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M_SESSIONS - THE PROCESS

"M_Sessions" is offering a contemporary version of Mania D., Malaria and Matador’s music for the 40th anniversary plus the rare originals. Bringing the past into the now and into the future.
Monika Werkstatt seemed the perfect choice for new interpretations. Founded in 2015, comprising female electronic musicians and producers from the entourage of Monika Enterprise and Moabit Musik. The loose collective played dozens of improvised concerts around Europe and released a studio album and live recordings in everchanging artist constellations.

The M_Sessions involved Pilocka Krach, Beate Bartel, Midori Hirano, Mommo G, Lucrecia Dalt, Antye Greie-Ripatti, Natalie Beridze, Annika Henderson and myself. Here the form of interpretation is focussing on keeping the freedom of their improvised work and adapting it to the collective appropriation of songs. I cannot imagine a better reinterpretation of the material with its real life ups and downs and with its enthusiasm.
The original core team of Beate Bartel, Bettina Köster, Manon P. Duursma and myself selected "Rare Originals" from the repertoire of the 3 bands where we saw special relevance and beauty - these tracks are on LP2. We rediscovered live tracks, living room recordings and demo versions from our times long gone. (G.Gut)

M_DOKUMENTE // THE BOOK - THE RECORDS - THE EXHIBITION

The project M_Dokumente focuses on the All Female bands Mania D., Malaria! and Matador in the West Berlin music and art scene of the late 1970s and 1980s. We celebrate this 40 years retrospetive with a big festival weekend from 21.-24.10.2021 at Silent Green from a explicitly female perspective.
The three bands around their members Beate Bartel, Bettina Köster and Gudrun Gut played concerts in different formations from 1979 on, released records and toured around the world. The self-determined appearance of the musicians was new, raised some eyebrows and was reflected both in the music and the lyrics, but also in their unique style and the genre-crossing approach of "more art in the music, more music in the art". To this day, the bands are considered visionary, they shaped a new image of women in pop culture and are pioneers and role models for the still important and necessary emancipatory movement in the music industry. Far beyond the borders of Berlin.

3Ms

The three, reunited: Malaria, Matador and Mania D, unter einem Dach, but gutted, replaced with electronic hearts, new beats, new beasts, the time has changed, yet the politics, the problems, the heartache remains the same. 2021 sees the anniversary of the 3 M’s and therewith the production of an album of songs, covering a selection of the bands’ finest output, this time assembled by a new set of feminist misfits; producers, fangirls, instrumentalists, under the strict guidance of original members Gudrun Gut and Beate Bartel. M-Sessions features: AGF, Lucrecia Dalt, Sonae, Midori Hirano, Islaja, Natalie Beridze, Pilocka Krach, Annika Henderson (Anika), Lupe, Gudrun Gut and Beate Bartel. Beginning in West Berlin, in 1979, with the inception of Mania D, spawning Malaria! and later Matador; in a time when music was essential to movement, to escape, to space, to the scene and to the rebellion of the people; three bands stood for trial and error, trial and terror, anti- conformity, and anti-consumerism, for girl power and sticking it to the man, and for just doing whatever the hell they wanted. The three, their existence slightly staggered, with different members, different grudges, different heartbreaks, different instrumental expressions, were joined by a string of barbed wire, piecing pigeon hearts, within the playground that was the desolate ex-capital, now again capital, Berlin; a place where artists and freaks could run free amongst the wrinklies and army dodgers; no microscopes, no rules, no property developers. (ANNIKA HENDERSON)

"M_Sessions" is offering a contemporary version of Mania D., Malaria and Matador's music for the 40th anniversary plus the rare originals. Bringing the past into the now and into the future. Monika Werkstatt seemed the perfect choice for new interpretations. Founded in 2015, comprising female electronic musicians and producers from the entourage of Monika Enterprise and Moabit Musik. The loose collective played dozens of improvised concerts around Europe and released a studio album and live recordings in everchanging artist constellations. The M_Sessions involved Pilocka Krach, Beate Bartel, Midori Hirano, Mommo G, Lucrecia Dalt, Antye Greie-Ripatti, Natalie Beridze, Annika Henderson and myself. Here the form of interpretation is focussing on keeping the freedom of their improvised work and adapting it to the collective appropriation of songs. I cannot imagine a better reinterpretation of the material with its real life ups and downs and with its enthusiasm. The original core team of Beate Bartel, Bettina Köster, Manon P. Duursma and myself selected "Rare Originals" from the repertoire of the 3 bands where we saw special relevance and beauty - these tracks are on LP2. We rediscovered live tracks, living room recordings and demo versions from our times long gone. (G.Gut)

Einen schönen Fang hat das Chicagoer Label Trouble In Mind vor Kurzem mit DUMMY gemacht: Das Quintett aus Los Angeles verblüfft auf seinem Debüt ,Mandatory Enjoyment" mit einem derart ausgereiften Noise-Pop-Entwurf, das man kaum glauben mag, dass es sich hier um ein Erstlingswerk handelt. Nach gerade einmal zwei veröffentlichten EPs aus dem letzten Jahr, haben DUMMY ihren mit einem wundervollen Groove ausgestatteten Sound auf ,Mandatory Enjoyment" sichtlich gefunden und bis zur Perfektion destilliert. Das spielfreudige Debüt kombiniert geschickt Einflüsse aus Krautrock, Dream-Pop, Ambient, Psychedelic und Shoegaze zu einem Soundgebräu, das sowohl avantgardistisch als auch immer noch genug im Pop verwurzelt ist. Songs wie "Daffodils" und "Fissured Ceramics" zeichnen sich durch unerbittlich treibende Energie und reichlich psychedelischen Lärm aus. An anderer Stelle gleicht Dummy die Aggression mit meditativen Synthesizerlandschaften aus, die sich auf Sounddesign und Studioexperimente konzentrieren, wie bei dem motorischen "X-Static Blanket". Das Herzstück "H.V.A.C." und der letzte Track des Albums, "Atonal Poem", versuchen schließlich, diese beiden Pole miteinander zu verbinden und bieten mehrteilige Reisen durch unbekanntes Klangterritorium. Im Gegensatz zu der glückseligen Instrumentierung untersuchen Dummys sardonische Texte die Last des modernen Lebens, den Konsumismus, den Zusammenbruch der Umwelt, die Entfremdung und andere Ängste, die aus dem Leben in diesem absurden Moment der Geschichte entstehen. Innenarchitektur, Meeresverschmutzung, die Psychologie kommerzieller Architektur und Atomtests sind Themen, die aufgegriffen werden. Die rastlose Kreativität von Dummy treibt die Band immer weiter voran, sie fordern sich selbst ständig heraus und treiben ihren Sound in aufregende und erheiternde Bereiche. Dies ist - wie der Albumtitel schon sagt - "Mandatory Enjoyment". ENG Los Angeles band Dummy refuses to slow down. After releasing two cassette EP's in 2020 (on Popwig and Born Yesterday respectively), Dummy's debut full-length album arrives via Chicago's Trouble in Mind Records. Employing pummeling guitars and celestial ambience within the same breath, the band folds a myriad of reference points into their drone-pop style. Influence from '60s melodicism and '90s UK noise pop can be found woven in with inspiration from spiritual jazz, Japanese new age, and Italian minimalism. Dummy dodges the brooding, dark, dramatic tropes of contemporary "artistic" music often found in punk, experimental, and electronic, instead insisting on joyous and euphoric sonic palettes. They refuse to be artistically stagnant, continuously shifting their approach to writing across 12 tracks. Shaped by performances around Los Angeles in 2019, songs like "Daffodils" and "Fissured Ceramics" feature relentless driving energy and ample psychedelic noise. Elsewhere, Dummy counterbalances the aggression with meditative synthscapes focused on sound design and studio experimentation, like on the motorik "X-Static Blanket". Finally, centerpiece "H.V.A.C." and the album's final track, "Atonal Poem", seek to synthesize these two poles, offering multi-part journeys through uncharted sonic territory. In contrast to blissed-out instrumentation, Dummy's sardonic lyricism examines "the burden of modern life, consumerism, environmental collapse, alienation, and other anxieties born out of living in this absurd moment in history". Interior design, marine pollution, the psychology of commercial architecture, and nuclear testing are all featured subjects. Dummy's restless creativity keeps them moving ever-forward, continuously challenging themselves and pushing their sound into exciting and exhilarating places. This is - as the album title suggests - "Mandatory Enjoyment".

