Cerca:the one

Two years after their first major release on Nice Guys, the band Marcoca returns with a new full-length album Cosmic Blunder. It originated out of the urge to merge new psychedelic sounds with elements of funk, jazz and surf rock, while keeping the stuff that worked on the first record in place. The result is a reverb soaked ride through songs that cover the ups and downs of life and all the questions that come along with it. While some of the songs had been previously arranged, some instrumental parts developed during the recording process in order to preserve the natural flow of the music.

Inspired by their travels around the warm beaches of our beautiful planet, the eight tracks of this long-player help the listener walk through a colorful Californian dream. The husky voice of the singer Marco Rinke invites us to an auditory journey to the 70s. This LP proves to be a real cathartic experience for the ears and the mind.

Cosmic Blunder, the eponymous track of this release, embodies the soul of the whole album, influenced by psychedelic and surf rock. With its groovy elements and symphonic guitars, the four musicians succeed to elevate one’s mind to spheres of beauty and inner peace. Overall, this LP turns out to be a real cathartic experience for the ears and the mind that wants to erase the physical self in favour of the mind.

Hailing from Ancaster, Ontario, Carl Didur has been an enigmatic fixture of Toronto’s underground music community for close to two decades. Originally traversing the Golden Horseshoe with The Battleship, Ethel, a band which sprung from his first outfit CEDRUMATIC, Didur soon moved to Toronto. Throughout the mid-2000’s he could be spotted playing his trademark ace-tone organ as a member of No Dynamics and Rozasia in the city’s crammed rogue venues, such as The Bagel and the infamous and transient Extermination Music Night. During these years The Battleship, Ethel continued to tour, often performing as backup band for Damo Suzuki, while at other shows inviting Dave Byers (Simply Saucer) and Bob Bryden (Spirit Of Christmas) to perform alongside the band. Perhaps the most enduring legacy of "The Battleship, Ethel", which dissolved in 2009, is that it laid the creative foundation for Carl and bandmate Michael McLean's next project, the prolific, studio focused, Zacht Automaat. As Zacht Automaat released music at a frantic pace, Carl continued to collaborate with members of a tight-knit group of Toronto’s downtown scene including touring with U.S. Girls and Slim Twig, performing and recording with Colin Fisher as Fake Humans, guesting on Absolutely Free’s Currency EP and producing New Fries’ most recent album The Idea of Us. Throughout the last decade Didur’s purely solo output has served to document his unimpeachably singular approach to music making. I Cannot See You Too Well (2011), Nothing is the Secret to Anything (2014) and Is It Yesterday? (2020) all released on cassette were followed by a digital album of gentle minimalism called Natural Feelings Vol I (2020). His solo shows consist of multiple tape machines running loops through various analog devices (a Certified Electronics Technician Didur now spends his non-piano playing hours of the day repairing all manner of tape echoes and synthesizers) or solo Wurlitzer electric piano improvisations, his performances gracing both stage and gallery. With his latest release Maybe Next Time, Didur further establishes himself as a singular artist with a unique methodology honed from years of music-making and listening. The album’s compositions swing from lush Axelrod-ish affairs filled with Mellotron strings to the album’s spiritual jazz influenced centerpiece The River Meets The Sea. “I was inspired by Eno's Here Come the Warm Jets, Crazy Horse but only when they are sad, Alice Coltrane, Jessica Pratt, McDonald and Giles, and so many others…” states Didur. Infused with a melancholic tone throughout, tracks such as Close My Eyes and Autumn’s Here invoke cinematic memories with tape echo and reverb applying a softened focus to the proceedings. Carl explains the context for the tone and the setting for the record’s gestation: “Maybe Next Time is a record I made after the world lost a sweet person that many in our community loved. Unlike most of my albums this one never seeks to shock or surprise you. It is about sadness, confusion, dissolution, transformation and ultimately a deeply forgiving sense of love. It is a concept record about being a human being!”

When we can no longer move forward or look outward, some reflect and seek truth in themselves – some sharing, through the language of music, what might be impossible to say through words.

Amidst the budding tempest of 2020, Jeremiah Carter, hailing originally from Tennessee, found himself embroiled in a near suffocating air of uncertainty and anxious tension, mainly brought upon by the first spikes in a soon-to-be worldwide pandemic.

Only having recently relocated to the bustling city of New York, an unprecedented series of events took shape over the following months, isolating and dismaying the citizens around the globe in the process. It was during this time that Jeremiah turned his attention to music, discharging the emotional turmoil surrounding him, into a substantial wealth of newly composed work.

Beginning with the album »Rejoice«, which was completed in the wake of 2020 and released on A Sunken Mall that same year, two more albums took shape in a quasi-self-induced creative tremor, one that soon materialized a wealth of work, forming a triptych of three unique albums, produced within the span of only 6 months.

Finally, presented here is the second stage of the final triptych; »Speak, You Also«, dedicated to Paul Celan and giving us further insight into the heart of a beloved southerner, who amidst being tangled in the mesh of crisis, passion and communication, gave rise to a momentous yet equally timeless neoclassical body of work.

Re-released after being unavailable for 2+ years. Andrés Landero embodies like no other the spirit that made it possible to bring cumbia to the world. His legacy represents a creative pinnacle of tropical music and has influenced countless artists. This collection gathers tracks from 1966 to 1982, taken from his albums on Discos Fuentes and other labels. They all are extraordinary masterpieces of Colombian popular music. Includes liner notes by Carlos Mario Mojica (Don Alirio).
Andrés Gregorio Landero Guerra, born in 1931 in San Jacinto, Colombia, embodies like no other artist the spirit that made it possible to bring cumbia music to the world. Synonymous with the evolution of this musical genre, inevitably any selection of Landero's best songs cannot aspire to do him full justice.From the very first note he played, Landero managed to charm audiences through a complex weave of compositions, shot through with local nuances and diverse derivations from his native Caribbean province. A torrent of words and refreshingly original, he constantly sought to create his own language while remaining acutely alive to tradition. Driven by a strong personality and undeniable abilities, and solely governed by his desire to follow his musical vocation and write songs that faithfully reflect the stories of his pure native land, Landero left home at seventeen, manifesting his passion to take artistic creation to the limit while demonstrating his belief in freedom and communal living, expressed through the free rein he gives to transparent narratives in all of his songs.
Not one of the records released during Andrés Landero's career is bad, mediocre or dispensable. His coherent and constant efforts to build on the foundations of the cumbia tradition form an extraordinary legacy rich in masterpieces of Colombian popular music. Sixteen years after his death, he continues to be the creative summit of an entourage of names associated with the folk music of the tropics. He is the author of a polyphonic blossoming whose beats still sound fresh today and the outstanding figure through which to appreciate, from a historical perspective, the syncretism of indigenous and African slave music from the Caribbean coast, namely cumbia.

• 180 GRAM AUDIOPHILE VINYL
• INCLUDING INSERT
• FEATURING THE BRODSKY QUARTET
• LIMITED EDITION OF 2500
INDIVIDUALLY NUMBERED COPIES ON PURPLE COLOURED VINYL

The Juliet Letters is the 14th studio album by singer and songwriter Elvis Costello. Originally released in 1993, the critically acclaimed album peaked at No. 18 on the UK album chart. The entire instrumental backing for The Juliet Letters is provided by The Brodsky Quartet. Costello had become interested in classical music around the time of Spike and began attending classical concerts. One of the ensembles he enjoyed most was the Brodsky Quartet. Once Costello and the Quartet got to know each other, they were keen on working together, eventually resulting in a full length album.

Costello described The Juliet Letters as “a song sequence for string quartet and voice and it has a title. It’s a little bit different. It’s not a rock opera. It’s a new thing.”

The album is available as a limited edition of 2500 individually numbered copies on purple coloured vinyl and includes an insert.

With a back catalogue that spans half a dozen studio LPs as Boom Bip,
plus another two as one half of electronic pop duo Neon Neon, Bryan
Hollon has already made a name for himself as a Mercury prizenominated producer and multi-instrumentalist
Equally impressive are the credits to Warpaint drummer Stella Mozgawa's name;
she's contributed percussion to albums by Kurt Vile, Cate le Bon, Courtney
Barnett, Sharon Van Etten, and Kim Gordon, among others. But as improvisational
techno duo Belief, the pair make music that harkens back to '90s acts like LFO
and 808 State – artists that indelibly, but near-anonymously, altered club and rave
culture, mostly identifiable by clean, bold logos on 12" sleeves. Without being
derivative of the era, they add their own instincts and experiences to grace the
musical universe with new answers to the question: What Would Mark Bell Do?
Hollon met Mozgawa just after she joined Warpaint, when Boom Bip shared a
rehearsal space in Echo Park with the band. The two quickly bonded over a love
of early Warp Records, drum breaks, acid house, and Y2K- era rave flyers. They
swapped playlists and ideas when Mozgawa played drums for Neon Neon's 2013
West Coast tour, but due to busy schedules, it would be another three years
before they packed every piece of gear they collectively owned into Eric
Wareheim's Absolutely Studios for an initial jam session. Instinctively playing to
each other's strengths and whims – and recording the session to build on later –
allowed Mozgawa to explore a style of music she'd long considered a dark art,
and pushed Hollon, known for his meticulous planning in previous work, to be
more spontaneous.
It was all in good fun – early shows billed the pair as 'Beef' with a comedic wink
to its pulsating minimalism. But as the two began committing themselves to
finalizing and recording more soulful, enigmatic tracks, the reverent nature of
what they were doing began to emerge: while Belief pays homage to the pioneers
of techno, the project is born out of an oddly divine foresight Mozgawa and
Hollon share, the synergy of two devout tastemakers building a shrine to inner
peace and outward pleasure

Acid Jazz Group Label Countdown Records is proud to present 'Shake A Tail Feather' - a Vinyl/CD collection from Fast Eddie, one of the early '80s most exhilarating live groups, and a favourite of the Rhythm and Soul powered Mod scene of 1980s. Initially called 'The Investigators', Fast Eddie emerged from Billericay in the wake of Thames Delta Blues pioneers, Dr. Feelgood. Having gained a following playing the raw R&B of the Pub Rock circuit, the band diversified their sound to incorporate classic soul repertoire, alongside their own material, which is documented throughout this collection.

Significantly, the group was also managed and produced by a certain young Eddie Piller - our founder - in his first foray as a music Mogul. Consequently, this collection marks an important document in the formation of Well Suspect Records, Countdown Records and the wider Acid Jazz Story. The LP contains a sharp selection of 16 tracks from their recordings, while the CD and digital version extends this with 4 extra tracks. Their storming versions of 'Shake A Tail Feather' and 'Out Of Sight', show their love of classic club soul, while 'Help Me' and 'My Babe' prove that they could play the blues with plenty of rhythm and feeling.

Ibiza Global Radio is a global reference point for electronic music in the world. Born in Ibiza, for Ibiza and for the rest of the world. A unique sound in an unusual style and excellent “music selection criteria” make Ibiza Global Radio a staple in the genre, so much so that it has a loyal audience of more than 18 million unique monthly listeners worldwide.

Ibiza Global World, a virtual, physical and multimedia platform where radio, TV, events and social media allow the World to experience the White Island, its love and freedom, 12 months a year.

Thanks to this first LP, the label "IBIZA GLOBAL RECORS" is
born. This LP is designed in a unique and exclusive package with 6
tracks with a new electronic sound, created by 6 Great Artists for Clubbing, available for now only in physical format LP and the exclusive worldwide is controlled by "Self Distribuzione S.r.l."

From July 30-31, the project will be presented at the mega event IBIZA GLOBAL FESTIVAL which will be attended by Top DJs like “Luciano” or “Nic Fanciulli” or “Jose Maria Ramon” (Artistic Director of Ibiza Global Radio) and many other Top Djs from all over the World with an expected attendance of over 40 thousand people on one of the most beautiful beaches of Ibiza !!!! Stay tuned

Ibiza Global Radio is a global reference point for electronic music in the world. Born in Ibiza, for Ibiza and for the rest of the world. A unique sound in an unusual style and excellent “music selection criteria” make Ibiza Global Radio a staple in the genre, so much so that it has a loyal audience of more than 18 million unique monthly listeners worldwide.

Ibiza Global World, a virtual, physical and multimedia platform where radio, TV, events and social media allow the World to experience the White Island, its love and freedom, 12 months a year.

Thanks to this first LP, the label "IBIZA GLOBAL RECORS" is
born. This LP is designed in a unique and exclusive package with 6
tracks with a new electronic sound, created by 6 Great Artists for Clubbing, available for now only in physical format LP and the exclusive worldwide is controlled by "Self Distribuzione S.r.l."

