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It took a village to create Le Motel’s Odd Numbers / Số Lẻ. Beneath its pulsing, shimmering tones, the record is alive with the sounds of everyday life—purring mopeds, idle whistling, the din of kitchens and whisper of rain, voices joyful and contemplative, scenes of bustling cities and domestic intimacy.

Le Motel—who runs the Brussels-based record label Maloca—gathered sounds, photographs, and videos while traveling in Vietnam in 2023. From Hanoi he ventured to Hmong communities in the mountains near the border with China, building out a network of contacts gathered from friends and friends of friends. But Odd Numbers / Số

Lẻ—which takes its title from traditional Vietnamese numerological beliefs and customs—is wholly unlike the extractive product typical of exploitative modes of Western tourism; the album’s final shape was deeply dependent upon the participation of the people the artist met in Vietnam.

Back in Brussels after his travels, as Le Motel began working with his materials, he sent early drafts to his contacts, inviting their input. This back-and-forth eventually yielded a dynamic collective effort in which nine of the album’s 15 tracks feature multiple composer credits. Among the album’s diverse collaborators are Yvonne Quỳnh-Lan Dươn, an educator and ethnomusicologist; Chi Chi, the daughter of a Hmong shaman; and Phapxa Chan, who contributes three poems inspired by landscape and Le Motel’s own music (and, in one case, psychedelics).

The result is an album that is not about making sound, broadcasting it as a one-way communication, but instead about the empathic practice of listening—about listening as an integral and even ethical part of musical creation, even (especially!) when that music is created on a computer, rather than conjured by a group of players sharing space in real time. It’s an album that adopts many of the traditional trappings of ambient music while reminding us of the importance of intentional modes of creation. Brian Eno famously said that ambient music must be as ignorable as it is interesting, but Le Motel’s Odd Numbers / Số Lẻ suggests, to the contrary, the richness of experience available to us should we make the effort to open our ears.

Complementing the album, Le Motel’s Odd Numbers / Số Lẻ also takes the form of a multimedia exhibition including photographs, video, and text-based works created in collaboration with Belgian designer and programmer Antoine Jaunard and Vietnamese poet Phapxa Chan. The exhibition is on view from January 23 until March 2, at Brussels’ 254Forest gallery, as part of Photo Brussels Festival 2025.

4LP set containing 29 original / extended / full-length / 12” versions of Queer club classics – 1980-1989
‘More Sin’ features Pet Shop Boys, Sylvester, Divine, New Order, Eartha Kitt, Grace Jones, Hazell Dean, Desireless and many more.
Highlights include the hard-to-find 12” version of ‘Can’t Stop The Music’ by Village People and the rarely compiled underground club anthems ‘Pistol In My Pocket’ by Lana Pellay and ‘After The Rainbow’ by Joanne Daniëls.
All tracks fully annotated and with a foreword by Ian Wade – author ‘1984: The Year Pop Went Queer’. Following the success of the first ‘Box Of Sin’ in 2023, Demon / Edsel and Disco Discharge are proud to announce the sequel – ‘More Sin: Box of Sin 2’ will be released on 31st January 2025.

Over 4 LPs, ‘More Sin’ presents 29 choice selections from the music you might have heard on Queer dancefloors between 1980 and 1989 – a decade of dance in all its devilish delights. Meticulously researched from the published gay club charts at the time, the LP set encompasses full-length versions of Diva, High Energy, Alternative, Pop, Europop and House classics. Not only were the ‘80s Queer clubs where you were most likely to hear the latest groundbreaking developments in dance music, there was a lot of diversity on offer – on a given night you might hear a legendary soul singer’s new opus right next to some post-punks from Manchester and the latest European pop chart topper.

