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Bored At My Grandma's House is the moniker of 19-year old Leeds-based Amber Strawbridge, starting out as an exercise in passing time when she was quite literally bored at her Grandma's place. First single & EP opener 'Showers' is about time alone & listening to your mind - “Do you ever think of showers as like a new beginning?“ is a poignant opening line, about that therapeutic space for you to really think and let your thoughts surface. In Amber's own words "showers are a kind of therapy in my opinion, they give you time to reflect and think without influence from anything external."

Born in Whitehaven, Cumbria to musical family, and raised on the likes of Bowie & Pink Floyd there was always plenty of opportunity to mess around on the various instruments lying around the house. Attempts at proper music lessons went awry as Amber shunned the rules & rigidity, and so instead she gradually taught herself piano, guitar & drums. After time travelling in Cambodia, teaching English & helping with projects in various villages, Amber stayed with her Grandma & began to use the aeons of spare time to make tunes on Garageband & upload them to soundcloud. As a wave of BBC Introducing support rolled in, coupled with a move to Leeds to study music, the bedroom set-up evolved & a full EP began to take shape.

Playing all the instruments & self-recording most of the EP at home, Amber took the tracks to Alex Greaves (Working Men's Club, Bdrmm) at the Nave studio for live drums & some final mixing flourishes, leaving an EP full of lo-fi charm but with a studio feel.  Inspired by Slowdive, Wolf Alice & Alvvays, Sometimes I Forget You're Human Too showcases Amber's singular vision of indie-pop, on an EP that deals with topics like humanity, nostalgia & the current refugee crisis.

Speaking on the EP title Amber says "Sometimes I forget you’re human too is the realisation that everyone is the same. In the sense that we are all human, everyone has issues and problems to face, everyone makes mistakes and has success. I used to compare myself to others a lot and think ‘wow they have their life together’ or ‘how are they so happy all of the time’ but that’s not the case it’s just what you can see on the outside ...so it’s kind of an EP of self assurance and reminding myself that it’s ok to not have it together all the time because no one does as we’re all just human after all"

The EP is just the start for Bored At My Grandmas House "I’ve already got a few tracks which I’m thinking could be potentially for an album, I’d definitely like to do a bigger project next and have the sound I’d like in mind. I’ve recently just got a band together so hopefully when live shows are resurrected I’ll have a few of those!" 2021 is looking to be anything but boring for Amber Strawbridge.

Words can't fully express how honored we are to launch our label with this timeless masterpiece of a tune. And honestly, words will never do this monumental piece justice. Just focus, and the music will effortlessly take you further, and further, and further, into the beyond within. Deep and serious, yet light and uplifting, and so, so powerful. Truly devotional music.

On the B-side we find Deepbass taking the essence of the original into his signature trance-techno hybrid, suitable at any sequence of a DJ-set. We have already seen the track work wonders on dance floors up north.

Toffes Varld ends the journey perfectly with his unique eco-friendly style. The sound of an early, misty morning deep into the Varmland forests. where innocence and play still rule the environment. Wynja energy at its purest.

Fake Laugh & Tarquin first became acquainted a very long time ago, before they were either Fake Laugh or Tarquin. Two humans in their late teens with a keen interest in sound, they would indulge each other in whatever conversation they could muster while loitering in the corridors of their sixth-form college. Their place of learning existed in a sleepy Sussex town where once a year, the skies are filled with explosions, while burning effigies are carried through the cobbled streets by inebriated locals. The two did not suspect that much would become of their light friendship - but in good time that would all change…

In the years that followed, the two young artists moved to London and embarked upon their own totally distinct musical journeys - Fake Laugh was playing in venues with ‘rock bands’, while Tarquin was carving out a niche for himself in the bubbling, lava-like instrumental grime scene, which brought a new kind of heat to the clubs of the city. His vibrant, unapologetically obtuse (and at times absurd) brand of club-music delighted the ears of listeners, the feet of dance-floor dwellers and the brains of music theorists - all in one fell swoop. Having released with Mr. Mitch’s crucial Gobstopper imprint as well as big-guns Rinse, Tarquin has become a household name in the homes of those that know. All the while, Fake Laugh was in his bedroom writing scores of songs and occasionally releasing collections of the strongest cuts on a variety of indie labels who believed in his talent for timeless melody, focussed through his own rose-misted, yet modern lens.

It wasn’t until the fabled summer of 2019 that Fake Laugh & Tarquin would make music together in the same room. The first session resulted in album opener Slow, a song which for the previous two years, lay dormant in an acoustic form on a dusty Fake Laugh hard-drive. Fake Laugh had the idea that perhaps the song could be transformed into something far bigger and better in the hands of Tarquin - a theory which was proven correct.

Throughout Fake Laugh & Tarquin the pair continuously confound the listener, fusing sharp and glacial synthetic elements with warm organic tones and heartfelt vocal performances. Money was written at the start of the global pandemic, a time in which people had more financial concerns than usual. Rejecting total doom and gloom, Fake Laugh & Tarquin turn this dystopian angst on its head and create a one-of-a-kind club mover that pulls inspiration from the super-slick grooves of early noughties stalwarts Moloko and Groove Armada. The album twists, turns, morphs and mutates until it’s peaceful conclusion in the form of existential piano-ballad Meaningless Thin

There’s liberation on the dance floor in the songs of Matthew Urango – glimpses of revolution that glimmer beneath the disco ball. “I want my music to bring people together,” says the Californian pop innovator, best known as Cola Boyy. “Because standing together is our best chance at fighting this shit show.” The shit show in question is a broken, brutal system the acclaimed multi-instrumentalist has witnessed up-close. Urango was born with spina bifida and scoliosis in Oxnard, California: a town in which almost 30,000 are estimated to live in poverty. Prosthetic Boombox, his eagerly awaited debut album, might at first glance seem a joyous confetti-burst of pop eclecticism, engineered to sound like “scanning between stations on a car radio, landing on all these different sounds and styles” as Urango puts it. Dig deeper, though, and you’ll discover a simmering sense of rebellion. “The working class are injured, struggling to pay rent and struggling to put food on the table,” he says. “I want to represent that.” Prosthetic Boombox
achieves that goal in a thrilling flurry of inventive indie, funk and soul: take Urango’s car radio analogy, place it in a time-travelling Delorean with Prince in the passenger seat, and you’re half-way there.