From July 30-31, the project will be presented at the mega event IBIZA GLOBAL FESTIVAL which will be attended by Top DJs like “Luciano” or “Nic Fanciulli” or “Jose Maria Ramon” (Artistic Director of Ibiza Global Radio) and many other Top Djs from all over the World with an expected attendance of over 40 thousand people on one of the most beautiful beaches of Ibiza !!!! Stay tuned

Her debut LP, Banshee, was released on Wax Poetics. Has collaborated with MF Doom, Czarface, Ghostface Killah, Dennis Coffey, and more. Kendra Morris’s Nine Lives, to be released on Karma Chief Records (a division of Colemine Records) in early 2022, marks not only the culmination of the decade since the release of her first LP Banshee, but also a turning point in Kendra’s life. Nine Lives heralds the beginning of a new chapter; label, and an evolution to the next level of adulthood. This collection of her original songs encapsulates moments from what could be nine lifetimes. Kendra, while very much a New Yorker and veteran of almost 2 decades on the NYC scene, hails from Florida and aesthetically embodies the broader sense of American culture, bringing to her contemporary sound influences found in music and cinema dating back to the mid 20th century. Her music conjures imagery evocative of road trips to weird and wonderful places. Concurrently a visual artist, filmmaker and animator, Kendra harnesses the feline nine lives metaphor repeatedly. In the context of the chapters of her musical trajectory alone, we see at least 9 lives. From discovering multi-tracking on a karaoke machine as a child, to playing in bands in Florida, moving to NYC and creating music alone on an 8 track, releasing her first 2 LPs on Wax Poetics, releasing her 2016 EP Babble and collaborating with DJ Premier, 9th Wonder, MF Doom, Czarface, Ghostface Killah, Dennis Coffey, and David Sitek, to name a few. The life of this multi-disciplinarian artist contains units of time and story lines through which we can all relate to universal themes of love, loss and overcoming one's fears. Kendra, never ceasing to heed her spiritual calling to continue creating music and art, no matter what, has no plans of slowing down but a belief in only evolving, eager to begin experiencing her next nine lives.

Perhaps not as well known to the general public, Bethlehem Records earned its place in Jazz history with the release of debut albums from artists like Carmen McRae, Chris Connor, Herbie Mann and Johnny Hartman. Besides that, check those early covers - pure art!

Bethlehem's most famous release is the 1958 debut album by Nina Simone, Little Girl Blue. So when DJ Maestro got the chance to remix this album, he was thrilled. Soon he got the idea to ask some of his favorite producers to collaborate, like Mop Mop, Renegades of Jazz, Gramophonedzie, Fab Samperi, The Reflex and Mees Dierdorp.

One thing they all had in common: excitement to work with the original recordings from this iconic album. The result is 14 remixes, each with a unique approach to the original song, and all with a contemporary feel.

Art Moore make vivid, heartbreaking short stories. Each song on the newly formed band's self-titled debut album is its own individual universe of bittersweet feeling: a brief snapshot of a moment in time that captures the fragility and occasional impossibility of human connection. These songs are deft character studies, zeroing in on shy beginners, jilted friends and friendly exes, chronicling minute moments-road trips, casual dates, games of truth or dare-with rich detail and subtle wit. Featuring the inimitable songwriting of beloved Oakland luminary Taylor Vick of Boy Scouts set in sharp relief against lush production from Ezra Furman collaborators Sam Durkes and Trevor Brooks, it's a quietly wondrous record - a set of songs that sketch out the struggle and beauty of coping with everyday life. These are songs about tiny, unspoken feelings rendered on a grand scale, moments that often get brushed aside given the weight that they should be. Across these ten stories, Vick, Brooks and Durkes are unsparing in their focus but remarkably generous in their artistry - three pairs of steady, even hands crafting one fine, precious object.

Als eine der beliebtesten Metal-Bands der Welt stecken sich AMON AMARTH sehr hohe Ziele, wenn sie ins Studio gehen. "The Great Heathen Army" wurde mit dem legendären Studioguru Andy Sneap an den Reglern aufgenommen und stellt für die Band einen kühnen Sprung nach vorne dar, da ihr unverwechselbarer Sound erneut eine sehr gekonnte Weiterentwicklung erfährt, sowohl textlich als auch musikalisch. Vom treibenden "Find A Way Or Make One" und dem kämpferischen "Get In The Ring" bis hin zu der sich heraufbeschwörenden Wut in "Saxons & Vikings" und dem epischen Urschrei in Form des Titeltracks, fasst "The Great Heathen Army" die Essenz dieser legendären Band zusammen und lässt dabei trotzdem noch Raum für neue Ideen.

Ltd Autographed Black & Pink Vinyl Version of 2021 release on New
West.Lately is a record I wrote to share some of where I've been with you
Whenever songs happen for me, they are like photographs of time.Last year was
tough. That's an understatement for certain. I have always felt lonely, but the irony
of that is, I was not alone at all in that space. Everyone had lost something. As a
means of keeping sane, I started to write songs. The inspiration was occurring
from simple moments. I missed my friends. I missed my family. I felt unified in
knowing that I was not on my own in that mentalityI realized that my heart was
full of everything I loved and that would carry me forward for the time being.
Eventually we would all get back to one another. Now that we are beginning to, I
will be thrilled to share and play these songs for you. Love, Lilly HiattPackaging:
LP This is a split black and pink LP. It's a single pressing. No other pressings.
Autographed

A bona fide legend of the acid jazz / jazz funk scene, James Taylor returns with a stunning new James Taylor Quartet orchestral record MAN IN THE HOT SEAT. A sonic collossus of a record, particularly when listening on vinyl, it ties together the effortless melodic funk of the quartet, the fullness of sound that only an orchestra can bring, with James’ love of classic film soundtracks. Created and recorded with the musicianship and production mastery we have come to expect from JTQ this is undoubtedly one of the best sounding records you’ll hear in 2022.

High ranking anthem from 1982 with the Roots Radics in full effect and backed by world cup winning Scientist dub. Sampled countless times in drum and bass, this is the first time legit seven inch pressing for this original ruling version. Both tracks produced by Henry "Junjo" Lawes, recorded at Channel One and mixed by Scientist at King Tubby’s studio. Limited one-time press only, 7-inch-single with Jah Guidance label prints in a grey/white sleeve with Johnny Osbourne and "Junjo" images. European pressing.

Ten years on from a remarkable debut album that traversed genres and put the duo’s trademark melodic mastery on display for the world to see, 2022 sees Spectrasoul’s ‘Delay No More’ album more than deservedly receive its 10 Year Anniversary Repress. Now being pressed to vinyl in it’s entirety for the first time, this milestone release highlights just how in-keeping Spectrasoul’s earliest album was with the forward-thinking, energetic, and beautifully deep ethos that has gone on to define their astounding career in music. 

A diverse, experimental, and genre-bending debut offering, ‘Delay No More’ cemented itself as one of 2012’s finest electronic albums and a Shogun Audio bestseller. Fast forward ten years and the impact of the album on Spectrasoul, Shogun, and the wider electronic music scene is still one of meteoric proportions. 

Receiving mass support from Mixmag, DJ Mag, BBC Radio 1, and countless other press outlets at the time, ‘Delay No More’ went on to be remixed the following year, with the reworked project featuring Calibre’s remix of ‘Away With Me’, a release which has gone it to
become one of the most iconic drum and bass tracks of the past decade. 

Since their emergence in 2006, SpectraSoul have carved a truly unique position, not only in Drum & Bass, but electronic music as a whole. The 10 Year Anniversary Repress of ‘Delay No More’ is not only a celebration of this, but a reminder of the stunning sonic soundscape that the albums alluring, enthralling and irrevocably charming sound still exists in to this day.

New album from South London producer, multi-instrumentalist and vocalist Wu-Lu.

Leader of the punk-rap awakening, Wu-Lu pulls inspiration from personal hardship and the underrepresented on his latest for Warp entitled 'LOGGERHEAD'. Miles Romans-Hopcraft based his artistic moniker on the Amharic word for water, “wu-ha”. True to his fluid sound and nature, he decided to change it to something that felt more liquid. He ended up with Wu-Lu, a name he has been using since 2015. His first record GINGA opened the floodgates to a career that would take him to various places, people, and genres. From breaking bones at skateparks as a teenager, to DJing as one of the original members of Touching Bass, and eventually getting signed to Warp in 2021.

As an artist, Wu-Lu seems concerned with feeling and communicating the full spectrum of human emotion. Throughout his varied discography, he touches on disparate themes and sounds, straddling a divide between blissed-out beats and grungy guitar dirges, and often mixing both into one amorphous, unclassifiable sound of his own.

On ‘'LOGGERHEAD'’, Wu-Lu hones his unique sound. On ‘Take Stage’, a despondent spoken word intro opens with sombre strings and underlying bows dragged delicately across them. Then the lights flicker to life on ‘Night Pill’, and the mosh pit with them - the bassline approaches like a hungry shark and the guitars snarl with a homemade 90s grunge energy. This grunge drawl and punk spirit is peppered with dry old-school drum sounds of classic hip-hop, with laid-back beat-oriented tracks are spread amongst those with intermittent growls, scratches, and shrieks. Sonic elements are constantly rearranged and juxtaposed throughout the album, like on ‘South’ where the fluctuating pitch of squealing guitars and screaming vocals is contrasted with the steady flow of Lex Amor.

Listening through the album you are constantly greeted with about-turns, and through the element of surprise and deft use of contrast 'LOGGERHEAD' sits at an exciting point in Wu-Lu’s genre-defying artistry.

This May, Italian alchemists and power trio Ufomammut return with their ninth studio album, Fenice via Neurot Recordings. But not as we’ve heard them before, now “more intimate, more free.”
For over 20 years, the band has combined the heaviness and majesty of dynamic riff worship with a nuanced understanding of psychedelic tradition and history in music, creating a cosmic, futuristic, and technicolor sound destined for absolute immersion.
Fenice (meaning Phoenix in Italian) symbolically represents endless rebirth and the ability to start again after everything seems doomed. The album is the first recording with new drummer Levre, and truly marks a new chapter in Ufomammut history.
“I think we lost our spontaneity, album after album,” says Urlo. “We tried to make more complicated songs and albums, but I think at some point we just ended up repeating ourselves. With Fenice, we were ready to start from zero, we had no past anymore - so we just wanted to be reborn and rise from the ashes..”
While the band are well-known for their psychedelic travels into the far reaches of the cosmos, Fenice is a much more introspective listening experience. Fenice was conceived as a single concept track, divided in six facets of this inward-facing focus. Sonic experimentations abound in the exploration of this central theme; synths and experimental vocal effects are featured more prominently than ever before as the band push themselves ever further into the uncharted territory of their very identity.
The towering synths on the opening track ‘Duat’ evoke an almighty machine rising from the depths of primordial ooze. There’s a shift to a frenetic garage-psych pace before mellowing out into a more familiar doomy stomp. ‘Kepherer’ is a respite, albeit a slight one, returning to the pulsing rhythms of the album’s intro before plunging the listener into the menacing build and release of ‘Psychostasia’ next. Each oscillation of this extraordinary album feels inevitable - Ufomammut are after all, masters of their craft, and when it comes to creating enveloping sonic journeys into the unknown, it’s their uninhibited sense of exploration that breaches new sonic ground.

Fenice is the sound of a band whose very essence has been rejuvenated, and are welcoming the chance to create music in the way they know best; by unfolding carefully and attentively, by melding those extreme dynamics which render Fenice as a living and breathing creature - and by writing gargantuan riffs that herald their very rebirth.

Romperayo is back, with a brand new tropical 9 track album full of tropical riddims and humid Caribbean jams.

After two long sold out albums, Romperayo (Discrepant, 2015) and Que Jué? (Souk, 2019), Pedro Ojeda’s unique update on classic Colombian music returns for a full long player of future tropical instrumental tunes, heavy on the drum grooves mixed with slow, languid experimental interludes.

This is 21st century Colombian popular music taken to the next level by one of the most singular figures currently active on the Colombian scene. Romperayo’s, aka Pedro Ojeda (Los Pirañas, Chupame el Dedo) solo project uses his irreverent drumming techniques and filters them through a lens of new school psychedelia, historical sampling and acid synth solos.

With his sound obsessions clearly present over all of his work (and this record), Pedro effortless mixes the old school with the new with an avant-garde collage approach to composition, never forgetting his academic studies on Latin American drumming styles. The result expands the frontiers of Colombian tropical music and provides a new, multicultural dialogue whilst using many of the rhythms and melodies of the Colombian historical repertoire to a new generation. The Colombian Caribbean coast sonido never sounded so fresh!

Quinn Oulton’s debut album ‘Alexithymia’ is a deconstruction of the struggle that many young men face when processing and expressing strong emotions. It takes the form of a linear story, pieced together from many moments of emotional intensity Quinn has faced throughout his life, existing within all types of personal relationships. This is a project that sees the stylistic and textural experimentation from his previous work fuse into a powerfully creative, personal, and emotive sound, channelling the albums title name: ‘Alexithymia’ is the inability to recognize or describe one's own emotions.

The album was written, performed and co-produced by Quinn Oulton, and it includes tracks featuring Moses Boyd and Genevieve Artadi.

“My album ‘Alexithymia’ dissects events from different relationships, whether family, friends, or romantic, presented as a single story from start to finish. Obsession, frustration, passion, false hope, grief, self-pity, helplessness, and acceptance are all part of this story.

