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‘Part I’ is the debut LP from Indigo, the moniker and ongoing project of Melbourne-based composer and arranger, Nick Roder.

The first release in what will be an ongoing three-part series, Part I features nine tracks for bass guitar and tenor saxophone. Part II, an exploration of a slightly larger, more sonically diverse musical world will feature string quartet and voice. Finally, Part III will collaborate with choreographer Siobhan McKenna, who alongside Nick will develop a percussive movement work that seamlessly intertwines with the musical work.

“My aim is to create music that is sonically and musically atypical whilst still belonging to an accessible contemporary scene. Each project, album or ‘part’ will set out to explore a single ensemble or group of instruments. In the case of Part I, that ensemble is hollow body bass guitar and tenor saxophone. “ - Indigo (Nick Roder)

The Indigo project itself was inspired by Saxophone & Bass Guitar by Sam Gendel and Sam Wilkes, which prompted Nick to write an album of music for the same type of ensemble. Having only just purchased a bass guitar for a different project, the instrument was still very new to him.

“I was curious to see what I would write with my self-imposed rule of not being able to overdub material, and further, how my limitations as a relatively green bass guitarist would influence the writing of the material. A strong focus on harmonic movement and melodic material was where I eventually found my happy place.”

The result is a phenomenal debut. Burrowing into the space between it’s sparse instrumentation and dulcet tones, Part I is the realisation of a minimalist and concise vision of what a symbiotic relationship between two instruments can yield.

About Indigo
Indigo is the moniker and ongoing project of Melbourne-based composer and arranger, Nick Roder. The Indigo project was conceptualised in 2020 and focuses on deep sonic exploration of little-heard ensembles in a contemporary space.

Since 2018, Nick has been composing soundtracks for video games including The Invisible Hand, Roadwarden, N1NE: Splintered Mind, This Dead Winter and Miska. Nick has also played in art-rock ensemble, Tulalah, exploring sonic textures, combining contemporary jazz/rock with chamber sounds. The modular ensemble released The Flood (Equinox Recordings, 2015) and The Question (Independent, 2017).

After the exploration of snowy mountains of Alpestres, released on Hands in the Dark in 2018, French composer Matthias Puech ventures into new territories, sketching a cartography of the invisible where the journey, in chiaroscuro, is announced as a rite of passage. A Geography of Absence, as introspective as unpredictable, immerses the listener into a unique sensory whirlwind where organic matter becomes almost palpable. A researcher in theoretical computer science and an engineer at GRM, Matthias Puech constructs a dialog between synthetic music and field recording, capturing sounds that surround him and creating his own sonic language with the help of synthesizers he designs and develops; notably the Oscillator Ensemble and the Tapographic Delay, made by the American company 4ms.

Composed during a moment marked by ordeal and mourning, A Geography of Absence retraces an inner journey where the physicality of sound leads the listener into an initiatory tunnel filled with apparitions, ghosts, visions. With sound oscillations as a navigational map, we progress, step by step, through the meanders of an unknown world, dazzled by the prospect of a new synthetic horizon, an electronic biotope teeming with life and incarnations. Playing with time, space and matter in an approach similar to that of musique concrète, Matthias Puech combines ambient and noise, floating sounds and electroacoustic experimentations, thus shaking up our listening perspective, which finds itself walking through a parallel universe, strata after strata, sequence after sequence.

The trip begins with “Hollow”, as if on board a night train travelling at full speed through ghost towns. Or is it a spaceship? Removed from their original habitat, sounds – picked up during walks or moduled by synths – are free to be interpreted differently by everyone, according to the memories that shape us. Granular and metallic, this first piece takes us to an elsewhere in orbit. "Work Song" is built around the pulsation of the void, of space, where strange creatures and liquid emanations abound. We become fetus, cocoon coiled in the placenta, heart beating to the rhythm of the gooey choreography of the human body. "Chrysalis" awakens the racket that lies dormant in us, when the skin changes, when the transition takes place. One seems to recognize certain sounds stemming from nature but they could also be mirages, imitating reality to render the barely perceptible engulfing. “Tunnel Vision” brings out a herd of haunted bells, slowly swelling in a pastoral maelstrom, ending in a deafening buzz. Further on, the chirping of an animatronic bird mixes with the hooting of an owl: "A Faint Beacon" invokes a nocturnal vigil that mixes the crackling of a fire and icy gusts of wind blowing everything away. Like an epic, sucking the listener into the breach of a black hole in the center of the Milky Way, it's up to "Homeostasis" to conclude in the high spheres and contemplative vapors, where the balance of dawn announces a rebirth.

A Geography of Absence is a meticulous and sensitive piece that constructs a delicate symphony of extremes, between introspection and desire for the unknown. Accompanied by the ink work of the artist Léa Neuville, whose folds of prints sketch this imaginary atlas, Matthias Puech becomes a narrator of mental adventures. And succeeds once again in transcending reality to dig a path to the unspeakable.

Insanely catchy 1980's Disco jam from Young & Company on Brunswick. 40 years down the line it sounds as good as it did on day dot. Killer funk guitars, sensuous vocals and luscious harmonies complete with that classic Brunswick touch. Original reissue as in original Brunswick sleeves as if roller-discos never left us.

The first release in what will be an ongoing three-part series, Part I features nine tracks for bass guitar and tenor saxophone. Part II, an exploration of a slightly larger, more sonically diverse musical world will feature string quartet and voice. Finally, Part III will collaborate with choreographer Siobhan McKenna, who alongside Nick will develop a percussive movement work that seamlessly intertwines with the musical work.

“My aim is to create music that is sonically and musically atypical whilst still belonging to an accessible contemporary scene. Each project, album or ‘part’ will set out to explore a single ensemble or group of instruments. In the case of Part I, that ensemble is hollow body bass guitar and tenor saxophone. “ - Indigo (Nick Roder)

The Indigo project itself was inspired by Saxophone & Bass Guitar by Sam Gendel and Sam Wilkes, which prompted Nick to write an album of music for the same type of ensemble. Having only just purchased a bass guitar for a different project, the instrument was still very new to him.

“I was curious to see what I would write with my self-imposed rule of not being able to overdub material, and further, how my limitations as a relatively green bass guitarist would influence the writing of the material. A strong focus on harmonic movement and melodic material was where I eventually found my happy place.”

The result is a phenomenal debut. Burrowing into the space between it’s sparse instrumentation and dulcet tones, Part I is the realisation of a minimalist and concise vision of what a symbiotic relationship between two instruments can yield.

About Indigo
Indigo is the moniker and ongoing project of Melbourne-based composer and arranger, Nick Roder. The Indigo project was conceptualised in 2020 and focuses on deep sonic exploration of little-heard ensembles in a contemporary space.

Since 2018, Nick has been composing soundtracks for video games including The Invisible Hand, Roadwarden, N1NE: Splintered Mind, This Dead Winter and Miska. Nick has also played in art-rock ensemble, Tulalah, exploring sonic textures, combining contemporary jazz/rock with chamber sounds. The modular ensemble released The Flood (Equinox Recordings, 2015) and The Question (Independent, 2017).

Synth legend Suzanne Ciani, Demdike Stare’s Sean Canty & Finders Keepers’ Andy Votel come together on this killer hour-long 2014 synapse popper of a collaboration pooling the occasional group’s esoteric collage-based approach into a remarkably foreboding session pregnant with a dread that’s never quite resolved. Think Vladimir Ussachevsky, Todd Dockstader, Spectre and Company Flow melted thru the Deutsch-Italo industrial DIY tape era and funneled thru an almost impenetrable fog of Ann Arbor basement noizze.

Hustling some of Neotantrik’s most amorphous gestures, ’241014’ is a four-segment movement of reduced Buchla treatments, destroyed vinyl loops and scraping foley suspense; like a cosmic dream diary layered into a collage of drones and clatters. Little in Ciani’s extensive catalogue has hinted at what’s on display here; the joyful lullaby-pop of “Seven Waves” or metallic alien soundscraping of “Flowers of Evil” are only hinted at. She instead paints new sonic vistas, allowing space for her collaborators to make themselves known; Votel’s chiming toy autoharp and Bubul Tarang (a Punjab string instrument) add a distinctive flavor, while Canty’s grimy drones and noise-soaked textures drizzle pitch-black molasses into the cracks and crevices. Together, the effect is a bit like hearing Philip Jeck improvising over Popol Vuh’s peerless Moog-led debut “Affenstunde” or Demdike Stare knocking out impromptu reworks of Tangerine Dream’s abstrakt early run.