Look no closer than Prosthetic Boombox’s euphoric opener, the Avalanches-assisted ‘Don’t Forget Your Neighbourhood.’ The track – which Urango says mixes “the Beach Boys, French disco, house keys and ragtime piano, kinda like the Cheers soundtrack!” – ends with lyrics urging listeners to “fight for your town with your fist closed, strike it and make it more than just a memory.” It’s a reminder that the working classes need to “turn our fists against our oppressors instead of each other,” he explains. After that emphatic introduction comes a horn-laced funk wig-out titled ‘Mailbox’ – a song that gives Dua Lipa’s Future Nostalgia a run for its Studio 54-themed money, featuring rising Londoner JGrrey. Elsewhere, ‘Song for the Mister’ ventures into smooth R&B territory, before ‘Roses’ – a collaboration with Myd of Ed Banger fame – offers a bouquet of bustling disco guitars and infinite bisous of Connan Mockasin’s band drops in on the immaculate ‘Go the Mile’. Urango saves his most introspective moment for the album’s starry closer. ‘Kid Born in Space’, a cosmic collaboration with MGMT frontman Andrew VanWyngarden, sees the artist reflect on what he once had to overcome as a disabled person of colour. “I see them looking down on my dreams of being,” he sings tenderly. “I hear them making fun of my voice, but I keep on moving forward, I refuse to live in anyone else’s shadow.” Prosthetic Boombox, on this subject, is more than an album title – it’s a statement of intent.

“The message of my music is that our class is exploited, oppressed and murdered on the daily. That’s not right, and the system that enables that deserves to be wiped off the face of the earth,” he says. “The only way that happens is if we’re united. That’s the point of my music – to relate to people and unite them.” And what unites more than raucous, irresistibly danceable pop? Prosthetic Boombox is a riot of joyous grooves and catchy hooks for good reason. “I want to reach and spread my message to as many people as possible. You can’t do that if you’re some obscure motherfucker, you know?” he laughs. Don’t bet on him being an “obscure motherfucker” for long.

Clear Vinyl

Hitting us with a double LP of sublime dance music lingering on the border of ambience, Interstate is the alter ego of DJ Swagger. Earlier this year, he graced Shall Not Fade's Time Is Now sub label in collaboration with DJ Aedidias for four feelgood UKG cuts - now returning for the second album in the Seasons Series, expect something a little different. Dominion Swing is his first LP under the Interstate moniker.

The four sides of vinyl hold their fair share of punchy kick drums and funky melodies, though across them is a blissed out ambient softness that comes to the forefront by the end. "Doublet Doureet" is a low end groover driven by skippy percs, the speedy bass melody chilled out with some lingering natural chords. "Second Mass" is futuristic and clean cut, tickling the ear with panning synth stabs and a powerful electro bassline that cuts through the track sharply, giving memories of the dancefloor while perfectly leading into "Habitat" - the sustained ambient shimmer that closes the A side.

Onto the reverse side, "This Rather Than That" and "Misty" are glitchy, playful evening music, "Misty" leaning into a fun organ ditty. The almost imperceptible bassline of "Two To Get Ready" hangs in the air giving it a dub atmosphere.

More genre exploration is to be found on the C side, from the pulsing but delicate house of "Appliance" to the tranquil guitar-lead journey of "Condone The Drama", ending with a return to blissful, oceanic ambience in "Bubblebath".

The closing side of Dominion Swing stays in this vein - blissed out haze is soaked into summer sundowner "Ascension" and its romantic melodies. "Stigma" is built on misty ambient pads but carries a persistent heartbeat rhythm, fading slowly into album closer "Yosemites" tropical field recordings and scattered drum hits.

Marc Moulin’s debut LP Sam Suffy (1975) is a compelling and unique mosaic of jazz, soul, and electronic elements that employs sampled sounds and sequencers to startling effect, vividly anticipating the music of the not-so-distant future.

While rooted in collective improvisation, cuts like the opening “Le Saule” and “Le Beau Galop” foreshadow the emergence of house music via their underlying electronic motifs; even more impressive is the five-part, 17-minute epic “Tohubohu,” a remarkable update of Musique Concrète sensibilities that creates drumbeats from water drops and pits trumpeter Richard Rousselet against a herd of hippos.

But for all its complexities and innovations, Sam Suffy is above all a sublime listening experience, closer in spirit and scope to trip-hop than the more abstract fusion classics it follows

Sam Suffy is released as a limited edition of 1000 individually numbered copies on translucent vinyl.

• Within a year of her ground-breaking Double-Album “Bad Girls”, Donna Summer left Casablanca
Records to become the first Artist signed to the new Geffen Records label.
• Always ready to embrace new sounds and experiment with different musical genres, Donna
Summer’s 1991 album “MISTAKEN IDENTITY”, was released on Atlantic Records and produced by
Keith Diamond, who was brought in to inject a more street style, which was prevalent at that time.
• Keith Diamond had produced highly successful singles and albums for Billy Ocean, Michael Bolton,
Mick Jagger, Sheena Easton, Don Johnson and James Ingram; the latter having been heavily
involved with Donna’s 1982 album ‘Donna Summer’.
• The album includes the singles ‘Work That Magic’ and ‘When Love Cries’, as well as the tracks ‘Cry
Of A Waking Heart’ and ‘Heaven’s Just A Whisper Away’, which showed how her amazing vocals
could make very good contemporary songs sound great.
• This special edition revisits the original album on 180g Yellow Colour vinyl.

Pleasure is a Sydney based music project that utilizes distorted synths, irregular drum beats and fluid song structures to create energetic and hypnotic pieces that straddle the line of bright and abrasive.The trio is comprised of Adam Connelly (synthesizers + vocals) Jonathan Boulet (bass guitar + fx pedals) and Hugh Deacon (drums). When playing live and on record, their music is improvised and unrehearsed with no laptops or backing tracks. “One of us will introduce an idea and the rest will follow.”

Their debut LP Saint Albans, was conceived and recorded in a small farm house in the town of Saint Albans, New South Wales, over 3 days from the 12th to the 14th of October 2019. The building has since burned down in the 2019 Australian Bushfires. “We came away from this session with close to 20 hours of material that we edited down into consumable pieces.” This is the case for all tracks except BRAIN WASTE 191013 which was left intact and unedited.

They launched the Australian release of the album by playing a 6 hour endurance set in a warehouse in Sydney’s Inner West. “Our sonic influences seem very obvious but we haven't been called out yet. Mainly Boards of Canada, Black Moth Super Rainbow, Aphex Twin, Fuck Buttons, Blanck Mass and Lightning Bolt.”

