, this next chapter of music is the completion of their commitment to friendship. For “The Phoenix” the band teamed up with producer Esjay Jones and did a lot of the recording in LA at the iconic Sunset Sound Studios. With this album Esjay and the band really focused on being true to the group's original sound and all their 90s influences. This album continues their mission to tell Chester Bennington's story and also celebrate the amazing artist and person he was. Early song standouts are Saturation, Starting To Fly, Drag, and Anything Anything. Press includes Metal Hammer, CMU, Daily Star, Kerrang!, NME and more.

Clear Vinyl

sferic venture a new set of plasmic ambient entertainment systems by Jonas Wiese’s TIBSLC, mining that slender but heady sweetspot between the earliest Vladislav Delay productions for Chain Reaction, Japanese environmental x architectural recordings and the sort of gear you’d hear from Move D & Jonas Grossmann at the late 90’s Source Recordings heyday.

sferic pick up the mantle of late ‘90s-into-‘00s ambient with a new variant primed for the times. Following the themes of their ‘Decisive Tongue Shifts - Situation Based Compositions’ album of 2021, TIBSLC (The International Billionaire’s Secret Love Child) distills their sferic debut into a crystal clear, hypersensitive set of eight tracks that slip seamlessly into each other’s space, recalling the amorphous end of Jan Jelinek’s ambient shimmers.

Where TIBSLC’s first album sprawled over two discs, this one relates to the same recording sessions, but glimpsed via more succinct windows of opportunity. In effect they’re like Hitchcockian, voyeurist snapshots of other lives in the urban complex woven into a melting emulation of the city at dusk, replete with infrasonic bass from streets below, and streaked with the wistful dream energy and fizzy optimism of a certain city life. In fleeting rounds of ephemeral shrapnel and synth pad washes, the eight parts evoke a sense of mental discombobulation, lending itself to ruminating on the unbearable lightness of being.

Fabric resident Anna Wall and production partner Corbi link up again for the first time since their debut EP 'DATs In The Attic' dropped on Ritual Poison in 2019. Between then, Anna has gone on to release music on her own label Dream Theory and turned in a gorgeous deep cut for music platform 22 tracks' final send off before closing. Corbi has been no stranger to production either, heading up important label Fina records and releasing stand-out EPs on Rough Recordings & Kouncil Cuts.

The pairing bring their newfound knowledge to LTWHT, shape shifting between colorful displays of breakbeat and melodic perfume. Ahead of the release, Anna & Corbi spoke of their love of digging into the past, delving into old techno and rave records and inspired by artists like LFO. While the influences are apparent their sound remains unique, contemporary and flourishing with personality.

Title track 'Persistence' opens with choppy breakbeats and deep subs, adding extra depth and weight; providing the perfect base for the record's shimmering synth lines. 'Consciousness' then conjures wide-eyed atmospherics, joining hands with a soothing, deep bassline and diamond shaped arpeggio. 'I'm just changing consciousness' is gently spoken as the track ebbs and flows across the oceans moon-lit surface.

Subtly euphoric and inherently introspective, B side opener 'Take A Moment' shows a developing side to the pair's growing sonic palette. Early trance meets breakbeat, in an emotive display of otherworldly electronics and primordial whispers. The tracks bassline and lead add an extra layer of playfulness, turning the track from a cerebral workout to a blissful dance around an open flame. The record comes to a close with 'Regardless' an acid inspired dream that unfolds amongst a backdrop of clouded pads and intoxicating patterns.

Libreville Records presents Totāl Cuevas, a seminal compilation album of legendary DJ Guy Cuevas's own music.

Guy Cuevas is a French-Cuban writer, musician, and DJ, pioneer of the art of modern DJing.
A key figure on the Paris night scene, Guy Cuevas gained a cult status as the resident DJ of the mythical nightclub Le Palace, gathering thousands of people every night under his booth, shepherding them with his music towards euphoria. He also collaborated with a great number of Fashion brands, such as Yves Saint Laurent, Kenzo, Dior, Hermès and many more.

In the early 80s, Guy Cuevas released a handful of records, channeling his hedonism and natural grandeur into his sound, creating a unique music of his own.
Totāl Cuevas brings together music from his three singles Ebony Game (1981), Obsession (1982), and Gallo Negro (1984), and includes previously unreleased alternate mixes.
Guy Cuevas’s most iconic output, "Obsession - The Nassau Mix" (mixed by François K) gets a fresh new reboot with "Obsession - The Paris Version".

Remastered from the master tapes.

What if music had no beginning, no end Can music exist 'for itself' or 'of itself,' without structure constraining it, defining it Can music be non-linear, non-narrative, simply experiential, existential The second full-length album on Mysteries of the Deep, Musica Enterrada from Portland's William Selman, neither answers these questions nor supposes them. But in listening, one can't help but wonder: What if I disappeared into this record forever In another time and place, William Selman was known as Warmdesk, an alias through which he issued a series of sharply precise minimal techno records. In recent past, Selman shifted gears, shedding the dynamics of tension and release that characterized his previous alias' output. Under his own name, Selman began releasing process-oriented, freeform experimental music on cassette-focused outlets like Digitalis and Hausu Mountain. Now comes Musica Enterrada, a diaphanous, weightless musical vision not unlike the theoretical square root of GRM and Popol Vuh's early electronic forays. Split into six tracks across two sides of vinyl, Musica Enterrada bubbles, churns, drifts, and dozes. Dulcet tones pile up gently like waves on shore. Patterns repeat and reconfigure, as if heard from different angles. Rhythms appear, shift the frame, then disappear, into the ether whence they came. Play Musica Enterrada on repeat. And if you disappear into it, fret not — you have drifted into solace.

repressed !

In Order To Understand Waajeed's Artistic Profile, It Helps To Look At The Musical History Which Informs It. As A Child Of Detroit Who Grew Up Just As Encapsulated By Hip-hop And Soul As He Was Techno And House, He Is Driven By A Commitment To Finding The Sweet Spot Between These Paradigms. In A City Full Of Dualities, His Productions Are Underpinned By An Inherent Awareness Of Both Sides Of The Coin. 'growing Up In The D, I Spent Monday Thru Thursday In The Studio With Slum Village. Friday And Saturday Nights We Partied All Night To Techno And Early Sunday Morning I Went To Church With My Pastor. This Is What I Sound Like. This Is The Sound Of Detroit. This Is From The Dirt.'