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NEIL ARDLEY’S HARMONY OF THE SPHERES RETURNS TO VINYL FOR THE FIRST TIME IN OVER 40 YEARS
Analogue October Records proudly presents the long-awaited LICENSED reissue of Harmony of the Spheres, Neil Ardley’s cosmic jazz masterpiece, originally released in 1979 by Decca. This marks the first vinyl reissue of the album since its original release, offering fans a rare opportunity to experience this extraordinary record in its purest form.

A Visionary Fusion of Jazz and Science
Recorded at the legendary Morgan Studios and produced by the esteemed Martin Levan, Harmony of the Spheres is another bold evolution in Ardley’s ever-expanding musical journey. A unique blend of jazz, electronic synthesis, and progressive rock, the album explores the ancient Greek concept that planets create celestial harmonies as they move through space. Using precise astronomical calculations, Ardley transposed planetary orbits into a nine-note chord—one that extends beyond the range of traditional acoustic instruments, making synthesizers the only means of fully realizing this cosmic sound.
The album features an all-star lineup, including the visionary John Martyn on guitar, saxophonist Barbara Thompson, Tony Coe, Ian Carr, and keyboardist Geoff Castle, alongside the formidable rhythm section of Billy Kristian (bass), Richard Burgess (drums), and Trevor Tomkins (percussion).

A True AAA Reissue – Cut Direct from the Original Master Tapes
Following the reissue success of Journey to the Urge Within (1986) by Courtney Pine (AOR-001-ST), Analogue October Records’ founder Craig Crane embarked on a mission to restore Harmony of the Spheres to its full sonic glory. Working with Gearbox and using Decca’s original 15ips 2-track stereo master tapes, this reissue is a true AAA release—an all-analogue production with no digital step. The album was meticulously cut directly from the tapes and pressed to the highest standards at Optimal in Germany.
Inside the deluxe package, fans will discover an 8-page booklet featuring an in-depth essay by Jazzwise magazine editor Mike Flynn, along with never-before-seen photos from the original recording sessions.

Continuing the Legacy
This reissue is just the beginning—Analogue October Records is committed to further explorations of Neil Ardley’s work, alongside other deep cuts from the UK’s vibrant 1970s jazz fusion and jazz-rock scene.
Whether you’re rediscovering Harmony of the Spheres or experiencing it for the first time, this release is a testament to the artistry and innovation of Neil Ardley.

Comes in limited 180 gram black Vinyl

Trippy Journey presents Dollar Cat EP — a cosmic musical adventure dedicated to the memory of Dollar, the beloved cat, muse, and symbol of the label. As with every Trippy Cat release, this EP continues the cosmic saga of Dollar the cat. Through music, Dollar travels to distant planets, guiding listeners through worlds unknown in the pursuit of sound.

The release includes two solid remixes. Dollar Cat is reimagined by Prince de Takicardie, delivering a hypnotic Dark House sound, perfect for late-night dancefloors in uncharted galaxies. The second remix comes from DOTT for Serving Size, whose style blends deep minimal rhythms with interstellar vibes, creating a striking contrast to the darker tones of the first remix.

This release is a tribute not only to Dollar but to all the beloved cats who have left their mark on our hearts.

Mastered by Marco Pellegrino at Analogcut.

Bethesda Game Studios und Laced Records haben sich zusammengetan, um die Musik von 'Starfield' auf Deluxe-Vinyl zu bringen.

In allen Titeln der Bethesda Game Studios ist die Musik ein wesentlicher Bestandteil der Reise des Spielers und ein ständiger Begleiter während seines Abenteuers. Die langjährige Zusammenarbeit zwischen dem Komponisten Inon Zur und dem Studio begann bereits 2008 mit der Veröffentlichung von Fallout 3. Die Musik zu 'Starfield' sollte sowohl die Weite des Weltraums als auch die Neugier der Menschen auf das Unbekannte zum Ausdruck bringen. So verwob Zur traditionelle und nicht-traditionelle orchestrale und elektronische Klänge zu einem Klangteppich aus Organischem und Synthetischem.