"Certain loud guitar rock records serve as brain erasers, a form of shock therapy zapping through aural inputs and (to mix metaphors) cleaning the proverbial clock. Lightning Bolt is one such thing." - LA Times Since their first moment it seems like they've been as electric as their name suggests. Lightning Bolt, their first album, captures that energy in a raw form. Famously lo-fi, this is the album that's been described as most feeling like being at one of their shows. It's difficult to listen and not want to jump with the crowd it feels like must be huddled around the amp producing an incredible wave of noise, astonishingly coming from just two musicians. You can hear the threads of their later work; use of repetition, a sense of grinding and building, noise melting to guitar solos. This album is loud, and the riffs repeated become mesmerizing as they warp slowly thru the songs. Long saught after, this record has not been available new on vinyl since it's first pressing. This edition includes songs which have never before been released on vinyl. A must have for any Lightning Bolt fan, or really anyone who loves noise.

Blue Vinyl

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

Cryovac Recordings recognizes and recruits artists with individualism and creativity to add to its list of collaborators. Cryovac has evolved into a project that is brought to life by craftsmen, musicians and visual artists that give their time and effort for a common cause. Cryovac aims to weave a thread between the varying sonic approaches that describe a direction techno must go. A. García tends the cryovac from conception to press; combining with Mike Kretsch to create a unique minimal sound. Mr. Joshooa has the tools and know how to describe his personality as his work. He swims the Detroit techno-sphere wearing many hats, and is always pushing techno forward by any means necessary. Cryovac is a vehicle for the rebel spirit; we hope you listen to it.
The Cat Lover E.P. starts with Mr. Joshooa taking his time weaving a slow funky grind. “Horse Hockey’ is the name of this 4/4 two step that gallops and bangs its way through cinematic synth rises, heroic harmony, and crunchy to smooth samples. Mr. Joshooa's mischievousness is on full display with his second jam “fuck around”. Tumbling samples form a bop that is maneuvered playfully through a hectic arrangement. Side 2 is a. garcia and Mike Kretsch’s domain. Their first effort minimally clicks and rings into a soulful melody; popping rhythm holds your body to terra firma so your mind can “spacetravel”. B2 ,”meerkat”, opens with a raw kick on top of marmic synth evolving into a dramatic techno drive turning and shaking along a desolate road

_asstnt & Roll Dann collaborate to deliver the inaugural release on their Opera 2000 imprint entitled "Back From The Morgue".

Roll Dann has been in contact with music from a very young age and picked up inspiration from the destructive techno sound that invaded Spain between 2005 and 2010. With releases on the likes AINE, PoleGroup, Modularz and Clergy the young producer is quickly leaving his imprint on the techno world which hasn't gone unnoticed seeing him being signed to Slam's Soma imprint in 2019. "Back From The Morgue" sees him team up with _asstnt on their new Madrid based techno project, Opera 2000 for his first full EP following their track together on a compilation celebrating five years of Involve Records. _asstnt's sound comes from the heart of a passionate artist conveying romanticism, truth and dedication within his music and philosophy.

"Back From The Morgue" kicks things off with blistering drums scattered around growling modulations and twisted vocals keeping the atmosphere weird yet wonderful before "The Hill of Hanged" continues with resonating kicks fused with undulating, grime-influenced strings and sinister elements throughout. On the flip, "Coalescence" maintains the effervescent moods through storming grooves, dramatic soundscapes and powerful oscillations while "Dirty Mistress" features heavy, syncopated percussion peppered with distortion and dystopian leaning oscillations to bring this beautifully dramatic EP to a close.
Order OPR001 now
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Out now for the first time on vinyl! The world first heard Pill on their self-titled cassette release on Dull Tools. And the world took note. Evan Minsker, writing for Pitchfork, says 'they are loose with form, they pack in a lot of ideas, and they successfully deliver an emotionally complex narrative where joy is accompanied by an impossible-to-ignore undercurrent of danger. The band's debut outing is enigmatic—a Dull Tools record through and through—but it's also well crafted, full of stellar performances and unflinching lyrics.'
The band then signed to Mexican Summer, releasing their debut LP. Shortly after, prolific in a way that has become a hall- mark of Dull Tools artists, they release another cassette, 2017's 'Agressive Advertising'. If one thought the self-titled cassette couldn't get more acerbic and confrontational, Agresstive Advertis- ing proved them wrong.
Now both releases are available on one LP. This LP is an important document of New York City's DIY scene and one of the best bands to emerge from it. Pill are an ever present force in NYC's scene. Playing small clubs like Baby's All Right, DIY spaces like Silent Barn and even the Museum of Modern Art. When the art and culture of New York is examined in, much in the way we examine culture from the past, you can bet that Pill will be a shining example of this moment in time.

Muck Spreader found a home in the London circuit, performing alongside the likes of Fat White Family, Wolf Alice, Warmduscher and Black Midi; though this is not an indication of their sound, which continues to be forever morphing, unique and uncategorizable. The band’s latest EP Abysmal is their first vinyl release and signals a louder and further departure into sonic experimentation.

The EP follows Rodeo Mistakes, released last year to acclaim from the likes of So Young Magazine, DIY, Dork, Huw Stephens at BBC 6music and Jack Saunders at BBC Radio 1. With Abysmal we find deranged screams and a music rich with filthy bass, sludgy guitar, shrieking saxophone, and glitchy effects. The drums anchor the chaos.
On EP openerTake Flight Muck Spreader offer the following: "Fasten your seatbelts, find your nearest exit, and in the event of an emergency please assume the brace position. It’s going to be a bumpy ride. You are now in the safe hands of Captain Frosty Theodore, and the crew will do everything in their power to Keep it Mucky Take Flight"

Lu's Jukebox is a six-volume series of mostly full-band performances recorded live at Ray Kennedy's Room & Board Studio in Nashville, TN. Each volume features a themed set of songs by other artists curated by the multi-Grammy award winner, Lucinda Williams. The series aired as ticketed shows through Mandolin in late 2020 with a portion of ticket sales benefitting independent music venues struggling to get by through the pandemic. Like thousands of artists, Williams cut her teeth and developed her craft by playing in small, medium and large clubs throughout the country, and the world. These venues are vital to the development of artists and their music. Williams has never forgotten her roots, and often performs special shows in some of her favorite halls. This year, the Lu's Jukebox series will be made widely available on vinyl and CD. Volume 1, Running Down A Dream: A Tribute to Tom Petty, features songs from the namesake's celebrated career and is scheduled for an April 16th, 2021 street date.

"Venturing beyond the unknown,
to the misty mystic peaks;
climbing the immovable rocks,
and cherishing the gentle creeks."