I wrote it in this way because I was trying to work out why I connect so much with sad or melancholic music, and I realised that maybe listening to that music was filling a hole that I didn’t know I had. It was comforting to hear somebody process their own troubles outwardly when I didn't feel I had a way, or even a reason, to do so myself. Writing the album has been an extremely therapeutic process as I've been able to seek out difficult parts of my life that I'd buried because I couldn't process them at the time.

I think a lot of people, particularly men, struggle to recognise and process their own emotions. It makes it very hard to share them with others, and it’s something that needs addressing to allow for healthier relationships with other people and yourself.”

DJ Rap is without a doubt the Queen of Jungle and Drum ‘n’ Bass! With a career spanning three decades she has earned that title through immense talent and endless hard work, and from having been there from the start of the rave scene, producing some classic slices of breakbeat hardcore, jungle and D’n’B. Spiritual Aura is one of the biggest of her releases, and the DJ Rap Gets Raw Remix is her darker slice of the original. But the flip is even darker with a classic Ray Keith Remix! Fully remastered and sounding better than ever, this is a must for any classic junglists.

Club / DJ Support
Jay Cunning, Billy Bunter, the Fat Controller, Liquid, Hyper On Experience, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Paul Bradley, Jimni Cricket, Bustin, Jimmy J, Doughboy, Lowercase, Dave Skywalker, Ponder and many others

Following a debut appearance on the reverse label in 2020, Bristol-based artist Ido Plumes is back on Livity Sound with four tracks of experimental dance music for soundsystems. Plumes established his sound with pointillist drums and echo chamber atmospherics the first time around, and now he builds on that premise with a more dense and dramatic approach.
Plumes’ layered tracks follow non-linear narratives, switching lanes and exploring unusual, evocative landscapes while retaining a fundamental physicality. Longer form tracks like ‘Afloat’ cover a lot of ground across their run time, while the likes of ‘Been Here’ revel in audacious plot twists to create strikingly confident and original variations on the UK dance music tradition.
Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

Occultists is proud to present the first vinyl record release in the history of the label. To kick start this new exciting journey, we’ve decided to tap into the more ethereal side of the label with the stunning “Technicolor” EP by Slumber. The duo of Slumber consists of Öona Dahl and Amber Cox, who both have appeared previously in the early days of the label, one as a remixer and one as a featured artist. Now together in unison, they join our circle of artists with three tracks that will transcend the listener to a strange but beautiful new world. Each track is masterly crafted to work in different moments in a set. From the mystical and psychedelic deep techno vibes of “Technicolor” to the ethereal club stomper “Venom” and the surprising tripped-out vibes on the B-side with “Cat Got Your Tongue”, the release creates a tightly woven cohesive package of tracks that are perfect for the summer season and beyond.

MC DUKE was one of the first UK rappers to find a serious level of success, laying the ground work for a generation of hip hop talent to follow. As well as being a UK hip hop legend, he was also one of the pioneers of the early British hardcore / jungle sound & owner of the Hard Disk record label.

The legacy of MC Duke with the early rave sound was cemented in history forever when The Prodigy sampled his voice for their chart topping hit Everybody In The Place! He was also one of the first MC’s on London’s infamous Kool FM. As a producer Duke was signed to the Boogie Times label, sister imprint of the genre defining Suburban Base, under the alias E.K.U.D.C.M. (which is MC Duke spelled backwards).

The first slice of vinyl on this collection features rare cuts from 1993 and perfectly showcases the evolution of the rave era into the sound that was at the time described as jungle techno, the precursor to jungle as we now know it.

Vinyl number 2 is the one that will get the collectors salivating... Featuring music by The Man With No Name, currently the only copies of these tracks are available at an asking price of £167 on the resale market, with people already parting with up to £155 to own a copy via re-seller site discogs!

Our third & fourth disc once again features 2 of MC Dukes alias’ with the darkside goodness that is Quiji Board, and closes with the most up to date track from the compilation by Phiziks previously unreleased on vinyl.

All tracks on this Hard Disk compilation have been expertly re-mastered to give you the optimum listening experience while retaining that authentic early 90’s sound you’d expect. This four-part vinyl collection is placed in a beautiful presentation box for which we’ve digitally re-created the original artwork style from Hard Disk releases back in the day to make this a true collector piece for those wanting a genuine piece of UK culture history.

“Humblekids” is the first studio album by Fiasko Leitmotiv. This work is a journey in multiple dimensions of music and narrative, and even if its deep roots are certainly electronic, the listener will land in different atmospheres, different genres mixed together in new keys, with new meanings, all in a post punk environment. from a narrative point of view, “Humblekids” presents two main styles, one metaphisical and one surrealistic, and somehow the second seems to carry the first one in a mix of tragedy and irony. “Hanako” and “Balls” , the two singles from the album, underline the presence of theese two different but coexisting approaches,tied together in a necessarily sense, like darkness and light , day and night.

Like the many Banded Stilts that spread across the cover of her newest album, ‘Flood’, Stella
Donnelly is wading into uncharted territory. Here, she finds herself discovering who she is as
an artist among the flock, and how abundant one individual can be.
 ‘Flood’ is Donnelly’s record of this rediscovery: the product of months of risky experimentation,
hard moments of introspection, and a lot of moving around.
 Donnelly’s early reflections on the relationship between the individual and the many can be
traced back to her time in the rainforests of Bellingen, where she took to birdwatching as both a
hobby and an escape in a border-restricted world. By paying closer attention to the natural
world around her, Donnelly recalls “I was able to lose that feeling of anyone’s reaction to me. I
forgot who I was as a musician, which was a humbling experience of just being; being my small
self.”
 Reconnecting with this ‘small self’ allowed Donnelly to tap into creative wells she didn’t know
existed. Soon songs were coming to her in a way she could not control and over the coming
months, Donnelly accumulated 43 tracks as she moved out of Bellingen and around the
country, often finding herself displaced due to border restrictions and a tough rental market.
 Though the writing of ‘Flood’ was an intensely personal undertaking, Donnelly still saw the
recording process as one of her most collaborative projects yet. Along with her band members,
co-producing the record beside Anna Laverty and Methyl Ethyl’s Jake Webb helped to foster
an important spontaneity in the studio. With Webb, Donnelly could “dig in” and discover a
“forward-leaning sound” she’d been searching for, while Laverty’s ability to “capture the piano”
and discern the “perfect take” allowed the songwriter to take risks, many of which have clearly
paid off.
 Looking back at the Banded Stilt, Donnelly ultimately appreciates how when “seen in a crowd
they create an optical illusion, but on its own it’s this singular piece of art.” While each song in
‘Flood’ is a singular artwork unto itself, the collective shares all of Stella Donnelly in abundance:
her inner child, her nurturing self, her nightmare self; all of herself has gone into the making of
this record and, although it would take an ocean to fathom everything she feels, it’s well worth
diving in

Like the many Banded Stilts that spread across the cover of her newest album, ‘Flood’, Stella
Donnelly is wading into uncharted territory. Here, she finds herself discovering who she is as
an artist among the flock, and how abundant one individual can be.
 ‘Flood’ is Donnelly’s record of this rediscovery: the product of months of risky experimentation,
hard moments of introspection, and a lot of moving around.
 Donnelly’s early reflections on the relationship between the individual and the many can be
traced back to her time in the rainforests of Bellingen, where she took to birdwatching as both a
hobby and an escape in a border-restricted world. By paying closer attention to the natural
world around her, Donnelly recalls “I was able to lose that feeling of anyone’s reaction to me. I
forgot who I was as a musician, which was a humbling experience of just being; being my small
self.”
 Reconnecting with this ‘small self’ allowed Donnelly to tap into creative wells she didn’t know
existed. Soon songs were coming to her in a way she could not control and over the coming
months, Donnelly accumulated 43 tracks as she moved out of Bellingen and around the
country, often finding herself displaced due to border restrictions and a tough rental market.
 Though the writing of ‘Flood’ was an intensely personal undertaking, Donnelly still saw the
recording process as one of her most collaborative projects yet. Along with her band members,
co-producing the record beside Anna Laverty and Methyl Ethyl’s Jake Webb helped to foster
an important spontaneity in the studio. With Webb, Donnelly could “dig in” and discover a
“forward-leaning sound” she’d been searching for, while Laverty’s ability to “capture the piano”
and discern the “perfect take” allowed the songwriter to take risks, many of which have clearly
paid off.
 Looking back at the Banded Stilt, Donnelly ultimately appreciates how when “seen in a crowd
they create an optical illusion, but on its own it’s this singular piece of art.” While each song in
‘Flood’ is a singular artwork unto itself, the collective shares all of Stella Donnelly in abundance:
her inner child, her nurturing self, her nightmare self; all of herself has gone into the making of
this record and, although it would take an ocean to fathom everything she feels, it’s well worth
diving in

Like the many Banded Stilts that spread across the cover of her newest album, ‘Flood’, Stella
Donnelly is wading into uncharted territory. Here, she finds herself discovering who she is as
an artist among the flock, and how abundant one individual can be.
 ‘Flood’ is Donnelly’s record of this rediscovery: the product of months of risky experimentation,
hard moments of introspection, and a lot of moving around.
 Donnelly’s early reflections on the relationship between the individual and the many can be
traced back to her time in the rainforests of Bellingen, where she took to birdwatching as both a
hobby and an escape in a border-restricted world. By paying closer attention to the natural
world around her, Donnelly recalls “I was able to lose that feeling of anyone’s reaction to me. I
forgot who I was as a musician, which was a humbling experience of just being; being my small
self.”
 Reconnecting with this ‘small self’ allowed Donnelly to tap into creative wells she didn’t know
existed. Soon songs were coming to her in a way she could not control and over the coming
months, Donnelly accumulated 43 tracks as she moved out of Bellingen and around the
country, often finding herself displaced due to border restrictions and a tough rental market.
 Though the writing of ‘Flood’ was an intensely personal undertaking, Donnelly still saw the
recording process as one of her most collaborative projects yet. Along with her band members,
co-producing the record beside Anna Laverty and Methyl Ethyl’s Jake Webb helped to foster
an important spontaneity in the studio. With Webb, Donnelly could “dig in” and discover a
“forward-leaning sound” she’d been searching for, while Laverty’s ability to “capture the piano”
and discern the “perfect take” allowed the songwriter to take risks, many of which have clearly
paid off.
 Looking back at the Banded Stilt, Donnelly ultimately appreciates how when “seen in a crowd
they create an optical illusion, but on its own it’s this singular piece of art.” While each song in
‘Flood’ is a singular artwork unto itself, the collective shares all of Stella Donnelly in abundance:
her inner child, her nurturing self, her nightmare self; all of herself has gone into the making of
this record and, although it would take an ocean to fathom everything she feels, it’s well worth
diving in

Up next on Happiness Therapy is Lyon-based mainstay Denyl Brook with his first full-length EP on the emerging label. Already a firm favourite through his contributions to the lauded Happy House series, his forthcoming I Wanna EP follows on from two recent appearances on revered UK outfit Shall Not Fade, as he returns to the French imprint in June to gift us four tracks of mood-lifting musical goodness.


Denyl Brook is swiftly becoming one of France’s most talked-about rising talents. Head of his own Silver Step Records, he’s a familiar face at Happiness Therapy, having racked up several productions on the label’s Happy House compilation series over the years. He’s also one of their resident DJs, regularly playing at their parties across his native country and beyond, and has recently landed a solid release on UK-imprint Shall Not Fade. Now, I Wanna acts as his debut solo EP on Happiness Therapy, proving that Denyl Brook is only just getting started.

Paul Wise aka Placid is the driving force behind ‘We’re Going Deep’ – a thriving online community and record label that’s showing no signs of slowing down as we pop, dip and spin into the spring season. As a label owner, Paul’s mission couldn’t be clearer - releasing new music for heads of all persuasions. Fresh cuts aimed squarely at the dance floor, your front room or even just the headphones. Rather than staying too hung up on the past, he continues to focus on serving up the best in new Acid, Electro, Techno, Deep House alongside scintillating slices of Downtempo music.

Sticking to the trusted format of 4 superlative cuts from equally talented producers, the quality and talent on show does not disappoint on WGD 007. Starting the dance with 303 maestro and label legend Tin Man, A1 “I Said Acid” is a tantalising twist on the classic combination of a Roland TR-707 and SH-101. As a metronomic pulsating kick carves out a squarely hewn path, slow opening filtered lead and hauntingly repetitive “Acid” vocals exert maximal pressure to create a sheer moment of joy. Balanced out by the dreamy atmospherics of A2 “I’ll Meet You On The Dancefloor”. UK Deep House supremo Rai Scott exerts her perfected knowhow: blending organically tinged percussion with profound melodic touches that meander across the borderlines of your consciousness.

On B1 “Necessary Order”, the machine mastery of Sound Synthesis collides in perfect harmony as Keith Farrugia demonstrates his deft turns of the dials that are becoming more in demand. A sprinkle of stargazing soul is woven around light touch acidic tweaks and snappy drums, echoing the twinkling embers of the cosmos. Not to be outdone, Dutch born German bred producer Roger Van Lunteren takes control with the final slice on B2 “Le Dee Trois Trio Prends Trois”. A wince inducing, sawtooth heavy jam that should not be taken lightly. As the saying goes, this one’s only for headstrong.