Einen schönen Fang hat das Chicagoer Label Trouble In Mind vor Kurzem mit DUMMY gemacht: Das Quintett aus Los Angeles verblüfft auf seinem Debüt ,Mandatory Enjoyment" mit einem derart ausgereiften Noise-Pop-Entwurf, das man kaum glauben mag, dass es sich hier um ein Erstlingswerk handelt. Nach gerade einmal zwei veröffentlichten EPs aus dem letzten Jahr, haben DUMMY ihren mit einem wundervollen Groove ausgestatteten Sound auf ,Mandatory Enjoyment" sichtlich gefunden und bis zur Perfektion destilliert. Das spielfreudige Debüt kombiniert geschickt Einflüsse aus Krautrock, Dream-Pop, Ambient, Psychedelic und Shoegaze zu einem Soundgebräu, das sowohl avantgardistisch als auch immer noch genug im Pop verwurzelt ist. Songs wie "Daffodils" und "Fissured Ceramics" zeichnen sich durch unerbittlich treibende Energie und reichlich psychedelischen Lärm aus. An anderer Stelle gleicht Dummy die Aggression mit meditativen Synthesizerlandschaften aus, die sich auf Sounddesign und Studioexperimente konzentrieren, wie bei dem motorischen "X-Static Blanket". Das Herzstück "H.V.A.C." und der letzte Track des Albums, "Atonal Poem", versuchen schließlich, diese beiden Pole miteinander zu verbinden und bieten mehrteilige Reisen durch unbekanntes Klangterritorium. Im Gegensatz zu der glückseligen Instrumentierung untersuchen Dummys sardonische Texte die Last des modernen Lebens, den Konsumismus, den Zusammenbruch der Umwelt, die Entfremdung und andere Ängste, die aus dem Leben in diesem absurden Moment der Geschichte entstehen. Innenarchitektur, Meeresverschmutzung, die Psychologie kommerzieller Architektur und Atomtests sind Themen, die aufgegriffen werden. Die rastlose Kreativität von Dummy treibt die Band immer weiter voran, sie fordern sich selbst ständig heraus und treiben ihren Sound in aufregende und erheiternde Bereiche. Dies ist - wie der Albumtitel schon sagt - "Mandatory Enjoyment". ENG Los Angeles band Dummy refuses to slow down. After releasing two cassette EP's in 2020 (on Popwig and Born Yesterday respectively), Dummy's debut full-length album arrives via Chicago's Trouble in Mind Records. Employing pummeling guitars and celestial ambience within the same breath, the band folds a myriad of reference points into their drone-pop style. Influence from '60s melodicism and '90s UK noise pop can be found woven in with inspiration from spiritual jazz, Japanese new age, and Italian minimalism. Dummy dodges the brooding, dark, dramatic tropes of contemporary "artistic" music often found in punk, experimental, and electronic, instead insisting on joyous and euphoric sonic palettes. They refuse to be artistically stagnant, continuously shifting their approach to writing across 12 tracks. Shaped by performances around Los Angeles in 2019, songs like "Daffodils" and "Fissured Ceramics" feature relentless driving energy and ample psychedelic noise. Elsewhere, Dummy counterbalances the aggression with meditative synthscapes focused on sound design and studio experimentation, like on the motorik "X-Static Blanket". Finally, centerpiece "H.V.A.C." and the album's final track, "Atonal Poem", seek to synthesize these two poles, offering multi-part journeys through uncharted sonic territory. In contrast to blissed-out instrumentation, Dummy's sardonic lyricism examines "the burden of modern life, consumerism, environmental collapse, alienation, and other anxieties born out of living in this absurd moment in history". Interior design, marine pollution, the psychology of commercial architecture, and nuclear testing are all featured subjects. Dummy's restless creativity keeps them moving ever-forward, continuously challenging themselves and pushing their sound into exciting and exhilarating places. This is - as the album title suggests - "Mandatory Enjoyment".

IZIPHO SOUL are thrilled to announce the first 7” single taken from Cornell CC Carter’s highly anticipated album, NEXT LIFE.

The man CC, along with his production team have devoted the past two years to write, produce and sing on no less than thirteen songs for your delectation. 70s / 80s soul and funk influences are inextricably intertwined throughout the album, and we have selected DON’T YOU LOVE IT and REAL for the first vinyl offering. We hope you relish these song choices - mid tempo magic, backed with ballad beauty!

Hell Awaits is the second studio offering by American thrash metal legends Slayer, originally released in March 1985 by Metal Blade Records. When it was released in 1985, Slayer's second full album, Hell Awaits, seemed to many a nearly impenetrable cacophony of sound. However, it proved to be incredibly ahead of its time instead, and has since been confirmed as a mandatory item in the band's remarkable discography

Summer 2021 sees the fourth in the Frigio Allstars series hitting all respectable shelves.



Jack Carel opens the 12” with the acid burning grunge of “Fuck This Shit” followed by Sons of Traders with the chugging 4/4 nastiness of “A for All.” A trippy, dark industrial streak runs in the snares and swagger of Rambal Cochet’s “Doomsday Scenario Interface” and in the powerful introspection of Daniel Holt’s “The Recluse.” Neud Photo arrives on Frigio with a menacing debut, “The Split” which pierces a haze of smoke in this late-night floor-filler. Honored Matres who appeared on the first volume of these series, returns with the blackest of the compilation. Machine gun percussion close the 12” with Chris Mitchell offering the chopped and gnawed “Alsina.

FRAK IS BACK! ...and back they are, under a new moniker for Lost Control 2097 as dj Willie Oboe. Residing from Sweden, legends in acid and techno, countless releases spanning 30 years under the Frak alias, history, history, etc, etc. We don't need to give you a long bio for this EP, it speaks for itself. For the 2nd release on the label, we (& dj Willie Oboe obviously) are offering you 4 slices of plasma house and cybernetik techno served up with a slithered seasoning of mastering from audio demi-god 'Patrik Book'. This is for all the people that went to the space raves of 2088, this is for the people dancing in the fields of Mars in 2092 and this is for the people who built the plasma machines so we're able to bring these futuristic sounds back in time to 2021. WHERE WERE YOU IN 2092?

Ground-breaking artist Yves Tumor continues to unlock the
perception of reality with a psychedelically bent off-kilter
rock offering, ‘The Asymptotical World EP’.
 The boundary smashing six song EP is the next era from
the pop auteur and first release from Yves Tumor following
the critically acclaimed 2020 album ‘Heaven To A Tortured
Mind’.
 Yves Tumor continues to manipulate the genre terrain by
challenging mainstream music constraints further and
shifting the boundaries of contemporary art and culture in
a boundlessly visceral and authentic sonic signature.
 Triple 7” box set in printed sleeves, packed in rigid
slipcase box with spot gloss varnish to cover. Credits insert
printed on semi opaque paper. Digital download card
insert.
 12” in paper inner in printed outer sleeve. Digital download
card insert.
 “Nobody better represents the changing face and sound of
what a ‘rock star’ is today than Yves Tumor.” - The FADER
 “Yves Tumor, the ineffable and audacious experimentalist,
once again brandishes a reverence for Prince on ‘Jackie’,
another venture into magisterial rock that clings to
devastating grandeur.” - The New York Times
 “Tumor proves that sifting through the detritus of love can
be as electrifying as the experience itself.” - Pitchfork

Ground-breaking artist Yves Tumor continues to unlock the
perception of reality with a psychedelically bent off-kilter
rock offering, ‘The Asymptotical World EP’.
 The boundary smashing six song EP is the next era from
the pop auteur and first release from Yves Tumor following
the critically acclaimed 2020 album ‘Heaven To A Tortured
Mind’.
 Yves Tumor continues to manipulate the genre terrain by
challenging mainstream music constraints further and
shifting the boundaries of contemporary art and culture in
a boundlessly visceral and authentic sonic signature.
 Triple 7” box set in printed sleeves, packed in rigid
slipcase box with spot gloss varnish to cover. Credits insert
printed on semi opaque paper. Digital download card
insert.
 12” in paper inner in printed outer sleeve. Digital download
card insert.
 “Nobody better represents the changing face and sound of
what a ‘rock star’ is today than Yves Tumor.” - The FADER
 “Yves Tumor, the ineffable and audacious experimentalist,
once again brandishes a reverence for Prince on ‘Jackie’,
another venture into magisterial rock that clings to
devastating grandeur.” - The New York Times
 “Tumor proves that sifting through the detritus of love can
be as electrifying as the experience itself.” - Pitchfork

Greetings Earth-o-nauts.