Alluring landscapes,
Summits covered in white firn,
Kissed by golden sun

All Tracks written & produced by Tom Huthwohl aka BLNDR, inspired by the majestic landscape and the atmosphere of Santiago de Chile.

Artwork by Javier Marimon
Mastered by Eternal Midnight
Released by Kizen Records 2021

180g 12" black vinyl

Eamon Harkin, 1/2 of Mister Saturday Night Records and Nowadays in NYC, brings us a balmy 4 track EP, simultaneously full of longing, bliss, and hope. Adeptly oscillating between techno and house, these ear-worm, tastefully catchy tracks will find themselves perfectly at home both on reopened, outdoor summer dance floors as well as on bedroom stereo systems. If you do find yourself on a reopened dance floor, you may end up shedding a joyful tear to one of these.

Limited edition of 300 copies on black vinyl. Mastered by Dietrich Schoenemann. Design by Nick Owen. Photography by Frank Harkin.

If Black Sabbath had been born and bred in an Ohio mobile home and raised on a steady diet of smoke and acid - the result would sound exactly like Mistreater
In 1981 the group independently recorded and released the “Hell’s Fire” album. Today the album is considered a US metal classic and is considered one of the strongest metal albums ever made by metal aficionados - original copies are hard to find and there’s a hefty price tag if you’re lucky enough to find a copy for sale. Mistreater are from Creston (population 2000) and were far outside everything and everybody associated with the “hip” music scene in Ohio. Mistreater either didn’t know or care about the scene in nearby Cleveland where bands like proto-punk rockers Electric Eels, Rocket From The Tombs and Styrenes made waves. Pere Ubu and Dead Boys sprang from these roots. The Pagans ruled the Cleveland area during the punk days. Earlier, The Choir, Raspberries and The James Gang were pivotal Cleveland bands. As local audiences were receptive, the city was a major stop-off for touring bands. Similarly, radio station WMMS also had open ears. Nowadays, The Rock & Roll Hall Of Fame is located in Cleveland. It goes on – Cleveland and its surroundings were happening. Mistreater was into none of this… Their music was by outsiders for outsiders. More brutal, raw and louder than everyone else. Rough-edged and without gloss, the Mistreater of Hell’s Fire was not aiming for the mainstream. The riffs are stoner hard knock-outs and the guitar leads are psyched out punches rooted in heavy psychedelia. Sweden’s On The Dole Records are proud to present the first ever reissue of “Hell’s Fire”. And in true OTD fashion no expenses were saved. The band was interviewed for the extensive liner notes, rare photos were found, the sound is remastered and carefully restored, and the non album single b-side “Baby Blue” is added as a bonus. This is a US metal / D.I.Y masterpiece that should be heard by everyone into hard, loud music and massive guitar riffs. It’s like Greg Sage of The Wipers had gone metal. It would have been the ultimate soundtrack to Tim Hunter’s “River’s Edge” movie with Dennis Hopper. Mistreater were young and had no contacts or knew ways to reach out with their music back then… Now the time has come for the resurrection of Mistreater. Mistreater is not in the nearby Rock’n’roll Hall Of Fame in Cleveland. But they should be. This OTD reissue goes to prove it.

Alfa Mist is one of the driving forces behind a young and vibrant scene of UK musicians, who've taken on jazz as their musical narrative. On his new album Bring Backs the producer, self-taught pianist and rapper takes us on a sonic trip back to his beat-making past on the streets of East London, through the depth and musicality he discovered composing and playing jazz. 2017 saw the release of Alfa's breakthrough record, Antiphon and the 2019's album Structuralism were both self-released on his Sekito label. His latest endeavour, 2021's Bring Backs, sees Alfa taking on new challenges. The record marks his first release for the label Anti and is also the most detailed exploration of his upbringing in musical form.

Esteban Adame aka Frequencia drops the track list for an intergalactic backyard party with the Chicano Boombox EP. Esteban’s music career started as a DJ in L.A.’s East Side backyard party scene, he then stepped up his musical game by collecting gear and studying the piano. His evolution into a professional musician led him to gigs around L.A.’s jazz and salsa scenes. But he never lost his love for DJ culture and electronic music and that led him to join Mad Mike’s Galaxy 2 Galaxy band through his mutual friendships with UR’s Santiago Salazar and Yaxteq’s own DJ Dex. He’s released music on esteemed labels such as Underground Quality, Dolly, Mister Saturday Night, EPM, Jealous God and more. He also collaborates with DJ Dex as El Coyote.

“Rush The Floor” makes you want to do just that with its hypnotic lead synth and a breakdown that will leave the dancefloor wanting more. “Deep Function” flexes musical chops via soulful chords and a perfectly timed solo all riding over a thumping house beat. “Still Here” recalls classic Detroit Techno methodology as a reminder to keep the inspiration flowing. The EP is rounded out with “The Promise” a driving yet euphoric track perfect for watching the sunrise after a long night.

The track is already on the ‘Filoxiny’ album so Skinshape extended the mix and backed it with a dub version for the flip. Skinshape is the project of British musician William Dorey. The sound has roots in many genres but in particular 1960s Funk, Soul, Reggae, Psychedelic Rock, Afrobeat and Folk. Aside from the Skinshape project Dorey was bassist for the band Palace from 2014-2017 and also runs a reggae label called Horus Records based in North London. About I Didn’t Know from Dorey himself: “This is the most 'pop' song I've possibly ever made, and possibly the most 'modern' sounding. It is about being in a difficult relationship and not knowing how to deal with it and making mistakes as a result. I wrote and recorded most of the song around the drum pattern, and created some (terrible sounding) digital orchestral parts temporarily whilst I created the body of the song. I recorded the strings and horns in the last part of the recording process before doing the final mixes. The horns were recorded separately with the help of my long-time friend (since school) and master arranger Jon Moody (of the group Franc Moody).”

In the Forest of the Dreaming Dead” is UNANIMATED’s debut album which was released in 1993 on no Fashion Records. After numerous bootleg versions and countless mistakes in either the tracklisting or the layout, it is the first time that this classic piece of Swedish Black/Death Metal history is available in its full glory, but with a fresh remastering by Patrick Engel (Asphyx, Candlemass, Darkthrone) and extensive liner-notes by Chris Dick (Decibel Magazine, US). The vinyl comes in a Ltd. Triple Gatefold 2LP with an Etching on Side D (Coverartwork of “Fire Storm”) and 4-pages LP-Booklet. This format also includes a cover of the Venom classic “Buried Alive”, which was only available on the original pressing of “In the Forest of the Dreaming Dead” (1993

Shall Not Fade's Time Is Now series continues to showcase the cutting edge of breaks and bass oriented club music. This time they introduce Groovy D; this new solo project of one third of Sheffield-based trio Denham Audio curates a totally fresh take on garage which is soulful, unique and genre-defying.

