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40 minutes of superb Jazz-Beats by one of Hamburgs nicest and kindest beat producers out there. This is some art-stuff with a beautiful Gatefold Cover designed by Robert Winter and Jeremias Diekmann.

For the second chapter of his odyssey, we find again Le Commandant Couche Tôt in the middle of the Amazon River, escaping from drones and wildfires in a hovercraft.
Une Histoire d’Amour Brésilienne (A brazilian love story) shares a dystopian vision widely inspired by the environmental issues of 2020 and 2021, which illustrates a form of anxiety toward the future.
Its soundtrack however is purposely the antithesis of the story: a very optimistic tribute to space-disco and brazilian funk. A “good vibe” pill to give hope for a new beginning.

‘Primordial Waters’ is Jamael Dean’s debut album on Stones Throw, following ‘Black Space Tapes’ (2019) and ‘Oblivion’ (2020).

Gatefold double LP. Cover photo by renowned photographer B+ (Brian Cross).

‘Primordial Waters’ sees the prodigiously talented young musician take his explorations in jazz and hip-hop to new heights. Inspired by Orisha stories and Jamael’s Los Angeles roots, the album is heavily infused with Yoruba spirituality and celestial themes. Several of the
tracks interpolate traditional Yoruba songs and feature vocals from frequent collaborator Sharada Shashidhar.


The album was mixed by Leaving Records’ Zeroh and mastered by Grammy Award-winning audio engineer and Low End Theory founder Daddy Kev.

Jamael performed on Kamasi Washington’s 2018 album ‘Heaven and Earth’ and has toured with Thundercat,

Miguel Atwood-Ferguson and Carlos Niño. Extensive touring is planned for 2021 and 2022, including a residency at LA’s Gold Diggers, a double headline bill with Mndsgn at the Jazz Cafe, and several European jazz festivals and club shows in November 2021.

For fans of Sun Ra, The Comet is Coming, Kamasi Washington, Moses Boyd, Joe Armon-Jones, Nubya Garcia, Sons of Kemet, Alice Coltrane.

Comet Records presents Afro Rhythms Vol. 2, the first repress of Comet’s singles and Remixes from 2009 – 2017 with floor filler tracks from Tony Allen Afrobeat pioneer 'African Man" remix by Ricardo Villalobos & Max Loderbauer along with the afro deep house reedit of "Cotton’s Field" by French producer Jeff Sharel, the "Awakening" remix from Krazy Baldhead, former artist of Ed Banger and producer of electro malian band Donso and finally Africaine 808 to end this Afro Rhythms comp with their stunning remix of Afrobeat classic tune "Afrodiscobeat". A proper trawl through the vaults of Comet Records.

Coco Bryce makes his solo debut on AKO after featuring on the Defender album. Two beautiful tracks – Sweetheart has that trademark sound by Coco Bryce, melodic sound, and a rolling break and just has a vibe.

Sonar is an Amen track that has caught the eyes of many and brings a nice balance to the release. Both have been getting a lot of AirPlay from the likes of DJ flight, Mantra, Decibella, and others.

Slow Astro is a new mix series by Fracture which revisits the rich Astrophonica back catalogue and presents it in a new light. Starting with Volumes 1 & 2 featuring music from Sully, Client_03, Philip D Kick & DJ Earl.

LIMITED

Austere Recordings and LAAK are back after a long hiatus with a limited 200 copy, hand stamped release. Picking up pretty much were they left off, at deep end territory.

In the 1990s, Malka Family landed from the planet Kif to convert France to their vibrant and crazy madness made of euphoric riffs and glittering suits. Direct heirs of George Clinton and his cosmic P-Funk, they quickly burned stages around the world with this communicative energy which only large ensembles have the secret to. France, Europe, Japan, Africa, Canada… They will be forced to stop in the early 2000s replaced by DJs and computers.

2021. June 5th. Three years after the reformation of the band, Ground Control received a message from "Major Thom" - the astronaut Thomas Pesquet himself. The post is clear! Le Retour du Kif produced in 2018 is played in space… @Thom_astro and all the crew members of the ISS are totally fans of the Malka Family’s Music!

A new era begins, the Jedi of Funk have swept away the machines and their logarithmic music, groove and heavyweight Funk reign in the galaxy once again. The Malka Family is releasing a new 14 track album, SuperLune, a crazy and heavenly funk combo!

This time, back to Malka Family’s old recipes. They spend hours, nights in the studio, writing songs, arranging horns, recording vocals, slapping the bass guitar… "SuperLune is a more introspective album, we did everything without any restrictions, and our funk is more accomplished than ever…" says Jo Mannix fresh out from mixing the album. French Radio Nova tells: "In their spaceship, the bass is definitely queen. From your head to your feet and (especially) through your buttocks, “Blue Funk” will awaken your senses. Without even realizing it, you've already been swept up in the crazy storm of the Malka Family. All the ingredients are there: the dance, the music and an atmosphere that only they have the secret to…" Last but not least, to accompany the interplanetary release of SuperLune, Malka re-embark in their spaceship for the next cosmic tour. Let’s go to the Moon! The SuperLune!

Bristol based band Cousin Kula announce their debut album Double Dinners. With co-signs from the likes of BADBADNOTGOOD and newly signed to Rhythm Section, Cousin Kula have created their own musical universe of otherworldly pop serenity with vastly distinct, but complementary elements: “the possibilities of jazz, the emphatic energy of club culture, and the sonic tapestries of psychedelia” CLASH Magazine remark.

Living and recording together, nestled in the sun-drenched hills on the outskirts of Bristol, Cousin Kula are masters of their craft, and also of restraint; widely regarded by their fans for their superior live show. Having performed live in various bands for the past 10 years since their early teens, not being able to hit the stage during lockdown took its toll on these musicians. Ever resourceful, however, Cousin Kula began a series of their own home-made live sessions, which lead in turn to a Boiler Room Session and further a request from XL signees BADBADNOTGOOD to record a live adaptation of their new single.

Now, Cousin Kula flutter into the collective consciousness with a timeless slice of psychedelic soul on debut album Double Dinners. The latest band to emerge out of the buoyant Bristol music scene,
they have stripped back all excess baggage for their most accomplished recordings to date. Existing on a similar plane to contemporaries such as Connan Mockasin, Mildlife, Toro Y Moi, Mac DeMarco and HOMESHAKE, the band caught the attention of renowned tastemaker Bradley Zero with their 'Casa Kula Cassette' EP at the end of 2020, with the Rhythm Section founder swiftly taking the 5 piece under his wing, with him commenting:

“The band balance an outsider approach with more hooks than you can shake a stick at... the result being a gently beguiling sound that effortlessly draws you in, revealing more character with each listen.”

For their next reissue, Parisian crew Discomatin picked one of the rarest and sought-after releases of the French Boogie scene, Lot'Vie / Y'a Du Blues by Marché Noir. The original 12" from 1984 gets a proper remastering and delivers its powerful mixture of Boogie, Jazz-Funk and West Indies influences. Two amazing titles finally reissued with a loud sound!

"Lot'Vie" is a perfect blend of powerful funky rhythms with tons of percussion, second to none slap bass and dope synths leads. With its infectious chorus ("son a bip bip!"), the track seems to irresistibly make you move your feet. Sung in creole, the track speaks about everyone going their own way, knowing that past, present and future are only one.

"Y'a Du Blues (Tant Pis, C'est La Vie)" is based on a monstrous boogie bassline. the song talks about melancholy and hope, but with joy. In these troubled times, lyrics surely get a special meaning: whatever happens, keep smiling because after all "c'est la vie" ("that's life").

Marché Noir brought together friends and family around keyboardist Max Marolany living in the south of France, with the band starting in the second part of the seventies. Excited by the new funky sound coming from the USA, they wanted to create Marché Noir to compose and sing their own French songs. With a full range of references, from Zouk to Soul, from Disco to Funk, Reggae and Pop, their first goal was to have fun! The band was playing in clubs and festivals around Marseille, Nice, Aix-en-Provence and Fréjus. With this local fame, they ended up doing the first parts of Touré Kunda and french rockstar Johny Halliday. Without a doubt, their live shows were a truly funky experience.

Thanks to Discomatin, the EP is now available to the real connoisseurs with an exclusive insert that contains lyrics, again with fantastic illustrations from French artist Camille de Cussac.

Causa returns to Infernal Sounds for his debut solo release, after his previous two outings in collaboration with Shu (IFS003) and as part of the VA Crimson LP (IFS025). This time he presents two standout tracks, and a strong message to go alongside. With the world requiring more sustainability and less waste, this record has been created with the most measures possible to create a greener record - The 12" are made in a completely climate-neutral way, the material having been recycled, all unavoidable Co2 emissions have been offset, the cardboard/centre labels are either FSG approved or via recycled means, and even the artwork has been made with all of this in mind, using minimal ink work and a restricted colour pallet to limit the amount of waste throughout.