The worm has (re) turned! And this time the Regal Worm (Jarrod Gosling of I Monster, Cobalt Chapel) is tackling The Hideous Goblink.
An album painstakingly created by one solitary man ensconced in his darkened, tiny sky parlour of awe, wonder, and heaps of dusty old gear.

Regal Worm’s mission is putting a ‘ggressive’ back into progressive. Getting grubby with the ghosts of the old gods.
The Hideous Goblink reveals a distinct sense of urgency, expressing abstract musings on the shadow cast by our colonial history, nationalism,
terrifying overlords, and what the future might hold for the ever shrinking third tone from the sun.

The fourth Regal Worm offering draws on a number of fresh musical influences; be it space rock, cosmic funk, sludge, fusion, choirs, electronics or pop.

Following their first offering via Goddess Music DJ DOOM, formed by LUZ1E and DJ Swagger are back with two killer cuts on Warning. The A side comes with an uptempo House groover sparkled with sensual vocals by both of them and some more details populating the overall mellow atmosphere of the track. On the B side things get more wild with Breakz and Ghetto vibes all over the place - serious DJ weapon business for all the gangsters of love out there. Stay true, peace!

Jazzland and OK World present the latest offering from Harpreet Bansal,
“Movements”.
This remarkable new album follows on from her Norwegian Grammy (Spellemannprisen) nominated album in 2019, “Samaya”, and will further consolidate
her reputation and garner yet more international acclaim for her deeply personal interpretation of the Indian raga tradition

Nantais by adoption, the Australian Will Guthrie is a discreet star of the international scene of free, experimental and improvised music; over the past fteen years, he has developed an open and personal approach to drums and percussion, skillfully blurring the lines between his brilliant jazz upbringing, his passion for traditional musics, and his inexhaustible interest in experimental and noise creation, with a pronounced taste for a physical and raw approach to sound. With thousands of performances and some fty albums to his credit, the Australian regularly dispenses his vibratory art solo or alongside the best of improvisation; From Oren Ambarchi to Roscoe Mitchell via Jérôme Noetinger, Anthony Pateras, David Maranha, Ava Mendoza, Jean-Luc Guionnet, Keith Rowe or even Mark Fell. In recent months Guthrie has performed with Tunisian singer Ghassen Chiba, toured as part of “All Around”, a performance with Danish dancer choreographer Mette Ingvarsten and founded the Ensemble Nist-Nah, a gamelan orchestra, in the company of eight other percussionists, out of which Black Truf e published an album, with a second on the way. He also found the time to put in shape a second volume of “People Pleaser”, a discographic act between an autographical assessment, the parenthesis and the musical UFO. A singular exercise in Guthrie's discography, “People Pleaser”, a series initiated in 2017, sees the Australian partially put down his drumsticks and wear a producer cap for a result offering a resolutely singular perspective of / on his work with a very personal dimension. On the rst volume, with a cover signed Stephen O'Malley sets the tone by diverting the chamaré Warhol infulenced visual of the album “Unit Structures” by Cecil Taylor. The portrait of the free jazz pianist has been replaced by passport photos of Guthrie. The result is a diversion into a fairly “Pop” aesthetic whose musical content works in a fairly similar way. Four years later, the cover art's undertones are slightly darker and Guthrie hasn't aged a bit on his new passport photo. The twelve tracks of this second “People Pleaser” combine and arrange eld recordings, heady loops, twists, musical quotes stuck on bedside records, recorded moments captured during travels, ghosty voices from low- lands, a police interview tape and imagined exotic sounds ... Guthrie could walk us for hours on his hard drive like looking at a photo album but he chose to build pieces based on this very personal sound material, much like a mixtape, with special care given to how sounds articulate, overlap and collide. He thus invites his heroes and his friends to join him in skilfully chiseled and nely edited imaginary jams. The rst to take pleasure in this “People Pleaser” is undoubtedly its author as some of his nds are enjoyably playful; we are there embarked in an addictive sound patchwork at high speed where a Balinese Squarepusher is propelled via a defective cathode ray tube in a temple where the happy marriage of the saxophone and the gong is celebrated before this too short respite is interrupted by a sustained hip hop rhythm. The multiplicity and variety of sources give the whole a very pop format and the way in which Guthrie combines sounds, textures, rhythms and vocal elements quickly takes on a narrative dimension and poses this exercise between hip hop and a very personal plunderphonic, evoking as much J Dilla or RZA as the irreverent inventiveness of People Like Us or Wobbly. Will Guthrie has never been in as good company as on a solo album, he also lists on the cover the list of friends, heroes, members of his family and countries who inspired him and to whom he pays homage / collage on this new disc; An aesthetic exercise apart in his discography, both in nitely personal and self-centered and resolutely turned towards what animates him, the aptly named “People Pleaser” reveals the music DNA of the Australian and can be listened to on repeat.

How Beautiful Life Can Be, recorded at Parr Street Studios, Liverpool. In the company of producers, James Skelly and Chris Taylor, pushes The Lathums’ remarkable story into the next, even more exciting phase! It was only in the summer 2019 that the band’s fuse was lit by Tim Burgess, who offering them a late slot at Kendal Calling where, inside 24 hours, social media chatter caused their audience to spill into the field beyond their tent. A year later they had achieved their first UK Album Chart Top 20 for vinyl-only EP compilation, The Memories We Make, recorded their debut appearance for Later… With Jools Holland and joined the BBC Sound Poll 2021 list of tipped acts . Hailing from Wigan on the overlooked fringes of Greater Manchester, The Lathums are Alex Moore, casting a new outline of the modern frontman, singing alongside student of the Marr-esque jangle guitar, Scott Concepcion, rapid-fire, wise-cracking bassist, Jonny Cunliffe (aka: Bass Mon Jon) and the steady, rhythmic, wise head, Ryan Durrans on drums. Pithily described by those closest as ‘like The Inbetweeners in a Shane Meadows film’, they are four bright, wild flowers growing between grey paving stones.

In the beginning, there was chaos_ A while later in the Heavens, where angels reigned, there was once held a great symposium, a glorious feast. Everyone was happy and having a great time, until Lucifer, fairest and mightiest of all the angels, brought in suspicious and strange substances, offering them freely with both hands for everyone to take. All were fooled by the Ancient Serpent, starting to misbehave and act in contradiction to the Heavenly Laws. The Almighty God, enraged upon learning about the mutiny, threw everyone down on earth to suffer eternally in hunger, ugliness and desperation. Vulnerable now to each and every temptation, they are ready to perpetuate Good and Evil, while building their new earthly Kingdom in any way they can. Angelic chants, Demon's screams, witches dancing and woeful mortal suffering are recounted in this album's songs, embellished with mesmerising hymns and sharp riffs. Chaos is always close and all that remains is the human revolution against the forces of evil. "Battlefields of Satan's servants, witch-hunt for our ways, face off reality and eat TV today. Lucifer, Forever Grey". - Bill Politis - "The Unknown Secretary" comes to further unsettle the turbulent waves of music and burn its own mark in history. Today, five years after its original release, Heavy Psych Sounds reissues this retro gem, serving it once again straight into your record case.