Perhaps unusually, the trio have still never set foot in a studio together, exclusively maintaining their practice in-the-moment and on stage when schedules intersect. So it’s all the more remarkable that their improvisations naturally find a democracy of role and such a heightened level of intuition, beautifully converging their thoughts to mutual, open-ended conclusions that leaves billowing room for interpretation. In a most classic sense, it’s like the sensation of sleep paralysis or dream/nightmare ambiguity, with a level of suggestiveness that’s disorienting from end to end.

For the first time the recordings are now available in high fidelity (there was a tape version a couple of years back) - now remastered by Rashad Becker to better represent the otherworldly scope of their actions on stage, from the NWW-like queues and drone of ‘Scanned Accents’ and keening silhouette of ‘Second Action,’ to new sections of subaquatic Porter Ricks-like murk in ‘Anti-Contraction’ and the levitating webs of synth and tactile, sampled textures in ‘Last Canción.’ Tape music and synth music have long shared a passionate embrace, and here turntablism coolly slides in on the action. Canty and Votel’s background in beat tape assembly and crate digging pays off: they’re keenly experimental creators but bring an unfussy sense of rhythm and performance that’s miles beyond any facile repetition of a nostalgia for vintage glory. Combined with Ciani’s delicate Buchla work - it’s a unique proposition.

Dauw welcomes Taylor Deupree to the label with his new record 'Mur'. With this release Dauw also introduces Jelle Martens, a Belgian graphic designer and painter, for the artwork of this release.

Deupree describes the album title “as if there’s always something about my music that’s like a murmur”, resulting in a murmuring effect when pronouncing the names of each track. Mur is a personal journey through the challenging year that 2020 has been. The fifth and last track on the album, Mar, contributes as a catharsis to this turbulent period in Deupree’s personal life, which is defined by the interaction between the loud sounds and the soft keys of the piano. As if the storm has died down and the waters have found their peace.

Taylor Deupree is an American musician and mastering engineer based just outside of New York. As a former member of the American electronic band Prototype 909, Deupree has had numerous collaborations with artists such as Ryuichi Sakamoto, Stephen Vitiello, Alva Noto and Marcus Fischer. Curating 12k, a New-York based music label, is another aspect of Deupree’s career and brought together over one hundred releases since its beginnings in 1997. Having some similar artists in our catalog (Federico Durand, Will Samson and Steinbüchel for example), it’s safe to say that Deupree’s new release through Dauw will be in good company.

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

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

The trio of fiddle player Erlend Apneseth with guitarist Stephan Meidell and drummer Oyvind Hegg-Lunde follows up their Nordic Prize-nominated album of 2019, ‘Salika, Molika’, with a remarkable suite of tunes inspired by the rhythms and physicality of the human body in motion.
Originally commissioned by FRIKAR Dance Company to accompany the performance of a new work, ‘Skaut’, dealing with the covering of the body in different cultures, the music of ‘Lokk’ takes the trio further than ever before into completely fresh areas of electro-acoustic improvisation.
The sounds of their original instruments are integrated with electronic beats and treated textures to form a kind of enhanced digital-folk style whose influences stretch from traditional south Asian ragas to contemporary dance culture from around the globe.
The result is intense, and intensely rhythmic, music where the normally separate realms of the cerebral and the corporeal can appear to fuse into one irresistible groove.
As the trio rocks on - in a dream of perfect interplay between instruments and players, soloists and ensemble - deep, trembling sub-bass intersects with ethereal ambient soundscapes. Elsewhere, the twittering of birdsong - from both real bird-calls and the uncanny imitation of them by Apneseth’s Hardanger fiddle - meets archival recordings of Norwegian herdswomen.
“Our musical idea for this project was to unite different extremes, connections that felt “forbidden” in one form or another”, says Stephan Meidell. “For example, by using the sampled recording of traditional herd-calling, blended together with aesthetics from more contemporary music styles. This exploration has led us further into a rhythmic and danceable landscape than in previous releases. We also wanted to use this opportunity to deliberately make more dance-related music. As regards the original commission, were pretty free to do what we wanted, but there was one specific dance in mind, ‘Valdresspringar’, for which Erlend wrote the melody. It’s a traditional, asymmetrical dance and has a very particular form. The melody is on the track called ‘Springar’, which we then messed around with.”
This “messing around with” element is key to the sound of ‘Lokk’, whose playful experimentation over the nine separate tracks creates a beguiling, constantly surprising sense of adventure and intrigue that both draws the listener in, and then keeps them on their toes as to where the next stage of the journey will take them. It also becomes inescapably obvious that this is a group of three equals.
The contributions of Stephan Meidell and Oyvind Hegg-Lunde, as musicians, co-composers and producers, appear every bit as important as that of Erlend Apneseth, who performs superbly throughout. “Even though the trio carries Erlend’s name, it’s a band in every sense of the word”, says Stephan Meidell. “We make the music together, where everyone brings their ideas and we build on each other’s input and output. This is not our “coming out” as a band, but the group is sometimes interpreted as having a hierarchical structure, as a soloist and accompaniment.”
As is evident from the trio’s live performances, where each member seamlessly integrates the acoustic and the electronic elements in their respective sounds through constant monitoring and tweaking, Apneseth, Meidell and Hegg-Lunde are also pioneers,
creating real-time effects that in the past were only available through post-production or the intervention of a sympathetic engineer and a truck-load of kit. ‘Lokk’ translates this fleet-footed improvisational approach, and the players’ lightning-speed reaction times, back into the environment of the recording studio, where the music composed for the original FRIKAR dance piece was further embellished and adapted. Played live, it will continue to change again, as improvised music always does.

With a fundamental emphasis on the encouragement of genre hybridization, Evar Records, the Los Angeles-based imprint co-founded by Trickfinger (John Frusciante) and Aura T-09 (Marcia Pinna), continues its momentum with an expansive 9-track collection from Netherlands-based luminary, Limewax.

After making a strong first impression with its 2020 debut offerings, Evar Records has recruited Limewax to carry forward its mission of blurring boundaries and challenging conventions in electronic music. The Ukranian hard drum and bass hero happily obliged, referring to signing with Evar as a breaking point which allowed him, finally, to take full stock of his background in classical and electronic music simultaneously. Although Maxim Anokhin is widely known for his hard-edged breakbeats, releasing on labels such as Tech Itch Recordings, Position Chrome, Freak Recordings, and PRSPCT, the full scope of his artistry shines through on Untitled.

The opening cut, "Porcelaineworm," is a futuristic electro cut recalling IDM classics like AFX's "XMD5A." Of course, the virtuosic drum programming and hectic D&B sound which Limewax has built his reputation upon is here in spades on tracks like "Stay Lackey. Cuts like "Ushio" and "Whay1" are fascinating studies in contrasts—the former balances bludgeoning techno of the Ansome and Perc variety with a resolve that recalls Fennesz's pastoral glitch abstractions. "Whay1," meanwhile, is sub-rattling drum and bass nuanced by cinematic string themes. "Getupa" is an experimental beat track that truly bangs, its layers of texture and field recordings placing Limewax in the company of bleeding-edge acts like SVBKVLT's breakout star Hyph11E. The very next track, "19NB," is a subtle update to the original minimal technical template established by Detroit icons Robert Hood & Jeff Mills.

While most of the album hurtles forward at hard techno and D&B tempos, "Maleisae" is a sensual 70 BPM track mixing ghostly R&B and acid. That spectacular cut heralds Untitled's intricate denouement. The brief "Wernmqbram" effortlessly reconciles a baroque minor-key piano theme with the renegade snares of classic jungle. "Hasan" is a true "closing credits" master stroke, half-time acid giving way to gorgeous IDM-meets-Blade Runner synth leads.