Not only that, but the two tracks on the 12" absolutely slap, radiating that trademark Causa swampy-sound. 'Haiy' kicks off the proceedings with a reverberating lead before plunging you into a frenzy of mid-range madness, and bass-curdling pressure. 'Untitled R V3 C' has been a long sought after dubplate, having done the rounds for a few years. It's a proper groovy, swinger, providing you with pure invigoration.

Hailing from Liege in Belgium, David Body has been put on our radar with releases on the fine Endless Music — but this EP for Exploited’s Black Jukebox series looks set to propel him to a new level.

‘I Bird You’ is a seriously charming affair, led by a colourful, sugary-sweet refrain that twinkles and sparkles in cute fashion. A warm deep house groove crafted through swirling Rhodes chords builds the vibe before the flowery melody explodes into life, pushing the track into an altogether more magical direction.

‘Jack Me Baby’ channels rubbery bass and a galloping house beat, with minor piano chords creating a dramatic feel as a classic vocal sample whoops away in delight. The enormous snare-rolled propelled build-up thrusts the track into overdrive, with a delightful, balmy synth line woven in to provide a mystical counterbalance.

‘The Talking Mouettes’ is a supremely feel-good slab of Balearic-tinged house, with choice piano chords cut up and cascading over a high-energy groove. Big squelchy melodic bass wiggles under the chords and shoulder-popping chime riff, with plenty of power and punch scattered throughout to keep the vibes rolling.

‘Endless Love’ is an absolute monster to close the EP, a soaring, triumphant electro beauty that overflows with euphoric melody and ecstatic, eyes-closed-and-rolling tingles. It just keeps building and building through layer upon layer of synth mastery to an explosive, epic climax.

After a string of diverse EPs on Swiss labels Light of Other Days & Subject To Restrictions Ethimm returns in winter 21/22 with his debut album. The record delivers snapshots of a hopeless romantic’s life packed into an eccentric mix of genres, all in the spirit of balearic. Fever dreams of Disco, New Wave, Dub and Leftfield Pop echo throughout the 32 minutes. Tales from the jet set, delusions of grandeur and the hangover that comes after, long gone love affairs and one’s raison d’être are among the many subjects Ethimm touches. Distinctly nodding towards the 80ies without falling into cliché references, the album feels familiar yet uniquely contemporary.

The cover art features a bust of producer Elisabeth Thimm’s head, as interpreted by artist Paa Joe. The 12 inch comes complete with a 180g, heavyweight white vinyl with a beautifully printed inner sleeve revealing the albums lyrics.

The first remix series on PROLETARIJAT brings together 3 Techno Proletarians! Nihad Tule, Skudge and Stanislav Tolkachev recreated the sound of Sev Dah on this release to push the struggle for resistance further and created the fundament for the future remix series on PROLETARIJAT.
Nihad Tule created a forward-going shaker with the "Marija Bursac" remix while Skugde closed the A side with his dreamy remix of "Lisina" in his style.
On the B side Nihad Tule took again the challenge and reinforced the sounds of "Kozarcanka" into the more mystical vibe. Stanislav Tolkachev rounded up this remix series with a spacey and experimental rework of "Kozarcanka" with new patterns and moods to make this release suitable for every taste! Revolutionary Proletarian working-class stuff!

re-release Find the Greatest Movie Scores selected by CINEZIK in an new Wagram Vinyl Collection!

All (label, artist and distribution) proceeds of this next record will go to UNHCR, The UN Refugee Agencys' emergency interventions in Ukraine.

Third and closing chapter of the Oyster Tribe series, the revised single edition of Brent Lewis ‘1739’ oozes a mix of breezy outback dreamtime, red earth funk and sun-baked drum virtuosity. Originally issued in 2004 as part of his self-released ‘Drumsex’ album, Lewis’ mystique-imbued tune sculpts a tripped-out hybrid jam out of spoon percs and folk-infused broken beat; and who better than OZ home-boys FIO and Fantastic Man to add their masters' spin to that totemic chugger.

Whilst FIO cranks the BPMs a notch further and beefs up the bass to turn the OG mix into a serious contender for countryside banger of the year, Fantastic Man plays havoc with the whole of Lewis track’s DNA sequence, slicing, dicing and re-hashing its bits and bobs over and over again to form a Southerner variant of the Frankenstein creature, all sight set on busting dancefloors by the dozen.

Tristan Disco was an ephemeral Japanese project led by Takayuki Shiraishi (BGM, MLD) focused on making dubbish Post-Punk.
In 1982 they elaborate a no-wave full of unrehearsed breaks and cavernous vocals. Boundless dark jamming sessions through shades, effects and reverbs always submerged by a tense nervous bassline.

On the B side Krikor delivers a hard-hitting Industrial reconstruction of "Social Dance" perfect to shatter your brain.
Retakes from the mysterious ambient artist Civilistjävel! are more brooding.
Introspection and faded horizons are the main purposes here but a glimpse of hope still glow.

Back at it with certified disco royalty Mr K, who lets loose the 7th instalment of his sought after, limited edit series. Tweaked and extended in all the right places, if there’s anyone that knows the recipe for dancefloor ecstasy it’s this man right here.

re-release Find the Greatest Movie Scores selected by CINEZIK in an new Wagram Vinyl Collection!

Legendary Swedish outfit Frak for the 20th installment of Libertine Records Traditions series. Extraordinary, classy, and timeless music from recovered 80s tapes. From freaky Acid to New Wave, Electro and Industrial, high-quality standards for a future underground classic release!

"If I could watch any jazz band in the UK, any, I would choose Matthew Halsall's band, just love what he's been doing over the last few years... It's always high level, spiritual jazz music" Gilles Peterson BBC Radio 1.

Matthew Halsall (born September 11, 1983, in Manchester, England) is a Worldwide Award winning and MOBO nominated trumpeter, composer, producer and DJ.

Since 2008, Matthew has released seven critically acclaimed studio recordings and has been a key figure in the rise of a new jazz sound in the UK. In addition to his own releases Halsall has collaborated with many DJs and producers, most notably DJ Shadow and Mr. Scruff, and in 2013 Matthew's music was selected by Bonobo for his Late Night Tales compilation. Halsall is also the founder of Gondwana Records, a genre bending independent record label featuring a wealth defining albums by the likes of Portico Quartet, GoGo Penguin, Hania Rani and Mammal Hands.

His own rich music draws on the spiritual-jazz of Alice Coltrane and Phaorah Sanders, contemporary electronica and dance music alongside his travels in Japan, the traditional art and music of which, has left a lasting impression on his compositions.

Sending My Love (2008) and Colour Yes (2009) were his first releases and document Halsall's first great bands featuring the likes of flautist Chip Wickham, saxophonist Nat Birchall, harpist Rachael Gladwin, bassist Gavin Barras and drummer Gaz Hughes. Joyful, life-enhancing albums, drawing on UK jazz and spiritual jazz influences but with a decidedly modern bounce, they introduced Halsall's music to the world gathering support from the likes of Gilles Peterson and Jamie Cullum, Mojo, Straight No Chaser and beyond.

But Halsall was never completely happy with how the records were presented and as part of Gondwana Records 10th anniversary decided to revisit the recordings, meticulously remixing and remastering them for vinyl and commissioning new artwork from Ian Anderson, one of his favourite designers. These then are the definitive editions of the records.
Sending My Love comes complete with the beautiful bonus track This Time, while Colour Yes features the equally striking It's What We Do and Ai.

"I am very proud of these early recordings. They represent the starting point of my musical journey in Manchester and showcase some of the cities finest musicians such as: Nat Birchall, Chip Wickham, Rachael Gladwin, Adam Fairhall, Gavin Barras and Gaz Hughes. They are also the very first recordings my brother and I decided to release on our record label (Gondwana Records). Listening back they sound full of energy and joy and really reflect how I was feeling at that precise moment. But as much as I loved the music, I was never 100 percent happy with the sound of the mixes and mastering.
So I decided to go back to the original tapes to remix and remaster them and present them the way I'd always wanted, and along the way we unearthed a couple extra unreleased tracks, which we decided to include as bonus material. Myself and my brother also decided to bring in Ian Anderson of The Designers Republic to re-imagine the artwork and we are super blown away by the results!" Matthew Halsall, Oct 2019

Calibro 35, the legendary crime funk combo sampled by Dr.Dre and Jay-Z, announce the reissue of "Traitors", their iconic fourth album, on Crystal Red vinyl and digital deluxe edition with bonus tracks.