We have two versions (two different covers) - black vinyl or multicolor, limited, hand nubered (111 copies) vinyl.

Two years after the well-received compilation "Nebula," Himalaya Collective (probably the largest team of beatmakers in Poland) returns with another release. This time the Himalayan section of 24 producers (and some exceptional guests from outside the collective) will take us on a journey into the skies. On "Latawce" (which means "Kites" in English), we will hear 24 tracks with one goal in mind - to allow a maximum two-minute flight. The premiere (not accidentally) will take place on the 1st day of summer.

The sound of each Kite has been colored thanks to the excellent mastering done by Eprom. The album's vinyl version was made in two options and with two different covers. @Eloprzemi is responsible for the design of the classic version, and the cover of the limited surprise vinyl was designed by Gbur. The limited edition is hand-numbered (111 copies), and the surprise is worth emphasizing the different colors of each vinyl! Crazy Action! Great album! The perfect soundtrack for the summer holidays 2022!

Johnny was born in 1934 in Memphis, the city where Rock’n'Roll began. A career in boxing
seemed most likely tfor the Burnette brothers before meeting Burlison, who’d graduated from
High School two years before Elvis Presley. Burlison had backed Blues giant Howlin’ Wolf on
radio appearances and worked at Crown Electrics with Dorsey, with Elvis later becoming a
workmate. They had also taken to rehearsing in the basement of one of the apartment blocks
in Lauderdale Court. With the apartment above rented by the Presley family, who had not long
arrived from Tupelo. Legend has it that, Elvis would slip downstairs and sit quietly in a corner,
listening to them rehearse. And it was after seeing Elvis on television in January 1956, that
sent the Rock'n’Roll Trio to New York where their appearances on Ted Mack’s Amateur Hour
saw them sign to the Coral Label. The three-time talent show winners immediately set about
recording a repertoire based equally on R&B and Country & Western material. The Rockabilly
they cut for Coral, some 25 tracks, was later described by genre expert Bill Millar as 'unrivalled
for unsubtle power and wild intensity’. Joe Turner’s Honey Hush, and the self-penned Tear It
Up have been constantly recycled by acts. The originals are included in this LP along with
other material such as Rock Therapy, Lonesome Train and Touch me

Dubfire - Dark Matter | Dust & Gas
With a career spanning over 3 decades, Dubfire has achieved global success as an artist with relentless drive, talent, and intuition. Pioneering commercial notoriety came initially as one half of the Grammy award (2001) winning duo Deep Dish, before embarking on a truly groundbreaking solo career in 2007. A career filled with timeless tracks include his early works ‘Ribcage’, ‘Emissions, ‘Roadkill’ and the highly acclaimed ‘Exit’ with Kiss Kitten. Collaborative work highlights include Luke Slater, Moscoman, Oliver Huntemann, Chris Liebing, Tiga and co-producing two tracks on the legendary Underworld’s ‘Barking’ album. This year he finally releases his debut album ‘EVOLV’. An 11-track visionary into the mind of Dubfire to be released on his long-standing label SCI+TEC. EVOLV’s concept? The journey of the ‘hybrid’ being and its evolution since its first appearance in 2015, as part of his two-year World tour following the release of his retrospective release ‘A Decade Of Dubfire’.
The first of 4 singles launch in July with ‘Dark Matter’ and ‘Dust & Gas’. Both tracks set a brooding atmosphere. The rougher percussion, and eerie lead in ‘Dark Matter’ is accompanied by a stripped back sound and glitchy vocals sitting in a spaced-out atmosphere in ‘Dust & Gas’. Its deep and minimal drum work is exceptional. The start of a sonically evolved journey for its listeners, this album is what many have waited for, with a few unexpected twists along the way.

Dutch pioneer Sp@sms returns to U-TRAX with 'From A 20th Century Box' LP, backed with remixes from Bloody Mary and Cosmic Force

On 'From the 20th Century Box' Arno Peeters, aka Sp@sms, returns to U-TRAX with his debut full-length album. Showcasing years of sonic exploration stemming from his time in various groups including Random XS and Voltage Control amongst others, the LP also draws from his experience studying and teaching music at the Centre for Electronic Music as well as his work in project-based sound design.

Filled to the brim with pulsating arpeggios, crunchy drums and dark, moody atmospheres, the LP is marked by a retro yet timeless feel. Inbetween its snaking, squelchy synth lines and old school electro grooves Sp@sms masterfully incorporates playful textures and elements from found recordings and unused projects, resulting in a vastly versatile and experimental album fusing all things techno, acid and EBM.

An expert lesson in sound design and composition taught by one of the Netherlands' most trusted and experienced artists, the LP also contains remixes from Dame Music's Bloody Mary and Utrecht electro stalwart Cosmic Force and arrives via heavyweight, colored double vinyl, digital, CD and cassette mediums.

As is typical for a U-TRAX release, each physical version has its own set of tracks. The vinyl and CD versions also come with a in-depth interview with Arno Peeters, as well as extensive background notes for each track (on the album's inner sleeves and a 24 page booklet, respectively).

BBC 6 MusicAlbum of the Yearas chosen by

DJ Craig Charles

★★★★Mojo

★★★★★Blues & Soul

★★★★★UK Vibe

9/10 DJ Mag (Single I Miss You)

"One of the very best soul voices I've heard for a very long time"

Craig Charles (BBC 6Music)

"Delivered with a vocal dripping with yearning and desperation"

4/5 Mojo

"A high octane soul masterpiece"

Blues & Soul,5/5Album of the Month

"Undoubtedly the album of the year"

5/5 UK Vibe

Burundian soul singer JP Bimeni is set to release his first music since his BBC 6 Music award winning album Free, from 2018. Give Me Hope is a slice of horn heavy, Afro tinged, Stax inspired soul and is the first taster of a new album set for release in early 2022

Give me Hope is the title track from his new album, featuring his band The Black Belts, set to drop on February 4thon Lovemonk Records.

A supremely funky number it boasts bassline and powerful horn arrangements, and gives a taster to a new work that dots between classic '60s Motown, psychedelia and Afro-funk.

Within Melbourne's cinematic soul scene sit the The Pro-Teens. Helmed by prolific drummer Hudson Whitlock (Karate Boogaloo, Surprise Chef), this breakaway studio project involves an interchangeable collective of incognito instrumentalists playing under outlandish pseudonyms such as 'Dead Honest' Dean Amazing and Libby Clique-Baite.

This release presents two iconic MF DOOM tracks reinterpreted by The Pro-Teens. It follows breakout album Snooch Dodd & The Pro-Teens - I Flip My Life Every Time I Fly (College Of Knowledge/Mr Bongo), which received BBC 6 Music's Album Of The Day. This is the second 7" single of The Pro-Teens' MF DOOM tribute material, following 2021's Peachfuzz b/w One Beer, taken from forthcoming full-length album tribute to MF DOOM.

Support from BBC6 Music, NTS, KCRW Morning Becomes Eclectic, Worldwide FM.

Long-established house talent Bontan makes a much-anticipated return to Hot Creations in June. Gifting us with the two-track Gold Teeth, it showcases the UK-native at his best and continues a standout 2022 that has already seen him release on Hot Since 82’s Knee Deep In Sound last month.

Shamanic-like drums create a hypnotic sensibility right from the word go, as we’re graced with echoing vocals on Gold Teeth. There’s an air of tribalism throughout via shimmering maracas and rhythmic hi-hats, before Heart Shaped Leaf takes on a techy edge. Cow bell-esque percussion undulates beneath a low-slung bassline whilst spacey lyrics repeat nearby, forming a peak-time, club-ready cut.

Since first bursting onto the circuit in 2015, Bontan has become one of the best-selling acts on Beatport, a winner at the prestigious DJ Awards and has firmly cemented himself in the underground house scene. He has released on labels such as Crosstown Rebels, Defected and Origins and remixed for artists including Groove Armada, Booka Shade, Melé and Yousef. He kicked off 2022 with a remix of Agenda for Lazarusman, which reached Number 3 in Beatport’s Afro House chart, as well as releasing Stutterman on Club Bad. His releases this year have received support from Jamie Jones, Skream, Eats Everything, Agoria and Chris Lake to name a few, a testament to Bontan’s keen ear for production.

Inspired by the recordings of Charlie Christian with the Benny Goodman Sextet. Kenny began playing guitar aged 12. Other important influences were Oscar Moore and Django Reinhardt and in 1952, as a university student he made his recording debut with The Dizzy Gillespie Sextet. In 1955 he joined Oscar Peterson's Trio depping for Herb Ellis and moved from Detroit to New York where
he played with Benny Goodman from 1957 to 1959, following in the footsteps of Charlie Christian. Midnight Blue was produced by Alfred Lion and swiftly became one of Burrell's most popular albums for Blue Note, and was critically acclaimed as a fine example of Soul-Jazz. Such was the impact of Midnight Blue, that Peter Frampton often proclaimed that Burrell was his favourite Guitarist.

This series highlights gems from Contemporary's extraordinary catalogue and features artists who both defined and expanded the sound of West Coast jazz.

Guitarist Barney Kessel, drummer Shelly Manne, bassist Red Mitchell, and the supremely soulful Hampton Hawes, one of jazz's most appealing yet unsun pianists, fill out the quartet scorecard of the 1958 release Four!. Although much later in his career Hawes experimented with electronic keyboards and fusion music, at heart he was a bebopper, as this session makes abundantly clear.

With material like Charlie Parker's "Yardbird Suite," his own "Up Blues," and Red Mitchell's "Bow Jest" (on which Mitchell plays his first recorded bowed solo), Hawes is at a creative peak here. Kessel, who played on the date, paid tribute to Hawes' "inexhaustible ideas on the blues…no one else in modern jazz plays the blues better." And nobody could tie a rhythm section together better than Shelly Manne, the fourth party in this boundingly energetic Four!

restock

Cititrax presents a four song debut solo EP by The Hacker's new project called Amato. Influenced by early EBM, German techno and new wave, Michel Amato aka The Hacker began producing tracks under his new moniker Amato in 2014. The first one to be released, called Physique, came out in 2015 on the Cititrax Tracks Volume One EP and was a dancefloor success.

Emotive soul singer Doris Duke got her start backing gospel artists and was a mainstay at the Apollo in the early 1960s. cutting some demos for Motown that remain unreleased. After a debut single that made little impact (credited to Doris Willingham), she became Doris Duke at the behest of Swamp Dogg, who produced this acclaimed solo debut, I’m A Loser, regarded by many as one of the best “deep soul”albums ever issued. Cheating saga “To The Other Woman (I’m the Other Woman)” was a top-fifty pop hit and “Feet Start Walking” also reached the US R&B charts, assuring Duke’s eternal reputation, despite the collapse of Canyon Records, the label that first released this hefty gem.

restock

Cititrax present the follow-up to An-i's Kino-i debut 12', released at the start of the year. The record is pressed on 160 gram fluorescent magenta orange vinyl and housed in a high gloss grey Pantone sleeve. TIP!!!
An-i continues his love affair with electronics offering us three distinct slabs of throbbing machine funk. The opening track Gutz is a dense mutant high energy number, modern yet timeless. Rut, the first track An-i recorded whilst still living in New York and the first one to catch our attention, opens the B side with a massive dose of syncopated teutonic mayhem, spacier and sparser than the rest. Save Us completes the release with an anthem of dirty warehouse techno.

Repress

In 1974 Mazzotti recorded her first album Ninguem Vai Me Segurar (1974), enlisting the in-demand arrangement talents of Azymuth’s original keyboard maestro Jose Roberto Bertrami who co-wrote several of the tracks and plays organ, piano and synthesizers on the album. It also features Azymuth’s bassist Alex Malheiros and percussionist Ariovaldo Contestini, with Romildo Santos who produced the album on drums. Recorded in Estudio Haway around the same time Azymuth recorded their debut album there, it’s no wonder the samba jazz-funk pioneer’s distinctive aesthetic is present throughout, and Mazzotti’s sensational compositions are made even more beautiful for it.

An artist as imaginative and unique as Ana Mazzotti doesn’t come around often. Dubbed a “super-musician” by fellow Brazilian virtuoso Hermeto Pascoal, Mazzotti’s short but rich musical career culminated in just two studio albums: Ninguem Vai Me Segurar (1974), and Ana Mazzotti (1977). Outside circles of Brazilian funk aficionados, these two gems of spellbinding samba-jazz, lysergic funk and trippy bossa have remained relatively obscure. This was partly as a result of Mazzotti’s premature death (she lost her battle with cancer in her mid-thirties), but also due to financial restraints and the prejudice she faced as a female songwriter in a fundamentally sexist society.

Born in Caixas, in Brazil’s Rio Grande do Sul municipality, Mazzotti began to play the accordion aged five, before moving with prodigious ease onto the piano. By the age of twelve she was already conducting her convent school’s choir, and at twenty-one she led her city’s premier chorus, the Coral Bento Goncalves. When rock and roll hit South America in the sixties, a young Mazzotti was one of the early adopters, fronting various guitar groups including an all-female Beatles cover band, and an eclectic, eight-piece psychedelic group Desenvolvemento. Before moving to Sao Paulo to start her career proper, Mazzotti met drummer, producer and fellow music educator Romido Santos, who she would later marry. Romildo introduced Mazzotti to jazz, and music by the likes of Chick Corea and Hermeto Pascoal who she would later befriend and perform with.