Far from a genre-jumping hodgepodge, Untitled is a remarkably coherent full-length by a virtuosic artist free to explore the entirety of their creative influences. The Tilburg-based artist cites the poets Marina Tsvetaeva and David Whyte as influential on Untitled and also listened to works by 1771-1862 works by organ builders when crafting the album. The end result reveals Limewax as a masterful, diverse artist, capable of any style he pursues. It's a clear indicator of the boundless promise of Evar's core principle—a staunch refusal to put artists in boxes.

JPEG is the 4th album from German legends Digitalism, released on their own label “Magnetism". The Hamburg-based electronic music duo formed in Hamburg in 2004, consisting of Jens “Jence” Moelle and ?smail “Isi” Tüfekçi. Digitalism has released records on labels such as Gerd Jansons Running Back Records, Kitsune, Virgin, Dynamic Records, Boys Noize Records, Astralwerks and PIAS and has throughout the years played all over the world at famous venues, clubs and festivals. They are also highly regarded for their remixes for acts such as Daft Punk ,Depeche Mode, Superorganism, Mø and many more. Digitalism have became synonymous with unique electronic productions, a crossover sound with roots in both indie, techno and pop. Digitalisms music also appears in countless video games and syncs (Recent campaigns Nissan Leaf, past campaigns Vodafone, Fifa, Gran Turismo and many more).

Pure Donzin is the debut solo offering by Amsterdam - based Donald “Donny” Madjid - also known for his involvement in The Mauskovic Dance Band. On a pandemic - induced break from his usually busy tour ing schedule, Donny, armed with a 60’s drum machine and a few synths, made the most of his time off by experimenting with, and home - recording new sounds - resulting in a fully - fledged 9 - track album under the artist monicker Don Melody Club.

Whilst many of his local peers tend to turn to sounds further from home for inspiration, Madjid felt drawn to honour the literary and musical tradition of The Netherlands, following in the footsteps of classic and lesser known Dutch troubadours such as Ramses Shaffy (a cover of ‘Laat Me’ features on the album) and Ronald Langestraat. Don drew inspiration from bard - like storytelling and for the first time started writing in his native tongue, craftily forging lyrics that his rich tenor voice delivers with a sincerity that translates regardless of whether or not you understand Dutch. This intimacy is balanced evenly with synth and drum machine grooves, recalling Dutch New Wave legends Doe Maar - merging ear worm pop hooks and infectious danceable beats to these otherwise pe nsive ballads.

An ode to being immersed in the magic of the night in good company, an experience so lacking during the year in which the album was recorded, is the danceable Psychonauten. The track is a fine example of the glittering synthesis of infectio us musical atmosphere and lyrically rich straightforwardness Donny has mastered on the album.

The influence of The Mauskovic Dance Band, especially the bass driven, hypnotic groove - a signature sound Don guides in new directions - can be detected on Ver anderd. Somewhat of an anthem, it is laced with tones of 70’s West - African sounds, like fast percussive key arrangements and energetic backing vocals. An example of a more laid back tune on the record is Isabel, a cool nostalgic love song, a soother for a sentimental occasion.

Opening number Geen Nood (No Panic), lyrically nothing short of a ‘sign of the times’ track, paints a mindful setting of cycling past the Amsterdam canals, seeing the leaves in the water, and feeling your blood flow peacefully throu gh your veins - letting go of the need to be anywhere other than where you are. Be it through meditative observances, or hypnotic dance grooves, Pure Donzin is a record that tempts the listener to become just that: immersed in the moment.

Four Flies is proud and excited to present the first full-album release of the long-forgotten soundtrack composed by Armando Trovajoli for Piero Vivarelli's 1964 movie Il Vuoto.

Rightly considered by many to be a key figure, if not the key figure, in the history of Italian jazz, Trovajoli was responsible for fostering an appreciation and understanding of jazz among the generation of music listeners and musicians raised under Mussolini and Fascist nationalism. His outstanding work as a pianist, composer and conductor contributed immensely to the popularization of the genre among the general public and to the reduction of institutional bias against it.

The collaboration between Trovajoli and Vivarelli did not happen by chance. The latter, now regarded as one of Italy's "kings of the B's" for his work in the 'exotic-erotic' genre (Il dio serpente, Codice d'amore orientale, etc.), was a great music expert, a skilled talent scout for the Italian music industry, and a true lover of jazz.

Most of Trovajoli's score for Il vuoto has a refined smoothness that is clearly reminiscent of cool jazz – many tracks on the soundtrack are performed by a sextet featuring Trovajoli himself on piano, Carlo Zoffoli on vibraphone, Gino Marinacci on baritone sax and flute, Enzo Grillini on electric guitar, Berto Pisano on double bass, and Sergio Conti on drums and percussion. At the same time, Trovajoli explores other jazz styles or sub-styles in faster, more rhythm-oriented tracks influenced by bossa nova, samba, and even rock'n'roll, where instruments like drums and percussion, electric guitar, or flute take center stage.

This stylistic variety demonstrates both the maestro's versatility as a composer and the fine skills of the musicians who performed on the soundtrack. Like Trovajoli, they were all pioneers of Italian jazz and played in Italy's very first 'institutional' jazz orchestra: the Orchestra di Musica Leggera of the RAI (the Italian public broadcasting company), formed under Trovajoli's leadership in 1956 and credited as "his orchestra" in public performances and in the album The Beat Generation (RCA Italiana, 1960).

By making available for the first time ever almost all of the music recorded by Trovajoli for Il vuoto, this LP fills an important gap in the maestro's discography. Most importantly, it offers further insight not only into the history of Italian jazz, but also into the penetration of the genre into Italian film music, which was possible thanks to Trovajoli's mastery as a composer and to the virtuosity of the pioneering musicians who performed in his orchestra.

The waiting is hell but heaven is waiting...it seeemed like an age to complete this record, we had demo’d it in a couple of days in swanyard studios and it sounded fresh and powerful, just like we wanted. Signing to Arista had given us the means and funds to take us to the next level and we were itching to get started. We had new equipment, the status of being a ‘signed band’ and we hoped the backing & Finances of a record company that believed as we did, that we could be big. Not ‘pop star big’ that was never for us, but ‘big’ like pink floyd who didn’t have to care about ‘pop’ singles. We were young & naive, even idealistic. Negotiations about producers ensued and Nigel Gray who had produced the Banshees was suggested and accepted and we shipped off for a month to his studios in Leatherhead... (Paul Nash, from the liner notes)

Wah Wah 45s make a welcome return to the world of re-issues. Having started out over two decades ago releasing dance floor funk from Benny Poole, Cheyenne Fowler and The Googie Rene Combo, and later re-releasing obscure Kompa-funk from Haitian pianist Henri Pierre Noel, they now turn their attention to an overlooked early 90s acoustic soul gem.

About thirty years ago, music teacher and budding producer Alex Boyesen found himself working as part of the Haringey Music Workshop - a community programme and outreach project funded by the local council in Haringey, North London (coincidentally the area in which the Wah Wah head office is now based!).

"Anyone could come and get lessons for free - ranging from piano, sax, guitar, drums, bass, singing and workshops including choral, jazz band and more." Alex Boyesen

It was during that time that Alex came across a young Sam Edwards.

"One day I went into one of the rehearsal rooms and there, by herself, was this girl playing a piano and singing. It was the most incredible voice I had ever heard."

Before long, the pair were playing all over London as a duo with Alex on guitar and Sam on vocals.

"Sam had never had professional training, she was simply an utter natural."

The Haringey Music workshop was connected with other projects in the borough, in particular a community project called the Selby Centre. Here they ran training programs for young people and one of these was a music business course. The idea was that they found an artist, recorded them and then promoted them. One way or the other they ended up picking Alex and Sam to be on their roster.

"My good friend Nixon Rosembert was brought in to oversee the recordings and they hired the Islington Music Workshop to do the recording. We got musicians from the Haringey Music Workshop to play on the sessions and spent a day recording two songs -American CarsandLife. The training workshop had created a label called Progression Music and out the record went."

Three decades later and out of the blue Alex started to get interest again in the record he'd almost forgotten about all those years ago. It had become something of a sought after gem on Discogs, and there seemed to be an interest in that 'acoustic soul' sound once again.

"I got three people asking if they could re-release it and finally here we are with Wah Wah 45s doing the business after all these years."