Record Kicks proudly presents the reissue of CALIBRO 35's fourth legendary long-time sold out album "Traditori Di Tutti" (Traitors) on March 04thon limited edition crystal red vinyl and digital "deluxe" edition with bonus tracks.The publication is part of "The Record Kicks Trilogy" that follows the reissue of the first three albums of the band, released in 2020. This time, Milan label Record Kicks will repress on wax of three different colours and on digital deluxe edition, the fourth, fifth and sixth legendary studio albums of the Italian cinematic-funk cult band. The digital deluxe edition of"Traditori Di Tutti" includes 2 bonus tracks: a crime funk cover of "Get Carter", originally released as a b-side of the "Butcher's Bride" 45 vinyl, and the unreleased funky stormer "Milan, Michigan".

"Traditori Di Tutti" is the fourth album by Milan's combo, inspired by noir masterpiece novel "Betrayers"published by the father of Italian noir, award-winning crime fiction author Giorgio Scerbanenco. The album contains only band's original recordings, from floor-shaking first single "Giulia Mon Amour" to groovy "The Butcher's Bride", from deep funky "Filthy Bastards" to the dancefloor jazz madness of "Mescalina 6". The five-piece pays homage to "I Maestri" such as Morricone, Micalizzi and Bacalov with 12 tracks full of funky beats, heavy guitars, groovy bass lines and fuzzy organs.

There's one thing that Italians do better than others: funky soundtracks. Quentin Tarantino knows best: soundtracks from Italian movies of the '60s and the '70s are the THING! "Calibro 35 does with music what Tarantino does with films". They borrow what they love and they make it their own. With Rolling Stone magazine words "Calibro 35 are the most fascinating, "retro-maniac" and genuine thing that happened to Italy".

Active since 2008, CALIBRO 35 enjoy a worldwide reputation as one of the coolest independent bands around. During their fourteen-year career, they were sampled by Dr. Dre on his Compton album, Jay-Z, The Child of lov & Damon Albarn; they shared stages worldwide with the likes of Roy Ayers, Muse, Sun Ra Arkestra, Sharon Jones, Thundercat and Headhunters and as unique musicians they collaborated with, amongst others, PJ Harvey, Mike Patton, John Parish and Stewart Copeland and Nic Cester (The Jet). Described by Rolling Stone magazine as "the most fascinating, retro-maniac and genuine thing that happened to Italy in the last years", Calibro 35 now count on a number of aficionados worldwide including VIP fans such as Dj Food (Ninja Tune), Mr Scruff and Huey Morgan (Fun Lovin' Criminals) among others.

After a quarter century of nearly nonstop activity, dystopian Detroit synth-punk institution ADULT. have perfected a strain of stylistic cohesion in the album format, "but for this we wanted something that's falling apart." Becoming Undone, the 9th official full-length by cofounders Nicola Kuperus and Adam Lee Miller, explicitly succeeds in this aim, simultaneously rejecting and reflecting the planetary discord that inspired it. Begun in the latter half of 2020 against a backdrop of unprecedented flux and seismic isolation, the duo kickstarted their muse by sourcing fresh additions to the rig: a vocal loop pedal for Kuperus and Roland percussion pads for Miller. Reconnecting with legacy influences like the politicized industrial percussion of Test Department and the queasy miscreant synthetics of TG's 20 Jazz Funk Greats sparked a series of fruitfully frenetic sessions, centered on themes of impermanence and dissonance. Miller's rationale is blunt: "We weren't interested in melody or harmony since we didn't see the world having that." From the tense technoid blitz of "Undoing / Undone" to the twitchy EBM of "Fools (We Are_)" and "I Am Nothing," the sides bristle with strident acidic revolt and black leather sequential circuits, unhinged and unforgiving. Elsewhere, slower tempos of purgatorial unraveling ("Normative Sludge," "She's Nice Looking") showcase a breadth of vocal FX, Kuperus sounding alternately indignant and possessed, decrying the crimes, fears, and failings of a deluded world. Throughout, the band's chemistry crackles with revulsion and strobe-lit dissent, equal parts exorcism and denunciation. "Humans have always been pretty terrible," Kuperus explains. "But every year the compromises of culture just accelerate." Becoming Undone is also freighted with a more personal pain, as Kuperus' father passed away during the height of the pandemic, just before the album took root. As his hospice caretakers, she and Miller faced the banality of finality, surrounded by objects drained of meaning, "the joy of having a body, but also the drudgery of having one." The record's bewitching closing track, "Teeth Out Pt. II" - which happens to be the first ADULT. song in the group's history without drums - speaks to this sense of doomed corporeal mass and the looming, lightless unknown that binds us all. A seasick haze swells and subsides in slow, low waves, flickering with ring modulation, above which Kuperus sings in a dazed, brooding, transcendent state, as if having finally glimpsed beyond the pale: "Some day / some day I will be silent and free / of this relentless gravity."

Mixing funk, jazz, boogie, it is released for the first time on vinyl with remastered audio and new liner notes by Lebanese DJ and curator Ernesto Chahoud. In the early 80's, Rahbani created a landmark album, 'Houdou Nisbi' now considered one of the best jazz funk albums from the Middle East. Featuring such cult tracks as "Rouh Khabbir", a remake of the Crusaders' "Soul Shadow" sung by Rahbani
himself, the modern soul of "Bisaraha" and the Brazilian flavoured "For Sure", the album is both effortlessly groovy and steeped in Oriental music. Held as "one of Lebanon's best kept Musical treasures' by Ernesto Chahoud in his notes, the album is a certified Rahbani cult classic.

"Houdou Nisbi," which means "relatively calm", an expression used by news anchors on Lebanese TV to describe the mood during cease-fire in the civil war between 1975 and 1990 - has been remastered for vinyl from the original masters by David Hachour at Coloursound Studio in Paris. The artwork has faithfully been reproduced for the enlarged format. An iconic cover highlighting the strange life
in war ravaged Beirut during the cease-fire and in line with the political stance of Rahbani, a self proclaimed non- religious leftist. Wewantsounds is delighted to bring the first-ever vinyl release of this iconic album to the world.

nothing,nowhere. commented on the new album detailing, “TRAUMA FACTORY is an accumulation of songs written during a confusing time. it is about accepting the present and following your true north through the pain and suffering of human life. I wanted to make an album that was truly genreless and inspire others to challenge themselves artistically. I believe the most inspiring art is unpredictable and unrestrictive. to me that’s what TRAUMA FACTORY is.”

Over the course of 15 tracks, TRAUMA FACTORY cuts deep and finds nothing,nowhere. once again emerging from darkness, shedding external expectation, and moving forward into the glow of pure creation. Whether it be the anesthetized beats and intoxicating lull of “love or chemistry,” the cold piano-laden longing of “crave,” or the emotional immediacy of “upside down,” nothing,nowhere. paints from a wide palette of pain.

nothing,nowhere. is the musical endeavor of Vermont songwriter, singer and guitarist Joe Mulherin. For Mulherin, nothing,nowhere. is about a connection. It’s one he finds with fans around the world, who gather to see him play on tour and to listen to his songs online. It’s that connection that urges the singer to place his fears aside and step onstage each night to share his art. He sees the potential to help, to make a change, however small it may be and that is why he brings his music out of the Vermont wildness.

Arriving 6 years after the release of his breakout EP, El Búho returns to Wonderwheel with a very special Deluxe Version of said Cenotes EP including 3 previously unreleased tracks: "Manana Tepotzlan (feat. Gotopo) Vocal Version," "Tecolotin (Chancha Via Circuito Remix)," and "Tecolotin (Dub Version)." The EP is also set to be pressed to vinyl for the first time with a special splatter 12" invoking the cover art.

"Cenotes" was originally released in 2015 to widespread fan acclaim, firmly planting El Búho in the upper echelons of the Latin Electronic pantheon. Recorded in Mexico City after relocating from Amsterdam, "Cenotes" marries his influence of Dub, IDM and Electronic vibes with the rhythms, traditions and melodies of Latin American & Andean folk and the organic sound of waterfalls, birdsongs and crackling leaves, resulting in a dreamy, deep, melodic journey that entrances as much through headphones as it does on the dancefloor. Having studied Latin American Studies in Glasgow, El Búho (aka Robin Perkins) spent time living, studying and working in Argentina and travelling throughout the continent. Alongside his music, El Búho is also an environmental activist, having worked for over eight years at Greenpeace, being a member of DJs For Climate Action and coordinating the non-profit project "A Guide to the Birdsong" a series of albums that raise funds and awareness for endangered bird species through electronic music.

"Cenotes (Deluxe Version)" hits all digital streaming services December 3rd, with the vinyl 12" to follow shortly after.