Afterworld Groove EP features female vocalists and a collaboration with Time Is Now regular Interplanetary Criminal; vocal heavy tracks are a highlight of the record, taking the garage sound away from the confines of the club. "Outta Control" is one of these tracks; Emma Cannon's vocals walk the edge between soulful and mournful, contrasting the wild breakbeats and deep, dirty bass. The title track uses housey intoned keys; this is daytime garage, made for summer parties. Taking influence from his Sheffield home, "Keep Movin' On" has a classic bassline sound palette, cheeky stabbing synths and hyperactive breaks.

"Project Zeus" opens the B-side: stutters of snare and punching bass are broken through with a classic, uncontrollable bassline; the tongue-in-cheek sample that forms the drop will undoubtedly bring a smile to British fans. More minimalist B2 "Timeless" is a chorus of bubbling ear candy until the rolling sub bass looms into a deep, headsy climax. Manchester's Interplanetary Criminal joins to close the EP; with vocals from Anna Straker, "Higher" takes a genre-spanning approach in hazey garage percs and soaring pads. The tempo is down, and misty, romantic sax forms the backbone.

May 28 will see prolific Japanese vibraphonist, multi-percussionist and composer Masayoshi Fujita mark a new sonic direction with his forthcoming album Bird Ambience on Erased Tapes.

Bird Ambience brings several fresh changes for the artist. Until now, Fujita would separate his acoustic solo recordings from the electronic dub under his El Fog alias and experimental improvisations with contemporaries such as Jan Jelinek, Bird Ambience sees him unite all of these different sides to his work for the first time, into one singular vision. He also makes a lateral leap from his signature instrument the vibraphone, on which he created his acclaimed triptych Stories (2012), Apologues (2015) and Book of Life (2018), to the marimba, which takes centre stage on his new album alongside drums, percussion, synths, effectors and tape recorder.

“The way of playing the marimba is similar to the vibraphone, so it was kind of a natural development for me and easier to start with, yet it sounds very different”, explains Masayoshi. “The marimba bars are made with wood and it has a wider range than the vibraphone, which gives me a bigger sound palette with more possibilities. I play the instrument with bows and mallets, and sometimes manipulate it with effects.”

Bird Ambience also marks his liberation from fastidious preparation for past solo releases to new endeavours in improvisation. “I prioritised trying to capture the wonder which happens during those occasional magic improv moments. Sometimes the mic-ing and placement of instruments was pretty rough; things weren’t perfect and everything was done quickly, but it turned out as the final recording. Overall when I
couldn’t decide between two takes, I told myself to go with the first”, Masayoshi recalls.

Arranged with a perfect Kanso-like balance, the unhurried pace of Bird Ambience allows each sound and phrase enough time to be mindfully absorbed and savoured. This subtle but affective work carries ethereal remnants of Midori Takada’s minimalism, the static atmospheres of Mika Vainio, To Rococo Rot’s organics and the bucolic electronics of Minotaur Shock. Fujita vaporises contemporary and classical, ambient and dismantled dub, controlled noise and fragments of jazz into an atmospheric, static mist, which he skilfully coerces into new forms.

After 13 years in Berlin, Masayoshi recently relocated to a new home and studio in the rural Japanese mountain village of Kami-cho, Hyogo, following his life-long dream of creating music in nature. Even though the album was entirely recorded in Germany before he left, it has this palpable sense of reverie found in the natural world. From there we can only imagine the kind of impact his new life in rural West Japan will have on future works.

This very special reissue celebrates the 21st anniversary of the release of Argentinian Juana Molina’s breakthrough album ‘Segundo’ in 2000.
It has been remastered from the original tapes, and augmented with a rich 32-page booklet recounting the eventful start of Juana’s musical career, and containing numerous notes, anecdotes, original drawings and previously unreleased pictures.
Contributors to the booklet include Bruce Springsteen’s producer Ron Aniello, Domino Recording’s Laurence Bell and David Byrne who, when he discovered the album, immediately invited Juana to open for him on his 2003 US tour.
‘Segundo’ started Juana Molina’s international trajectory as a musician. After dropping a highly-successful career as a TV comedian, she turned to music making. Regretting signing with a major company, who got her to record an over-produced debut album, she resolved to find her own direction in music.
The result was ‘Segundo’ that took 4 years to make involving sessions in Argentina and the USA.
Segundo’ finally came out on a small label in Argentina in 2000, found its way to Japan where it spectacularly took off, and was eventually picked up by the Domino label in 2003. Its reception set Juana Molina on course for performing around the globe, garnering a large, devoted fan base, and going on to record five more extraordinary studio albums.

LP edition of the sold out CD/Pamphlet from 2016. The score by Schmid, reading by Landry, and edited/produced by McCann. Includes a big poster of The St. Francis List.

Emily Martin and Derek Baron on St. Francis (Feb. 2021):

What does it mean to pray? To address someone, to plead for something, to welcome humiliation and failure: Please, let me forget about the China Chalet parties, please let there be no countries and no war, please let me love you. Is prayer iteration, or just repetition: My god, my god, my god, my god… To know spleen you just have to be down to be humiliated. But do we know for sure that we are miserable? How do we know?

This is how it has to go. We listened to this for the first time together in May 2017, while driving from Chicago to New York along the I-80 in Pennsylvania, stopping at the rest area that I later mistook for the famous picture of American “culture.” We stayed at a hotel and may have ordered a pizza. Content first, then, content again. Went inside and drank wine in relative silence, burping. Recognizing the sacredness in the plot of Friends. A choral melisma representative of holy Joy.

The dreams of moving through a convoluted space of passages, staircases, open courtyards, rooms just glimpsed past a door. It doesn’t seem possible that you can get from one place to the next but according to the logic of the dream you do. I think this has to do with how each little unit of ‘content’ happens at a different distance from your ear. The holiness of the periphery. That you can catch a shard of history if you only find the right distance to stand from the painting.

But prayer is also like the magic language we were talking about — faith that words do something more than just mean — they have the capacity to effect change in the world, and not just in the like, “words change ppl’s minds” kind of way, but in that the words themselves actually have agency. Form: sing-along.