It was Hospital Records and Wah Wah 45s founder, Chris Goss, who first brought the idea of releasing this record to the table.

"This is a really special record for me, picked up 30 years ago, from a young James Lavelle at Honest Jon's in Ladbroke Grove. Sam Edwards would go on to perform and write songs with North London's Izit, the acid jazz collective fronted by Tony Colman - with whom I have built a music company, these past 25 years. Alex Boyeson worked with Tony at the Haringey Arts Project, who produced a one-off vinyl release of Alex's two compositions back in 1991. Thanks to Alex and Tony, we have been able to clean-up the original audio, uncover photos and lyric sheets to present, with real love and affection, these two lost gems from a bygone era." Chris Goss, Feb 2021.

The project was then expanded by Dom Servini, who got heavy disco legend Ashley Beedle and co-label owner and erstwhile producer Adam Scrimshire in to take on remix duties.

"When approached by Dom Servini to reworkAmerican CarsI had no idea about the history of the original song. After a good listen myself and studio partner Darren Morris set to work and all I can say that it was a lovely experience keeping the vibe of the original but giving it a spaced out feel in true Afrikanz On Marz fashion." Ashley Beedle, Feb 2021.

"Remixing without multi-tracks always brings a bunch of challenges, getting the balance between the bass and drums in the original and what you want to do with your own version. The song really dictates certain things to you.

But it was such a pleasure to explore that with this beautiful song and vocal performance. So many ways to approach it. I just wanted to draw out more of the melancholy in the original and make it an absorbing experience." Adam Scrimshire, Feb 2021.

Perhaps the last word should be given to Alex himself, who's very much enjoying the new lease of life that his music with Sam is getting.

"As I write this we are trying to locate her, she's somewhere singing something, that's all she ever did. Thanks for being part of my life Sam and I am so glad that this small bit of that time is being remembered." Alex Boyesen, Feb 2021.

Milan Records release - 'Promare' is a feature length anime (by the director of Kill La Kill). The movie was released on May 15th 2019 in Tokyo and is now available for streaming on Prime Video, Google Play and Apple TV. 'Promare' is from the production company Trigger, who have also produced 'Kill La Kill' and 'Little Witch Academia'. Young Japanese composer Hiroyuki Sawano scores the film - his previous works include 'Attack On Titan' (series with millions of streams on Spotify). The soundtrack is a mix of high energy instrumental music and pop songs sung in Japanese and English. Formatted beautifully on a double gatefold LP with both pieces of vinyl being red and white blend and comes with printed inner sleeves. Limited pressing - stock will be allocated.

The Besnard Lakes have passed through death and they’r e here to tell the tale. Nearly five years after their last lightning-tinted volley, the magisterial Montreal psych-rock band have sworn off compromise, split with their long-standing label, and completed a searing, 72-minute suite about the darkness of dying and the light on the other side. The Besnard Lakes Are The Last of the Great Thunderstorm Warnings is the group's sixth album and the first in more than 15 years to be released away from a certain midwestern American indie record company. After 2016's A Coliseum Complex Museum - which saw Jace Lasek and Olga Goreas attempting shorter, less sprawling songs - the Besnards and their label decided it was time to go their separate ways; with that decision came a question of whether to even continue the project at all. What use is a band with an instinct for long, tectonic tunes - rock songs with chthonic heft and ethereal grace, five or 10 or 18 minutes long? How do you sell that in an age of bite-sized streaming? How do you make it relevant? "Who gives a shit!" the Besnard Lakes realized. Ignited by their love for each other, for playing music together, the sextet found themselves unspooling the most uncompromising recording of their career. Despite all its grandeur, ...The Last of the Great Thunderstorm Warnings honours the very essence of punk rock: the notion that a band need only be relevant to itself. At last the Besnard Lakes have crafted a continuous long-form suite: nine tracks that could be listened together as one, like Spiritualized's Lazer Guided Melodies or even Dark Side of the Moon, overflowing with melody and harmony, drone and dazzle, the group's own unique weather. Here now, the Besnard Lakes finally dispensed with the two/three-year album cycle, taking all the time they needed to conceive, compose, record and mix their opus. Some of its songs were old, resurrected from demos cast aside years ago. Others were literally woodshedded in the cabanon behind Lasek and Goreas's "Rigaud Ranch" - invented and reinvented, relishing this rougher sound.

A conceptual album featuring five long tracks with raw in–your–face sound and production, over–charged fuzz & wah wah guitar, powerful vocals with killer echo/reverb and studio effects. This is must for any hard rock / metal / heavy psych aficionado, reissued for the first time on vinyl and remastered from the original tapes.

Including insert with liner notes and rare pictures from the archive of Vicente Feijóo, the original guitarist & vocalist from Zarpa. Heavy carboard sleeve + OBI.

Formed in Mislata, Valencia, in 1977 by four teenager friends (Vicente Feijóo on lead vocals & lead guitar, Eduardo Feijóo on bass & vocals, Javier Herviás on guitar and Jesús Martinez on drums), Zarpa Rock (“Claw Rock”), later shortened to Zarpa, evolved from a group called Wolframio. After spending most of 1977 learning how to play their instruments, they were approached by a management agency called Zeus Rock, joining their roster in company of bands like Doble Zero.

Under Zeus Rock guidance, the band did their first recording: a conceptual album titled “Los 4 Jinetes del Apocalipsis” (The Four Horsemen of Apocalypse) which due to low studio budget, was recorded “live in the studio” in a single one-hour-and-a-half take. After the bankruptcy of Zeus Rock, the proposed album project was shelved. Zarpa shared stage with legends like Ian Gillan and later on, in the heyday of Heavy Metal in Spain, they managed to release two more LP’s which established them as a very popular band, even opening for Barón Rojo, true Metal Stars in the early 80’s. They’re still in active.

“Pretty much heavier and more loaded with crazed lead guitar than any of the other big ones from Spain like Storm, Tapiman, Leño or anything else I can think of” – Rockadrome

“Their music combines the slightly bluesy mid-70s Spanish hard rock sound of bands like Storm, which channeled Sabbath and Deep Purple, with a just-this-side-of-NWOBHM early heavy metal sound”
-Shit-Fi

Death Waltz Recording Company & Mondo are proud to present the mind-melting score to Umberto Lenzi’s 1980 contaminated zombie(?) film, Incubo Sulla Citta Contaminata (a.k.a. Nightmare City)! Composed and conducted by Stelvio Cipriani, the record you are holding in your hands is another stellar work by the late Italian maestro.

Pursued by the most ambitious, well-armed, and over/radioactive mutant zombies on film, the film’s protagonist, American news reporter Dean Miller (portrayed by Mexploitation star Hugo Stiglitz), makes it his mission to alert the public about the impending doom, but the powers that be are preventing him from doing so. Utilizing driving baselines, drums, percussion, and topped with a layer of intense keys, Cipriani delivers the perfect score to complement the mayhem unfolding on screen. Will our hero save humanity? Well, with maestro Cipriani at the helm, it doesn’t matter — the soundtrack sounds quite radiating.