Tape

Limited to 100 CASSETTES Fairground of Tears’ ‘Execution’ is a 10 track EP of heavy, noisy techno, containing 5 original tracks and 5 remixes from Melania., Phin, Pre Silent, Antechamber and Tomohiko Sagae. Conceptually, the release explores the multi-perspectival facets of the serial killer phenomenon, both the victim and the killer, but also the role of the voyeur, which in this instance, the listener becomes. Fairground Of Tears is a London based producer, resident DJ at Noise Orchestra and the founder and curator of the London event series, Exiled. credits Mastered by Joe Farr Artwork by Hila Angelica Mazzocco

After their debut release in September 2020, Tunesday
Recordings are back with their second installment, marking
the reissue of two boogie funk originals from 1984 by the
German band Trust. Particularly known for their song "It's Not
Over", the band also recorded two wonderfully brazilianin§uenced songs dubbed "Eu Melembro" and "Maracatu" which were also released on their LP "Bow Making". Moving between Funk, Boogie, Jazz and Latin, the two songs remain a trademark for the band's versatile orientation at that time.

Perfectly suited for the task, Joutro Mundo, who is known for
releases on Hello Sailor & Barefoot Beats among others, took
on the originals to cut down his very own interpretations with
modern dance§oors in mind. Many thanks to Trust for
making this reissue possible and many thanks to Dayeon
Auh for putting the vibe into the artwork

Horse Category closes out its first year with the third Phonopsia release, Peaks and Troughs, completing the reconciliation with older material that spans these first releases. The three slower techno tracks share little in common besides their tempo, while the faster closing track offers something more DJ friendly.

Birds’ second Höga Nord offering is a 4 track EP created entirely during the first UK Coronavirus lockdown in spring / summer 2020. The themes throughout the record are inspired by various thoughts, feelings and coping mechanisms adapted by herself and her peers; from live streams to micro-dosing, to exercising patience and trying to feel comfort in the fact that there will be other opportunities and we’ve just got to wait this thing out whilst trying to stick together for emotional support. Sonically it moves around a lot from gurgling 303 bass lines, to break beats, to dubby guitar breakdowns, to heavy club inspired 909 kick drums, whilst always maintaining a droney undertone.

Always hot on the steel-hard plates and murky subterranean atmospheres, Public System turns in a haunted double package from the crypt. Spanning hi-octane indus bullets, half-baked mutant salvos and shadow-clad juicers from a host of reputed names and rabid underdogs, this new comp collates ruff’n’tuff joints from gritty techno don Container, genre-unbound explorer E-Saggila, Berlin’s electro arsonist Privacy, acid-spitting hydra DJ Loser x Penelopes Fiance, basement guerillero Yabboq Penuel alias Le Syndicat Electronique, neo-punk beat thrasher Crave, Yves Tumor collaborator and sine-wave crusher Anthem, expert circuit dissector Beau Wanzer, Liquid G as remixed by Mick Wills, Night Gaunt’s Lower Tar, occult machine funk preacher Maenad Veyl, DJ Chupacabras under new guise 110, soundwaves cross-pollinator DJ Richard, vibrant mood-scapist Gavil�n Rayna Russom, as well as label boss Myn going ubiquitous with studio fellows Kluentah as Myntha, and R Gamble as Fade Accompli. A much desirable feast of raw, unhinged, all-round spine-tingling jams for the club and not.

On ‘Luminal rec.’ s next 12-incher Black Lotus starts the acid engines with the title track “Thrust”
- a raw old-schooled rave interpretation cut from a freestyle 303 jam.

“High-Octane” dives towards even faster worlds while developing a relentless grinding touch that reminds of good old days.

“Mechanic Galaxy” on Side B is their soft counterpart;
With its dreamy chords and dancing shakers it balances this four-tracker out - a constellation we are used to from previous EPs.

Also “Interplanetary” comes along with a puristic touch, while focusing on less elements
- never compromising on the speeds.

New stuff from recent times.
Play it loud!

Twirling progressive mental techno, with aTribe pinch... the whole thing packed for Deejays... With a solid politik criticism. Anarchy in the Cz !

Clear Vinyl

Early last decade, Brooklyn based .thejass. created two, out-of-body, hour length recordings as part of the Slabs of the Tabernacle mix series, with the now legendary, 'Murdered Out Techno' Volumes 1 and 2. Several years on .thejass. returns with their full-length debut LP entirely in keeping with their 'Murdered Out' sound. Putting the listener in an almost sleep paralysis state, without any sense of time or space, the only constant being a pulsing throb from within. This record is a mesmerising and at times terrifying experience which immerses you deeper with each listen. Transparent crystal vinyl, 200 copies.

Lex Ludlow debuts on Atomnation with the Midnight EP, a four-tracker filled with woozy, seductive house grooves.

Sri Lanka-born but Sweden-raised, Lex Ludlow has spent years working in the dance music industry on events, in nightclubs, singing and co-producing with various projects, but only now is she stepping out with her own sounds. Each track is as free-flowing as the ocean that gives her such inspiration: as well as DJing and producing, Ludlow freelances as a sailmaker. With Midnight, she showcases her love of supple grooves, manipulated vocals and liquid synths.

With the Midnight EP, Lex Ludlow has immediately found her own beautifully unique sound.

ACHTUNG !! Another weighty missive from the desk of Herr Campbell, otherwise known as Consulate - Perth’s preeminent breakbeat bureaucrat, currently stationed in Melbourne, Australia.

Smelling like leather and tasting like metal, the “Assassino” EP features four full-excursion incantations for all the midwinter ravers -- solstice steppers enhanced with dubwise technique and enchanted with ancient foreboding…

Careful what you conjure when the needle hits this platter.

Ohm & Octal Industries are back with their 3rd release on RAWAX!
We are very happy about this great ep which comes around with 2 fantastic remixes by John Beltran and EXOS!

Afterclapp is a creative metamorphosis of music producer and DJ Rodrigo Vellutini, driven by his long-standing desire to test boundaries between musical styles. Exploring the infinite possibilities of Brazilian music by mixing it with unusual rhythms and sound elements.

In February of 1976 Eddie Carmichael left the group “The Voshays” after catching the bandleader/manager stealing from the band. Derry Shepherd and Duncan Bethel left at that time also. About a week later I asked Derry if he would be interested in starting another band and he said sure. At that point Duncan Bethel agreed to participate and he recruited his friend Flynn Emanuel to play trombone. Derry was the manager of the cafeteria at Sears Department Stores in The Pompano Fashion Square Mall and he met Sandy Ficca who was the manager at Chess King Men’s Clothing Store in the same mall. Sandy also agreed to join the group and we auditioned bass players and chose Dave Segal and only one keyboard player auditioned and that was Bob Groszer. We now had all of the personnel for the group and we commenced rehearsing in the recreation center in Pompano Beach, FL at Westside Park. We did a few “Chitlin’ Circuit“ gigs to fine tune the band and music and then moved over to the beach circuit. While there we would perform spring and summer months at “The Ocean Mist” on the Strip in Fort Lauderdale, FL and for the fall and winter months the Big Daddy’s 8600 Club on Miami Beach. After 18 months of constant gigging I suggested that the band go into the studio and record some original music. Now all we needed was some serious financial support and songs. I met a man by the name of Jerry Bullard and convinced him to back the project. We formed our own independent label “Get Off Records” and publishing company “Situated Music”. At that point Dave Segal and Sandy Ficca left the group and Bruce Saddler who was the drummer for The Voshays joined us on the drums for the first two recordings. Sandy Ficca returned as drummer and brought in his old friend and bandmate Daryl Walker to play Bass on five of the six remaining songs. We recorded the entire album in five days at SRS Studios and Triad Studios both in Fort Lauderdale, FL in August of 1977. The first single “Give It Up (Let Yo Funk Fly Free) was a winner released only in the New York tri state area where in two weeks it reached number 16 in the top 100 and was poised to go number one nationwide on the R&B charts in the next two weeks. Henry Stone, owner of TK Records in Hialeah, FL wanted to sign the group as did many other major record labels including Maurice White of Earth, Wind & Fire. But the usual problems of the music business reared its ugly head and the record was pulled from all radio airplay and the group who became disenfranchised with the business of the industry decided to call it quits. Derry Shephard went into Gospel Music production, Sandy Ficca went on to become the drummer for the Pop/Rock recording artists “Firefall”. Daryl Walker is a session player and music teacher, I did studio sessions and played in several cover bands and toured internationally. Bob Groszer toured with Sly Stone and other legendary recording artists. Dave Segal went on to start New York Bass Works in New York. Flynn Manuel became a music teacher in The Broward County School District and Bruce Saddler and Duncan Bethel left the Music industry completely. We were young and not good business people at that time and did not understand the rules of do’s and don’ts of the music industry. But we had three talented songwriters, a great arranger, a killer band and all the financial support that we needed. Looking back if we only had an experienced manager I truly believe Mirror would have gone on to create some great music over the years that followed.
Peace and love all the time,

Repressed !