In 1977, Mazzotti took her debut album back to the studio, releasing the album with a new running order and new ethereal cover art, ostensibly another crack at commercial success following the small scale of the independently funded first release. With intimately re-recorded vocals, and the bonus of gorgeous horn arrangements and a new track: the carnivalesque ‘Eta, Samba Bom’, replacing Roberta Flack’s hit ‘Feel Like Making Love’, Ana Mazzotti (1977) delivers Mazzotti’s refreshingly cool musical style even more effortlessly, while retaining the all magical energy of her debut.

Far Out Recordings is proud to present the official reissue of this cult favourite Brazilian treasure. Remastered and pressed to 180g vinyl Ana Mazzotti (1977) will be available on vinyl LP, CD and digitally from 13th September.

Delroy Wilson was one of Jamaica's most soulful vocalists, and over a 40-year career the singer unleashed a flood of hits and a multitude of masterpieces. Born on October 5, 1948, in the Kingston neighborhood of Trenchtown, Wilson's phenomenal talent would be his ticket out of the ghetto, and his discovery by producer Coxsone Dodd in 1962 would change the path of Jamaican music. Released on Big Shot in 1973 and produced by Bunny Lee, 'Captivity' is one of the true classics from Delroy's discography, back on vinyl for the first time since its original release.

Finnish Death Doom spearhead Kuolemanlaakso, starring vocalist Mikko Kotamäki, are about to release their first album in eight years. The new album Kuusumu was produced by V. Santura, who also took responsibility for producing the band’s previous records. In addition to his studio works, Santura is known as the guitarist of Triptykon and Dark Fortress. Kuusumu is the band’s fourth full-length album, and it will be out in 2022 via Svart Records. “The recording pause got unnecessarily long, but there’s no rush in doom. It was great to get back to work with the folks and catch up with some good friends as well. Kuusumu’s keyboards were played by Aleksi Munter (Swallow the Sun, Insomnium, Ghost Brigade) and Lotta Ruutiainen (Luna Kills) performed female vocals on the album. In my opinion we took many steps forward on Kuusumu”, guitarist-songwriter Laakso says. Kuusumu's texts are loosely based on the sudden global cooling that began in 535, leading to a 10-year winter, loss of crops, mass deaths of cattle and other animals, and famine. Climate change was most likely caused by massive volcanic eruptions, the fog of which darkened the sun for one and a half years, causing intolerable cold. Moreover, the plague pandemic that began in the Byzantine Empire in 541 swept across Europe, killing tens of millions of people during the climate crisis. “Our previous releases are autumn albums, so this time we decided to make a winter album. I came across the literature about those catastrophic events by chance, and got thoroughly inspired - especially by contemporary stories. It wasn’t long until the album material was there already. It’s spine-chilling to think that deadly climate change and a pandemic also raged 1,500 years ago when medicine, information flow and living conditions were in their infancy. There was no knowledge about electricity, for example. People imagined that the gods are angry and the darkness is eternal. One way or another, the power of nature should still not be underestimated,” says the band's artistic director Laakso. On Kuusumu, Kuolemanlaakso stretch their artistic boundaries even further. The album contains the familiar slow heaviness, but also more epic, faster and more polished material. The first single Katkeruuden malja, featuring Lotta Ruutiainen, represents the catchier and lighter side of the album. “Katkeruuden malja draws its inspiration from grief and misery. Musically it trips almost in the landscapes of Tribulation, but with longing, Kalevala-infused and, in my opinion, very Finnish melodies. Regarding singing, Kotamäki introduces new winds, and Lotta's parts really top it all off. The music video is like a visual extension of the cover art and the album’s lyrical themes, ” Laakso comments. The previous Kuolemanlaakso record Tulijoutsen (2014), reached the 10th place on Finland's official album list and was selected as one of the best records of the year on Soundi, Rumba, Kaaoszine and Imperiumi, among others.

In association with DJ Amir’s 180 Proof Records, BBE Music continues its exploration of rare gems from the Strata Records catalogue, with previously unreleased Sam Sanders album ‘Mirror Mirror’. A collector’s dream come true, this is musical treasure is so rare that the recordings on this album have never before seen a proper release and even the cover art had to be created from scratch. An almost unbelievable fact, given that it ranks as one of the strongest releases in the already air-tight era of Strata’s Detroit. Although he’s been compared to John Coltrane, Ornette Coleman and Joe Henderson, saxophonist Sam Sanders stands out as one of the most unique phenomena to come from the Motor City. Sanders’ approach to life was so 'out there' that one might say his relative obscurity was a personal choice. Sanders caught glimpses of fame early on performing with several internationally known acts and subsequently, he also learned a bit about what the Record Industry’s primary goals were. Realizing that he did not share them, Sanders chose instead to walk his own path. This drive for artistic freedom turned out to be a double-edged sword: while it allowed Sanders to produce some of the most electric jazz, funk, and soul to come from Detroit, it also meant that most of his recordings were never widely released, if they were released at all. Drawing on his experience with Motown acts like Stevie Wonder and Smokey Robinson, Sanders incorporated a fresh soul sound into recordings that would have otherwise been categorised as jazz. As such, 'Mirror Mirror' moves seamlessly between spirit and style: The album starts on the street with “Inner City Player,” a superfly breakdown of a Detroit hustler’s life, before moving into distinctly abstract territory with the melancholy “Face At My Window.” The experience is held together by a no-nonsense rhythm section featuring the aggressive drumming of Jimmy Allen and the intensely focused bass playing of Ed Pickens. Perhaps the most straightforward jazz song on the album, “Lover’s Gain” showcases Sanders at his freewheelin’ best. And if there was to be any doubt that 'Mirror Mirror' can get funky as hell, look no further than the wah-wah guitar and early synth sounds of “Funk’ed Up,” easily the greasiest cut on the album. 'Mirror Mirror' is remastered from the original reel to reel master tapes.

Paganizer are one of the most active and present
bands of shredmaster Rogga Johansson. This
Swedish metal guitar hero is part of many projects,
such as Massacre, Stygian Dark, Heir Corpse
One, Warmagic, Revolting, Megascavenger,
Ribspreader, Putrevore, Blood Gut, Dead Sun,
Graveyard After Graveyard, Necrogod and most
recently To The Gallows.
 This compilation album isn’t a sum up of songs
from other albums. Rogga did some work on old
songs and recorded them again with a little twist,
especially for Doc Records. He also dug into his
vault to find some never-released songs, so it’s
much more than just a compilation.
 For fans of Dismember, (old) Entombed, Grave,
Necrophobic, Unleashed, Bloodbath.

Deluxe reissue of their 1989 sophomore album pressed on pale blue colour vinyl.
Presented in a gloss laminated gatefold sleeve, which features the original LP plus a bonus disc with all the A and B sides, some compilation tracks and an outtake, plus a 12-page booklet containing previously unpublished lyrics and tons of contemporary reviews and photos.
Completely remastered for your listening pleasure.
In 1989, while the musical world was fêting serial-killer worshipping noise bands, white boys with dreadlocks and the first glimmers of techno, one band – The Wolfhounds – was describing the times and the country exactly as they were. Or at least as they saw it.
Well, not exactly. The privations of finding enough money to live on, a semi-permanent roof over your head and perhaps the hope of real change were all there in the lyrics along with the multitudinous shards of ideas in the music, both raging and reflective – but there was also a sense of magical realism and authentic personal circumstance imbued in it all.
Formed as a frantic noisy fusion of sixties garage and independent post-punk in Romford in 1984, by 1986 it was the band’s misfortunate to be corralled with the jangly and quirky bands of the era-defining C86 tape, given away free with the NME that year. The frustration of being lumped with the lumpen was already spilling over into a heightened creativity that would see the band release three LPs in 18 months, the first and perhaps most fully realised of which was Bright & Guilty.
The band’s sense of melody saw three singles taken off it, and all received plentiful radio play that resulted in enthusiastic audience responses when the band toured with My Bloody Valentine and the House of Love shortly after the LP came out. This renewed attention also saw them being threatened with legal action by the food company satirically targeted by one of the singles – Happy Shopper.
The band’s magpie listening habits also saw the first glimmers of an interest in sampling with the track Cottonmouth, hip hop in the drum rhythms of Invisible People and Son of Nothing, discordant post- hardcore in Non-specific Song and even percussive hints of Tom Waits’ Rain Dogs in Charterhouse.
The album’s lyrical themes have sustained the relevance of these 30-something year-old songs. The dictatorship of the class system over the economy is touched on in Charterhouse, the unfairness of housing policy in Rent Act and Red Tape Red Light, the desperation of not having enough money to even seek employment in Useless Second Cousin. But there is contemplation and mystery, too: Rope Swing’s nostalgia for pre-teen childhood, Invisible People’s detailing of intangible weaknesses.
Of all their peers, The Wolfhounds post-C86 output stands up straight and proud, and you’ll find echoes of their sound in Fontaines DC, Idles and many others – but not performed with the brashness, vigour and uniqueness of the originals.

“Rob wanted the world of The Northman to feel harsh and uncomfortable, and for everything to feel like it was caked in mud and dry blood, so it was crucial for the score to mirror that.” Composers Robin Carolan (Tri-Angle Records) and Sebastian Gainsborough (Vessel) were given a task of epic proportions when director Rob Eggers (The VVitch, The Lighthouse) asked them to create the score for his ambitious and highly anticipated new film The Northman, releasing on April 22nd. They needed to make a score that both honored the immense research that had gone into the authenticity of this Viking era period piece and complimented the cinematic maximalism of the film for a modern audience. The artists stretched themselves to the depths of their creativity and the resulting album is a gorgeous sonic tableaux that places the listener right in the center of the film.

While arranging the score the composers consulted musician and ethnographer Poul Høxbro for inspiration and insight into the history of Viking music. Having backgrounds in left field electronic music, Robin and Sebastian felt liberated by the constraint of using a small selection of musical tools for this piece. “Electronic music has almost limitless potential when it comes to making sounds and that’s obviously an incredible thing, but you can also go down the wormhole and get lost in it sometimes. There’s no risk of that happening when you only have a few primary instruments to draw upon.” Robin remarked.

They utilized traditional instruments such as the tagelharpa, langspil, kravik lyre, and säckpip to build the cinematic world of The Northman but they also took creative freedoms in adding instruments likes drums, which some academics believe wouldn’t have played a big part in Viking musical culture, simply due to the lack of archaeological evidence of actual drums. “One of the pieces we wrote was intended to emulate the sound of a bullroarer; an ancient instrument used in sacred rituals or in battle to intimidate enemies. It makes a really disorienting roaring vibrato sound and low frequencies capable of traveling insane distances.” Robin says when asked about one of the more unique aspects of the score. Everyone involved put so much effort into both their research and their creativity and this richness is evident in every track. The album as a whole is a cinematic masterpiece of sound and ambiance, both gorgeous and disturbing, like the film it so beautifully accompanies.

“Rob wanted the world of The Northman to feel harsh and uncomfortable, and for everything to feel like it was caked in mud and dry blood, so it was crucial for the score to mirror that.” Composers Robin Carolan (Tri-Angle Records) and Sebastian Gainsborough (Vessel) were given a task of epic proportions when director Rob Eggers (The VVitch, The Lighthouse) asked them to create the score for his ambitious and highly anticipated new film The Northman, releasing on April 22nd. They needed to make a score that both honored the immense research that had gone into the authenticity of this Viking era period piece and complimented the cinematic maximalism of the film for a modern audience. The artists stretched themselves to the depths of their creativity and the resulting album is a gorgeous sonic tableaux that places the listener right in the center of the film.

While arranging the score the composers consulted musician and ethnographer Poul Høxbro for inspiration and insight into the history of Viking music. Having backgrounds in left field electronic music, Robin and Sebastian felt liberated by the constraint of using a small selection of musical tools for this piece. “Electronic music has almost limitless potential when it comes to making sounds and that’s obviously an incredible thing, but you can also go down the wormhole and get lost in it sometimes. There’s no risk of that happening when you only have a few primary instruments to draw upon.” Robin remarked.

They utilized traditional instruments such as the tagelharpa, langspil, kravik lyre, and säckpip to build the cinematic world of The Northman but they also took creative freedoms in adding instruments likes drums, which some academics believe wouldn’t have played a big part in Viking musical culture, simply due to the lack of archaeological evidence of actual drums. “One of the pieces we wrote was intended to emulate the sound of a bullroarer; an ancient instrument used in sacred rituals or in battle to intimidate enemies. It makes a really disorienting roaring vibrato sound and low frequencies capable of traveling insane distances.” Robin says when asked about one of the more unique aspects of the score. Everyone involved put so much effort into both their research and their creativity and this richness is evident in every track. The album as a whole is a cinematic masterpiece of sound and ambiance, both gorgeous and disturbing, like the film it so beautifully accompanies.