‘More Sin’ aims to reflect this. On ‘More Sin’, the space-age soulful club sound of Jean Carne rubs up against the widescreen Europop beauty of Desireless and cutting-edge house music from London courtesy of Wee Papa Girl Rappers… and along the way come some of the most important and era-defining artists of the decade – from Sylvester to Siouxsie & The Banshees, from Pet Shop Boys to Divine, from Hazell Dean to Grace Jones. Producing and mixing these classics is like a roll-call of the era’s studio giants – Trevor Horn, Larry Levan, Clivillés & Cole, Ian Levine, John Luongo, Bobby “O”, Martin Rushent and Stock, Aitken & Waterman to name a few. It’s time to give in to sin again.

Soul Station is a masterpiece of melodic improvisation, rhythmic interplay, and emotional depth and showcases Hank Mobley's ability to create music that swings hard but remains accessible and lyrical

The album remains a classic in the jazz canon, essential not only for understanding Mobley's contribution to jazz but also for appreciating the broader hard bop movement of the late 1950s and early 1960s. Released in 1960 it is widely regarded as one of his finest works and a classic in the hard bop genre: Hank Mobley was part of the first wave of musicians who helped shape the hard bop sound, a style that blends bebop with blues, gospel, and R&B influences. Mobley was known for his smooth, melodic playing, and while he didn't receive the same level of fame as contemporaries like John Coltrane or Sonny Rollins, he was respected for his consistency and lyrical improvisation. The album features an exceptional quartet of jazz legends: Hank Mobley, Art Blakey, Wynton Kelly and Paul Chambers: this quartet is especially notable because Mobley recorded with Art Blakey's Jazz Messengers and the rhythm section (Kelly and Chambers) was a part of the classic Miles Davis quintet at the time. Their tight interplay and experience shine throughout the record. "Soul Station" stands out because it encapsulates Mobley's mature, melodic sound and his ability to craft memorable, emotionally resonant music without relying on flash or pyrotechnics. It's a must- listen for any jazz enthusiast, and it's often recommended as a starting point for those exploring Mobley's extensive discography.

Ear World, out February 24th on Brooklyn-based record label 29 Speedway, is a collection of sound collage works by experimental cellist Dorothy Carlos. Her debut album ranges from song-like to abstract, incorporating site-specific sound installation work originally premiered in both 16-channel and quadraphonic formats. Voice and cello are reconstructed through glitch techniques to take on a digital form that is flirtatious and fleeting. Carlos is an experimental cellist active in Chicago and New York. Her work utilizes extended techniques and digital manipulation, merging free improvisation and computer music. She is interested in digital techniques as an opportunity to construct imaginary realities and capture a sense of intimacy.

Solo performances have been presented internationally by Experimental Sound Studio Chicago, Big Ears Festival, default, Center for New Music and Associated Technologies (CNMAT) at UC Berkeley, Chicago Jazz String Summit, and Bemis Center. Her work has been featured in The Wire, New York Times, and The Quietus and released digitally with D.O.T. Audio Arts and American Dreams. Dorothy holds a Bachelor’s degree from NYU where she studied classical cello and anthropology and an MFA in sound from the School of the Art Institute of Chicago.

Tracks 2-4 “My Ideal is Windy” quadraphonic installation commissioned by Experimental Sound Studio and the Chicago Park District.

Track 8 “Alter, alter” 16-channel installation premiered at the Chicago Laboratory for Electro-Acoustic Theater (CLEAT).

This 7" features a collaboration of two STAR CREATURE vets hailing from both northen & southern Cali for ultimate funk measure. The two have paired here for a raw, uncut cut with all the necessary elements for the freaky funk aficionados. Comes with a Vocal & Instrumental mix.

Second outing from DISCO DUB 45 fresh off the fierce AFRICAN DUBPLATE 12". Four trax of outrageously rare and unheard of jams compiled and reedited by BLACK DISCO DEMO CLUB featuring every flavor of disco you could hope for Limited pressing you'd be smart to get your hands on

Repress!