Hear & Now's Story Is One Of Friendship And A Shared Passion For Music. It Began With A Chance Meeting On The Dancefoor At Red Zone In Perugia, One Of Italy's Most Legendary Clubs
Of The 1990s. Nearly Three Decades On, These Glassy-eyed Clubbers Have Joined Forces To Deliver One Of The Most Magical And Sun-kissed Albums That Claremont 56 Has Ever Released. By The Time Ricky L And Marcoradi Frst Joined Forces In The Studio In 2016, Both Had Become Established Producers Within Italy's Vibrant Deep House Scene. Between Them, They'd Released Records And Remixes On Such Labels As Ibadan, Uomo, Reincarnation, Top Tracks, Restricted
Tracks And Vega. Keen To Step Away From The Dancefoor, They Decided To Simply Create Beautiful Music For Bleary-eyed After-hours Sofa Sessions, Lazy Summer Afternoons And Early
Mornings Spent Blinking At The Rising Sun.
Aurora Baleare, Their Debut Album, Follows On From A Fantastic Double A-side 12' For Claremont 56 In February 2017. Those Two Tracks Take Pride Of Place Amongst An Eight-track Selection Simply Brimming With Evocative Workouts, Gentle Soundscapes And Noon-bright Sonic Bliss. While You'll Fnd Luscious Instrumental Cuts Designed To Inspire Baggy, Glassy-eyed Shuffing - See The Mid-tempo, Spine-tingling Brilliance Of salsedine', Mind-massaging hirundo' And Dreamy Slow-house Treat sabbia Magica' - It's The Effortless Brilliance Of Marcoradi's Improvised Guitar Playing And The Duo's tmospheric Approach That Really Catches The Ear.
Check, For Example, The Heady Horizontal Shuffe Of trasimeno', Where Poignant Ambient Chords, Jazzy Electric Guitar Solos And Deep Space Electronics Tumble Down Over Shuffing Beats And A Squeezable Synthesizer Bassline, And The Sun-down Adriatic Wonder Of stella Dei Venti', A Track So Effortlessly Loved-up And Blissful That You Might Be Overcome By Emotion (it Certainly Had Us Daydreaming Of Days Spent Exploring The Intense Natural Beauty Of Italy's Adriatic Coast).
Moments Like This, Where The Duo's Dreamy Electronics And Smile-inducing Melodies Seemingly Shimmer Across The Sound Spectrum, Can Be Found Dotted Throughout Aurora Baleare. There's The Darting Digital Synthesizer Motifs, Sparse Hand Percussion And Ricocheting Solos Of airone', The Italo-disco-inspired Chugging Positivity Of la Marsa' And The Title Track's Humid Beachside Breeze, Where Intertwined Electronic And Acoustic Lead Lines Seemingly Glimmer Like Rays Of Sunshine Bouncing Off The Surface Of A Becalmed, Crystal Clear Ocean. Their Roots May Be On The Dancefoor, But Hear & Now Are Fast Becoming Down Tempo Masters. You Can Dance If You Want To, But You May Just Want To Hug A Stranger Instead.

Today sees Belgian-Caribbean provocateur Charlotte Adigéry and her long-term musical partner, Bolis Pupul announce their debut album Topical Dancer, due for release on March 4 2022 via Soulwax’s iconic label DEEWEE.
Cultural appropriation. Misogyny and racism. Social media vanity. Post-colonialism and political correctness. These are not talking points that you’d ordinarily hear on the dancefloor but Charlotte Adigéry and Bolis Pupul are ripping up the rulebook with their debut album Topical Dancer. The Ghent-based duo, who broke out with their 2019 Zandoli EP, are rare storytellers in electronic music: they take the temperature of the time and funnel them into their playful synth concoctions – never didactic and always with a knowing wink.

Their debut studio record – which cements them as a duo under both their names for the first time and is co-written and co-produced by Soulwax – is both a triumph of kaleidoscopic electro-pop and “a snapshot of how we think about pop culture in the 2020s.” It captures Charlotte and Bolis’s essence as musical collaborators and the conversations they’ve had over the past two years on tour, as well as their perspectives as Belgians with an immigrant background, Charlotte with Guadeloupean and French-Martinique ancestry and Bolis being of Chinese descent.

Beyond the album’s thematic heft, Topical Dancer reflects Charlotte and Bolis’s idiosyncratic sound: it’s thoughtful but it bangs. Their take on familiar genres is always off-kilter; songs sound undone or a little wonky; but these are nocturnal heaters to make the club throb. “We like to fuck things up a bit,” laughs Bolis. “We cringe when we feel like we're making something that already exists, so we're always looking for things to combine to make it sound not like a pop song, not like an R&B song, not a techno song. We’re always putting different worlds together. Charlotte and I get bored when things get too predictable.”

Topical Dancer is fizzing with ideas – there’s certainly no filler among its 13 tracks. But above all, perhaps, it has a restlessness, a desire not to be boxed in and to escape others’ narrow perceptions of who they are. It’s summarised by the refrain of their new single, ‘Blenda’: “Don’t sound like what I look like / Don’t look like what I sound like.” “One thing that always comes up,” says Bolis, “is that people perceive me as the producer, and Charlotte as just a singer. Or that being a Black artist means you should be making ‘urban’ music. Those kinds of boxes don’t feel good to us.”

‘Blenda’ in particular references how “I am a product of colonialism,” says Charlotte, “and I feel guilty for taking up space in a white country.” The song was inspired in part by Reni Eddo-Lodge’s book Why I’m Not Longer Talking To White People About Race. “It talks about the colonial past and post-colonial present in the UK,” Charlotte continues, “but that isn’t merely a British or American problem, Belgium is part of that as well.” She says that her home country is likewise “oblivious to a big part of its history” which “results in general ignorance and a lack of understanding and empathy towards Belgian inhabitants of immigrant descent.”

On Topical Dancer, it’s less about finger pointing or being dogmatic about all the things they speak about. It’s about emancipation through humour. “I don’t want to feel this heaviness on me,” says Charlotte. “These aren’t my crosses to bear. Topical Dancer is my way of freeing myself of these issues. And of having fun.”

Ltd Black & White LP

Today sees Belgian-Caribbean provocateur Charlotte Adigéry and her long-term musical partner, Bolis Pupul announce their debut album Topical Dancer, due for release on March 4 2022 via Soulwax’s iconic label DEEWEE.
Cultural appropriation. Misogyny and racism. Social media vanity. Post-colonialism and political correctness. These are not talking points that you’d ordinarily hear on the dancefloor but Charlotte Adigéry and Bolis Pupul are ripping up the rulebook with their debut album Topical Dancer. The Ghent-based duo, who broke out with their 2019 Zandoli EP, are rare storytellers in electronic music: they take the temperature of the time and funnel them into their playful synth concoctions – never didactic and always with a knowing wink.

Their debut studio record – which cements them as a duo under both their names for the first time and is co-written and co-produced by Soulwax – is both a triumph of kaleidoscopic electro-pop and “a snapshot of how we think about pop culture in the 2020s.” It captures Charlotte and Bolis’s essence as musical collaborators and the conversations they’ve had over the past two years on tour, as well as their perspectives as Belgians with an immigrant background, Charlotte with Guadeloupean and French-Martinique ancestry and Bolis being of Chinese descent.

Beyond the album’s thematic heft, Topical Dancer reflects Charlotte and Bolis’s idiosyncratic sound: it’s thoughtful but it bangs. Their take on familiar genres is always off-kilter; songs sound undone or a little wonky; but these are nocturnal heaters to make the club throb. “We like to fuck things up a bit,” laughs Bolis. “We cringe when we feel like we're making something that already exists, so we're always looking for things to combine to make it sound not like a pop song, not like an R&B song, not a techno song. We’re always putting different worlds together. Charlotte and I get bored when things get too predictable.”

Topical Dancer is fizzing with ideas – there’s certainly no filler among its 13 tracks. But above all, perhaps, it has a restlessness, a desire not to be boxed in and to escape others’ narrow perceptions of who they are. It’s summarised by the refrain of their new single, ‘Blenda’: “Don’t sound like what I look like / Don’t look like what I sound like.” “One thing that always comes up,” says Bolis, “is that people perceive me as the producer, and Charlotte as just a singer. Or that being a Black artist means you should be making ‘urban’ music. Those kinds of boxes don’t feel good to us.”

‘Blenda’ in particular references how “I am a product of colonialism,” says Charlotte, “and I feel guilty for taking up space in a white country.” The song was inspired in part by Reni Eddo-Lodge’s book Why I’m Not Longer Talking To White People About Race. “It talks about the colonial past and post-colonial present in the UK,” Charlotte continues, “but that isn’t merely a British or American problem, Belgium is part of that as well.” She says that her home country is likewise “oblivious to a big part of its history” which “results in general ignorance and a lack of understanding and empathy towards Belgian inhabitants of immigrant descent.”