The LP ‘All Welcome on Planet Ree-Vo’ due for release on 29th July could only really have been made in one city steeped as it is in Bristol’s decades of less conventional hip hop and bass music. Tweaked and fine tuned during the summer of 2020 the record punches with a mix of red eyed paranoia to a playful future funk.
The album was all recorded, produced and mixed by Andy at Christchurch Studios, Bristol (home of Mezzanine era Massive Attack) with all vocals written and performed by T. Relly.
During 2021 the first two singles from the LP were released. The first was the juggernaut that is ‘Groove With It’. T. Relly growling out polemic against the relentless cacophony spun by Andy Spaceland, The brutality of the bass and horns is temporarily smoothed with Relly’s soulful, swaggering placation of ‘Turn your speakers on/ Till ya speakers blown baby/ If you’re feeling strong baby/ We can keep it going baby’.
This was followed in April by the 12” release of Combat featuring a thumping remix by Surgeon (Tresor Records) and an extended electro remix by Ree-Vo themselves.
2022 began with the limited red 7” release of remixes by NØISE and Batbirds with stunning original artwork by Shepard Fairey who came to the project via mutual friend Joe Cassidy (Butterfly Child). The release was announced on OBEY’s website
‘Spacebox’ which will be the last single to be released in time with the album is their hookiest, a party throwing chorus spinning tipsy visitors around the intergalactic control booth of mission control.
“Lift off, blast off, shirt off, dance off! Naked in the dancehall SPACE BOX!” is the beamed mantra, Relly transmitting to all occupants of the galaxy.
“We wanted to make a hedonistic and colourful dancehall track, a bold response to the suppressive circumstances of the last two years”.
About Ree-Vo:
T. Relly​ is pure Bristol hip-hop royalty – known in the community variously for his links to all of the city’s major club nights, his passion and support for the most disadvantaged (through his work with the youth and prison leavers), through to compering stages at St Paul’s Carnival and his seminal 2018 LP with DJ Rogue ‘Let Them Know’. He collaborates with many crews including Innalife and Killer Crab Men.
Andy Spaceland​ (AKA Andy Jenks) got involved in Bristol bass music as soon as he moved to the city with Static Sound System​ and a collaborative 12” with Rudy Tambala (​AR Kane​) as Sugarboat Vs Sufi, before his band ​Alpha​ were signed to ​Massive Attack​’s label Melankolic, whilst he also became one of their tour DJ’s. His CV of collaborations range from ​Smith and Mighty​ to Madonna. He has released music on Dj Die’s label, Gutterfunk as White Bully and he is also currently releasing music with US producer ​Butch Vig​ in the band ​5 Billion in Diamonds​, whilst working on new tracks with ​Mark Stewart (The Pop Group) including remixes by Adrian Sherwood. His signature sound can also be heard on this remix for ​Elizabeth Fraser​ -

The LP ‘All Welcome on Planet Ree-Vo’ due for release on 29th July could only really have been made in one city steeped as it is in Bristol’s decades of less conventional hip hop and bass music. Tweaked and fine tuned during the summer of 2020 the record punches with a mix of red eyed paranoia to a playful future funk.
The album was all recorded, produced and mixed by Andy at Christchurch Studios, Bristol (home of Mezzanine era Massive Attack) with all vocals written and performed by T. Relly.
During 2021 the first two singles from the LP were released. The first was the juggernaut that is ‘Groove With It’. T. Relly growling out polemic against the relentless cacophony spun by Andy Spaceland, The brutality of the bass and horns is temporarily smoothed with Relly’s soulful, swaggering placation of ‘Turn your speakers on/ Till ya speakers blown baby/ If you’re feeling strong baby/ We can keep it going baby’.
This was followed in April by the 12” release of Combat featuring a thumping remix by Surgeon (Tresor Records) and an extended electro remix by Ree-Vo themselves.
2022 began with the limited red 7” release of remixes by NØISE and Batbirds with stunning original artwork by Shepard Fairey who came to the project via mutual friend Joe Cassidy (Butterfly Child). The release was announced on OBEY’s website
‘Spacebox’ which will be the last single to be released in time with the album is their hookiest, a party throwing chorus spinning tipsy visitors around the intergalactic control booth of mission control.
“Lift off, blast off, shirt off, dance off! Naked in the dancehall SPACE BOX!” is the beamed mantra, Relly transmitting to all occupants of the galaxy.
“We wanted to make a hedonistic and colourful dancehall track, a bold response to the suppressive circumstances of the last two years”.
About Ree-Vo:
T. Relly​ is pure Bristol hip-hop royalty – known in the community variously for his links to all of the city’s major club nights, his passion and support for the most disadvantaged (through his work with the youth and prison leavers), through to compering stages at St Paul’s Carnival and his seminal 2018 LP with DJ Rogue ‘Let Them Know’. He collaborates with many crews including Innalife and Killer Crab Men.
Andy Spaceland​ (AKA Andy Jenks) got involved in Bristol bass music as soon as he moved to the city with Static Sound System​ and a collaborative 12” with Rudy Tambala (​AR Kane​) as Sugarboat Vs Sufi, before his band ​Alpha​ were signed to ​Massive Attack​’s label Melankolic, whilst he also became one of their tour DJ’s. His CV of collaborations range from ​Smith and Mighty​ to Madonna. He has released music on Dj Die’s label, Gutterfunk as White Bully and he is also currently releasing music with US producer ​Butch Vig​ in the band ​5 Billion in Diamonds​, whilst working on new tracks with ​Mark Stewart (The Pop Group) including remixes by Adrian Sherwood. His signature sound can also be heard on this remix for ​Elizabeth Fraser​ -

Living In Clip (25th Anniversary Edition) Newly remastered for vinyl + cd in deluxe packaging. This landmark double album by Ani DiFranco, features her trio from 1995-1996 with Andy Stochansky (drums) and Sara Lee (bass). Twenty-five years later the album is recognized as a point of entry that radically expanded DiFranco’s audience, and a historically important testament to the relationship between Ani as a live performer and the devoted community she created with her fans. If there was ever a record to help you pull through until the next time the Folksinger makes her way to your town, Living In Clip is the one. Affectionately named after the state of stage amps about to blow out, the record is constructed like a show complete with the onstage humor and antics we love. The culmination of years of studio work and constant touring, Living In Clip is a tour in itself: nearly two-dozen venues provide the atmosphere for over two hours of music complete with intermission and encore. Recorded straight from the soundboard on an 8 track ADAT, digital videotape and mixed by Ani and Andrew Gilchrist – Living In Clip is conceptually designed to preserve the authenticity and pulse of a live show. There are jazzy folkalicious renditions of "Letter to A John," "Fire Door," "Diner" and "Anticipate." Amusing and sweet snippets are interwoven throughout the songs and sometimes during them - "Out of Habit" harbors a little cinematic glimpse into Ani's first days in New York City. This dynamic collection also offers The Buffalo Philharmonic Orchestra playing on "Both Hands" and "Amazing Grace" at a hockey arena as well as a phenomenal version of "Shy," that was nominated for a Grammy for Best Rock Vocal Performance – Female (or whatever). Living In Clip is also considered one of Rolling Stone Magazine's essential albums of the 90's. Living In Clip includes a beautiful photo gallery that contains pictures of the sparkling faces, questionable attire and unique persons behind the road show.

The Institute is happy to present a newcomer in its ranks: Lasha Chkhaidze, one of the 13 members of collective "If Strangers." Georgia is home to melancholia and many exciting musicians, something we have shown in many of our previous releases. Lasha’s first album is part of this theme.

These six tracks gently pull you into a subtle and immersive journey. Listen and soon you find yourself pulled into the beauty of sadness - surrounded by these carefully crafted soundscapes which offer a perfect opportunity for a moment of introspection. The young Georgian delivers ambient and piano at its finest on this first LP.

As the legend says, Agartha is a lost kingdom, located in the earth’s core.
Only the bravest found courage to go to the journey to find it.
As you go deeper, the road gets darker, scarier… The journey to Agartha symbolizes the journey to the untraveled parts of human consciousness, which often frightens us, but as we observe and heal our dark parts we no longer need to compress and hide them. Facing our main fears will make our road mor adventurous, and one day the whole journey will become a tale. Tale of a man who found the lost kingdom of Agartha.

With their 1978 double concert album Waiting for Columbus, Little Feat staked their claim as one of the premier live bands of the 1970s. Recorded over a series of dates in London and Washington, D.C. over the summer of 1977, Waiting for Columbus vividly captures the L.A. sextet at a crossroads between its swampy mid-'70s fusion of blues, country, jazz and New Orleans R&B.

Little Feat originally released Waiting For Columbus LP on February 10, 1978. The platinum-certified double album cemented the band’s reputation as one of the premier live bands of the 1970s. When it was recorded, the group included: Lowell George (vocals, guitar), Paul Barrere (guitar, vocals), Bill Payne (keyboard, vocals), Richie Hayward (drums, vocals), Sam Clayton (percussion, vocals), and Kenny Gradney (bass).

Waiting For Columbus touches on songs from all six of the studio albums Little Feat released between 1971 and 1977. The dynamic performances showcase the sextet’s inimitable fusion of blues, country, jazz, and New Orleans R&B on signature tracks like “Fat Man In The Bathtub,” “Oh Atlanta,” and “Sailin’ Shoes.”

WAITING FOR COLUMBUS: SUPER DELUXE EDITION is the definitive edition of this classic. It includes unreleased live versions of songs that appeared on the original (“Rocket In My Pocket” and “Spanish Moon”), along with several that didn’t, like “Cold, Cold, Cold,” “Rock And Roll Doctor,” “Skin It Back” and a cover of Allen Toussaint’s “On Your Way Down.”

21st Century pop is curiously irrelevant: autotune, twelve 'writers' on a single song, sensationalist yet skin-deep social commentary . . . with none of the joy, excitement and surprises of pop's lengthy heyday, from the Brill Building through the New Wave era. Where did it go? That would be an apt introduction to an album of calculated throwbacks to a three-minute pop ideal . . . but No Place Like Home isn't that record. We doubt even Gemma could tell you where this collection of beguiling jewels came from exactly, each fully-formed, complete and satisfying, no two quite alike, and each devoid of Wet Leg or Dry Cleaning's crafty calculation, but with every bit of those acts' charm. The first single, Stop, is based on an idea so simple that it's nearly unfathomable why no one had come conjured it earlier. Like toilet paper or a pair of scissors, the song feels entirely obvious until one ponders its late arrival. Stop's motorik beat propels verses to a chorus of pure delight, bested by a bridge occurring so late in the tune that it comes across like a surprise second dessert. My Idea Of Fun, a tale of frequent drunken regret, comes with a video of minimalist humour and visual brilliance. On other songs, Gemma channels acts Delta 5, Au Pairs and The Raincoats, along with the humour of Ian Dury and a similar verité of London life found in the best of Madness. The more serious fare is equally compelling. Rabbit Hole projects a daring newness of young freedom, Dance Of A Thousand Faces veers into Sprechstimme and expands into a swooping chorus, the feel of which subtly conveys present-day tensions reminiscent of the Weimar era. Tailspin captures the dark feeling which comes burdened with real-time consciousness of a loss of control, while the album closer, Frida, a tale of the loss of a dear friend manages to end in a guardedly upbeat tone. Gemma's debut album is sure to stir up deep interest and will be supported by a number of videos and live performances, plus free digital singles featuring otherwise unavailable non- album tracks.

Lasse Marhaug is one of those characters that operates at the nexus of so much stuff that’s important to us here - working as a producer (over the last couple of years alone he’s helped shape albums by Jenny Hval, Kelly Lee Owens, Okkyung Lee, Hillary Woods etc etc), a mastering engineer (far too many releases to mention), a prolific sleeve designer (likewise), publisher (his occasional Personal Best magazine is still going strong) and, perhaps most importantly - a recording artist in his own right. ‘Context’ is his most substantial release in years - a crushing assembly of bone-dry/darkside drone/machine malfunctions that’s bursting with a visceral, throbbing, mass of feeling. If yr into anything on the spectrum from Mika Vainio to Grouper to Kevin Drumm or Deathprod - this one’s as good as it gets

Over almost three decades of activity, Marhaug has carved out notoriety as a solo performer, a prolific collaborator (working with everyone from Sunn O))) to Jim O'Rourke) and as a busy producer, who's notched up credits on some of the most striking-sounding albums of the last few years. This new album was created as a swan song for the infamous Oslo studio that he's inhabited for 17 years, prior to his move back to the Arctic Circle where he originally came from. Recorded over a 14-month period and painstakingly edited from hours upon hours of material, it might just be the most impressive, moving record we’ve heard from him so far.

The interplay between piercing softness and deafening noise is the key to "Context", displaying a philosophy Marhaug has been exploring for years. Few other artists are able to balance chaos and harmony with such ease; Marhaug does it without grandstanding, it's music that sounds as simultaneously beautiful and as daunting as the Arctic landscape he's returning to. At any moment a sound can be alluring or treacherous, like the frozen sun reflecting on a snowy mountaintop. Marhaug's deftness with rhythm and bass emerges on 'Context 3', as he pairs Vainio-esque low-end pulses with crumpled noise and widescreen tones; as disquieting music-box chimes absorbed into the blasted soundscape on 'Context 5', while we're thrust into the freezing cold on 'Context 6', subjected to punctuating gusts of white noise and trapped string loops.