Based in Berlin via rural Israel, RAS are comprised of of multi-instrumentalists and producers Dekel Adin, Eden Leshem, and Guy Gefen. They came together as RAS in 2018; a deep appreciation of international sounds that cross common ley lines has resulted in a melting pot of influences. Armed with vintage drum machines, guitars, synths, bongos and a Tascam Portastudio 424 tape machine, they quietly released this eponymous debut album in early 2019.

RAS’ creative palette is relatively minimal, opting to work with a toolkit of analogue instruments and improvisational recording styles. Mixing surrealism, in-jokes and nonsensical word patterns, their lyrics are sung in Hebrew. The vocals are there to support the music, acting as another instrument in the overall sound.

Dekel, Eden and Guy managed to create an intricate balance between lofi soul and brighter mediterranean leaning club-jams, ending up with a record we might mistake as a lost treasure of the early 90’s.??A record that perhaps has an unconscious connection to the past, but more importantly to an onward looking story of friendship and a musical journey which has spanned many continents throughout the last ten years.

May 28 will see prolific Japanese vibraphonist, multi-percussionist and composer Masayoshi Fujita mark a new sonic direction with his forthcoming album Bird Ambience on Erased Tapes.

Bird Ambience brings several fresh changes for the artist. Until now, Fujita would separate his acoustic solo recordings from the electronic dub under his El Fog alias and experimental improvisations with contemporaries such as Jan Jelinek, Bird Ambience sees him unite all of these different sides to his work for the first time, into one singular vision. He also makes a lateral leap from his signature instrument the vibraphone, on which he created his acclaimed triptych Stories (2012), Apologues (2015) and Book of Life (2018), to the marimba, which takes centre stage on his new album alongside drums, percussion, synths, effectors and tape recorder.

“The way of playing the marimba is similar to the vibraphone, so it was kind of a natural development for me and easier to start with, yet it sounds very different”, explains Masayoshi. “The marimba bars are made with wood and it has a wider range than the vibraphone, which gives me a bigger sound palette with more possibilities. I play the instrument with bows and mallets, and sometimes manipulate it with effects.”

Bird Ambience also marks his liberation from fastidious preparation for past solo releases to new endeavours in improvisation. “I prioritised trying to capture the wonder which happens during those occasional magic improv moments. Sometimes the mic-ing and placement of instruments was pretty rough; things weren’t perfect and everything was done quickly, but it turned out as the final recording. Overall when I
couldn’t decide between two takes, I told myself to go with the first”, Masayoshi recalls.

Arranged with a perfect Kanso-like balance, the unhurried pace of Bird Ambience allows each sound and phrase enough time to be mindfully absorbed and savoured. This subtle but affective work carries ethereal remnants of Midori Takada’s minimalism, the static atmospheres of Mika Vainio, To Rococo Rot’s organics and the bucolic electronics of Minotaur Shock. Fujita vaporises contemporary and classical, ambient and dismantled dub, controlled noise and fragments of jazz into an atmospheric, static mist, which he skilfully coerces into new forms.

After 13 years in Berlin, Masayoshi recently relocated to a new home and studio in the rural Japanese mountain village of Kami-cho, Hyogo, following his life-long dream of creating music in nature. Even though the album was entirely recorded in Germany before he left, it has this palpable sense of reverie found in the natural world. From there we can only imagine the kind of impact his new life in rural West Japan will have on future works.

Following on from Vince Watson’s sell-out 2020 release, that saw tracks lifted from his 9th studio album ‘Via’ taken to a whole new level with remixes by the mighty Joe Clausell, Steve Bug & Langenberg, Osunlade and Manoo, he unleashes two fresh, new, feel-good cuts on Everysoul Audio!

Defining them as House or Techno would be a mistake, as Vince effortlessly bridges the gap between both worlds in a way that he does so very well. ‘Make A Wish’ was born out of the same studio session as his ‘Teardrops’ track for Sacred Rhythm, taking the initial sketch into a different direction with powerful drums, big basslines and silky synth stabs, adding to the orchestral strings that build. ‘Forever’ was originally a studio jam that made it into his live shows pre-covid, but this gave him the chance to finish it the way he always wanted. It’s an upbeat, jazzy cut with funky 909 drums and acid bassline.

Repress

Powerful electro tunes on this new The Exaltics / Paris the Black Fu collaboration on the Clone West Coast Series. The 'Dis turb ance int he Tim eline' is a post apocalyptic electronic soundtrack for a world where nuclear mist, cyberatt acks and disinformation camp aigns hav e tran sform edso ciet y. W eex ist , re s istt he th rea t! !!

Wenn es um Schlüsselmomente in der Entwicklung der Heavy Music geht, muss sich die norwegische Black Metal-Szene der späten 80er und frühen 90er Jahre vor schierer Kühnheit und konträrer Verve nicht verstecken. Am wichtigsten ist, dass viele der Platten, die in diesen turbulenten, prägenden Jahren veröffentlicht wurden, zu etablierten und unbestrittenen Klassikern im illustren Kanon des Metals geworden sind, und Satyricons außergewöhnliche Frühwerke gehören sicherlich zu den am meisten verehrten von allen.
Dark Medieval Times und The Shadowthrone sind ein Monument für künstlerische Militanz und befreite Kreativität, wo dieses großartige Vermächtnis begann.

ye will be the first Kanye West album to receive an official vinyl release since 2011's Watch The Throne with Jay-Z, with both The Life of Pablo (2016) and 2013's Yeezus heavily bootlegged

Backed by members of the David Nance Group, Rosali (Long Hots, Wandering Shade, Monocot) wades through the emotional mire with infectious, earworm melodies led by her luminous voice. With their rich, raw instrumentation, these rock ballads sound like the resilience discovered in facing one’s darkest moments, the assurance of the calm and clarity that comes after the storm. As she sings on the second track, “Bones,” “Through the darkness of the field / I walk through without yielding / To the rest of the feelings / I’m carrying.” With her confident song craft, Rosali illustrates the ability to push through, moving toward something greater without being destroyed by the weight of trauma.

Engineered by James Shroeder and featuring Kevin Donahue (Simon Joyner), James Shroeder (Simon Joyner, DNG, Connor Oberst), David Nance, Noah Sterba, Colin Duckworth, and Daniel Knapp, the album was recorded in ten days and the raw immediacy of the music is palpable across these ten tracks. Added adornment was contributed by Philadelphia's Robbie Bennett (War on Drugs) on organ and keys, and Matt Barrick (The Walkmen, Jonathan Fire Eater, Muzz) makes a percussion cameo on “Whisper,”which was tracked at Philly’s Silent Partner Studio, where No Medium was mixed by Quentin Stoltzfus (Mazarin, Light Heat). The open creative collaboration elevated the songs, resulting in the exciting, vibrant sound of the album.