The French electro genius returns to New Flesh Records. Author of a remarkable "Moving Corridors" contribution on the mighty "Elektro Diktators Vol.1 - The French Dissidents" compilation (New Flesh 15) back in 2015, dynArec delivers today on Umwelt's imprint four raw and dystopian slaughters calibrated for maximum impact on the dancefloor.

The title track signs a no nonsense aquatic electro/techno tune a la Drexciya, tinted with melancholic strings and heading Speak n' Spell samples. Pure madness! Cyberpunk "Correlation" goes harder, offering a pounding 4/4 song enhanced by appealing vocoder lyrics and deep synth flights while syncopated "Influoncers" coming next focuses on a more robotic, experimental yet unhealthy approach. Final cut "Clean It Up" concludes the EP on a machine funk note characterised by insane female vocals, distorted chords, relentless bassline and futuristic touch throughout.

Magnetic and emotional, forward thinking "Disenchanted EP" alternates in a minute between very melodic moments and epic hard techno sequences. With roots from both Germany and Detroit, this electro masterpiece sees dynArec in full effect, showing his unique sense of the dancefloor thanks to an incredible use of bass, rhythm and pads that makes the tracks effective and advanced at the same!

This Is How The World Ends is the second offering from LA rock band Badflower. Following the release of their debut album OK, I’M SICK which featured the iHeart Award winning single Ghost, their latest album demonstrates how Badflower aren’t afraid of making anybody uncomfortable and they continue to commit body, blood, mind, and soul to their art. LIVE: Performed on The Pit stage at Reading and Leeds Festival 2021, UK support tour with Palaye Royale in March 2022. RADIO: BBC Radio 1, Kerrang, Planet Rock, Metal Meyhem, Primordial Radio. PRESS: Kerrang, Rock Sound, NME, Classic Rock, Darkus, EMP. Socials: TW: 37K, FB: 113.5K, IG: 87.5K, TikTok: 13.5K. Available as a 1 disc CD. 2LP set will be released on 08/10/21.

Music is a means to purpose. Consuming music, dancing to music or creating music is a form of survivalism, and a purpose to serve. ‘Survivalism’ is the next mini LP offering from Label boss Sepehr as he returns to Shaytoon with a diverse mini LP of music making nods to late 90’s drum n bass, storming and beautiful techno, middle eastern flavors and more. Music to survive to.

Truly, the luscious, soulful new album from Manchester singer-songwriter Caoilfhionn Rose (pronounced Keelin) moves through a tapestry of curious musical inflections; nods towards folk, jazz, ambient, electronica and even a subtle influence of psychedelia, it never stands still to take a breath, despite its ethereal and delicate core. Out April 9th on Gondwana Records (Mammal Hands, Portico Quartet, Matthew Halsall, Hania Rani), in Truly, the young singer-songwriter has accomplished a body of work that is both sonically and lyrically wise beyond her years.

Co-produced by Kier Stewart of The Durutti Column following Rose's collaborative endeavours with them on their album Chronicle LX:XL, the musician's song writing draws from a diverse palette of influences, including Building Instrument, Rachel Sermanni, Alabaster dePlume and Broadcast. Rose also professes to a love for beautiful, stripped back, piano based music, such as Dustin O'Halloran and label mate Hania Rani.

Truly came to exist due to a deep-routed need to create – even though its conception was interrupted as Caoilfhionn Rose recovered in hospital from an illness, she found strength within writing music. "In Spring 2019 I took part in a gig swap with my good friend and fellow musician Kristian Harting who is from Denmark. We played several gigs in the UK but unfortunately the Denmark part of the tour was cut short as I was taken ill. I was hospitalised for several weeks and have taken the last year out to recover" says Rose. "I gradually returned to finishing my second album" she continues. "Coming back to creating after being unwell was challenging but also therapeutic. This record marks a difficult time of my life and writing it helped get me through that. I am really grateful to have music as an outlet." It may be this tremendously challenging period that has abetted its characterising qualities.

Rose's beautifully restrained vocal is all at once soothing yet mesmerising. She demands and holds attention through her evident talent yet hypnotises the listener into a trance with her experimental tendencies. "After being unwell, getting back to recording helped me recover my voice after not singing for so long. Finishing bits of songs, writing lyrics and recording vocals helped me get back on my feet and get better."

Lead single from the album – 'Flourish' – is an intoxicating song that meditates on being present in the moment, allowing peace to come to you. "The song 'Flourish' is about looking forwards with hope and possibility, 'let it flow away, let it turn around and flourish'. It's about finding peace and feeling wonder again" says Rose about the track. "'Flourish' hints at the ideas of what could be, how things can unfold if you let go 'and just be here'."

A message of hope is instilled throughout the record, echoed again in 'Fireflies', a song inspired by a campsite in France, which became filled with fireflies at night. "To me 'Fireflies' has a nostalgic and comforting feel. It's about feeling hopeful about the future 'though there may be dark clouds the sun will always come'. There are references to older lyrics I have written. The line 'free from all the chaos' is a nod to a song I collaborated on with The Durutti Column. The song is about acknowledging the past and moving on as 'time is always healing'."

A recurring theme of reflection and being grounded in the present, acknowledging the past and looking forwards with courage is one that envelopes 'Truly', and is something that is echoed in its beautiful swelling flourishes and its tranquillity – resonating with atmosphere, the album all at once sounds so large and yet so subdued. "The line on Every Waking Minute; 'we forget what lies behind the eyes' is about remembering that everyone has their own things going on and challenges to face but we should 'feel every waking minute', become aware of what's unfolding around us outside of our own stories. It's a self-reflective song really, reminding myself that 'life can take you bysurprise', there are going to be ups and downs along the way"

Elsewhere on the album, Rose explores the connection between nature and life on single To Me. "I love going on long walks and the healing power of nature is a recurring theme in a lot of my lyrics. I have a very optimistic outlook and I find solace in the small things like being outdoors."

Caoilfhionn's debut Awaken, co-produced with label mate Matthew Halsall, saw the singer, songwriter and producer tie together remnants of Manchester's musical past with its evolving present. Prior to this, the artist collaborated with one of her biggest musical influences, Vini Reilly of The Durutti Column. The musician worked with the Manchester band on four songs on their album Chronicle LX:XL. "I've learnt a lot from collaborating with musicians like Vini Reilly, Matthew Halsall and my bandmates" says Rose. "This is reflected in my current style and approach to making music. I no longer just write as a therapeutic or reflective process; I can write more abstractly and outwardly."

Kier Stewart of The Durutti Column co-produced her latest offering, Truly, following his band's collaborations with Rose. "I befriended Kier after we worked together. Collaborating with The Durutti Column was my first experience of recording music with other people in a studio." Together, the pair have created something expansive yet fragile – and altogether unique. "He's brought so much to this project" she says. "I feel Keir has brought out the best in the songs, adding really intricate and subtle details and effects. It was inspiring getting to work with Keir and I've learnt a lot from his approach of just experimenting and seeing what works."

Those well-acquainted with Los Angeles-based DJ and producer Wheez-ie can attest to his masterful dexterity both behind the decks and in the studio. For the uninitiated, his forthcoming release serves as another testament to the timely-yet-timeless quality his productions have since become championed for. Finding common ground through an emphasis on genre hybridization, Wheez-ie's latest offering, Horizons, benevolently marks the next entry in the rapidly growing catalog of John Frusciante and Aura T-09's Evar Records.

Set for release on October 1st, this 4-track collection has already received advance support from the likes of Nina Kraviz, Sherelle (with the track "Shut the Door" being featured as part of her official BBC Radio 1 Essential Mix), VTSS, Cera Khin and fellow Evar signee Kilbourne, exemplifying how Wheez-ie's tunes are not only certifiably rave-ready but can find a happy home in DJ sets of all styles.

Drawing influence from techno, industrial metal, darkcore jungle and big beat, Horizons culminates in a fierce exploration of sounds that efficaciously capture the essence of early 90s-era rave through a modern lens that is both perceptive and prophetic. While working from a referential or nostalgic place can be cheugy if not executed properly, the Texas-born producer is at his best when pulling from his encyclopedic knowledge of electronic dance music to provide that 2AM banger the dance floor didn't quite know it needed until the cathartic moment it explodes out of the speakers.