Trust it’s a rare and near-mythical beast, conjuring vast, treacherous soundscapes illuminated with pangs of sentiment that naturally weave strands of his non-musical practice in their psychosensual lustre and gritty attrition. As he steps into a new phase of his career, we're left with a concluding chapter that stands as a summation and open-ended post-credits reveal.

Silver Vinyl
2 x 12" Vinyl Album + 2 x CD album

Originally released on Dream Theater’s YtseJam Records in 2005, this one-of-a-kind performance sees Dream Theater again paying tribute to some of their historic musical icons. “The Number of the Beast” is Dream Theater’s rendition of the classic album from legendary British heavy metallers, Iron Maiden. This unique 2002 performance in front of a French audience at La Mutualite in Paris, France is the only available recording of this one-off historic event, forever preserved in the YtseJam collection and now available for the first time ever on vinyl and streaming services. A much-revered performance from Dream Theater’s catalog, “The Number of the Beast”, performed in its entirety, is a can’t-miss live release in the growing Lost Not Forgotten Archives series.

Black Vinyl 2 x 12" Vinyl Album + 2 x CD album

Originally released on Dream Theater’s YtseJam Records in 2005, this one-of-a-kind performance sees Dream Theater again paying tribute to some of their historic musical icons. “The Number of the Beast” is Dream Theater’s rendition of the classic album from legendary British heavy metallers, Iron Maiden. This unique 2002 performance in front of a French audience at La Mutualite in Paris, France is the only available recording of this one-off historic event, forever preserved in the YtseJam collection and now available for the first time ever on vinyl and streaming services. A much-revered performance from Dream Theater’s catalog, “The Number of the Beast”, performed in its entirety, is a can’t-miss live release in the growing Lost Not Forgotten Archives series.

• Leon Thomas’ debut as a leader was this classic of spiritual jazz recorded for Bob Thiel’s Flying Dutchman label. Originally pressed in 1969, it features an all-star band including Pharoah Sanders (under the name Little Rock), Lonnie Liston Smith (piano), James Spaulding (alto sax), Cecil McBee (bass), Roy Haynes (drums) and Richard Landrum (bongos).

• “Spirits Known And Unknown” features versions of ‘The Creator Has A Master Plan (Peace)’, the classic ‘Song For My Father’, ‘One’, ‘Echoes’ and the topical ‘Damn Nam (Ain’t Goin’ To Vietnam)’. Subtitled New Vocal Frontiers upon release, the rear sleeve noted that “Thomas is searching as far into himself as he can go for spirits known and unknown and is creating new dimensions of vocal expressiveness to bring these spirits – these feelings – into the experience of others.” The fact that this album is hailed as a classic shows that he succeeded.

• Pressed on 180gm vinyl we have remained faithful to the original pressing replicating the Flying Dutchman label style and gatefold-sleeve.

• Esther Marrow began singing professionally in the early 60s. Her big break came in 1965 when she was asked by Duke Ellington to take part in his ground-breaking Concert of Sacred Music at the Grace Cathedral in San Francisco. Marrow toured with the Duke Ellington Band as well as Harry Belafonte and came to the attention of Bob Thiele who recorded and released this debut album on his Flying Dutchman label in 1969.

• Musically, it’s a compelling mix of funk and soul, occupying similar terrain to Alice Clark’s great album that was released on Mainstream in 1972. For example, Jesse Stone’s ‘Money Honey’ is given a crunching funk arrangement and is one of three tracks that tempt collectors to pay big money for an original copy; ‘Walk Tall’ and ‘Chains Of Love’ are the other two. ‘Chains Of Love’ was originally recorded in Detroit by J.J. Barnes and became a Northern Soul classic. ‘Walk Tall’ is one of the album’s highlights and features music originally written by pianist Joe Zawinul and performed by Cannonball Adderley, with lyrics by James Rein and Morrow. It has become something of a jazz standard, but no version ever bettered this original track.

• Add to the mix the lush string driven power of ‘Peaceful Man’, ‘Mama’ and a tilt at the classic ‘What A Wonderful World’ and you have a truly wonderful album.

• Pressed on 180gm vinyl, we have remained faithful to the original pressing replicating the Flying Dutchman label style and gatefold sleeve.

An unapologetic ode to the audacity and playful cynicism of growing up, After The Head Rush emerges like the shadow of a sundial cast between two time zones - one in the past, and one in the present. Infused with belated coming-of-age wisdom it sparks the dawn of a new era - inspired by a move to his hometown and the thrill of rediscovering the music of his youth.

A Colourful Storm presents Enteha, the latest piece by Elodie, the duo of Andrew Chalk and Timo van Luijk.

Chalk and van Luijk embody a free-spirited approach to music making whose improvisational process can be traced to a distinct period of Europe's post-industrial landscape. More than two decades of ambitious solo and collaborative work would solidify both Chalk and van Luijk as masterful craftsmen exploring the tension between composition and free improvisation: their individual lists of collaborators boasts Christoph Heemann, Giancarlo Toniutti, David Jackman and Colin Potter, to name but a few.

A figment of two imaginations, Elodie appeared in 2011 almost fully formed with each record patiently revealing glimpses into a world concerned with time dilation, the phantasmagoric and spirits of the everyday. Enteha is one of the duo's more melancholic pieces and can be seen as a human response to seasonal transition. It's one of their uniquely longform explorations of mood and atmosphere as an air of romance drifts deftly into mystery and despair. The delicate hues of autumnal haze. The deceptive optimism of morning light. A work of supremely understated beauty that will appeal to anyone who finds solace in Harmonia, Gas, Joanna

Repressed , please note price increase! Would Like To Pose A Question is one of the first previously-unreleased funk and soul albums issued by Now-Again, and it still sounds amazing today. Well, it would have to: it's the brainchild of bandleader/drummer/singer/songwriter Lester Abrams (the L.A. in L.A. Carnival). Abrams helped create hit singles like "Minute by Minute" and “What A Fool Believes” for the Doobie Brothers and played with artists such as B.B. King, Stevie Wonder, Peabo Bryson, Manfred Mann, Quincy Jones and many more. Before all that - in early 70s while still in Omaha - he brought a multi-racial band into the Pacific Avenue studio to cut an album's worth of material. Only one single - "Color" b/w "Blink Man" - was ever issued, and this album sat on master tapes in Abrams' closet. That is until Now-Again’s Eothen Alapatt intervened in the early 2000s and Would You Like To Pose A Question was at last given a proper full length release.

'My Echo, My Shadow, My Covers and Me' is a fiercely collaborative and celebratory project. An eclectic collection of masterfully crafted and carefully curated covers, each track features at least one acclaimed musical artist. It includes epic re-imaginings of classics such as 'Wind Of Change' by Scorpions, 'Take A Chance On Me' by Abba and 'Beds Are Burning' by Midnight Oil. It features collaborations with artists like Portugal the Man, Brandon Boyd of Incubus, Jewel, Beck, Taylor Hanson and more. It will be available on one-of-a kind recycled coloured vinyl, mystery coloured cassette and CD.

Turn up the volume and look how time bends before your eyes because that is what Robyn Schulkowsky and Andi and Hannes Teichmann do with their music. They bend time.
They make a ring out of it or some sort of ellipse, and then they pull it straight again, they transform it into a rope, and then, of course, they balance on it, forwards, backwards, half speed,
double speed, 33 rounds per minute, or was it 45? Just try both.

World percussion meets Techno and Berlin club culture, one might be tempted to say. One would be wrong to do so. This is not just crossover, this is just not an "encounter" between different generations, different experiences, different cultures, traditions and attitudes and form asossations of expressions, or, to put it in a more simple way, an "encounter" between drums and gongs and bells and stones and on the other side hardware-electronic and sequencing, delay and reverb. This is far more complex.No need to put a label on it.
by Roland Schimmelpfennig / excerpt

We all make mistakes. We all have regrets. We all look back on the loves and losses life brings and lament on how things might have been different. In these deeply personal moments of reflection our emotions can run wild as we contemplate our choices and come to terms with what’s next. Hindsight is a powerful and complex thing, and a phenomenon whose intricacies are explored in captivating fashion on The Greatest Mistake Of My Life, the second album from Cardiff’s Holding Absence.

Building on the excellent foundations laid down by the band’s eponymous debut record, released in 2019, and following standalone singles ‘Gravity’ and ‘Birdcage’, the four-piece have returned with a group of songs that, in the view of vocalist Lucas Woodland, are the truest representation of Holding Absence to date.

Inspired by a song of the same name that was recorded in the 1930s by actor and singer Dame Gracie Fields, The Greatest Mistake Of My Life is rooted in a time long before Holding Absence even existed. Lucas’ great uncle covered the song during the 1950s – something the frontman repeats on this album – and after finding this out from his grandmother, the singer decided the poignancy of its words were worthy of titling Holding Absence’s next record.

Holding Absence – the band completed by bassist James Joseph and drummer Ashley Green – carry the The Greatest Mistake Of My Life’s contemplative and thoughtful spirit throughout their second album. Whereas their debut was a concept record about the subject of love, The Greatest Mistake Of My Life’s inspirations are more complex, as Holding Absence stare down love in the face of death, all the while musing on the vast array of emotions we as humans experience throughout our lives.

Lead single ‘Beyond Belief’ is a soaring epic about the risk of loving someone forever, when their definition of ‘Forever’ might be different to yours, and a song that, Lucas says, argues how “love is something worth taking a risk on.” Holding Absence’s unique approach to romance is also present on atmospheric tracks like ‘Curse Me With Your Kiss’ and ‘Afterlife’, but for every display of affection, The Greatest Mistake Of My Life counters with despondency. ‘Die Alone (In Your Lover’s Arms)’ tells of the loneliness two people feel within a relationship long-turned sour, while ‘In Circles’ speaks to the monotony of everyday life and the crushing of dreams.

The Greatest Mistake Of My Life soundtracks the journey of our lives via all of its despair, elation, joy and pain, but never once tells the listener how they should be feeling.


Shedding their skins and emerging into a bright new phase for their band, with The Greatest Mistake Of My Life, Holding Absence are embracing change whilst holding onto the things that make them special. Aesthetic, for instance, remains important to Lucas and his bandmates, but as seen in the video for ‘Beyond Belief’, no longer do they exist in a world of purely black and white colour. Ushering in a colourful new era for Holding Absence, Lucas speaks of a desire “to bring warmth to people’s lives.”

Armed with a stellar new album and an unflinching belief in their craft, this new incarnation of Holding Absence promises to excite and impress like never before. An enthralling collection of songs and stories that tell of love, life, death and everything in between, The Greatest Mistake Of My Life is a thrilling record, and one its creators were born to make.

As Holding Absence have proved, the greatest mistakes can sometimes open the door to even greater triumphs.

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ (more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a homemade mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke. It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long-playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds, mixed by King Tubby and Mr Prince Phillip Smart and another set of scorcher Bunny Lee rhythms.

For genre-bending band Whiskey Myers, 2019’s self-titled and self-produced album offered a watershed moment. With Rolling Stone raving that the “irresistible” album was “the record the band was poised to make” while declaring them “the new torch bearers for Southern music” in a story titled “How Whiskey Myers Won Over Mick Jagger and Made the Album of Their Career;” Billboard and No Depression naming the album to best-of-the-year lists; 41,000 first week album sales; and the project debuting atop both the Country and Americana album charts (as well as at No. 2 on the Rock charts, behind only a re-release of The Beatles’ Abbey Road), the band celebrated mainstream success a decade in the making. Now, after spending 21 days isolated at the 2,300-acre Sonic Ranch studio deep in the heart of their native Texas, just miles from the U.S./Mexico border, the Gold-certified renegades have doubled down on what they do best: sharing honest truths with no-holds-barred instrumentation, letting the self-produced music speak for itself. Yet with Tornillo, named for the border town that is home to the pecan orchard-filled recording complex and set for release on July 29 via their own Wiggy Thump Records with distribution by Thirty Tigers, the six-piece band has taken their solid decade-plus foundation and pushed themself to further explore new sonic landscapes. “It’s going to have a little bit different sound,” lead singer Cody Cannon shared recently with Outsider. “It’s still Whiskey Myers at its core, but it’s kind of fresh… We did a lot of bass and horns on this one, which is something we’ve always wanted to do. Just being fans of all that old music and Motown stuff, and a lot of the stuff coming out of Muscle Shoals, old rock and roll. “We’re going to bend genre even more, I think, with this new record,” he continued. “It’s all over the place. But that’s fun, right? I hate the whole ‘Put it in a box. You gotta be this.’ … That’s not art to me. I love the idea of just doing, really, whatever you feel. It comes out a certain way because that’s just how it comes out. Whiskey Myers never really tried to be a certain way. It’s just how we are. So I think that’s really the whole thing about music, or the beauty about music; it’s just that freedom to create.” Tornillo as a whole does exactly that, drawing as much inspiration from Nirvana as from Waylon Jennings – even adding the legendary McCrary Sisters’ gospel influence to the project on background vocals. With Cannon leading the way on songwriting, the album also features writes from lead guitarist John Jeffers and fellow bandmembers Jamey Gleaves and Tony Kent, as well as rising singer/songwriter Aaron Raitiere (Anderson East, Oak Ridge Boys, A Star is Born).