Rosali wrote the bulk of these songs in January of 2019 while on a self-imposed two week residency in the hills of South Carolina. Alone in an old farmhouse, she experienced supernatural events and faced her own demons in the deepest darkness. Perhaps as a result, there is a boldness that permeates the album, a daring vulnerability in both the lyrical themes and their musical accompaniment. Rosali says, “I approach guitar playing the same intuitive way I sing, which is profoundly spiritual for me. Where words fail, the guitar becomes the conduit for raw feelings, providing a direct connection to them. I’m constantly working on being fearless in my work, which means showing the rough side, the mistakes along with the triumphs.”

While writing No Medium, Rosali was inspired by harmonographs—swinging pendulums that create beautiful illustrations of the mathematics of music—considering how the mind, too, creates images through song. She imagined herself as the swinging pendulum—“a body suspended from a fixed point” (Encyclopedia Britannica), governed by the forces surrounding her. She thought about the pendulum’s relationship to time, movement, and even its use in divination practices. The album’s title, lifted from Charlotte Brontë’s, Jane Eyre, resonated with this vision: “I know no medium: I never in my life have known any medium in my dealings with positive, hard characters, antagonistic to my own, between absolute submission and determined revolt. I have always faithfully observed the one, up to the very moment of bursting, sometimes with volcanic vehemence, into the other.” With the multiple meanings of “medium”—as middle ground, a term for psychics, and as the material of artistic expression—No Medium felt like the appropriate name, describing how the self is shaped by the patterns of life .

The influences for the sound of No Medium reflect this pairing of assured vulnerability, in the stylistic coherence of Bob Dylan’s Desire, the tender delivery in Iain Matthews’ Journey From Gospel Oak, the strut and swagger of Bowie’s Hunky Dory, the ambition and beauty of Gene Clark’s No Other, and the playful catharsis of Harry Nilsson’s Nilsson Schmilsson. The Richard and Linda Thompson-esque album opener “Mouth,” places Rosali within both a physical and emotional space. “East of the river I was travelling on / watch me lie, undone / rest me in a forest, overgrown / until I am free of all that I’ve known,” she sings. There is movement, both within a cityscape, and in her outlook on love. Speaking of her thought process when writing the song, she says, “I imagine confidently walking away from the past, toward a new approach to love and intimacy to achieve a closer relationship with myself.”

In “Pour Over Ice,” Rosali explores her relationship with alcohol and her former reliance upon it as a social lubricant to quell her social anxiety, an energizer to keep moving, a means to cope and self-medicate, and most addictively, to lure out her wild side as a free flowing, good time girl. While drinking helped her through some shitty times, it eventually got the upper hand and became an insatiable hole within. She says, “The ‘you’ in the song is really me, talking to that component of myself struggling with drinking and self-sabotage, caught up in the cycle, and all the bad choices I made.” She sings, “Maybe I didn’t care enough / or can’t remember / chasing small pleasures / making fire from embers.” Rosali wanted her lead guitar on this track to simultaneously sound like a slow motion car crash propelling her through the day, and the sound of a gnawing hunger for something more.

Rosali’s alliance with the Omaha musicians that orbit David Nance Group (including Nance himself) came about while on a Long Hots / DNG tour in the summer of 2019. Great friendships formed and one night after playing in Detroit, Dave suggested they be her backing band. The pairing was effortless and natural, and in November of the same year, they were recording No Medium in a basement in Omaha.

“John Andrews is picking flowers from each corner of his life and
presenting you with an unusual bouquet. His imaginary band ‘The
Yawns’ are back! Third time’s a charm. In hockey terms, they call it a
‘hat trick’ and you know who’s always wearing a ratty old hat? John
Andrews. Three years in the making and we have Cookbook, the third,
and most colorful record from your favorite New Hampshire based
craftsman.
“Unknowing folks usually assume he lives in New York City or
Los Angeles but confer with John for five minutes and if he’s in the
right mood he’ll talk your ear off about the granite state and the old,
seedy colonial barn where he’s tracked his records with his weird and
wonderful friends.
“Take a listen to his previous effort, 2017’s Bad Posture. It was the
grassroot slacker’s pie in the sky. His head was stuck in the past. He
probably excessively listened to ‘Cripple Creek Ferry’ and he most
likely wasn’t keeping up with household chores. Time moves on,
but just look at him now! All grown up yet likely still feeling those
growing pains. After a few more years of traveling we now have
Cookbook, fresh out the oven…phew! About nine or ten new tracks,
but who’s really counting?
“The lyrics are simple and endearing, inspired by mid-century love
songs. His inspirations are all across the board. If his subconscious
was a bootleg taper, life would be the show.
“At any rate, it doesn’t sound like a record made in New
Hampshire, but make no mistake, this is a dyed-in-the-wool Yawns
record, refreshingly straightforward yet full of character. It’s less of a
crowded honky tonk, and more of an empty, poignant speakeasy. You
can finally relax indoors after a weary day out in the cold. Have you
ever seen that painting of dogs playing poker? It might as well be what
they were listening to as the bulldog pushed his chips forward.”

21 Number Ones is celebrating it’s 15th Anniversary in 2021 and it will be available on vinyl for the first time! The album features 21 of GRAMMY Award-winning superstar Kenny Rogers’ number one hits including “The Gambler”, “Through The Years”, “Lady” and many more! Rogers sold over 120 million albums worldwide, making him one of the best-selling male artists of all-time according to the RIAA, with one Diamond album, 20 Platinum albums and 11 Gold. He recorded 24 No. 1 hits, 12 No. 1 albums and 25 Top 10 country albums. Miraculously, he charted a song within each of the last seven decades. His music has always crossed boundaries, with singles and albums finding frequent success on the Country, Top 40, and Adult Contemporary charts, and in a few instances, on the R&B and Christian charts.