As exemplified by the depth of his discography, including recent additions courtesy of London's THEM imprint (2020's Negative Zone EP) and Perth, Scotland's Craigie Knowes (2020's ONLY HUMAN / WEAPONIZED), Wheez-ie has been fiercely applying pressure and challenging genre tropes from the very onset of his career, and doing so with immense care and understanding of nuanced cultural codes. Prioritizing feeling above genre, Wheez-ie's Horizons brilliantly showcases his multifaceted nature, with each track offering a different side of his dynamic arsenal as a producer and DJ.

“Sympathetic Magic” is the new surprise album from Portland’s indie-rock outfit Typhoon. The album is scheduled for a surprise release on January 22, 2021. This is the band’s first new music since the release of their critically-acclaimed fourth LP Offerings in January 2018, followed by extensive touring across North America, UK, and Europe.
“The songs are about people - the space between them and the ordinary, miraculous things that happen there, as we come into contact, imitate each other, leave our marks, lose touch. Being self and other somehow amounting to the same thing.” – kyle / Typhoon
“This marks a major moment of growth for Typhoon. An album born from reckoning and upheaval, the experience is fraught with heavy sentiments and dark themes that are explored in a graceful manner. Sympathetic Magic is one of the band’s most personal and intimate albums yet. Each track is crafted with purpose, further carrying on the message Morton is trying to share. The album came as a surprise, but the love for it was guaranteed, and Typhoon has yet again proven their talents are to be lauded.” – Atwood Magazine

Dark Star Safari is a musical entity comprised of Jan Bang, Erik Honoré, Eivind Aarset, Samuel Rohrer and John Derek Bishop. Their second fulllength offering Walk Through Lightly is the first to feature all five musicians together in the studio from the outset, making for a more organic refinement upon their already established methodology: gradually sculpting distinct songs out of collective improvisations, or using the raw material from initial recordings as the basis for more carefully articulated compositions. The final mix is one that invites few stylistic comparisons to other musical peers, and in fact few comparisons to existing genres. Though this second offering from the project is frosted over with a Scandinavian sense of spatiality and
melancholy, it’s best listened to without considering any origin points, geographic or otherwise: from the opening moments of “Walk Through Lightly,” listeners will feel as if teleported directly into the middle of an enigmatic film-in-progress.
The album opener immediately and successfully sets the table for what is to follow. The electronic and acoustic instrumentation is pensive, but not passive, with restrained scrapes and stridulations in the background combining with backwards-looped passages and perlescent or granulated sound effects to better emphasize the carefully arranged latticework of guitar, percussion, strings, and bass. In some places, such as on “Father’s Day” and “Measured Response,” the silences or breaths between passages are pronounced enough to be an instrument in their own right (and an elegant confirmation of the fact that silence is also a conveyor of information). This nuanced production, which wisely opts for intimacy instead of relying on overdone "instant atmosphere generators" like lengthy reverb, provides just enough tension to contrast with the sense of elevation provided by Bang’s vocal contributions: smoky, evanescent, and impressionistic recitations offering not snapshots of specific events, but rather complete emotional environments for the listener to hover through and explore.
Within these environments, the lyrical imagery focuses upon coming to grips with sudden transformations on both micro and macro levels (the opening “this was a perfect place / till we lost our way” from “Patria” or the foreboding “Poems that explore / Their silence / Crush their violence / Now their time ends” from “Measured Response.”) It focuses as well upon coming to thresholds or crossings, be they physical crossroads or internal states of mind, or both (see especially the striking turns of phrase from “Murmuration.”) With such things in mind, it’s only natural that there would be consideration of dreaming as well, and indeed four different titles on the LP make different reference to a dream or dream state, seemingly valuing dreams as part of the continuum of consciousness rather than something totally cut off from waking experience.
Given the sense of foreboding, anticipation, and even unease that these kinds of subjects often bring with them, the spare and un-hurried music is all the more intriguing, especially when the eponymous finale arrives and the percolating sound bed seems to hint at a coming resolution, but then leaves the listener with more questions than answers. By competently fusing a mature, economical approach to sincerely romantic lyrical themes, Walk Through Lightly is a rare accomplishment.

For the second release in our Re-Issue Series we've teamed up with London duo Euphonic for a cherry picked deep dive into their back catalogue exploring some of their finest works, fusing Jungle, Breaks, and Down Tempo with unique programming, bass lines and traditional jazz/blues instrumentation.

The "Low Orbit Archives" 12" features a number of artists whom they have collaborated with since the project's inception back in 1997, including dr. Israel, Soothsayer, Kirsty Rock and Neech. Euphonic is led by producer Rob Henry and former Graffiti artist turned DJ Nick Trimm.

Following Part 1 of the project, the recently released 10" vinyl "Jah Science", the full LP follows, featuring an additional 5 tracks with Part 2 offering a wide spectrum of music for audio lovers and record collectors. All tracks have been taken from CD, Vinyl and DAT, unearthed and newly remastered.

French techno pioneer/DJ/Producer Laurent Garnier – friend of Ed Banger records - and Mad Rey, new signing of Ed Banger (also co-founder of D.K.O Records & Red Lebanese labels) did exclusive remixes of 2 MYD ‘s classic songs.
Family business and definitely a Club 12’’, offering both remixes & original versions.

VERY LIMITED COPIES OF THIS PREVIOUSLY RSD U.S. ONLY RELEASE

Engine Kid, the post hardcore collective featuring Greg Anderson (Southern Lord label owner, also in Sunn O))), Goatsnake & Thorr's Hammer) announce a special Record Store Day 6 x LP box set release Everything Left Inside, featuring the Novocaine/Astronaut 12 inch, Bear Catching Fish 2xLP, Angel Wings 2xLP and Split w/ Iceburn / Everything Left Inside 12 inch.

Almost 30 years since the inception of Engine Kid and the trio find themselves comprehending the enormity of their creation, honouring and celebrating the mountains they formed and the canyons they created.
Engine Kid was born in Seattle, WA 1991. The band's original lineup consisted of guitarist/vocalist Greg Anderson (Southern Lord, Sunn O))), Thorr's Hammer, Goatsnake), drummer Chris Vandebrooke & bassist Art Behrman. The three had all been in hardcore/punk bands around town and all had a burning desire to create a sound that was unlike anything they had done in the past. After just a few months of existence they quickly recorded and self-released the Novocaine 7”. Circa 92’ a close friend and bassist Brian Kraft (Krafty) replaced Behrman, and at that moment the entire aesthetic and execution of sound became heavier, darker and extremely dynamic. The power trio was picked up by local label C/Z records and set out upon recording the new music they were quickly creating. In 1993 the band had two releases on C/Z; their first offering was the Astronaut five song EP recorded by John Goodmanson. The songs were primitive and exemplified the bands worship of Slint and their loud/quiet song dynamic In the summer of 93’ the band drove all the way to Chicago to record with their hero Steve Albini in the basement of his house. They emerged with the eight song album they called: Bear Catching Fish. Albini intuitively captured the band exactly as they were at that moment: raw, vulnerable and mammoth.

Shortly after the albums’ release Jade Devitt replaced Vandebrooke on drums. This transition was extremely crucial in the “second phase” of the group. Devitt was an absolute beast and his power helped launch the band miles beyond where they had ever been before. The sound of “The Kid” started to transform into a sound much more of their own. The three dudes were hellbent on pushing the bounds of sonic exploration to its absolute fullest. Suddenly there was an abundance of depth within the sounds they were creating. Eclectic influences of punk/hardcore (Black Flag, Die Kreuzen), Metal (Entombed, Carcass) and even jazz (Mahavishnu Orchestra, Miles Davis electric era) were in a full collision course with the already dynamically heavy foundation of the band. The levee had broken and the resulting flood of sound completely saturated everything in its path.