It's been four eventful years since Keinemusik's Adam Port, &ME and Rampa joined forces and laid down their collaborative debut album ‘You Are Safe.’ Taking time to explore new territories and sourcing material for their second offering, 'Send Return' is the product of this creative 'time-out:' a positive message requiring positive feedback, and hopefully making things a little better along the way. To get that message across, the boys invited a variety of voices from both past collaborative projects and new ties built over the last few years, to take part


Limited Edition, Silver Sleeve with silk-screen printing, flip image sticker on the front

Bakermats neues Album "Grace Note" ist eine herzerwärmende Hommage an die kraftvolle Verbindung zwischen House-Musik und Gospel. Das Album feiert die Freude und die spirituelle Essenz dieser Genres und lädt die Zuhörer ein, die Magie der Tanzfläche neu zu entdecken, auf der Bakermats Musik seit über einem Jahrzehnt Momente der Freude und Verbundenheit fördert. 15 Tunes inklusive den Singles "Save My Soul feat. AMANZI", "Your Shine with Fly Disco Butter", "Joy feat. Ann Nesby" und "Praise Break".

Radioactive Toys aus Köln spielen einen schnellen Punkrock/Hardcore a la "Poison Idea". Es wird geknüppelt, aber auch gerockt. Erscheint auf dem Hamburger Label Rookie Records.

Maud the moth, the solo project of Spanish-born and Scotland-based pianist, singer and songwriter Amaya Lopez-Carromero announces her new album, The Distaff, to be released via The Larvarium (digital +CD) and La Rubia Producciones (vinyl) Amaya has long used the mantle of Maud the moth as an alter-ego, a séance-like conduit to explore themes of rootlessness, identity and trauma. The Distaff in particular refers to the stick or spindle onto which wool or flax is wound for spinning, and an object which has historically been used across multiple cultures as a symbol wielded by the “virtuous woman”, an authoritarian ideal around which much of the trauma surrounding the feminine coalesces. The album takes the form of a sort of self reflective and surreal autobiography. It was in part inspired by the poem of the same name written by the Greek poet Erinna, as she mourns her friend's loss of individuality and agency in exchange for marriage - and therefore safety and acceptance in the eyes of society. The album exists in an ethereal but violent world of aesthetic overlaps where time stands still and fictional and reimagined folk sits at the table with Maud the moth’s usual sonic menagerie. It is the result of a lifetime of obsession with sound and music, where glimpses of musical genre offer insight into Amaya’s artistic interests and her participation in the underground European scene for many years, in bands such as healthyliving. Heavier, darker, and more exposed than any of her previous works it features some highly accomplished artists, such as Seb Rochford (Patti Smith, Polar Bear, Sons of Kemet, Pulled by magnets, etc.) on drums, Alison Chesley (Helen Money) on cello, Fay Guiffo on violin and Scott McLean (Ashenspire, healthyliving, Falloch) on guitar, saxophone and synthesiser. Maud the moth shares the video for "Siphonophores". About the track, Maud the moth says; I wrote "Siphonophores" on guitar, during the first lockdown, a period where I was kind of trapped between an almost empty flat in Edinburgh and Dresden. It was an incredibly harrowing time, but also one of hope and where important new things were being birthed. I felt incredibly sensitive to everything, almost like life was happening in slow motion. I´m not a confident guitarist since I am completely self-taught, but, probably because of this, I feel that this instrument allows me to focus on aspects of the songwriting that I normally overlook when writing on piano, and I think it was a necessary step for this song to exist. Something else which I've been really exploiting lately and features strongly in the album is the percussive capabilities of the piano, and in particular, of the sustain pedal when mic'd up. This can be heard very clearly at the beginning of "Siphonophores". Written and arranged by Amaya, with some contributions in the later role from the aforementioned collaborators, the album presents nine tracks originally written entirely on acoustic piano as accompanied voice pieces, in pure singer-songwriter fashion. The album was co-produced and recorded by Scott and Amaya in different studios across the UK between January and July of 2024, in a process that started shortly after the 2020 pandemic and finished alongside the album recordings in a detailed, organic and at times obsessive process aimed primarily at capturing the natural dynamics and expression of free performance. The Distaff was mixed in its entirety by Scott and mastered at Abbey Road by Alex Wharton (Radiohead, My Bloody Valentine, Aurora, Kathryn Joseph etc.) Despite being born of a very personal point of view, the album lacks a specific narrator and was conceived almost as a sonic trousseau, where the needle point, silks and other family heirlooms have been swapped for out-of-the-corner-of-the-eye memories of rural Spain by the vineyards, family disputes, old tales of wartime pains, generational breaches and finally the conflict of migration and estrangement. The songs paint dystopian pastoral scenes which evolve throughout the span of one fictional day outside of time and coherent locations and where imagination (often the only account surviving from traumatic events and gaslighting) has become indistinguishable from fact. The Distaff attempts to acknowledge past trauma, comprehend and process some of the more difficult aspects which have contributed to our darker self and offer closure and solace through creative catharsis.