Riley Downing (The Deslondes) sat down one day and decided he wanted to record a song or two for a simple 45. The Deslondes had been on a hiatus for a while and Downing had the creative itch to put something down on record. He had been in contact with his bandmate John James Tourville and they decided to work on a split 7” with a friend.
The recording session felt like a breath of fresh air and the communion of talented musicians produced more songs than expected. Downing left the session energized and continued to record and trade demos with Tourville. Downing and Tourville decided that there were enough ideas to make an album. There were not going to be any rules and nothing would be discarded. All notes and lyrics would be considered. ‘Start It Over’ is the result of that creative effort. An album where each song was crafted with a different idea in mind. Some of the songs are more nostalgic than others and some were just written for good oldfashioned fun. There is a romantic quality in each song. One song might help someone get through a hard time while one song might contribute to a good time. One song might bring up memories of a better time or just get you far enough down the road to start over.
LP pressed on Sea Glass & Turquoise coloured vinyl

Straight Outta Caledonia is the first commercially available “Greatest Hits” of the outsider songwriter Jackie Leven, an artist
who has largely remained in obscurity in his native Scotland despite being one of the greatest wordsmiths – and singers – it ever
produced. A well-travelled musician who began making psychedelic, progressive music in the late 60s before emerging as an
epic storyteller full of pathos, humour and humanity in the 90s, Leven lived and wrote like many of the fragile, gregarious
characters of his songs; large, full of life and empathy. Leven passed away in 2011 after recording 30+ albums under different
guises or with his briefly successful New Wave band Doll by Doll. Straight Outta Caledonia is a compilation collated by Night
School Records on its Archival label School Daze that seeks to introduce Leven’s music to new generations.
In an age of isolation, alienation and loss of visceral experience, Jackie Leven’s music can be massive and welcoming. It feels
connected to some universal humanity and vibrates with vitality. His songs are often full of tragedy and comedy simultaneously,
cutting straight to the heart, often plugging directly into the nervous system of the listener. His lyrics are rich, dense with imagery
that can veer from apocalyptic to the comically banal in a sentence, with a songwriting panache that can be heavy handed to
almost bursting point before skewering the song with a clownish, warm punchline. His productions ranged from Bob Dylan’s
Rolling Thunder Revue style rock band orchestrations with strings and organ as on the epic Ancient Misty Morning or they could
be pared down to the purest form of folk song as on Poortoun: Leven on stage alone with an acoustic guitar, albeit played with a
mastery of the instrument that he often only hinted at. Musically his sound can bend traditional structures or stay completely
confined within them yet still forever push towards an ecstatic release, as on the cinematic Snow In Central Park.
The most exciting, jaw-droppingly effective tool at Leven’s disposal was his voice. A multi-octave instrument that, though
damaged during a savage assault in Fife, he used with flair; he had both a brazen disregard for the rules and a deep humility, all
of which is evidenced with every phrasing. A baritone that could flit up through the register – always touched by his gentle
Kirkcaldy accent – it’s the prime delivery method for his songs. Leven’s voice enabled him to inhabit the characters in his songs to
an uncanny degree, a skill that in turn enables the listener to empathise with them and, subsequently, the singer. It’s most evident
in stand out song The Sexual Loneliness Of Jesus Christ, a breathtaking re-telling of the life of its protagonist, not as a pure,
sinless messiah but as a sexually frustrated, solitary man condemned to an existential loneliness no one else will ever feel. In
many ways the track is the archetypal Jackie Leven song. Produced by Pere Ubu’s David Thomas, what strikes the ear first –
after the samples of unemployed workers in Glasgow following the closing of the Clyde shipyards – is the audacious, rhythmic
tremolo effect Leven employs through the verses before the production opens up to allow Leven’s vocal to lift into a soar, a
freeing glide powered both by the force of the singer’s chutzpah and the inherent, doomed destiny of the protagonist. With any
other singer such subject matter could come across as gauche or worse, pretentiously sonorous, but Jackie Leven’s genius was
such that he could be this cinematic and brazen while touching something elemental and true in the beholder. It’s a skill evident in
every song on Straight Outta Caledonia, the trademark of a songwriter who revelled and excelled in intensity with a lightness of
touch.
In his lifetime, Jackie Leven toured, wrote and recorded at a ferocious rate. He recorded under aliases to avoid record contract
restrictions, played house shows in Europe after or instead of official concerts, events which were often spoken word story telling
masterclasses as well as performances of his often bewilderingly dense songbook. His music has traditionally been catalogued
as “folk” music and has been largely banished to a small, dedicated group of international fans and apostles both private and well
known, like author Ian Rankin or Glenn Matlock. Since his passing in 2011 however, there has been a growing recognition
amongst a newer generation, with artists like James Yorkston or Molly Nilsson publicly stating the influence of the unsung
troubadour on their own craft. Jackie Leven’s fairytales for hard men are often forensic deconstructions of masculinity, sad and
ecstatic, light and shadow, always endlessly rich, a resource as bountiful as Leven himself’s human spirit undoubtedly was.

Fold Unfold is the debut album by violinist Katrine Grarup Elbo from the Danish collective We like We. As a solo artist she steps out from the safety of group performance and presents a vulnerable portrait using only her classical training and analogue electronic setup.

Peaceful scenarios of natural beauty that hover like calm mist over cold streams are interrupted by spine chilling forces. Naked passages and electroacoustic electronics together create ripples in time as the pieces mold into flowers reaching for the outer edge. Elbo summons the most time stopping affairs using only the most basic of ingredients, as a true master. Clouds of uncertainty and reason echoes infinitely into the ether as she moves in and out of acoustic and manipulated sonic landscapes. Imagine Jocelyn Pook´s captivating Masked Ball piece from Kubrick´s Eyes Wide Shut with its clouds of mystery, suddenly turning unmasked and fragile, as if abruptly standing vulnerable in the shadows listening only to the reverb of the room and ones own breath.

The album was recorded and mixed at Saal 3, Funkhaus, Berlin with Antonio Pulli. In the 29 minutes runtime, we are presented with transportations through silent, almost Baroque sounding pieces towards overpowering, processed alterations of her violin that vibrates like echoes springing off the stars. A stunning debut with all its natural purity and intimacy.

Michel Legrand was one-of the most gifted musicians of his generation. Born in a musical family, he studied at the Conservatoire in Paris where his precocious talents revealed themselves. Everyone noticed his entry into the jazz world in 1954 with an album of French popular songs for which he wrote jazzy arrangements. That first album’s success gave Legrand the right to make an album of his own with Columbia (Philips making a deal with Columbia US). This new album, entitled 'Legrand Jazz', was a sequel featuring legrandissime arrangements of American jazz standards. You could already, and even with tunes heard a thousand times, hear that distinctive Legrand style and the phrases, themes and leitmotifs that later appeared in 'Umbrellas of Cherbourg' or 'The Young Girls of Rochefort'. These album’s four sides feature all the ingredients composing Michel Legrand style that still “fills the world with envy.”

Van Morrison will release ‘Latest Record Project: Volume 1’ on May 7th on Exile/BMG. His 42nd record and his most dynamic and contemporary album in years, ‘Latest Record Project: Volume 1’ is a 28-track delve into his ongoing love of blues, R&B, jazz and soul