Fresh off of their 2020 offering Adult Themes, El Michels Affair is back with a new full-length release. Titled Yeti Season, this newest album has everything we've come to expect from EMA's patented cinematic style of instrumental soul music. Where Adult Themes inspired a soundtrack to an imaginary film, Yeti Season brings us to a different place in time_with new inspirations. Taken with Turkish-styled funk and an almost Mumbai-esque take on soul, El Michels Affair offers us a different kind of drama and imagination with Yeti Season. If you've been following along, this shouldn't be viewed as too far a departure for El Michels Affair. The first single off of Yeti Season showed their hand back in 2018. A double-sided banger, that release brought the musical textures to the fore that dominate this record. The first song, titled "Unathi," is fully realized with the beautifully haunting-yet-hopeful vocals of Piya Malik, formally of 79.5_another Big Crown artist. Singing in Hindi, Piya's ethereal voice is telling us to work and strive together toward progress. Even if you don't understand her language, you can still hear the urgency of purpose, creating a lasting vibe that sits on top of it all. Leon Michels explains that Piya had a vital influence on this record: "When Piya started singing in Hindi, she had a different voice, a different tone. I knew we had to do something together." And so Piya appears on three other songs on Yeti Season: "Zaharila," "Murkit Gem," and "Dhuaan." Each providing particular signatures to the album. "Zaharila" is a building and changing love song punctuated by blaring trumpets, driving drums, and Piya's pleading lyrics. While the more upbeat "Murkit Gem" opens with a fuzzed out, Wu-Tang-esque baseline that buoys Piya's stylings. The psychedelic guitar and Piya's changing tones and textures singing about an all-consuming love are what pushed "Dhuaan" on to the second single from Yeti Season. There is also a vocal appearance from Shannon Wise of The Shacks, yet another Big Crown artist. Her song called "Sha Na Na," lies more in the familiar EMA vein: melodic, hypnotic, soulfully visual. But between Shannon's airy singing, the jumpy baseline, moody vibes, the active drum lines, it sounds like a pensive walk home after a strangely dramatic night. So what is Yeti Season? It could be more of a feeling than an actual place or time of year. It's a heavy album_as evidenced by the signature musicianship and dramatic vocal expressions. But it's also a hopeful record, with phrasings, textures, and chord changes that hint at something better_or fuller_coming our way. You hear it in songs like "Ala Vida," with its stabby, pulsing chords laying a bedrock for EMA's bright, atmospheric horn lines. Or even in "Fazed Out," which leaves you with a feeling of determination, a striving for resolution even though the driving, march-like song structure should accompany some conquering army. This persistence has to come from the fact that Leon Michels and company finished this record during the lockdown. It was a tough and troublesome time. But look at what has come of it: Yeti Season_a record of high and heavy drama, but also one of hope and promise. It may take a year like 2020 behind us to find hope in a winter big footed creature like a Yeti, but that's where we are.

We're back with our 5th release! This time it's the certified dancefloor weapon by Alonzo Turner ‘Whoever Said It?’ Released on a 7 inch with a part 1 & 2, this record has been played on dancefloors worldwide by such players as Rahaan, Sadar Bahar and more, with those selectors favouring the part 2 in the most euphoric moments with that incredible vocal half way through. The record has remained hard to come by for most so we are thrilled to have this one out there as an affordable and great sounding reissue.

Remastered as always by Frank at The Carvery and this time released with a vibrant company sleeve and a baby yellow label on the 7 to match the original.

"Alonzo Turner was born in Northern California in 1955 and was introduced to music by his church, of which his father was pastor. As a young adult, Turner moves to West Hollywood and at 23, he starts to manage a local rock band while working day and night to write what will turn out to be his first and only release, ‘Whoever Said It’.

The song catches the attention of Dave Crawford, A former producer at Atlantic. Like most stuff on Crawford’s label, LA Records, the single never makes it to the charts but helps Turner make a name for himself in L.A. and Orange County where he performs often. There is only speculation about what happened to ‘You’ve Got Something’, the LP on which the song was meant to appear, but five years later Alonzo ends up writing an eponymous piece for Norma Lewis (Shakatak, Charade) on her debut album ‘It’s Gonna Happen’.

In 1984, struggling to make ends meet from his music career, Turner takes a part time job at a record store, while also pushing garments to an elite clientele in Beverly Hills, even selling clothes to one of Michael Jackson’s designers. In 1991, aged 38, Alonzo Turner will pass away from illness.

Written by a loner who lived in a modest flat filled with antiques and expensive art pieces, ‘Whoever Said It’ is a testament to the idea that love does exist beyond our imagination. While asking who is to blame for spreading the opposite theory, Turner makes this simple yet compelling argument to debunk it: emotions are a motor of action, they literally set us in motion and therefore reality derives its very momentum from them."

This highly collectible LP from 1974 is a nonstop salsa dura party album from start to finish, comparable with any of New York's finest like Ray Barretto and Willie Colón from the same era, but with its own unique sound and joyful vibe. Includes the anthems 'Mi Nuevo Ritmo' and 'Alma y Sentimiento/ Soul and Feeling' recorded at different sessions in Colombia and Peru. Presented in its original artwork and pressed on 180g vinyl. The highly collectible LP Alfredo Linares Y Su Salsa Star "Mi Nuevo Ritmo" (1974) is a nonstop salsa dura party album from start to finish, comparable with any of New York's finest like Ray Barretto and Willie Colón from the same era, but with its own unique swinging sound and bright, crisp, joyful vibe. There are plenty of straight up Cuban-roots based salsa tunes, plus some Latin jazz and Latin soul and a bolero. Trumpets, hand claps, loud cowbell, and vigorous vocals all make for a great listen and an even better dance experience. As the track 'La Música Brava' proclaims, "Yo no quiero que pare la música brava!" (I don't want the badass music to stop!). The record is actually a patchwork of different recording sessions made in Peru and Colombia, featuring differing studio sound and musician lineups. Linares had just returned to his adopted home of Medellín from a period spent in Peru and was looking for a record deal. He had brought master tapes with four songs recorded in Lima and was shopping them around in the hopes of securing an album contract. Linares also cut some Colombian sessions which feature Roy "Tayrona" Betancourt as well as Henry Castro and Enrique Fabián. Unfortunately, neither Discos Fuentes nor Sonolux or Codiscos were interested. At that time, vinyl for making records was scarce and over-priced due to the petroleum crisis and hence the labels were reluctant to try out a new artist. "There was nothing to be done. The only company that had vinyl stock was INS. So I did the business with them even though they didn't have a known name in Colombia. The strength of that album made them rather famous." The song 'Mambo Rock' (with 'Estricto Guaguancó' on the B side) came out on a 45rpm record in 1974, and, as Linares recounts it, "two months later the sale was at a very high level. So, partly out of gratitude, I started producing for them. It is from there that my other records and the AfroINS albums came." Unfortunately the master tapes to the LP were lost or destroyed, as with all INS releases, so the best possible vinyl sources and audio restoration has been used for this deluxe reissue.

Former member of Rodolfo Alchourrón and Gato Barbieri's bands, Cevasco's first solo effort is a combination of fusion jazz with a pinch of unexpected Brazilian flavours and electronic sounds that now, more than 30 years after the original release of the album, still evoke a refreshing feel of modernity in the same vein as many other experimental Argentine and Uruguayan artists from the same era. Includes guest appearances from artists such as Litto Nebbia or Ruben Rada. Reissued on vinyl for the first time, including insert with liner notes and previously unseen photos. Details: Few musicians can boast of having played with "the greatest" without some eyebrows to be raised. The bass of Adalberto Cevasco has been heard in multiple concerts and recording sessions of artists as diverse as the Spanish divas Rocío Jurado and Isabel Pantoja, tango genius Astor Piazzolla or the cream of the Argentine jazz scene -from Pocho Lapouble, Gustavo Kerestezachi, Rubén López Furst or Andrés Boiarsky to the great Gato Barbieri- With the latter, as part of a dream band that included artists like Nana Vasconcelos as well as other Argentines such as Lapouble or Domingo Cura, he recorded two fundamental pieces in the Impulse! label catalogue in sessions held in Argentina and Los Angeles and also toured across various countries. The daily sold-out shows at the Regina Theater in Buenos Aires and their overwhelming performance at Montreux Festival are still well remembered. It is therefore out of question that Adalberto Cevasco belongs to that top-level league of musicians whose talent has also contributed to enhance those who accompany them. The history of this album begins with an encounter. Adalberto Cevasco joins Rodolfo Alchurrón's jazz-funk project Sanata y Clarificación as bassist and meets Litto Nebbia, who is invited to sing along. Some years on, when Nebbia's Melopea record company was developing, he would receive a cassette with a collection of demos recorded by Cevasco over the years. Some of the songs dated back to 1981 while others were made well into the decade and included such outstanding collaborations as that of the Uruguayan Rubén Rada, whom Adalberto Cevasco had met playing in a group of fusion candombe called Candonga. In addition to producing the complete album, Nebbia would also collaborate in a special way in one of the most outstanding tracks (Reencuentros Nº2) by adding to Cevasco's fusion jazz some unexpected Brazilian flavours and electronic sounds that now, more than 30 years after the original release of the album, they still evoke a refreshing feel of modernity. As the Argentine press of the moment highlighted, it'd seem as if the influences received and developed by the bassist during his career as a freelance musician - from post-Piazzolla tango to proyección folclórica (a movement of revision and modernization of the Argentinian musical roots) - had been added to their superb rhythmic work in this album. "Pájaros Eléctricos" was never presented live and has remained as the only published work by Cevasco as a soloist since the date of its release.