Engine Kid toured relentlessly. They were constantly on the road playing every nook and cranny they possibly could. Any moment not spent on the road was instead spent focused on making their new material as potent as possible. Early in 94' the band decided to pay homage to their mutual love of jazz/fusion and recorded three instrumental pieces that would become a split album with like minded powerhouse Iceburn. The Engine Kid/Iceburn album showcased each group's love of jazz loosely framed by the intense enthusiasm of underground music. The album was released by Revelation records in 1994.
During the summer of 94’ the band reconvened with producer John Goodmanson at Bad Animals & AVAST! studios to record the new material that was literally bleeding out of the reinvigorated trio. These recorded songs were much more progressive, heavier, harder and more focused than past works. They even tackled John Coltranes’ “OLE” adding saxophone and trumpet from their brothers in Silkworm. In March of 1995, Revelation Records released these recordings as the Angel Wings album. Unfortunately "the Kid" flew too close to the sun and broke up very shortly after the album's release.

Everything Left Inside 6xLP box set (RSD release) includes:
LORD 288.1 Engine Kid-“Novocaine/Astronaut” 12”
LORD 289 Engine Kid-Bear Catching Fish 2xLP
LORD 290 Engine Kid-Angel Wings 2xLP
LORD 288.2 Engine Kid-Split w/ Iceburn /Everything Left Inside 12”
16-page color photo/liner note booklet.

TOTAL turns 21 this year, and Kompakt’s venerable compilation series couldn’t have asked for a more auspicious coming-of-age collection. If TOTAL 20 was consolidation against the odds, the Kompakt crew producing for a dreamt-of dancefloor in an uncertain future, then TOTAL 21 feels abuzz and alive with possibilities. Significantly, it’s the first TOTAL in some time that’s streamlined down to a single disc; this makes TOTAL 21 even punchier than usual, a joyous, reflective, and always thrilling 75-minute audio scan of the world according to Kompakt.

As with every instalment of TOTAL, there’s a deft balancing here of Kompakt regulars and new blood. Of the latter, there’s a first appearance by KOLLMORGEN, remixed by PATRICE BÄUMEL into an astral torch song; Amsterdam’s NICKY ELISABETH, offering up ROMAN FLÜGEL’s pulsating, arpeggiated remix of “Celeste”; and CAPTAIN MUSTACHE swoops down into view, PLAY PAUL in tow, with the dream-like electro lift-off that is “Everything”. JONATHAN KASPAR also drops by with a new track, “Von Draussen”, a stealthy and lethal floor-hugger with prowling bass.

Elsewhere, there’s the lead track to MICHAEL MAYER’s astonishing recent EP, “Brainwave Technology”, which not-so-gently spears the tech-futurist babble of AI, transhumanism and posthumanism, soundtracked by one of Mayer’s typically lush, glimmering soundscapes. JOHN TEJADA reaches back to the heyday of glitch and dub techno with the gorgeous “Spectral Progressions”, while the brothers VOIGT & VOIGT, on “Nicht Mein Job”, seem reinvigorated by the interwoven patterns and funky minimalism of the Profan days. Not to be outdone, JÜRGEN PAAPE kicks TOTAL 21 with “La Guittara Romantica”, a chiming and lilting lullaby for woozy late-night reflection.

Throughout, it feels as though Kompakt are taking a moment to both breathe in the dust of the past and look forward to a bright future. Perhaps that’s why, on “Fasson”, SASCHA FUNKE seems so confident, with pinprick melodies bouncing around a hall of audio mirrors, or why THE BIONAUT returns with “Blue Sky Motor Lodge”, a song so moistly melancholy, so enduringly lovely, it’ll make you weep tears of joy. ROBAG WRUHME gets a little delirious on the ticking, twisting “No”, and then GUI BORATTO mops everything up with the bubbling, bumping glam-stomp “Wake Up”.

That’s not all – spring for the digital and/or vinyl edition and you’ll get a new cut, “Happy”, from MICHAEL MAYER, and MARC ROMBOY & C.A.R.’s “I Am A Dancer”. But however you choose to play it, now TOTAL’s turned 21, it’s your duty to throw it the celebration to end all celebrations. Let the party begin, and don’t forget to bring a party favor…

Welcome aboard! We're about to slide into the wide musical landscapes of True Flavas Band. Please take place on your seat, enjoy the smell of a cup of Douchka black tea , close your eyes, the train's door is shutting then the locomotive pulls the heavyweight transSiberian slowly.
The Journey starts to reach the "Polar Circle" and its deep soaring atmosphere, snowy forest and the steppes' flatness. Now You recognize, that it's all about immersive laidback
funk. The band breaks with the white screen view blowing up at the wagon's window, crosses some more urban ensembles with the uptempo "Take It Straight", the intriguing "Estonia" and "Ghlmly". The expression touches climax offering a view from the mountain's
top in "4Hero" and "Double Trouble" with transversal dynamic and flight sensations. The four musicians offer nights full of stars and aurora borealis moments in tracks like "Gamekeeper" and "Jazz'N'Bass". At the end "Countryside" brings us into a gradual rise of leftfield ambience sustained by Krautrock guitars and Gregorian like chants, hypnotic.
With this first LP on Stereophonk, True Flavas Band show ten beautiful, fine and wellmatured pieces. Strong of a rich musical experience and influences, the quartet from SaintPetersburg composed by Roma (drums), Danik (keyboards and electronics), Dima (bass) and Alexey (guitar) have evolved since 2005 to achieve a perfect combination. TrueFlavas performed with artists such as Tricky, Dj Vadim, Dj Krush, Theo Parrish, Badbadnotgood, Gaslampkiller, Fatima, Themselves, Jimi Tenor... and toured all over Russia.

Black Truffle is pleased to announce the latest offering from underground legend Richard Youngs. Hyperactive since the late 1980s, Youngs is widely celebrated for his remarkably extensive and varied body of recordings. His works range freely over a vast terrain, wandering from tender acoustic balladry to raging psychedelic noise and orchestral D-beat, always imbued with his distinctive, often mournful, melodic sensibility and irrepressible sense of joyous experimentation.

Comprised of two side-long pieces, CXXI carried on the experiments with chance operations used to generate material on many of Youngs’ recent releases. On ‘Tokyo Photograph’, a slowly changing, randomly generated sequence of 121 minor chords played by sine waves and accented with a brushed snare hit on every change provides the harmonic foundation for Youngs’ fragile yet impassioned vocal performance, shards of field recordings and electronics and Sophie Cooper’s long, tape-echoed trombone notes. While the melancholic drift of the chords calls up prime Robert Wyatt sides like Old Rottenhat or Dondestan, only the most vestigial sense of song remains here, as Youngs arranges his minimal ingredients over a spacious fifteen-minute expanse that often drops to nothing more than the rich hum of sine waves.

‘The Unlearning’ carries on directly from the first side, presenting another, more harmonically varied, sequence of randomly generated chords played by sine waves, distressed with tape echo flourishes and sparsely sprinkled with electronic touches. Like some of Youngs’ most single-minded instrumental works in recent years, such as his recordings of foot-played guitar or his shakuhachi pieces, ‘The Unlearning’ is deeply meditative but entirely remote from ambient or minimalist cliches.

Named after the number of chord changes on the opening piece and (Chicago-style) the number of records Youngs has released, CXXI arrives in a striking monochrome sleeve featuring play-along chord charts for both pieces. Both rigorously conceptual and endearingly off-the-cuff, CXXI is classic Richard Youngs.

The UK underground entity only known as Sleep Token, fronted by Vessel, began the Sundowning ritual June 20th 2019 with ‘The Night Does Not Belong To God’. Sleep Token began to release their ‘offerings’ bi-weekly, released Thursday’s at Sundown BST with accompanying visualizers. Each offering had its own emblem, establishing the Sleep Token universe on the debut album Sundowning. This June 18th, 2021, the cycle begins again but born anew. The new album 'This Place Will Become Your Tomb', pushes the boundaries of Sleep Token's sound into new avenues of blurring genres while still retaining the signature sounds you'd expect. Available on CD digi pack.