Während der Entwicklung hat das Team ein eklektisches Spektrum an Referenzpunkten durchlaufen: Es begann bei den Sci-Fi-Grundsäulen von John Williams und Jerry Goldsmith, durchquerte einen klassischen Nebel von Debussy, Ravel und Prokofiev, flog an Vangelis' überragendem Synthesizerwerk vorbei und warf einen Blick auf die experimentellen Arbeiten der Einstürzenden Neubauten und von John Cage.

In den Orchesterstücken von Starfield, die vom Budapester Filmorchester eingespielt wurden, beschwören verschiedene Instrumentalgruppen oft imaginäre Aspekte des Weltraums herauf. Schnelle, sich wiederholende Sequenzen in den Holzbläsern stellen Partikel dar. Streicher, die wellenförmige Akkorde spielen, imitieren lange Wellen interstellarer Energie. Die Blechbläser werden zum Leuchtfeuer der Melodie, das über die Galaxie hinaus strahlt. In ähnlicher Weise erhalten die eher elektronischen Cues ein Gefühl von Erhabenheit durch schwere Synthesizerflächen, die kryptische, sich wiederholende Muster und ungewöhnliche perkussive Schläge untermauern.

Aeralie Brighton (DEATHLOOP, Ori-Serie) ist auf dem Soundtrack als Sängerin zu hören.

Bethesda Game Studios und Laced Records haben sich zusammengetan, um die Musik von 'Starfield' auf Deluxe-Vinyl zu bringen.

In allen Titeln der Bethesda Game Studios ist die Musik ein wesentlicher Bestandteil der Reise des Spielers und ein ständiger Begleiter während seines Abenteuers. Die langjährige Zusammenarbeit zwischen dem Komponisten Inon Zur und dem Studio begann bereits 2008 mit der Veröffentlichung von Fallout 3. Die Musik zu 'Starfield' sollte sowohl die Weite des Weltraums als auch die Neugier der Menschen auf das Unbekannte zum Ausdruck bringen. So verwob Zur traditionelle und nicht-traditionelle orchestrale und elektronische Klänge zu einem Klangteppich aus Organischem und Synthetischem.

Während der Entwicklung hat das Team ein eklektisches Spektrum an Referenzpunkten durchlaufen: Es begann bei den Sci-Fi-Grundsäulen von John Williams und Jerry Goldsmith, durchquerte einen klassischen Nebel von Debussy, Ravel und Prokofiev, flog an Vangelis' überragendem Synthesizerwerk vorbei und warf einen Blick auf die experimentellen Arbeiten der Einstürzenden Neubauten und von John Cage.

In den Orchesterstücken von Starfield, die vom Budapester Filmorchester eingespielt wurden, beschwören verschiedene Instrumentalgruppen oft imaginäre Aspekte des Weltraums herauf. Schnelle, sich wiederholende Sequenzen in den Holzbläsern stellen Partikel dar. Streicher, die wellenförmige Akkorde spielen, imitieren lange Wellen interstellarer Energie. Die Blechbläser werden zum Leuchtfeuer der Melodie, das über die Galaxie hinaus strahlt. In ähnlicher Weise erhalten die eher elektronischen Cues ein Gefühl von Erhabenheit durch schwere Synthesizerflächen, die kryptische, sich wiederholende Muster und ungewöhnliche perkussive Schläge untermauern.

Aeralie Brighton (DEATHLOOP, Ori-Serie) ist auf dem Soundtrack als Sängerin zu hören.

To celebrate the 50th anniversary of Venus and Mars, this special vinyl edition was cut at half speed using a high-resolution transfer of the original master tapes from 1975 by Miles Showell at the legendary Abbey Road Studios. The album is presented as a meticulous reproduction of the original UK pressing, with recreations of the original “Venus and Mars are alright tonight” circular sticker and “comparative sizes of sun and planets” bookmark sticker, and comes with two posters with photography by Aubrey Powell and Sylvia de Swaan. The iconic album artwork by Hipgnosis has been meticulously recreated and presented in a gatefold sleeve.

Following a live show at the Kontra-Musik showcase in the summer of 2024 in Malmo, PST aka Porn Sword Tobacco got so inspired that he went straight into the studio to work on new music. This EP is the result of that warm summer night. The title of the EP in Swedish, Inga Konstigheter, means something that is very straight to the point. And this record is exactly that - no frills. Produced by PST, hand stamped by Ulf-Ulf.