Maud the moth, the solo project of Spanish-born and Scotland-based pianist, singer and songwriter Amaya Lopez-Carromero announces her new album, The Distaff, to be released via The Larvarium (digital +CD) and La Rubia Producciones (vinyl) Amaya has long used the mantle of Maud the moth as an alter-ego, a séance-like conduit to explore themes of rootlessness, identity and trauma. The Distaff in particular refers to the stick or spindle onto which wool or flax is wound for spinning, and an object which has historically been used across multiple cultures as a symbol wielded by the “virtuous woman”, an authoritarian ideal around which much of the trauma surrounding the feminine coalesces. The album takes the form of a sort of self reflective and surreal autobiography. It was in part inspired by the poem of the same name written by the Greek poet Erinna, as she mourns her friend's loss of individuality and agency in exchange for marriage - and therefore safety and acceptance in the eyes of society. The album exists in an ethereal but violent world of aesthetic overlaps where time stands still and fictional and reimagined folk sits at the table with Maud the moth’s usual sonic menagerie. It is the result of a lifetime of obsession with sound and music, where glimpses of musical genre offer insight into Amaya’s artistic interests and her participation in the underground European scene for many years, in bands such as healthyliving. Heavier, darker, and more exposed than any of her previous works it features some highly accomplished artists, such as Seb Rochford (Patti Smith, Polar Bear, Sons of Kemet, Pulled by magnets, etc.) on drums, Alison Chesley (Helen Money) on cello, Fay Guiffo on violin and Scott McLean (Ashenspire, healthyliving, Falloch) on guitar, saxophone and synthesiser. Maud the moth shares the video for "Siphonophores". About the track, Maud the moth says; I wrote "Siphonophores" on guitar, during the first lockdown, a period where I was kind of trapped between an almost empty flat in Edinburgh and Dresden. It was an incredibly harrowing time, but also one of hope and where important new things were being birthed. I felt incredibly sensitive to everything, almost like life was happening in slow motion. I´m not a confident guitarist since I am completely self-taught, but, probably because of this, I feel that this instrument allows me to focus on aspects of the songwriting that I normally overlook when writing on piano, and I think it was a necessary step for this song to exist. Something else which I've been really exploiting lately and features strongly in the album is the percussive capabilities of the piano, and in particular, of the sustain pedal when mic'd up. This can be heard very clearly at the beginning of "Siphonophores". Written and arranged by Amaya, with some contributions in the later role from the aforementioned collaborators, the album presents nine tracks originally written entirely on acoustic piano as accompanied voice pieces, in pure singer-songwriter fashion. The album was co-produced and recorded by Scott and Amaya in different studios across the UK between January and July of 2024, in a process that started shortly after the 2020 pandemic and finished alongside the album recordings in a detailed, organic and at times obsessive process aimed primarily at capturing the natural dynamics and expression of free performance. The Distaff was mixed in its entirety by Scott and mastered at Abbey Road by Alex Wharton (Radiohead, My Bloody Valentine, Aurora, Kathryn Joseph etc.) Despite being born of a very personal point of view, the album lacks a specific narrator and was conceived almost as a sonic trousseau, where the needle point, silks and other family heirlooms have been swapped for out-of-the-corner-of-the-eye memories of rural Spain by the vineyards, family disputes, old tales of wartime pains, generational breaches and finally the conflict of migration and estrangement. The songs paint dystopian pastoral scenes which evolve throughout the span of one fictional day outside of time and coherent locations and where imagination (often the only account surviving from traumatic events and gaslighting) has become indistinguishable from fact. The Distaff attempts to acknowledge past trauma, comprehend and process some of the more difficult aspects which have contributed to our darker self and offer closure and solace through creative catharsis.