Tchamantché, meaning “point of equilibrium” in Bambara, is the fourth album of Mali singer Rokia Traoré. Released in 2008, and dedicated to her fellow countryman Ali Farka Touré, one of the African continent's most internationally renowned musicians, the album is a turning point in the singer’s career after she has spent a large part of it revisiting the Malian musical tradition. Tchamantché reveals a unique sound in which electric Gretsch guitar riffs come to mingle with the ancestral sounds of Malian instruments, offering a new setting to her crystalline voice. If Traoré favors minimalist and emotional acoustic ballads, she clearly assumes her blues and even rock influences, signing an intimate and voluptuous album of artistic maturity.

Born in Brixton, a child of the Windrush Generation, Letts’ slippery and unorthodox career is somewhat hard to define, without taking a few detours around London, New York and Jamaica. He began his working life managing the dauntingly hip Acme Attractions on Chelsea’s Kings Road, where he made a mark with his attitude, dress and, especially, the pounding dub reggae that vibrated the shop’s walls. His first gig as a DJ at the short-lived Roxy in Neal Street, became mythical for turning a generation of punks on to reggae. They in turn hipped him to their DIY ethos resulting in his reinvention as a filmmaker. This led to a shed-load of music videos (Linton Kwesi Johnson, The Clash, Bob Marley) not

to mention documentaries on the likes of Gil Scott-Heron, George Clinton and Sun Ra.



In the ’80s, he was part of Mick Jones’ new venture, Big Audio Dynamite and his innovative use of samples were a core part of their sound. Listeners of his weekly 6 Music radio show are taken on a musical safari that moves seamlessly between time, space and genre. It’s not called Culture Clash Radio for nothing. So this latest bulletin from Letts HQ is merely one angle of a multifaceted personality, his take on the JA tradition of the cover version.



The history of Caribbean music owes a debt to R&B as many of the early island releases were cover versions of US 45s. Ska’s breakthrough commercially, Millie Small’s ‘My Boy Lollipop’, was originally recorded by Barbie Gaye in ’50s New York. Cover versions became quite a thing in Jamaica and Don, following in that tradition, has dug deep with a selection of interesting dubbed out covers including thirteen exclusives.



“A disciple of sound system, raised on reggae n’ bass culture my go to sound was dub. Besides being spacious and sonically adventurous at the same time, its most appealing aspect was the space it left to put yourself ‘in the mix’ underpinned by Jamaica’s gift to the world - bass. But that’s only half the story as the duality of my existence meant I was also checking what the Caucasian crew were up to not to mention the explosion of black music coming in from the States. That’s why this version excursion crosses time space and genre, from The Beach Boys to The Beatles, Nina Simone to Marvin Gaye, The Bee Gees to Kool & The Gang, The Clash to Joy Division and beyond. You’d think it impossible to draw a line between ‘em but not in my world. Fortunately, the ‘cover version’ has played an integral part in the evolution of Jamaican music and dub covers were just a natural extension.”



There’s a diverse mix of classic and new, with legendary figures like John Holt, The Tamlins and Cornell Campbell, mixed in with British veterans Mad Professor and the irrepressible Dennis Bovell, while (relatively) young striplings Kiko Bun, Emily Capell and Prince Fatty deliver the goods, with laidback Texan groovers Khruangbin also offering an exclusive bass heavy-delight.



The song choices are diverse, from French dubsters’ OBF’s renditions of ‘Sixteen Tons’, the miners’ paean popularised by Tennessee Ernie Ford in the 1950s, to Ash Walker’s refix of Omar’s ‘There’s Nothing Like This’ and ‘All I Do Is Think About You’, immortalised by the ill-fated Tammi Terrell and preserved here by Quantic (the latter two both exclusives). Being a Rebel Dread compilation, there’s a cover (by Wrongtom Meets The Rockers) of The Clash’s ‘Lost In The Supermarket’ while Don’s exclusive, naturally, is a rendition of Big Audio Dynamite’s debut hit, ‘E = MC2’.



“Truth be told I’ve wanted to work with the Late Night Tales crew from the get go. We’re talking nearly two decades such was the allure of their musical aesthetic typified by curators like Nightmares on Wax, The Flaming Lips, MGMT, Trentemoller, Khruangbin and countless others. Now being as old as rock n’ roll (born in ‘56) and having nearly 20 years of Culture Clash Radio under my belt I figured I was tooled up to musically juggle with the best of ‘em. But I wanted to carve out a space that was distinctly my own - something that reflected my musical journey and the culture clash that’s made me the man I am today.”

From the depths of an ancient dark underworld, Nigh/T\mare has conjured a powerful offering of burning emotions that light the fires of one's demons and invite the beginning of an epic journey through the unknown. Via Threnes Records from Switzerland, this offering is on point with their consistent releasing of top quality industrial/experimental techno. Entitled "Katharsis", this artistically crafted set of tracks in the form a debut album twists and turns its way over tribal rhythms with dynamic feels and beating drums that break down anything standing in the way. A powerful offering from the depths of the soul.

"Impure" is a powerful opener, like an army banging its drums and marching towards the fight, this track sets the stage from the drama to come. Like a speeding train through dystopia the injection of adrenaline comes in the form of "Self Immolation" which makes the heart beat with the force of a 100 pounding drums. Tribal percussion keeps banging its way through "Anti Balaka" before slowing into a deep melancholic track by the name of "Unarmed". Slowly building out of the calm "Unavoidable Unveiling" creates tension with droning notes and broken industrial percussion laying the soundscapes. "Doomed to Struggle" Feat. Prophan is a dramatic pushing and pulling of the hard hitting sounds and ritualistic chanting before diving into the galvanic rhythms of "The Summoning" Feat. LAIR. "The Path of Moans" brings the mood to a sombre place where the whispers from the demons below can be heard alongside the chiming of distant bells. Pact Infernal's remix of "Impure" demands attention as it offers chaos into the fold along with viciously delicious synths. Torn Relics remix of "The Summoning" builds into an onslaught of relentless percussion and deep howls from the underworld which leave you with chills running down your spine. A fitting ending to an impressive array of dynamic tracks, this is an experience never to be forgotten.

Revered Danish producer and live performer KÖLSCH follows his 2013 hit album "1977" (KOMPAKT 276 CD 107) with the new full-length "1983", again chaining up heroic techno tracks for a grandiose sonic journey to the vibrant heart of today's dance floor. PRIORITY RELEASE

Coupling contemporary production pizzaz with nostalgia-tinged soundscapes and sweeping melodies, this opus acts as both a skilfully composed portfolio of personal memories and a sublime collection of crowd-charming cuts - a modern classic in the making, coming from a master of his craft.

1983 features collaborations with Gregor Schwellenbach, Waa Industry and WhoMadeWho's Tomas Høffding.

Hot on the heels of SPEICHER 84 (KOMPAKT EXTRA 84), featuring club crackers DERDIEDAS and TWO BIRDS, the latest full-length offering from KÖLSCH is very much a travel album: "When I was a kid in 1983, we used to drive through Europe every summer on the way to the south of France", he explains. "A lot of my early music memories stem from these long travels, as we would listen to all my father's favorite records on the cassette deck. After getting a walkman, I would make up my own soundtrack for travelling, with early electro and hip hop creeping into my life. My father of course did not like it, and it never grace the official cassette deck of the car, obviously"

These trips became a primary source of inspiration to a hungry young mind forced to sit on the backseat of a car for several days: "they were also journeys through the seasons. In Denmark, it would be spring time, so I could nearly see us driving through spring into the summer. The scenery would change, and so would the mood in the car." Informed by the symbolic quality of these slightly gauzy childhood memories, KÖLSCH's unique melange of emotional and functional elements works exceptionally well for the full-length format - a seamless transition of musing introspection and explosve expression, where catharsis never seems far away in dance-ready techno vignettes like MOONFACE, UNTERWEGS or PACER.