Amsterdam-based keyboardist, producer, arranger and DJ Soul Supreme reached out to NYC drummer Jay Mumford in 2021 to lay the down groove on his re-imagining of Q-Tip and J-Dilla's "Let's Ride". That paved the way for future collaborations: a cover of A Tribe Called Quest's "Award Tour (We Gettin' Down)" and two tunes on Soul Supreme's Poetic Justice LP. But when the pair began doing brief covers of their favorite funk, jazz and hip-hop tunes on Instagram just for fun, followers of both musicians - and often, the covered artists themselves - began to take note. Two of those 20+ covers were particularly well-received, and the duo decided to answer the peoples' call for a 7" release with the songs pushed to their full potential. Similar to "Award Tour" and "Let's Ride", a hip-hop classic and a fan favorite are pushed to their full potential here. This installment goes coast to coast and explores Digable Planets' "9th Wonder" (the "East" side) and People Under the Stairs' (PUTS) "Crown Ones" (the "West" side).

The iconic synth intro of "9th Wonder" makes way for Jay's thunderous ode to a slowed down Clyde Stubblefield groove. Sure to be a favorite with DJs, Jay eventually detours into a syncopated New Orleans funk break, before getting back to the groove for Soul Supreme's funky wah wah clavinet work. Throughout, the arrangement expands beyond both that of the original and all of its DNA. The addition of cascading horns (featuring a trumpet solo by Lourens van der Zwaag) and a second, more aggressive break from Jay bring it back full circle, completing a modern update of a classic that manages to pay homage to '70s jazz-funk, breakbeats and '90s hip-hop - all while staying both modern and raw.

Diehard PUTS fans will recognize Soul Supreme's catchy Rhodes line as soon as the needle drops, but Jay's heavy funk groove quickly separates it from the original and takes it from hip-hop cover to heavy funk tune. Soul Supreme's Rhodes solo pushes it far beyond the confines of instrumental funk as the groove intensifies, while his chops as an arranger are on full display: his horn parts - featuring van der Zwaag, trombonist Olav Schloorlemmer and Job Chajes' Contra-Alto Clarinet that channels The Headhunters - counter his synth melodies in a discussion that completes the record as a heavy slice of uncut jazz-funk.

Remastered from the original tapes & pressed on loud double vinyl! Hot of the success of Jay-Z’s Reasonable Doubt, producer extraordinaire Ski was on fire when he flipped Dynasty’s “Adventures In The Land of Music” for Camp Lo’s breakout 1996 smash single “Luchini aka This Is It”. The same year saw Camp Lo opening shows for De La Soul during their Stakes is High tour. Combine that with the fact that Ish aka Butterfly from Digable Planets had cosigned for the group’s reputation and would appear on of the tracks (in addition to Trugoy from De La), there became a huge buzz around their debut album Uptown Saturday Night. Fast forward a few months to January 1997 and the heavily anticipated release of Camp Lo’s first record, which did not disappoint. It struck the perfect balance between club tracks and underground bangers for the mixtape crowd. Critically acclaimed and fan approved, this late 90s must-have was complimented by the incredible cover art illustrated by legendary NYC graffiti artist Dr. Revolt that paid homage to Marvin Gaye’s 1976 classic I Want You. It’s hard to believe in the time of Puffy’s heyday, Camp Lo had developed and delivered a style of Hip Hop that was not only fresh and creative, but also straight up dope. Flipping intricate rhyme styles over some of Rap’s finer beats, the fact that Camp Lo got main stream radio play and love from big time club DJ’s is a testament to the essence of what Hip Hop was once about: raw talent and originality!

Crucial version of the classic Deniece Williams number! Karen Dixon sings it in a Lovers Rock style. From the Neville King archive and licensed for it’s first ever 7 Inch press. Complete with Instrumental Version on the flip! 40 years of endless play!

Scorching undercover Boogie Lovers number from the legendary Studio One artist Jennifer Lara! Mid-80s UK production from Uptempo, licensed for a well needed first ever repress. For all 80s Reggae fanatics!