Amsterdam-based keyboardist, producer, arranger and DJ Soul Supreme reached out to NYC drummer Jay Mumford in 2021 to lay the down groove on his re-imagining of Q-Tip and J-Dilla's "Let's Ride". That paved the way for future collaborations: a cover of A Tribe Called Quest's "Award Tour (We Gettin' Down)" and two tunes on Soul Supreme's Poetic Justice LP. But when the pair began doing brief covers of their favorite funk, jazz and hip-hop tunes on Instagram just for fun, followers of both musicians - and often, the covered artists themselves - began to take note. Two of those 20+ covers were particularly well-received, and the duo decided to answer the peoples' call for a 7" release with the songs pushed to their full potential. Similar to "Award Tour" and "Let's Ride", a hip-hop classic and a fan favorite are pushed to their full potential here. This installment goes coast to coast and explores Digable Planets' "9th Wonder" (the "East" side) and People Under the Stairs' (PUTS) "Crown Ones" (the "West" side).

The iconic synth intro of "9th Wonder" makes way for Jay's thunderous ode to a slowed down Clyde Stubblefield groove. Sure to be a favorite with DJs, Jay eventually detours into a syncopated New Orleans funk break, before getting back to the groove for Soul Supreme's funky wah wah clavinet work. Throughout, the arrangement expands beyond both that of the original and all of its DNA. The addition of cascading horns (featuring a trumpet solo by Lourens van der Zwaag) and a second, more aggressive break from Jay bring it back full circle, completing a modern update of a classic that manages to pay homage to '70s jazz-funk, breakbeats and '90s hip-hop - all while staying both modern and raw.

Diehard PUTS fans will recognize Soul Supreme's catchy Rhodes line as soon as the needle drops, but Jay's heavy funk groove quickly separates it from the original and takes it from hip-hop cover to heavy funk tune. Soul Supreme's Rhodes solo pushes it far beyond the confines of instrumental funk as the groove intensifies, while his chops as an arranger are on full display: his horn parts - featuring van der Zwaag, trombonist Olav Schloorlemmer and Job Chajes' Contra-Alto Clarinet that channels The Headhunters - counter his synth melodies in a discussion that completes the record as a heavy slice of uncut jazz-funk.

Originally released on February 17, 2015, Aaron Watson’s The Underdog made music history by being the the first independently distributed and promoted album from a solo male artist to debut at #1 on Billboard's Top Country Albums chart. Though it was Aaron’s twelfth album, The Underdog’s success sent shockwaves though Nashville, and the music world as a whole, launching hits and fan favorites “Freight Train,” “That Look,” “Getaway Truck,” “Bluebonnets” and the Texas independent music anthem “Fencepost”. Produced by Keith Stegall and Aaron, The Underdog took Aaron’s career to new heights and helped re-shape the country music landscape. It was a pivotal shot in the arm for DIY / independent country artists around the globe.
NOW... available commercially for the first time on vinyl, this stunning two record 10th Anniversary set
features the original 14 songs/recordings as they were meant to be be heard - with that warm analogue vinyl sound. As an added bonus, Side D features a custom etching of the album cover and the trailblazing and career defining lyric “I’d rather be an old fence post in Texas” (than the king of Tennessee) from the album’s closing sing along song “Fencepost”. From the humble honky-tonks of Texas to multiple sold-out tours around the world. Rolling Stone calls Aaron "Texas country's reigning indie underdog”. Aaron Watson is here to stay and is currently writing and recording a forty song album, aptly titled Horse Named Texas, which is slated for release in early 2026.