From beatless opener and title track 1983 to the filigreed piano banger DIE ANDEREN or the bleep-infused synth-fest E45, each cut operates as its own little time capsule, storing bits and pieces of recollection and then magically transforming them into epic, beat-driven soundscapes. Confronted with other producers' input (and other memories), these traits find themselves extended in the most interesting ways - TALBOT, THE ROAD and CASSIOPEIA (also featured on KOMPAKT EXTRA 79) make excellent use of GREGOR SCHWELLENBACH's emotive orchestral flourishes, while BLOODLINE's lyrics come to life thanks to the distinct timbre of TOMAS HØFFDING of WHOMADEWHO fame. A new powerful take on an earlier collaboration, PAPAGENO 30 YEARS LATER not only rejoins WAA INDUSTRY on vocal duty, but also ends the album on a wonderfully elegiac, yet hopeful note - basically turning water into wine, as we've come to expect from KÖLSCH.

Edu Lobo has to be considered one of the great mysteries of MPB. Already in the early hours of Bossa Nova, he has mainly worked for the renewal and development of the Brazilian Bossa Nova post. Edu Lobo remains a character in the shadows, discreet but effective. Known as a writer "complex and sophisticated", he is part of the circle of composers "melodist" like Tom Jobim, Marcos Valle and Francis Hime. On this 1981 album the duo with Anton Jobim works perfectly, offering classical repertoire played in sobriety. The complicity between the two composers is sincere and it is quite fascinating to see that they interchanged easily their seats.

(Deluxe Edition) (translucent tri-coloured vinyl LP + MP3 download code in spot-varnished sleeve)

LP comes in gold foil lamination jacket housing printed record sleeve with 1x translucent gold, black & white insomnia effect vinyl, marketing sticker and free digital download card. The Sharecropper's Daughter Bonus Vinyl contains six new tracks serving as a companion piece to Sa-Roc's already acclaimed Rhymesayers debut, The Sharecropper's Daughter, released in October of 2020. These new songs further showcase Sa-Roc's sharp skills as a lyricist, and her gift for captivating melodies and engaging content, featuring production from Sol Messiah and Evidence, as well as a guest verse from MF DOOM. The lead single for the bonus vinyl, "Wild Seeds" is a lyrical testament to the beauty, mysticism, and wisdom of the elders and ancestors who've guided and bolstered generations of Black women through history's assault and neglect of them. With a title inspired by the sci-fi novel Wild Seed by visionary author Octavia Butler, the song serves as a celebration of women such as Queen Nanny, Harriet Tubman, Sojourner Truth and many others, whose legacies inform future generations of their propensity to bloom under the harshest of conditions. "Just like wild seeds, we remain unfettered and unbroken, adding beauty and immeasurable value to a world that chooses not to acknowledge us," Sa-Roc states, "but our very existence is the only acknowledgement we require." Throughout the songs of The Sharecropper's Daughter Bonus Vinyl, Sa-Roc maintains a concise blend of thought provoking commentary and razor sharp lyricism. On the opening track, "Options", she delivers a raw and searing testimony of the dedicated yet, all too often, underappreciated artist, reminding us to give our flowers to the living while we're still able. "The Great Escape" examines humankind's tendency to try to mask the unsavory elements of our past we're either unwilling or unable to confront head on. Echoing both sentimentality and sorrow, "Reconstruction of the Heart" recalls some of Roc's childhood memories and muses on the many ways in which our earliest experiences can scar, strengthen, and shape the very core of who we'll become. The Sharecropper's Daughter Bonus Vinyl chapter fittingly comes to a close with "The Rebirth", which remarks on the plight of the vulnerable artist and the quest for balance between creative transparency and overexposure. Here, Sa-Roc labors through her discomfort and commits to being brutally honest about the experiences that have informed her expression and made her a better artist. Featured guest, the late MF DOOM continues this line of thinking, offering his own unique observations, "Quick as a quitter will fold, some of what glitters is gold. Same story is old, getting left in the blistering cold. Broken souls get remold with little arbitration. Fortune favors the bold as does incarceration." This bonus vinyl pulls no punches in showcasing Sa-Roc's continual growth as an artist who, as NPR recently put it, "is a modern day griot whose aura radiates calm in a world of chaos."

Composer and saxophonist Brian Brown produced some of the most refined Australian jazz recordings during the 1970s. A versatile musician whose distinct impressionist music melded modern jazz with the outer limits of free experimentation. Considered to be his greatest work was the 1975 concept album Carlton Streets, an ambitious recording that romanticised the sights, sounds and the nostalgia of this once-bohemian Melbourne neighbourhood. Differing from his eco-jazz composition Wildflowers heard on the recent Roundtable compilation Pyramid Pieces, Carlton Streets explores the polar opposite, offering jazz impressions of the urban environment. Comparable to other pioneering jazz-rock groups such as Ian Carr's Nucleus and mid-period Soft Machine, the album is a mosaic of ecstatic jazz-rock groove, spirited free improvisation and expanded experimental textures. A potent fusion that owes as much to Australian 20th-century avant-garde composers as it does to the influence of the electric jazz innovators, specifically early Weather Report and Herbie Hancock's Mwandishi. The Roundtable are pleased to showcase this important artist and offer a new edition of this landmark Australian jazz recording. Restored from the original master tapes and presented in a gatefold sleeve including liner notes and rare photos. Released for Record Store Day 2021.

Continuing to deliver Sounds From The Void, XVI Records are proud to welcome London based Producer Delonte Rivers back to the label, with his brand new EP ‘Delonte In Dub’ Having previously released his ‘Midnight Congas’ EP back in 2018 (as well as a slew of edits and releases with Banana Hill, Love Above Recordings and more) Delonte now channels an elevated state of consciousness into a new dubbed out, subterranean sonic offering.

Returning with the galvanising track ‘Rise Again’, Delonte enlists the vocals of Sir Moon (also the voice of local hellraisers Muckspreader) giving a furious manifesto on the state of the union. Psyched out guitar stabs reverberate ripple across a turbulent sea of low end frequencies, as a rock-steady rhythm section holds the line. ‘Dub Again’ unsurprisingly strips back the original into a state of ethereal and reverb soaked hypnosis. ‘Cosmic Frequencies’ bring a cosmic slice of bass weight, whilst ‘One For Road’ injects a surreal, eerie atmosphere into the proceedings. This record is one for a hazed-summer in a strange dystopian world.

SABA developed ‘world music’ beyond its jazz label remit, the eclectic ‘Jazz Meets The World’ series brought together artists from Japan, India, Tunisia, Indonesia and Brazil. Producer Joachim-Ernst Berendt travelled to Rio in 1966 to create SABA’s first Brazilian release with a giant of the scene, guitarist Baden Powell. The resulting album, one of Baden’s greatest, bore two deeply rhythmic, spiritual titles found on this 45. ‘Sarava’ is a trance-like ritualistic number designed to whip dancers into frenzied possession. ‘Canto De Ossanha’ is another offering to the gods and an equally hypnotic dancer.

DEEWEE ‘s new releases now worked with Because Music. Formed in 2012, Asa Moto purvey non-standard body music from their Ghent outpost, Studio Martino. Closely affiliated with famed Soulwax imprint, DEEWEE, the Belgian duo’s recorded offerings carefully juxtapose expert synth-work with aesthetic imperfection. Charming melodies and throbbing rhythms come courtesy of archaic tone generators and acoustic instrumentation alike, landing Asa Moto in a zone of confident sonic idiosyncrasy. Their studio prowess has hardly gone unnoticed and during their breakout year of 2018, Resident Advisor, Redbull and the BBC were quick to take note of the group’s steady ascent. Via their ever-changing live performances, Asa Moto have become regular fixtures on the European touring circuit, touching down for club nights and festival appearances across the continent. As astute selectors, they operate a bi-monthly radio show in Brussels, digging into their sprawling collection, ranging from obscure jazz records to contemporary electronic cuts. Asa Moto have re-adapted their unmistakable strain of body music into a live show, which premiered on the Mainstage of the Lokerse Feesten 2019 and at the 40th anniversary of Ancienne Belgique in Brussels. In 2020, they co-produced and mixed the Turkish band, Altin Gün album 'Yol' marking the first time that the band has collaborated with outsiders.