On Topical Dancer, it’s less about finger pointing or being dogmatic about all the things they speak about. It’s about emancipation through humour. “I don’t want to feel this heaviness on me,” says Charlotte. “These aren’t my crosses to bear. Topical Dancer is my way of freeing myself of these issues. And of having fun.”

2xLP gatefold jacket (recorded in Side A, B, C, and no music recorded in back side of Side D)

Soundtracks recorded in a hall by full orchestra of New Japan Philharmonic.

Including the main theme “Itsumo Nando Demo” (vocal: Yumi Kimura).

For the first time ever, here is the soundtrack from the 1983 post-apocalyptic flick directed by Joe D'Amato, Endgame - Bronx Lotta Finale. A compelling Carlo Maria Cordio's mighty Vangelis-meets-John Carpenter score. With hangovers from previous Giallo-based outings, Endgame's themes are more gentle and introspective than, say, Claudio Simonetti's muscular work for The New Barbarians and Hands of Steel but also, arguably, musically more diverse. In particular, the opening title track 'Atomic Contamination" is genuinely chilling when set against the stock footage of a nuclear bomb going off.

While liberally pinching the vibe of Blade Runner's more symphonic textures, Cordio's synthesizers also do bombast, melancholy and menace when required, whilst the pretty pieces for Lilith are like semi precious jewels shining out of the murk and machismo.

Orange Vinyl

WRWTFWW Records is very happy to announce the release of the new album from legendary Deee-Lite member Towa Tei, celebrating the 30th year of his career. It is available on (orange) vinyl for the first time outside of Japan.
The album, simply titled LP features Japanese music icons Haruomi Hosono and Yukihiro Takahashi (Yellow Magic Orchestra), Yasuaki Shimizu (Kakashi), fellow METAFIVE colleagues Tomohiko Gondo and Yoshinori Sunahara, HANA, Wataru Iga, Shunji Mori, Hidefumi Ino and more.
It was mixed by famed engineer Goh Hotoda and the artwork comes from painter Tomoo Gokita.
Poppy, catchy, dancy, and very funky, Towa Tei’s 10th solo album is 100% delirious ride and a testament to the Deee-Lite member’s ever-expanding creativity, combining simplicity and experimentalism in the most feel-good ways. Indoor, outdoor, and every day of the year, this one will make you dance and smile!
This release is a collaboration between legendary Japanese label Nippon Columbia/Better Days and WRWTFWW Records.

IDRIS MUHAMMAD was born Leo Morris in New Orleans in 1939. He mastered the drums at a very early age and can be heard on Fats Domino’s “Blueberry Hill” at just seventeen! His early career was steeped in R&B before moving to New York to emnbrace the jazz scene. “I’m A Believer” is the perfect fusion of the two genres and features the sublime vocals of his wife Dolores LaLa Brooks of the Crystals (aka Sakinah Muhammad).

Our chosen B-side by Chicago soul singer JEAN SHY is the rare modern soul masterpiece “What Can I Do I’m So In Love With You” reissued here for the first time.

The long awaited third volume of our "Algo salvaje" series, featuring untamed 1960s beat and garage nuggets from Spain. "Algo salvaje" is an anthology devoted to a rich period when hundreds of bands appeared all over Spain and, after paying attention to what their US and British contemporaries were doing, found their own way to vent their teenage rebellion through loud guitars. With amazing results! Many of the 28 tracks are reissued for the first time, including very hard-to-find records. This double LP gatefold package includes extensive notes by Vicente Fabuel featuring all the original record sleeves and artist photos. "Algo salvaje" ("Something Wild"), now reaching its third volume, celebrates the darkest, neglected and rebellious side of Spanish beat. Internationally labelled as nuggets (after the original compilation of the same name concocted by Jac Holzman and Lenny Kaye in 1972 for the Elektra label), the more common garage rock label has been used to place and describe one of the most fertile chapters of rock & roll history during its most creative years. An underground story which has luckily become known, with participants from all around the globe which included anonymous musicians, independent record labels with impossible names and ridiculously limited pressings, often not more than a few hundred copies. The tracks chosen for the occasion, a selection filtered strictly by their musical value, adhere to the rules of the classic nugget genre while demonstrating the permeability of garage sound and its inevitable evolution at the turn of the decade (1967-1974) through mixes that embraced psychedelia, soul and even prog rock. Epic and pretty wild. Just the kind of material that this record label usually handles. Many of the 28 tracks are reissued for the first time, including extremely hard-to-find records. This double-LP package includes extensive notes by genre-expert Vicente Fabuel featuring all the original record sleeves and artist photos. So let the band play...

**LTD BLACK AND RED MARBLE**

As humans, we are aware of our inner beast and should therefore be able to control it. We understand our hard-wired primal urges and why they exist in an evolutional sense. We understand the relationship between mind and body. Highly evolved and intelligent, we should be able to recognize these genetic hangovers and control them as a means to act positively and move forward as a compassion-ate species. Unfortunately, this is not the case. Recent global events have proven this. The human race is consuming itself.

World Eater, the new album by Benjamin John Power's Blanck Mass project, is a reaction to this. There is an underlying violence and anger throughout the record, even though some of these tracks are the closest Power has ever come to writing, in his words, actual love songs.'

Maybe subconsciously this was some kind of countermeasure to restore some personal balance,' Power explains.

On World Eater, Power further perfects the propulsive, engrossing electronic music he has created throughout his impressive decade-plus career, both under the Blanck Mass moniker and as one-half of Fuck Buttons, as he elaborates upon the sound of 2015's brilliant double album Dumb Flesh. As massive as the sonic world of the new record often feels, its greatest achievement is in its maximization of a limited set of tools, a restriction intentionally set by Power himself.

As an exercise in better understanding myself musically, I found myself using an increasingly restricted palette during the World Eater creative process. Evoking these intense emotions using minimal components really put me outside of my comfort zone and was unlike the process I am used to. Feeling exposed shone a new light on this particular snapshot. I feel enriched for doing so.'

(A) 1. John Doe's Carnival of Error
(B) 2. Rhesus Negative
(C) 3. Please
(D) 4. The Rat
(E) 5. Silent Treatment
(F) 6. Minnesota / Eas Fors / Naked
(G) 7. Hive Mind

Solo acts of Paula Rebellato (RAKTA) and Douglas Leal (DEAFKIDS), members of two of the most thriving and groundbreaking bands coming out of Brazil to the world lately. The fusion of traditional and acoustic instruments with electronic and processed sounds highlights the strong characteristics of both projects, melted into a journey within timeless soundscapes. Buh Records presents "Gnose", the joint full-length by the solo acts of Paula Rebellato (RAKTA) and Douglas Leal (DEAFKIDS), members of two of the most thriving and groundbreaking bands coming out of Brazil to the world lately. Produced between 2019 and 2020 in Sao Paulo, Brazil, some of the compositions were first conceived for a live performance in late 2019 and then expanded into a full-length album, part recorded in studio and part at home during the first months of the pandemic. Inspired by the ritualistic potentials of music, "Gnose" offers a vertical and circular narrative throughout its 7 themes, exploring atmospheres that may contribute to experiences of displacement and inner silence. The fusion of traditional and acoustic instruments with electronic and processed sounds highlights the strong characteristics of both projects, melted into a journey within timeless soundscapes. Paula Rebellato is an artist based in Sao Paulo, Brazil. Her journey with music and sound started at young age and became a more consistent path when she co-founded the genre-bending group Rakta.

Diego el Cigala is, with any doubt, one of the greatest flamenco geniuses of our times. Not only because of his voice and charisma, but also for recording such vast and wide discography singing with majesty and no complex any style he could be challenged to perform. At Flamencoenvinilo we wanted to re-catch one of his early works back to his flamenco roots: "Entre Vareta y Canasta" (18 Chulos) was originally published in the year 2000 and, as many of his works, this album has proved the test of time and it has become a true classic. This will be the first time this album comes out on 12". Limited to 500 copies. Accompanied by Niño Josele (guitar) and a large group of percussionists, "Entre Vareta y Canasta" the second album by Diego El Cigala made him known among many people outside the traditional nucleus of flamenco for his simplicity, purity and mastery. The unique voice of this artist moves with naturalness and feeling in styles as different as martinete, bulería or fandangos.