Finnish-born producer and pianist Idealism (800K Spotify Monthly Listeners) and French transplant Lucid Green (175k SML) are no strangers to each other’s subtle, yet potent productions. Having worked together on „Untold“ their Sophomore, fully collaborative LP “Unsaid” is a natural journey into the beautiful ambient, downtempo, lo-fi worlds they’ve each created. Through visits to Lucid’s flat in Paris and ideas being exchanged remotely, the duo experimented with different sounds, instruments and aural environments, in the process crafting a natural partnership that sits in a comfortable, melancholic pocket.

With lulling guitar and poignant piano progressions that provide a pillow to rest your ears, and downtempo percussions that keeps you ebbing and flowing along on a subtle current, unsure where one wave ends and the next begins, only the albums progressions dictate the head-nod. The album soars, reminiscent of life’s simple, yet wholly memorable moments.

As with all 823 releases, the project is a visual one as much as it is a musical project. The first singles visualizers are a fusion of Hopes & Dreams Club & 823’s design aesthetics with personal super8 footage captured by Idealism & Lucid Green, beautifully expressed from Hopes & Dreams Club membersi. Each visualizer and single art will easily stand on its own, transporting you to worlds familiar, yet undeniably groovy and sonically comfortable.

823 is a multifaceted Perth-based record label, fashion brand, and artistic community, founded by Australian producer and all-around creative, Ta-ku (630 SML). With an astute attention to detail and an ethos that appreciates the everyday things in life, 823 doesn’t stick to any particular genre. Past 823 releases include “So Far To Go” EP via Cabu (500k SML), Ta-ku and matt mcwaters’s duo project “Black and White,” featuring Masego collaboration “Flight 99” (38mil streams on Spotify), the “All Things Considered” compilations, a curated, collaborative series featuring both budding and well-established artists around the world and have included Idealism, Wun Two, pastels, L.Dre, Flobama, SwuM, Jinsang, Tenderlonious, among a host of others, as well as multiple sold out clothing capsules.

repressed !

With this Ep for Mother Tongue Gerald Mitchell really shows what Soul is all about. The first Los Hermanos Ep on vinyl in over a decade brings it back to Church and then some! From the Gospel tones of the dancefloor smasher 'Another Day', to the electric techno-jazz of 'Binary Funk Infusion' featuring Bob Rogue think of Herbie's Dedication meeting Axis and finally closing and melting with 'Let Lot Live' featuring the incredible voice of Billy Love...it was definitely worth the wait.

When Apollo Brown and Crimeapple connect, it’s like old film grain under a projector— gritty, timeless. This album isn’t just boom-bap nostalgia; it’s a rebirth of smoke-stained bars, where Crimeapple plays both poet and philosopher, flipping bilingual manteca rhymes with a chef’s precision, stirring up the street grime and serving it with a side of sharp wit. Apollo Brown, as always, builds his beats like ancient architecture—dusty, soulful, and heavy with forgotten stories. These tracks sound like the cracks in the sidewalk talking back, the perfect companion for long nights and even longer thoughts. It’s a sonic novel, a street sermon, and Crimeapple’s wordplay dances through it like grease sizzling in a pan, a reminder that even in decay, there’s beauty. This, Is Not That.