Richard Youngs' e work can traverse everywhere from avant-folk or otherworldly pop to minimalist electronics or some of the most fervent 'outer sounds' one can dredge from the deepest crevices of their doubtlessly life battle-scarred imagination. On Metal River, Youngs offers four songs of deep space beamed curdled electronics not far removed from being akin to the contorted death caterwauls of a cyborg species reaching out in uttermost anguish. It's like prime Edgar Froese getting snagged on Incapacitants before tumbling headlong into a dingy cellar that then has its door slammed shut and locked before one notices the only company is accorded by body parts in dusty and mouldy demijohns. Features three songs on the first side, 'Days of Gravity Indoors', 'Metal River' and 'Rainy Days Static Caravan', plus the side long 'Dual Monody of Accumulated Detritus'. The perfect follow up to the 2dicks 7" lathe-cut also featuring Richard Youngs and released by FD in June. White vinyl, too. What more could you possibly ask for? "

LTD. CLEAR BLUE VINYL

Fresh off of their 2020 offering Adult Themes, El Michels Affair is back with a new full-length release. Titled Yeti Season, this newest album has everything we've come to expect from EMA's patented cinematic style of instrumental soul music. Where Adult Themes inspired a soundtrack to an imaginary film, Yeti Season brings us to a different place in time_with new inspirations. Taken with Turkish-styled funk and an almost Mumbai-esque take on soul, El Michels Affair offers us a different kind of drama and imagination with Yeti Season. If you've been following along, this shouldn't be viewed as too far a departure for El Michels Affair. The first single off of Yeti Season showed their hand back in 2018. A double-sided banger, that release brought the musical textures to the fore that dominate this record. The first song, titled "Unathi," is fully realized with the beautifully haunting-yet-hopeful vocals of Piya Malik, formally of 79.5_another Big Crown artist. Singing in Hindi, Piya's ethereal voice is telling us to work and strive together toward progress. Even if you don't understand her language, you can still hear the urgency of purpose, creating a lasting vibe that sits on top of it all. Leon Michels explains that Piya had a vital influence on this record: "When Piya started singing in Hindi, she had a different voice, a different tone. I knew we had to do something together." And so Piya appears on three other songs on Yeti Season: "Zaharila," "Murkit Gem," and "Dhuaan." Each providing particular signatures to the album. "Zaharila" is a building and changing love song punctuated by blaring trumpets, driving drums, and Piya's pleading lyrics. While the more upbeat "Murkit Gem" opens with a fuzzed out, Wu-Tang-esque baseline that buoys Piya's stylings. The psychedelic guitar and Piya's changing tones and textures singing about an all-consuming love are what pushed "Dhuaan" on to the second single from Yeti Season. There is also a vocal appearance from Shannon Wise of The Shacks, yet another Big Crown artist. Her song called "Sha Na Na," lies more in the familiar EMA vein: melodic, hypnotic, soulfully visual. But between Shannon's airy singing, the jumpy baseline, moody vibes, the active drum lines, it sounds like a pensive walk home after a strangely dramatic night. So what is Yeti Season? It could be more of a feeling than an actual place or time of year. It's a heavy album_as evidenced by the signature musicianship and dramatic vocal expressions. But it's also a hopeful record, with phrasings, textures, and chord changes that hint at something better_or fuller_coming our way. You hear it in songs like "Ala Vida," with its stabby, pulsing chords laying a bedrock for EMA's bright, atmospheric horn lines. Or even in "Fazed Out," which leaves you with a feeling of determination, a striving for resolution even though the driving, march-like song structure should accompany some conquering army. This persistence has to come from the fact that Leon Michels and company finished this record during the lockdown. It was a tough and troublesome time. But look at what has come of it: Yeti Season_a record of high and heavy drama, but also one of hope and promise. It may take a year like 2020 behind us to find hope in a winter big footed creature like a Yeti, but that's where we are.

They Say: “Contemporary scores for visual effect”.

We say: Synth-heavy, low-slung space-funk masterpiece.

The creator of the romping tunes that became the iconic themes to the BBC’s Grandstand programme and their televised Wimbledon Tennis Championship coverage, Keith Mansfield was perhaps KPM’s most prolific artist from the mid 1960s right the way through the 1980s. As well as the sort of pop orchestral sound that is all over these classic library records, he could also turn his hand to raw, edgy rock and funk. Quentin Tarantino is a big fan, going as far as including some of Keith’s work on the soundtracks to Kill Bill and Grindhouse.

This is it. This is THE ONE for us: Keith “The Man” Mansfield’s Vivid Underscores from 1977. A sample freak’s wet dream and one of Be With Rob’s favourite ever KPM records. A must for fans of Brian Bennett’s Voyage (yes, THAT good). And no, we’ve no idea either why it took us this long to get round to tackling this monster of a record. But then again some things are worth waiting for.

Attention! Calling all crate diggers, DJs, beat heads, Hip Hop junkies, MF DOOM fans! Behold! Vivid Underscores makes sampling easy. Prepare to be up all night, every night, chopping, looping and splicing these endless grooves and spacey synths. The highlights are too many and too mind-blowing so we’ll pull out a few particular highlights. Trust us, this library LP is just jaw-dropping.

“High Velocity” sets the tone with its aggressive horns, wah-wah guitars, funky baseline and wobbly synth refrain. So good and so hypnotic that Memphis Bleek just had to swipe the ominous, frazzled intro for “What You Think of That” featuring Jay-Z. Also, for real drama, the 1985 Lakers retrospective “Return to Glory” used it to soundtrack the footage from the legendary game five of the NBA finals at the Forum. Heady days. “Crash Course” - Stetsasonic horn refrain? Beautiful - jazzy chase-funk, amazing warm keys, percussion and funky horns - all action.

The more restrained “Matter Of Urgency” is an utterly amazing, brass-heavy underscore. The grandiose, uplifting “Dawn Of Aquarius” still sounds like the future with its tense, thundering drums, killer bassline and swirling synths. Version II loses the drums and percussion but is no less startling. “Staying Power” closes the first side with a relentless, pounding groove which *will* snap your neck. Be warned.

“Trucking Company” is a pacey, synth-and-string masterpiece and its accompanying parts (a–c) mess with the formula to great effect. Part (a) adds echo delay to really dazzle and part (c) plays the breezy, beautiful middle section without the tension. “Hot Cargo” and “Espionage” are both tense spy-funk themes par excellence. “Interplay” is a quiet killer, with flutes over a glistening piano refrain just waiting to be looped. The intro to the menacing “Omen” might’ve been sampled by 7L & Esoteric for their classic “So Glorious” but the entire 5 minute track is a mini-drama masterpiece, one only Mansfield could create.

Even though its a mix of short themes in-and-amongst longer, full-length tracks, Vivid Underscores is still thoroughly listenable from start to finish. That’s not something that can be said of all library records and it still manages to serve as rich resource to keep even the keenest samplers busy for a while.

As with all of our KPM re-issues, the audio for Vivid Underscores comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And as usual, the sleeve reproduction duties were handed over to Richard Robinson, the current custodian of KPM’s brand ident

File Under: Jazz / Contemporary Jazz - For fans of Ryuichi Sakamoto, Boards of Canada, Linda May Han Oh, Supersilent, Nels Cline, Makaya McCraven, and Haruka Nakamura! Born in Pinsk, Belarus in 1984 and immigrating to Canada in 1992 with the collapse of the USSR; Alexei Orechin has been actively shaping musical environments with his current projects No Seas, a solo project for guitar and tape, and leading his own ensemble incorporating jazz, chamber, and experimental elements into his compositional work. A diverse talent that is reflected in the company he has shared the stage with: Nas, Akae Beka, Rana Mansour, Shad, Yaadcore, and Sina Bathaie. He has played in USA, Mexico, Europe, and Russia. Performances include the TD and Montreal Jazz Festivals, Caribana, Irie Music Festival, Tirgan Festival, and Pride Toronto. His music for film has been featured at TIFF, CFC, NFB and the Warsaw Jewish Film Festival. He has been featured on CBC, Noisey, Global News, The Star, Dub Rockers, Huffpost, Afropunk, and Relix magazine. 2020 saw the premier of '1992 Ambient', a 45-minute long composition that is a 'therapeutic experiment in slowly melting sound and colour; representing the acculturation and restructuring oneself through emigrating from Russia to Canada in 1992'. 2021 will also see the release of his debut full length album Mirages; an album that showcases his diverse and ever evolving style of composition, ranging from moments of melodic solitude to fractal experimentalism.