Zach Condon, der Kopf hinter Beirut, veröffentlicht mit Artifacts eine Doppel-LP mit Musik, die die Entwicklung von Beirut nachzeichnet - von den ersten Versuchen des 14-jährigen Condon, die Musik, die er in seinem Kopf hörte, zum Leben zu erwecken, bis hin zu dem voll entwickelten Beirut, das wir heute kennen. Artifacts begann ganz bescheiden mit der Zusammenstellung einiger früher Beirut-EPs für eine richtige physische Veröffentlichung. Wie Condon jedoch in den exzellenten Liner Notes des Albums erklärt, verwandelte das Wiedersehen mit alten Aufnahmen durch neue Ohren ein einfaches Re-Issue-Projekt in etwas viel Expansiveres. "Als die Entscheidung fiel, diese Sammlung neu zu veröffentlichen, habe ich mich dabei ertappt, wie ich meine Festplatten durchwühlte, um etwas Zusätzliches zu finden, das ich der Compilation hinzufügen konnte. Was mit ein paar zusätzlichen, unveröffentlichten Tracks aus meinen prägenden Jahren begann, wuchs schnell zu einer ganzen Reihe zusätzlicher Musik aus meiner Vergangenheit heran, und zu einem größeren Projekt, bei dem ich alles, was ich fand, remixte und remasterte." ENG Retrospective of rarities and b-sides spanning the entirety of Beirut's catalog. 17 of the 26 songs on Artifacts have not been previously released.Artifacts began humbly as a means of compiling a few early Beirut EPs for a proper physical release. However, as Zach Condon explains in album's excellent liner notes, reconnecting with old recordings through fresh ears turned a simple re-issue project into something much more expansive.

A hidden gem from the notorious Nurse With Wound list ! Limited to 500 copies, this double LP features Heratius' studio album Les Boniments (1979) - never before released on vinyl - and the first ever vinyl reissue of Gwendolyne (1978). Heratius could be described as like a mix of Etron Fou Leloublan and Faust (in acoustic mode that is), with hints of Albert Marcoeur, Red Noise, in a music that is full of invention with typically French eccentric touches. The Heratius album Gwendolyne was also much touted by Chris Cutler (of Henry Cow fame) at the time as the French Faust.

Detroit's Scan 7 drop a fine ep of Motor City electronic Techno Soul on Third Ear.

Watching Over Me only digital

Bààn is a Belgian instrumental duo, formed in 2016 in Brussels by Pascal N. Paulus (keyboards) and Jean-Philippe De Gheest (drums).In their music they interweave ambient, psych, jazz and rock and they create an infectious atmosphere that immediately transports the listener to distant places

John Illsley, Bassist der Dire Straits, meldet sich mit seinem 8. Studioalbum 'VIII' zurück, das nach Veröffentlichung seiner erfolgreichen Autobiographie 'My Life in Dire Straits' Ende 2021 ohne Umschweife an den legendären Sound der Band erinnert und alte und neue Fans begeistern wird. Das neue Werk enthält 8 brandneue Songs sowie eine neu aufgenommene Studioversion des Beatles-Klassikers 'I'm Only Sleeping', den John auf dem virtuellen 'Dear John' Konzert im Jahr 2020 anlässlich des 80. Geburtstags von John Lennon zum besten gab.

Andrew Tasselmyer is a musician from Baltimore, MD currently living in Philadelphia, PA. He utilizes samplers, field recordings, and lo-fi recording techniques to make textured and tactile sounds.

In addition to his solo catalog on labels such as Seil Records, Eilean Recs, Constellation Tatsu, Home Normal, and more, he is a member of Hotel Neon, Gray Acres, and Mordançage

"Cape" was recorded in five days
at a cottage in west barnstable, massachusetts,
with ciat-lonbarde instruments, norns and op-1,
the sounds of surroundings, fused with memories,
pleasant and bittersweet,
finding fragments of what once was.

coloured vinyl

Newest Ruffneck Prime (DJ Ruffneck) at his own label - a great hardtechno banger!! Available on limited coloured vinyl!!

Support from: SNTS, Richie Hawtin, Esther Duijn, Paula Temple, Dax J, Jerome Keys, Vishscale, Edo Messina, Obscur Antism, Joseph Capriati, Rats On Acid, D.A.V.E. The Drummer, DJ Scot Project, DJ Hellraiser, Jack Wax, DJ Wank and more !!

re-release Find the Greatest Movie Scores selected by CINEZIK in an new Wagram Vinyl Collection!

Nonesuch Records releases Ghost Song, the label debut of singer/songwriter Cécile McLorin Salvant. Ghost Song features a diverse mix of seven originals and five interpretations on the themes of ghosts, nostalgia, and yearning. Salvant says, “It’s unlike anything I’ve done before – it’s getting closer to reflecting my personality as an eclectic curator. I’m embracing my weirdness!” Cécile McLorin Salvant plays at Cadogan Hall on November 16 as part of the EFG London Jazz Festival, four shows at SFJAZZ in February, and two nights featuring the music of Ghost Song at Jazz at Lincoln Center in May. Salvant says of the title track, out now, “What if the love has gone, the love has left you and you have the emotions around that, and you’re still going through them, still engaging with the ghost of that love?” She continues, “Some songs are so painful to come out but this one came out pretty quickly. I’ve had some loss the last couple of years: my grandmother, the drummer in my band Lawrence Leathers.”



Ghost Song opens and ends with a sean-nós (traditional Irish unaccompanied vocal style) performance by Salvant, recorded in a church. On track one, she transitions into Kate Bush’s 1978 classic ‘Wuthering Heights’. Salvant says of the song, “Wuthering Heights is a book that really struck me to my core as I was making this album, during the pandemic. And the best interpretation of the novel is Kate Bush’s song.” She continues, “It’s the most classic ghost story. I decided I wanted to do an album called Ghost Song, and I knew that one had to be on it. Then I had the idea to mix it in with the sean-nós ‘Cúirt Bhaile Nua’, which binds it to the traditional ‘Unquiet Grave’, the last track on the album. The ghost is not haunting me; now I am haunting the ghost. They parallel each other so well and they’re such different time periods. I wanted the album to be a circle, with the sean-nós reference at the beginning and at the end. So it is the first track but it’s also the last track and it’s also the middle track, which is how I listen to music, walking around my neighborhood, on a plane, travelling somewhere, putting stuff on repeat.” “All the songs on the album kind of mirror each other. I tried to create this strange symmetry. So as you go in from both ends, the songs are sort of matched together,” Salvant says. “‘I Lost my Mind’ is the center of the Russian doll. I wrote that in the middle of the pandemic. There were nights when I wanted to just scream. It was this deeper part of me saying, ‘It’s OK if this sounds completely crazy, OK to just go with the completely crazy thing and not worry if people think you have lost your mind for doing it.’



“The bands also mirror each other from top to bottom. In terms of the instrumentation, everything,” Salvant explains. “That’s why the songs are there in that relationship: they match each other, they’re like fraternal twins, or one is the evil twin of the other. I, as the living, am visited by the ghost, and then I go visit the ghost in turn. I am haunting the ghost and annoying the ghost, which is saying, ‘Get out of here and go live.’” Of the sonic variety on Ghost Song, Salvant says, “Texture is a big part of how I sing, having multiple textures in one song. It’s almost a compulsion. I can’t allow myself to stay in one texture. The instrumentation creates that but the recording process as well. It’s something I like, even when I’m eating. You want the creamy and chewy and crunchy at the same time. Warm and cold.”



Cécile McLorin Salvant, a 2020 MacArthur Fellow and three-time Grammy Award winner, is a singer and composer bringing historical perspective, a renewed sense of drama, and an enlightened musical understanding to both jazz standards and her own original compositions. Classically trained, steeped in jazz, blues, and folk, and drawing from musical theater and vaudeville, Salvant embraces a wide-ranging repertoire that broadens the possibilities for live performance. Salvant’s performances range from spare duets for voice and piano to instrumental trios to orchestral ensembles. Her unreleased work Ogresse is an ambitious long-form song cycle based on oral fairy tales from the nineteenth century that explores the nature of freedom and desire in a racialized, patriarchal world. Salvant studied at the Université Pierre Mendès-France. She has performed at national and international venues and festivals such as the Newport Jazz Festival, the Monterey Jazz Festival, the Village Vanguard, and the Kennedy Center. Salvant is also a visual artist.