Waxwork Records welcomes you to the dinner table to enjoy the THANKSGIVING Original Motion Picture Soundtrack by Brandon Roberts!
Originally an “Upcoming Feature” trailer to an unmade movie seen in the 2007 film GRINDHOUSE, the long-awaited feature length holiday horror film by director Eli Roth is officially here! All will be carved!
Waxwork Records is grateful to release THANKSGIVING Original Motion Picture Soundtrack by Brandon Roberts on 180 gram
“Pumpkin and Blood Swirl” coloured vinyl, housed in deluxe packaging with heavyweight gatefold jackets, artwork by Steve Reeves, and more!

One of Oddisee & Mello Music Group's first records together, Mental Liberation has been remastered by Joe Hutchinson and features all new artwork. This is the first time the full album has ever been available on vinyl and includes bonus tracks. The upbeat album from DC producer/emcee Oddisee features Hassaan Mackey, Bilal Salaam, J-Live, Georgia Anne Muldrow, Rapper Big Pooh, and Black Milk among others.

Two records came out in 1988 that forever changed the perception of "experimental" or "serious" music produced in Portugal. These were "Plux Quba" by Nuno Canavarro and "Música de Baixa Fidelidade" by Tózé (António) Ferreira. Both were released by the same label - Ama Romanta -, an influential independent imprint closely linked to avantgarde pop band Pop Dell'Arte. Because those records appeared in what could be perceived as an "alternative pop" framework, they rescued this difficult music from Academia. It helps that Canavarro played in a successful new wave pop band (Street Kids) during the period 1980-83. By association, being a friend since 1976, António was in close contact with many of the musicians and bands that were part of the equally celebrated and detested Portuguese Rock Boom (roughly 79-82).

He was not a musician then but through his friendship with Canavarro, who had the means to acquire electronic equipment, António became involved with that equipment and shared Canavarro's passion for experimentation and curiosity for knowledge. They tried to get hold of as many technical magazines as possible and learn while testing ideas. In 1983, Street Kids were about to break up, young lives drafted into the Army and maybe, in Canavarro's case, a whole new passion for challenging music similar to his bandmate Nuno Rebelo, by then in the process of discovering a wide range of "other" music mainly through Jorge Lima Barreto. Barreto, who had started Telectu with Vítor Rua, possessed a huge book and record collection and, like Rua before them, Canavarro, Rebelo and Ferreira became fascinated by the pool of knowledge they now had access to by frequenting Barreto's house in Lisbon. He was roughly a decade older, had published several books and other writings throughout the 1970s, cultivated an anarchic stance and a penchant for cultural indoctrination. Rebelo was the first to be introduced via his contact with Rua (who had invited him to play in his other band GNR).

Overwhelmed, he felt the need to share his enthusiasm with friends and eventually took a few to the house in true pilgrimage fashion. To see the Light. Among the few he led there was even João Peste, founder of Ama Romanta. Canavarro and Ferreira preceded him.

Ferreira recalls an exciting learning process added to his experiments with Canavarro's array of synths such as the Korg Ms 20, Korg polysix, ARP Axxe, Roland SH-01, the Ensoniq Mirage sampler... He read in a magazine article about someone who had studied at the Institute of Sonology (then in Utrecht, Netherlands) and went there during a vacation trip in the Summer of 1983. He became excited by the prospect of studying at the Institute but money was a problem. Canavarro, on the other hand, was admitted there in the following year. Back in Portugal, Ferreira eventually abandoned his Chemical Engineering studies in Lisbon's Technical Institute in favour of a more focused music practice. He collaborated with Telectu during 1984 and 85 as a sort of technical engineer, implementing some recording solutions and background tapes and went to work at a thermoelectric power plant in Sines, hoping to make enough money to fund his musical studies. He did and proceeded with the paperwork for admission at the Institute of Sonology, now based in The Hague. António studied there in 1986-87 and the present album includes two compositions developed at the Institute: "More Adult Music" and "This Is Music, As It Was Expected", both featuring the voice of Rodney Waschka II. Among other activities and talents, Rodney is an expert in computer music and to António his voice sounded similar to Robert Ashley's, whose work he admired.