Main Source’s paean to the simple pleasures of relaxing with friends is built over two tried-and-tested samples. The dreamy, swoony sounds of Vanessa Kendrick’s timeless ‘90% of Me is You’ is ever-present during this stone-cold classic, while Sister Nancy’s unmistakeable ‘Bam Bam’ lends several elements to the mix. Throw in some Skull Snaps and Sweet Charles and you’ve got the perfect soundtrack for a roll call of Large Professor’s nearest and dearest.

There are plenty of reasons why so many regard ‘Breaking Atoms’ as an all-time classic album, and the sheer variety of singles lifted from it is chief among them. Large Professor was happy to roam over varied topics at a time when many rappers had a manic focus on one thing.

And where better to hang out with friends than at a barbecue? ‘Live at the Barbecue’ is rightly regarded as one of the best posse cuts of all time, and famous for showcasing the debut of one Nasty Nas. While he delivers a dope verse full of quotables over drums from Bob James’ oft-plundered ‘Nautilus’, credit is also due to the other guests. Fatal and Akinyele aren’t disgraced in this company, and Large Professor tops it off with a rare verse of pure brag-rap.

An undisputed entry in the pantheon of head-nod hip-hop, this is its first official UK release, and another debut on 7”.

• Samples Sister Nancy’s unmistakeable ‘Bam Bam’

• Taken from the all-time classic album ‘Breaking Atoms’

• Features the debut of Nas

Arthur Alexander’s mid-60s releases for Monument and Sound Stage 7 under the supervision of Fred Foster in Nashville failed to register on the charts but are highly regarded, none more so than these sides cut on his first session for the company. The released tracks from the session, ‘(Baby) For You’ and ‘The Other Woman (In My Life)’, were more country-sounding.

These two wonderful soul songs remained in the vaults until an Ace CD in 2001 and have picked up admirers ever since. To own them on vinyl will be a vintage soul lover’s thrill.

Cumbia, the music and the dance synonymous with Colombia, has been around almost since the 17th century. Today, it’s a badge of identity for Colombians everywhere, but is now also enjoying a global renaissance; filling dance floors and captivating a new generation of music fans.

Originally released by World Circuit as two separate albums – ‘Cumbia Cumbia’ in 1989 and ‘Cumbia Cumbia 2’ in 1993 - this collection brings together some of the greatest recordings made by Colombia’s legendary record label, Discos Fuentes, between 1954 and 1988.

Discos Fuentes was founded in Cartagena in 1934 by the visionary musician, arranger and producer, Antonio Lopez Fuentes. It was the first important record label in the country and grew into a company of immense significance for Colombian music, responsible for thousands of hits and scores of legendary singers and musicians over six decades. Fuentes hand-picked his musicians and singers then meticulously arranged, produced and recorded their music in-house.

This collection presents thirty of these three-minute-masterpieces, showcasing the gamut of styles that make up the distinctive and irresistible cumbia sound; a sound typified by a loping 2/4 gait and a pulsing rocksteady bassline, overlaid with heavy rural percussion, brass, accordion, clarinet, electric guitar and vocals. Disc 1 features a broad range of cumbia styles with recordings from 1960 through to 1988, whilst disc 2 digs further into the classics of the past focusing almost exclusively on the 1950s and 1960s.

Featuring cumbia’s biggest hits from Rudolfo y su Tipica, Gabriel Romero, Sonoro Dinamita and Armando Hernandez, ‘Cumbia Cumbia 1 & 2’ is a flawless collection from the Golden Age of Cumbia.

Mondo, in collaboration with Hollywood Records, is proud to present the soundtrack to the all-new hit game Marvel’s Spider-Man: Miles Morales, featuring an incredible score by John Paesano as well as original songs by Lecrae and Jaden.

Picking up where the previous game left off, Marvel’s Spider-Man: Miles Morales puts you in the web-slinging hands of the titular character, taking on a mysterious group of rebels known as The Underground, who are going toe-to-toe with a mysterious energy company who seemingly nefarious aims for Harlem, our hero's hometown.

John Paesano is no stranger to Marvel's most famous New York heroes, having composed the score for the previous game Marvel's Spider-Man (not to mention the late, great television series Marvel's Daredevil and Marvel's The Defenders), and his work on this chapter is nothing short of spectacular. Taking elements of his previous score and plussing them, incorporating elements of trap beats and drum machine to give the symphonic score a hip-hop rhythm section.

Music by John Paesano
Featuring Original Songs by Lecrae and Jaden

Muddy Water Blues: A Tribute to Muddy Waters is the second solo album by Paul Rodgers, best known as the vocalist of Free and Bad Company. This album features collaborations with many artists, including Brian May, Buddy Guy, David Gilmour, Jeff Beck, Gary Moore, Richie Sambora, Slash, and Steve Miller. He took these classic blues tunes and arranged them a little more towards rock. The album was recorded at various studios due to the many guests on the album, but producer Billy Sherwood managed to keep the sound pretty similar throughout. Muddy Water Blues was nominated for a Grammy Award.

Now available as a limited edition of 2000 individually numbered copies on translucent yellow coloured vinyl.

Main Source’s paean to the simple pleasures of relaxing with friends is built over two tried-and-tested samples. The dreamy, swoony sounds of Vanessa Kendrick’s timeless ‘90% of Me is You’ is ever-present during this stone-cold classic, while Sister Nancy’s unmistakeable ‘Bam Bam’ lends several elements to the mix. Throw in some Skull Snaps and Sweet Charles and you’ve got the perfect soundtrack for a roll call of Large Professor’s nearest and dearest.

There are plenty of reasons why so many regard ‘Breaking Atoms’ as an all-time classic album, and the sheer variety of singles lifted from it is chief among them. Large Professor was happy to roam over varied topics at a time when many rappers had a manic focus on one thing.

And where better to hang out with friends than at a barbecue? ‘Live at the Barbecue’ is rightly regarded as one of the best posse cuts of all time, and famous for showcasing the debut of one Nasty Nas. While he delivers a dope verse full of quotables over drums from Bob James’ oft-plundered ‘Nautilus’, credit is also due to the other guests. Fatal and Akinyele aren’t disgraced in this company, and Large Professor tops it off with a rare verse of pure brag-rap.

An undisputed entry in the pantheon of head-nod hip-hop, this is its first official UK release, and another debut on 7”.

• Samples Sister Nancy’s unmistakeable ‘Bam Bam’

• Taken from the all-time classic album ‘Breaking Atoms’

• Features the debut of Nas

• Limited Edition Purple vinyl

Grace Ferguson is a Pianist, Composer and Sound Designer based at Eastmint Studios, Melbourne, whose works seek to position the audience in a space conducive to subjective inflections, inarticulate knowledge and felt encounters.

Her debut LP release 'Voler' (out on Music Company) was met critical acclaim and reached number #4 on the Australian Independent Record (AIR) charts. The album now gets a limited vinyl pressing in a custom die cut sleeve.

(LP + 12 page booklet) This ancient psychedelic folk with jazzy improvisations from the North West of Greece is unique and will touch your soul so deeply that epirotika aficionados always remember the place and the moment when they got to know this hypnotic and mes-merising music. In a similar way to the music of Alice Coltrane or Mulatu Astatke, it can take you out of the here and now - the pure beauty of the magical epirotika sound can make your mind drift off to otherworldly places.