Needle Mythology reissue a special expanded album edition of Finn, the album released by New Zealand’s most celebrated musical siblings Tim and Neil Finn to acclaim both from critics and long-time fans who had followed the pair’s work since their time in together in Split Enz. This is the first time Finn has received a vinyl release. Released in close collaboration with Tim and Neil, the newly-expanded Finn comes with an entire album The Finn Demos, which gathers together ten songs from 1989’s legendary Murchison St sessions, remastered by Miles Showell at Abbey Road Studios. Convening at Neil’s new Melbourne apartment with a view to making an album together, Tim and Neil embarked on an intensely productive period, writing several songs that would briefly result in Tim joining Crowded House for the resulting Woodface album. Assisted by the late Paul Hester on drums, the demos capture a host of songs that would go on to be played in arenas around the world in their newborn state: ‘It’s Only Natural’, ‘Catherine Wheels’, ‘Weather With You’, featuring a whole extra verse and the previously unreleased ‘Four Stepping in 3/4 Time’. For this release, long-time fan and collaborator on Neil’s 7 Worlds Collide project, Ed O’Brien (Radiohead) contributed liner notes, hymning the album’s “heavy” beauty and its “elemental energy.” Featuring brand new artwork designed by Needle Mythology’s James Gosling, the expanded Finn features newly-unearthed images of Tim and Neil taken by Darryl Ward during the sessions for the album. For this release, Tim and Neil have also shared the “listening notes” submitted by the brothers’ parents – something they would do for every song their sons wrote. For Finn, Tim and Neil enlisted the services of Tchad Blake, whose “feel”-based approach brought out the best in the brothers, who played every instrument on the record. Writing about the record for Mojo at the time, David Hepworth characterised Finn as a “warm and loose record” that hardcore fans would undoubtedly “adore”. Originally released on Parlophone Records, Finn spawned an unlikely top 30 hit, the mesmerising semi-improvised psych-rock fan favourite ‘Suffer Never’. The expanded double album edition of Finn has been cut at Abbey Road by Miles Showell and pressed on 180g vinyl at The Vinyl Factory.

In 1972, Jethro Tull released the instant classic, Thick As A Brick. 50 years on and the album is still revered as one of rock’s and progressive rock’s most definitive and pioneering albums. To celebrate the 50th anniversary, Thick As A Brick has been reproduced in its original format, the legendary 12-page newspaper. The vinyl is a half-speed master of Steven Wilson’s 2012 remix.

Thick As A Brick came about following the release of Jethro Tull’s immensely successful previous album “Aqualung”. Upon its release, Aqualung was regarded a concept album in the music press, and in response the band set about to respond to the rock critics with the ultimate concept album, culminating in Thick As A Brick.

Unlike any other records on the market, the album is set inside a broadsheet newspaper, “The St. Cleve Chronicle & Linwell Advertiser”. The newspaper includes many news articles packed full of continuing jokes, a crossword, connect-the-dots and much more. It was originally written by Ian Anderson, Jeffrey Hammond and John Evan, with the newspaper taking longer to put together compared to the music. As reported in the paper, the lyrics were credited at the time to the fictitious child character, Gerald Bostock, whose parents supposedly lied about his age. Amongst the many articles is a frank review of the album itself. Thick As A Brick was the first album to feature drummer Barrie Barlow, who featured alongside Ian Anderson, Martin Barre, John Evan and Jeffrey Hammond.

A must for any record collection, the album is a half-speed master of Steven Wilson’s 2012 remix, providing the ultimate audio experience of the progressive rock classic.

Debut release from David J (Bauhaus, Love And Rockets), Victor DeLorenzo (Violent Femmes) and multi-instrumentalist Darwin Meiners Recorded worldwide during the pandemic Available January 21, 2022 on CD and Digital with LP coming later in 2022 Iconic and foundational bands in the history of alternative music certainly include Bauhaus, Love And Rockets, and Violent Femmes. San Francisco born artist Darwin Meiners was a fan of all three. A chance meeting 13 years ago with David J (Bauhaus, Love & Rockets) grew into a friendship, and Darwin not only became a bandmate, but David J’s manager. After reaching out to Victor DeLorenzo through e-mail, Darwin met the Violent Femmes drummer after the Femmes’ Coachella set in 2013. Soon after the three collaborated on Darwin’s 2014 release Souvenir. As the pandemic took hold, Darwin was looking for a new project to occupy the lock-down time and approached Victor, who was keen to proceed and suggested that David join as well. The musical trust established between these three was immediate and Night Crickets were born. Within weeks a global process was initiated between them, the recordings eventually forming the album, A Free Society. To say this is something of a dream come true for music fans would be entirely accurate. (The band’s name came from one of many Zoom meetings between the three members. After addressing various pressing musical issues the conversation rambled somewhat and turned to the subject of David Lynch, with David J telling an anecdote which was told to him by Lynch’s sound designer, John Neff. Lynch had asked Neff to obtain a field recording of crickets chirping at night for inclusion in Mulholland Drive. When Neff played him the tape, the director immediately recognized the sound that the insects make when it is light which is apparently a little different to their nocturnal chirp. “No! No! No! These are day crickets, John! I want my night crickets!” Victor, Darwin, and David then shared a look of mutual realization and instantly agreed that the project now had a name!) In Night Crickets’ own words: Night Crickets, a long distance groove affair conducted during the drawn out days of lockdown and beyond.

It’s been an exhilarating 40-year ride for Voivod, the Jonquière, Quebec quartet that has, over the years, defied the odds, faced tragedy head on and also seen the band rise above many of the contemporaries to a point where the band’s intricate progressively fuelled heavy metal sound also brings with it honours and awards. The 2018 Voivod album, ‘The Wake’, won the band a Juno Award for Heavy Metal Album of The Year, while the previous year Away had picked up the Visionary Award at that year’s Progressive Music Awards in London.

The music contained in this set proves that Voivod were very much pioneers of the sound, as their own music became more refined and experimental. You can hear the development of the band’s sound over the three albums contained here (Rrröööaarrr, Killing Technology & Dimension Hatröss). In the five year span from 1984’s ‘War And Pain’ debut to 1989’s ‘Nothingface’, Voivod forged a defiant progressive metal sound that they would expand upon with later albums and ensure that they are one of the most exhilarating metal bands in existence today. ‘Forgotten In Space’ is a deluxe celebration of Voivod’s, Noise Records discography and is the definitive collection of their recorded work plus rare and previously unreleased material.



Includes :

- Includes following 5 Albums:

Rrrröööaaarrr
Killing Technology
Dimension Hatröss
Dimension Hatröss – The Demos
No Speed Limit Weekend ‘86

- Chaosmongers - DVD (Containing a mini documentary plus a previously unseen concert from 1987 and an audio recording of the legendary WWIII show from 1985.)

- 12” x 12”, 40 page book of photography, and brand new interviews with founding member Michel ‘Away’ Langevin. Contains a vast array of previously unseen photos from the era.

- ‘Körgull’ f¬igurine USB drive containing MP3

Who are the spirit fakers? What do they want? These are just two of the many questions posed by The Difference Machine on their 3rd full length album, 'Unmasking the Spirit Fakers'.

Loosely based on an essay by the master magician himself, Harry Houdini, 'Unmasking the Spirit Fakers' finds the Atlanta-based psychedelic hip hop outfit examining the motives and practices of those who attempt to provide cure-alls and treatments for spiritual ills. Are they gurus or snake oil salesmen? Though abstract in their approach, The Difference Machine attempts to pin down these answers for the listener via a vast backdrop rich with dense lyricism and mind-bending production. Songs like 'Repeater' and 'Flat Circles' place them in the role of shaman whereas songs like 'Car Key' and 'It Ain't' venture to ask if they themselves are the spirit fakers in question.

Regardless of what role the ensemble assumes, the album was crafted with the human psyche in mind. Poignant guest appearances from hip hop heavyweights such as Sa-Roc (Rhymesayers), Quelle Chris (Mello Music Group), Homeboy Sandman, Denmark Vessey, Dillon & Sum add more colors to the canvas. The only wish of The Difference Machine is that the listener is both entertained and enlightened by this auditory adventure. They hope whatever conclusion you come to will be through honesty and sincerity.

Perhaps one day we will all be unmasked.

Following the release and subsequent year of our first album, "The Hearth," we began nurturing some new compositions for a second release. This process began similar to the first album, each of working us separately on songs, then bringing the bones, veins, and skin of a track to the rest of The Creux to fully animate. We were all taking off in a lot of directions, which tends to lend greatly to our dynamic sound once harnessed, and it was a good departure after playing "The Hearth" tracks live for two years straight during tours and festivals. We ended up with around 25 or so song frames and delighted that list down to about 12 to lay into. Then, the pandemic hit. We were all separated into our own bubbles, trying to make responsible choices on how to continue writing and recording this record promptly as we had just penned a deal with our new label Freakwave; with a target of releasing sometime in 2020. It was a pretty challenging endeavor for a band that typically relies on each member to bring greatness to the sound. We began experimenting with using virtual jam sessions and shipping files to each other. Luckily, we are all decent home sonic production creators so creating and flying around edits and changes over the months leading up to our time in the studio wasn't tricky. Around the end of Summer 2020, we finally had the demo tracks prepped enough to start working with our engineer and producer, Patrick Hills of Earthtone Studios. He worked with us on our last album and is sort of a special weapon of creativity for what we can pull off. We would send in one member at a time to lay down studio versions of the finals in a separate room from Mr. Hills; mask on, the whole nine. We would fly out the takes each day and make edits, rinse, and repeat. It was tedious and was pretty trippy to make a record in that manner. "Goodbye Divine" took almost a year to finish recording and mixing. So, here we are, in the Summer of 2021, and it is complete and ready for release this October. Expect both departures and arrivals of what you might have predicted following "The Hearth." Yet, this album does, in true Creux Lies fashion, offer a complete range of emotions throughout the album; prepare to find yourself ass shaken, and watery-eyed before you raise the needle on "Goodbye Divine."

When they released their first single, ‘Give It To Me’, in the summer of 2021, Classless Act were immediately praised for their ability to sound both fresh and timeless. Loudwire instantly added the song to their ‘Weekly Wire’ Spotify playlist, identifying it as one of the top new releases of the summer. Other iconic outlets such as SPIN Magazine were also early to show support. It was a fitting public introduction to a band who embody what it means to be modern rock stars. The band initially formed in 2018 after connecting and bonding virtually by their love and passion of music. Now in Los Angeles, they are united on a mission to be the next great generation-defining act, drawing inspiration from classic rock acts of the ‘70s and alt-rock groups from the ‘90s. Their music echoes the hallmarks of previous generations - anthemic rhythms, shredding guitars, soaring vocals - but punches its way into the future with clever arrangements, sharp musicianship and proficient songwriting. Already making a big noise within the industry, the band have recently been in the studio with world-class producers such as Bob Rock, Michael Beinhorn and Joe Chiccarrelli, who have helped craft hits for the likes of The Red Hot Chili Peppers, Metallica, Soundgarden and The White Stripes. Their debut album coincides with the band hitting the road in North America alongside Mötley Crüe, Def Leppard and others on their 2022 Summer Stadium Tour.

We like what Trouble have done with this album, “Plastic Green Head”. The music sounds fairly dissimilar to the completely doom-laden, crushing riffs present on the earlier material, but what Trouble do here sounds every bit authentic. Not to mislead you, this definitely still sounds like Trouble, but they seem to have adopted a more laidback, stoner metal approach; sacrificing sinister atmospheres for more upbeat ones. The first few tracks are completely awesome offerings of vintage Trouble. The playful, thrashy riff of the title track, which opens the album, is a great introduction to the music at hand and Eric Wagner’s distinctive vocals sound powerful overtop. “Plastic Green Head,” “The Eye,” “Flowers,” these are all what you would expect from Trouble, huge churning riffs, 80 bpm drumbeats, Eric Wagners nasal yet powerful voice. They are simple, they are catchy, and they are just plain good. “The Porpoise Song” is a cover of a song by The Monkees, and strangely enough it’s very good. Big wall of guitar noise, and Eric singing in a less nasal and more melodic voice. “Opium Eater” sounds like it could easily be an Alice in Chains song. On this album there is silly plenty of Sabbath worship, but also more of an upbeat, hard rock feel. We would even say that a little grunge has crept into their sound (to be fair, it’s probably the other way around, Trouble influence crept into grunge.) If you’re looking for a nice dose of stoner metal, you’ll find just that right here. There’s plenty of memorable riffs which provide good replay value, and although you won’t find as much doom as you might expect from Trouble, it’s still there if you look for it.