What happened at the Institute was a systematization of António's self-taught practice. Computer software, Musique Concrète, noise and silence, organisation of abstract ideas and sounds. The original notes on the back sleeve of the LP give some indication of process and thinking, but a more detailed account was given by António in the liner notes of the CD reissue in 2002, which are also included in this 2025 LP reissue.

The music sounds deep and detailed, despite the fact of António calling it low-fi ("Baixa Fidelidade"). It flows like an improvised performance where several musicians might be responding to each other, respectful of their mutual space. Drama occurs, as a natural emotional connection is sought by the listener. Piano, bells, drone, processed voices, even the clear narrative of Rodney Waschka II, contribute to create a sort of alternative perceptual reality. The sounds are almost tangible, more a part of the physical world than ethereal manifestations and thus it would not be correct to invoke "ambient music" as a selling point. But although "physical" and distinct, this music is still alien, more so in Portugal's 1988 environment. In March, helped by Canavarro, António set up a home studio and there he recorded the remaining material for this album: "Algumas Pessoas Olharam O Sul E Viram Deserto", "Um Som, Seguido De Uma Cena Negra E Malva" and "O Verão Nasceu Da Paixão De 1921".

"Música de Baixa Fidelidade" stands not only as a proof of great resilience but as one of those magnificent works of art coming from someone who balanced technical inclination and emotional sensibility. Because of that, Tózé Ferreira is able to decode the phantom world of sound for anyone who cares to experience the sensation of inhabiting a version of the Future. First ever vinyl reissue, reproduction of the original artwork with an additional insert. Made in collaboration with the artist and the support of Paulo Menezes (Plancton Music), who provided valuable assistance. Remastered by Taylor Deupree.

Standard weight white vinyl remastered from the original tapes, restoring the original album on vinyl for the first time since 1995, including its original artwork. Includes download code.

In 1991, four kids from the suburbs of Chicago, IL formed Cap’n Jazz, arguably one of the most influential rock bands of the last 30 years. Those kids, brothers Tim & Mike Kinsella, Victor Villarreal, and Sam Zurick, were joined by Davey von Bohlen in 1994 and recorded their only full-length album before calling it quits - Burritos, Inspiration Point, Fork Balloon Sports, Cards in the Spokes, Automatic Biographies, Kites, Kung Fu, Trophies, Banana Peels We’ve Slipped on, and Egg Shells We’ve Tippy Toed Over - often referred to as Shmap’n Shmazz. Originally released on the Man With Gun label, the album quickly fell out of print after the band’s breakup, with the songs eventually making their way to the Analphabetapolothology compilation, released in 1998 via Jade Tree Records.

As a testament to this legendary debut, Polyvinyl is thrilled to announce the vinyl reissue of Shmap’n Shmazz, which has been remastered from the original tapes - restoring the original album on vinyl for the first time since 1995, including its original artwork. With the unmatched intensity heard in the opening track, “Little League,” coupled with eccentrically poetic lyrics, this iconic album has influenced countless artists since its release and unintentionally sparked a new genre. Pitchfork calls the album “a touchstone of Midwestern emo,” while Vulture placed “Little League” at #3 on their 100 Greatest Emo Songs of All Time list. Musician Devendra Banhart has also expressed his love for the band in a 2017 Joan of Arc documentary, describing Tim’s powerfully striking vocals like "going to the zoo on quaaludes, but all the other animals are on speed."

In addition to the band’s influential legacy, Cap’n Jazz was the catalyst to the formation of other notable bands featuring the original members, including American Football, Joan of Arc, The Promise Ring, Owls, Owen, Make Believe, Ghosts and Vodka and many more.