Lucrecia Dalt is a Colombian recording artist, songwriter, and producer. After studying civil engineering in Colombia, Dalt worked at a geo-technical company for two years and has since lived in Barcelona and Berlin, where she currently resides. She has released six solo albums and has collaborated with musicians Aaron Dilloway, Jan Jelinek, and Gudrun Gut, to name a few. No era sólida is Dalt's seventh solo record, and her second on RVNG Intl., following the release of 2018's Anticlines. No era sólida is an introspective venture into visceral sonic terrain, as Dalt sets out to capture the moment when one becomes pure sound. The album observes a transition in Dalt herself through the emergence of an alternate ego / state of self named Lia. Each song identifies a different state experienced by Lia, opening with Disuelta (`dissolved') and transforming through pieces such as Seca (`to be dry'), Ser boca (`to be mouth'), Espesa (`thick'). Lia's poetic reflections on the panspermia echo her origins, having come from some other ether. As a lifeform seeded through sound, the very essence of Lia is embodied in the exploratory instincts of her creator Lucrecia Dalt, an artist whose innate sonar system traces the far reaches of musical experimentation.

Tibor Szemző returns with a new album, based on the music for his film about historic figure Alexander Csoma.

Tibor Szemző is a Hungarian composer, performer, media artist. Recently his album Snapshots From The Island (1987) gained renewed interest. Over the years Tibor Szemzo continued composing classical / electronic works. His pieces often include spoken texts, film and other media. He creates installations and composes music for his own and others’ films.

Csoma, his new album, is based on the music for this film about Alexander Csoma. Alexander set up to research the origin of the Hungarians 200 years ago. During his student years, before he enrolled in college, he and two fellow students vowed to go to Central Asia to discover the origins of their nation. In the first thirty-five years of his life, he spent his humble pilgrimage in Asia traveling and studying with Buddhist priests in Tibet in isolation, and devoted the remaining eleven years of his life to publishing some of the material he had collected in India.

Now on the 200th anniversary, Szemző’s Cinematic Opera wishes to pay tribute to Alexandar Csoma. Over the course of two vinyl sides classical and acoustic instruments are mixed with angelic voices, spoken word in German, Hungarian & English. Sounding like vintage Tibor Szemzo compositions, vividly performed by the Gordian Knot Company and the Voces Aequales Ensemble.

Bristol-based trip hop trio Jabu this week announced details of their second album. ‘Sweet Company’ will be released on November 20th via the group’s own do you have peace? imprint.

Sweet Company is the second album by Jabu. Where their first LP, Sleep Heavy, was an unflinching exploration of grief, dark and disembodied, Sweet Company’s deep, sedative soul feels like more of a lovers’ outing: optimistic, becalmed, looking outwards as well as inwards, and longing for the kind of human connections where ego and self-consciousness might dissolve. It is perhaps also an exhortation to love and accept yourself, to recover a lost innocence and peace – that paradise which has always been lost. Released via their own do you have peace? label, Sweet Company is on the one hand a very intimate and private-sounding work - the sound of life played out in a room, a bubble, a home, a head. The rhythms of everyday domesticity: listening to the plants, cars in the street, voices through the wall…. going to work, not going to work, sleeping heavy or not sleeping at all. Wavering on the brink of a revelation, of something just beyond the material world, while you wait for the kettle to boil. The core Jabu trio of producer Amos Childs and vocalists Jasmine Butt and Alex Rendall is present and correct. Sweet Company has theexhilarating sweep and confidence of a collaboration between people who trust and understand each other implicitly, and, secure in that knowledge, are able to give the absolute best of themselves to us. As before, Jasmine’s voice is a textural, painterly instrument, layered and blurred into abstraction, resisting the limits of language; the songs she sings on are portals into vast internal landscapes where the normal rules of gravity are suspended, every sound is smothered in a cathedral-like resonance, and you're both fearful and hopeful that you might never find your way back out again. Alex takes a more narrative, confessional and no less engaging pop tack: as on the gauzy, decelerated 2-step of ‘Lately’, with his masochistic, self-mocking entreaties to “be cruel to me … I like it when you make a fool of me”. Childs has a true hip-hop fiend's ear for a striking sample, and how to loop it to most hypnotic and rapturous effect, but here takes things to ever more powerfully uncanny and auteurish places, drawing inspiration from the voidal bliss-outs of shoegaze (AR Kane’s amniotic dream-pop epic 69 is one influence cited) and the space-time disturbances of dub, commanding both a raindrops-on-cobwebs delicacy and an immense, oceanic pressure. His productions seem to resist linear progression - instead they move by a kind of unstoppable diffusion, like weeds reclaiming an unkempt garden, or alien flora patterning the sea-floor and coral-caves of the subaquatic level of a computer game which may exist only in your, or his, imagination. Perhaps it's Daniela Dyson, the British-Afro-Colombian artist who contributes her vivid, energising poetic mysticism to two tracks, who best sums up Sweet Company's ambition and effect: “Me quiero perder en los momentos tan puros en su esencia que Las Horas mismas se detienen para ser testigo de nuestro amor” (I want to lose myself in the moments so pure in their essence / that The Hours themselves stop to bear witness to our love…). For a precious half an hour, we're invited to celebrate the smallness of our lives - and the limitless grandeur which that smallness contains. When it ends, we step back from the brink but things aren’t quite the same anymore: we’re haunted by what we briefly almost knew.

Barang Bang Records Archive Series vol. 1

Previously unreleased recordings
Compiled by Gianmarco Liguori

Bernie McGann - alto sax
Kim Paterson - trumpet
Bobby Gebert - piano (side A)
Andy Brown – bass
George Neidorf – drums

Recorded by Trevor Graham in Sydney, Australia (copyright 1966)

There is no more engaging nor distinctive alto saxophone sound on the planet than McGann’s.
Sydney Morning Herald

McGann takes the language of Bebop then bends and stretches it to fit the contours of his own remarkable im-agination.
The Wire

Bernie McGann’s sound is exciting and physical, as heated as any post-coltrane modernist.
Downbeat

A lost treasure of Antipodean jazz

This compilation documents part of an exciting period in Australasian jazz. Recorded in Sydney, 1966, we can hear Bernie McGann was already one of the great Australian jazz stylists. At the time, the only publicly available recording he made was two tracks on the Jazz Australia compilation (1967) (CBS BP 233450).

Two years earlier, McGann was living in Auckland, New Zealand (1963-64). It was here that he worked regular-ly with Kim Paterson, Andy Brown and pianist Dave MacRae, and the basis of this band came into being.

‘Lazy Days’, ‘Chuggin’, and ‘Sky’ were salvaged from a cassette in Kim Paterson’s collection, one of the few remaining copies. Originally intended for a radio broadcast, the master tapes were reportedly destroyed after the session.

‘Rhythm-a-Ning’ and ‘When Will The Blues Leave?’ were taped by Trevor Graham at the Wayside Chapel in King’s Cross. Graham was a Sydney music journalist and ally of the avant garde, with the foresight to capture some of what was happening at the time.

This album is also notable for a rare appearance by the mysterious American drummer George Neidorf (mis-spelt as ‘Neidori’ in the liner notes on the first Soft Machine album), an early influence on drummer Robert Wyatt.

Field recordings of a major artist in strong company – a lost treasure of Antipodean modern jazz.

Amazing 1976 album where jazz meets world music !

An amazing document of the life experiment that was the Organic Music Society. This super quality audio, recorded by RAI (the italian public broadcasting company) in 1976 for television, documents a quartet concert focused on vocals compositions and improvisations. Here, Don Cherry and his family-community’s musical belief emerges in its simplicity, with the desire to merge the knowledge and stimuli gained during numerous travels across the World in a single sound experience. Don's pocket-trumpet is melted with the beats of the great Brazilian percussionist Nana Vasconcelos, the Italian guitar of Gian Piero Pramaggiore, and the tanpura drone of Moki. A pure hippie aesthetic, like in an intimate ceremony, filters a magical encounter between Eastern and Western civiliziations, offering different suggestions of sound mysticism: natural acoustics in which individual instruments and voices are part of a wider pan-tribal consciousness. A desert Western landscape marries Asian and Latin atmospheres. Indigenous contributions with berimbau explorations find fossil sounds of rattles and clap-hands invocations. Influences of Indian mantra singing are combined with eternal African voices or with folkish-Latin guitar rhythms , while flute and drums evoke distant dances. In the Organic Music everything becomes an act of devotion and love, an ecstatic dwell in the dimension of a sacred free-rejoice.