As a confluence of ideas and methods, WILD ROCKET endeavour to interpret the subtle signals of the universe - the interplanetary vibrations - and present them as brash manifestations of sound. Scientists and Shaman alike have endeavoured to interpret the universal whispers, to elucidate meaning from the measurable and the sensible. It is known that to measure and interpret is to alter and colour those signals and this is what drives the development of WILD ROCKET's sound and interpretation.
FORMLESS ABYSS showcases the band's unflinching pummelling style, drifting from repetitive blows to unhinged swirls of din yet always remaining innately infectious and perhaps surprisingly danceable. The record is presented as a continuous piece in three parts.
The title track A FORMLESS ABYSS appears here for the first time in recorded form – a behemoth of a tune which builds around a drone, joined by dual drums and minimal bass locked into a repetitive groove. A groove that is slowly expanded via multiple guitars and synthesis. Vocals eventually join at just the right moment imploring the listener to “leave your criticisms down” and realise “we're all equal now” in the formless abyss or the place between worlds where our earthly preoccupation with human differences are meaningless. We're all in it together, whether we realise it or not.
The second track INTERPLANETARY VIBRATIONS may seem familiar to some in a simpler form. The expanded line up and extended development of the core theme brings a new interpretation and experience that is more than worthwhile. The track's vocals juxtapose the hybrid Germanic language of English with the ancient native Irish language of Gaeilge. Both used to promote meaning and interpretation of the interplanetary vibrations felt by all. The track features large dynamic shifts and changes of pace as the message that “it's time to leave” propagated by the Earth itself becomes more frantic and more desperate. The track culminates in a wash of smashed gongs and distorted guitars, leaving the listener to interpret the message for themselves. Should we leave, to protect ourselves or the Earth itself?
The final track FUTURE ECHOES is a doom/kraut juggernaut coming in at just under twenty minutes. Only one question is asked and none answered, are we doomed to repeat the mistakes of previous civilisations over and over, or can we find the cracks of light that echo through and show us a new way forward? We're left in a swirling formless abyss to consider who we are and where we're headed. Will we ever reach the cosmic truth? Or will we be continuously mocked by the cosmic trout?
WILD ROCKET have proven themselves on the live circuit, playing with such visionaries as Ufomammut, Slomatics, Earth, Boris, The Cosmic Dead and old school rock legends Girlschool. One of the heaviest bands to emerge from the melting pot of talent in the Irish music scene, WILD ROCKET's reputation precedes them wherever they travel and audiences and venues alike are left to piece themselves together in the discombobulation.

Heiko Voss has earned near mythical status as a torchbearer for the emotional, deeply felt and quietly radical style of electronic music. The blissed-out radiance of his Kompakt Pop single, “I Think About You” remains one of the label catalog highlights and a stellar run of collaborative singles as Schaeben & Voss; others might know him for his stewardship of the excellent, much-underrated Firm imprint. But with his new album, 3:30 Minutes To Live, released by Michael Mayer’s label Imara, Voss returns after a long silence with a beautiful collection of songs that hymn heartbreak with a lusciously melodic touch.

There is something definitive and newly confident in 3:30 Minutes To Live that has it feeling like a real statement of intent if compared to his earlier releases. “Although it’s not, 3:30 Minutes To Live feels like my debut album,” Voss reflects. “All releases before were more song sketches or electronic dance tracks.” Bunkering down in Teary Eyes Studio, Voss worked up somewhere between thirty and forty sketches of songs, which he whittled down to the twelve collected here, all of them situated in a unique space, but very much in accord with Voss’s defining aesthetic, which he describes as “indie pop music with a lot of guitar, electronic elements and a great love for melancholic ‘80s synth-lines.”

Voss is sensitive to both variety and consistency – 3:30 Minutes To Live sits together as an assured, vibrant collection of pop songs, but it’s marked by all kinds of surprising incident, like the guitar solo that erupts out of “This Is My Life”, or the acoustic guitar-led melancholy of the closing “This Summer”. It’s all borne of the alchemy of the studio process and the intimate romance of music-making. “If you constantly feel a little bit like you’re in love while writing and producing your music – simply because of the sound of the synth flowing warmly and gently through the room, or because the sequence of notes awakens something in you, or even a randomly arising groove in the loop of a guitar lick makes you shout, ‘Ha!!’ – then it usually becomes a beautiful song,” Voss nods. “Those moments make me happy.”

There’s also a delicious tension between the push of the music, its melodic lushness and gliding, ballerina-like movement, and the darker currents that pull through Voss’s lyrics, inspired by a “short, dramatic and toxic love affair.” This may read like familiar terrain for a pop album, but the way Voss weaves language through both the extra-linguistic joys of music and the inarticulate speech of the heart somehow allows for direct communication that is simultaneously plain-spoken and deeply profound. “Say It” is a simple, devastatingly effective plaint of alienation; “She Wasn’t Lonely” a simple portrait of everyday living set to chiming, clacking guitars, the music in the bridge taking astral flight as the titular character ‘lets herself go.’

A smart and sharp collection of songs that captures you with its gorgeous melodicism just as it blindsides you with its aching heart, 3:30 Minutes To Live is Heiko Voss at his most assured and open-hearted best.

Heiko Voss hat sich als Fackelträger einer emotionalen, von ganzem Herzen kommenden und nicht auf den ersten Blick radikalen Spielart von elektronischer Musik einen nahezu mythischen Status erarbeitet. Das schiere Glück, welches seine Kompakt Pop-Single "I Think About You" aus dem Jahr 2003 immer noch ausstrahlt, macht sie nach wie vor zu einem der Highlights des Label-Katalogs, wo sie neben einer ganzen Reihe hervorragender Singles als Schaeben & Voss steht; andere kennen Heiko vielleicht durch das tolle und vielfach unterschätzte Label Firm, für das er zusammen mit Thomas Schaeben verantwortlich war. Mit seinem neuen Album “3:30 Minutes To Live”, das am 4. März 2022 auf Michael Mayers Label Imara erscheint, kehrt Voss nun nach einer langen Pause mit einer wunderschönen Sammlung von Songs zurück, die den Herzschmerz – getragen auf den Schwingen unwiderstehlicher Melodien – ausgiebig besingen.

“3:30 Minutes To Live” kommt mit einer gehörigen Portion Überzeugung und Selbstbewusstsein daher, was im Vergleich zu seinen früheren Veröffentlichungen wie ein bewusstes Statement wirkt. "Obwohl es das nicht ist, fühlt sich ‘3:30 Minutes To Live’ wie mein Debütalbum an", meint Voss. "Alle meine vorherigen Veröffentlichungen waren eher Song-Skizzen oder elektronische Dance-Tracks."

Im Teary Eyes Studio arbeitete Voss zwischen dreißig und vierzig Songskizzen aus, die er auf die zwölf hier versammelten Songs reduzierte, die alle ihren eigenen Raum einnehmen, dabei aber sehr gut mit Voss' übergeordneter Ästhetik harmonieren, die er als "Indie-Pop-Musik mit viel Gitarre, elektronischen Elementen und einer großen Liebe für melancholische 80er-Jahre-Synthies" beschreibt.

Voss ist sowohl für Abwechslung als auch für Konsistenz empfänglich - “3:30 Minutes To Live“ ist eine selbstsichere, lebendige Sammlung von Popsongs, die aber auch von allerlei Überraschungen geprägt ist, wie dem Gitarrensolo, das aus “This Is My Life” herausbricht, oder die von einer Akustikgitarre getragene Melancholie des abschließenden “This Summer”.

Das alles ist entstanden aus der besonderen Alchemie des Studioprozesses und der intimen Romantik des Musikmachens. "Wenn du beim Schreiben und Produzieren deiner Musik ständig das Gefühl hast, ein bisschen verliebt zu sein – einfach weil der Klang des Synthesizers warm und sanft durch den Raum fließt, oder weil die Notenfolge etwas in dir weckt, oder sogar ein zufällig auftauchender Groove im Loop eines Gitarren-Licks dich ein 'Ha!' ausrufen lässt – dann wird daraus meist ein schöner Song", nickt Voss. "Diese Momente machen mich glücklich."

Es entsteht eine besondere Spannung zwischen dem positiven Elan der Musik, ihrer melodischen Verschwendungssucht, den gleitenden, Ballerina-artigen Bewegungen und den dunkleren Strömungen, die durch Voss' Texte ziehen, die von einer "kurzen, dramatischen und giftigen Liebesaffäre" inspiriert sind. Das mag sich wie ein vertrautes Terrain für ein Pop-Album anhören, aber die Art und Weise, wie Voss die Sprache sowohl durch die nonverbalen Elemente der Musik als auch durch den nicht artikulierten Ausdruck des Herzens verwebt, ermöglicht eine Art direkte Kommunikation, die gleichzeitig ausgesprochen klar und trotzdem tiefgründig ist. “Say It" ist eine erschütternd einprägsame Anklage von Entfremdung; "She Wasn't Lonely" ist ein einfaches Porträt des alltäglichen Lebens, untermalt von klappernden Gitarren, in dem die Musik einen astralen Flug unternimmt, während die Titelfigur sich "gehen lässt".

“3:30 Minutes To Live“ ist eine kluge und scharfsinnige Sammlung von Songs, die den Zuhörenden mit ihren wunderschönen Melodien fesseln, aber auch mit einer Menge schmerzenden Gefühlen konfrontiert. Ein Album, auf dem Heiko Voss ganz bei sich ist und Euch dabei mehr als nur sein Herz öffnet.