"Color LP" is pressed on gold vinyl. Black Up is the new sonic move from Shabazz Palaces. Like rich velvet hijabs or gold threaded abayas. Luxury as understood by the modest. Shabazz Palaces. If Bedouins herded beats instead of goats and settled in Seattle instead of the Atlas Mountains, this would be their album. Forward thinkers but nostalgic for a sparer time when ancient astronomers only recognized five planets. Hip hop. Black light uses electromagnetic radiation to eradicate microorganisms, but shabazz didn't come to kill a sound, just to shine their own incandescent lamp on this. Hear. Hard and clear. Fifty thousand years in the making. Honorable._palaceer pink gators. Produced by Knife Knights.plcrs at Gunbeat Serenade Studio in Outplace Palacelands. It was recorded and mixed in Lixx-alog by Blood.

“Get Me In the Zone EP” is Waajeed’s final release on his Detroit-based label DIRT TECH RECK for 2024. He shared some of his inspiration for this dynamic four-track offering.

"Get Me In the Zone" is a soulful, rhythmic track blending Waajeed's production with Miles Bonny's repetitious vocals and trumpet, using hypnotic rhythms to create an uplifting, jazzy banger.

"All the Way Thru" produced by Waajeed, intricately weaves samples into a seamless blend of funk, soul, and house, creating an irresistible anthem for dancers and DJs. "I sat on this track for some time, unsure if it would fit into this EP, but ultimately decided to include it because of its undeniable effect on the dance floor.”

Neptune is the eighth and farthest known planet from the Sun in our solar system. It remains one of the least explored planets. Waajeed says, “I’m always reaching toward unknown territories in my creative adventures, so I called this one 'Neptune’s Symphony' to celebrate those exploring new sonic landscapes."

“I picked up this term from Dam Funk during a long drive in his '84 Regal. He explained "Dry Hatin" is a way of indirectly showing negativity, resentment, or jealousy towards someone or something. I wanted to address my naivety about entering the dance music scene several years ago—I thought it would be different

Denovali presents the new album of the prestigious Swedish pianist and composer Matti Bye. Matti is well-known for his regular performances at various silent film festivals and screenings worldwide, where you can see him perform solo and with artists such as Lau Nau. Bye has been involved in several collaborations, including Hydras Dream, where he recorded and released an album with Anna von Hausswolff. Additionally, Matti is recognized for his scores in projects like ”Young Royals," ”Tove," „The Hundred-Year-Old Man Who Climbed Out of the Window and Disappeared,“ and "A Traves de tu Mirada” among many others.

Matti Bye's third album, "Capri Clouds", moves through the element of the air and further into space. A lone piano sounds, echoes - sometimes like a waltz. We have the sound of the wind with us and the sound of the sea below us as we fly, and above we hear the stars and planets spinning. A piano from the past, as if Satie met space - as if Spiritualized and Satie talked to each other across timeand space.These songs go straight to the heart and to the senses, and create images in your head. Stories from your own memory bank, as well as new visions – music to lean into, meditatively and hopefully longing. But there is also an undertone of something dark and desolate. Musically, Matti Bye moves within the realm of neo-classicism, but he is also approaching romanticism. References to composers suchas Schubert and Beethoven are to be found here, as well as to post-romantic bands such as Kraftwerk and The Cure. In this third album of a trilogy – the first was "Bethanien", the second "The Forgotten Land" – Bye continues his musical journey. Here we encounter a brighter and lighter production. Anders af Klintberg has brought "Capri Clouds" up from the underworld and the dreamscape, towards clouds and skies.

First detected in the 1950s, Quasars remained a mystery for years with the massive amount of energy seeming to come from a very small area of space. Over time, astrophysicists theorised and proved that these celestial objects are black holes forming the centres of galaxies. For the latest Micron Audio release, 6SISS creates a sonic exploration of the many aspects of these gigantic cosmological bodies resulting in a collection of tracks that reflect their density, power, and luminosity. Each of the four tracks, QUASAR I-IV, represents a different phase of interaction with a quasar's energy, from initial observation to a final, euphoric absorption into the quasar's core: fizzing and enigmatic synths suggest the radio waves that travelled for thousands of years before being detected, while other bassier sounds bring to mind the vast gravitational pull of galactic centres, slowly attracting stars and planets alike towards them. As with all Micron Audio releases, QUASAR reveals a deep appreciation of scientific discovery and knowledge. Whilst avoiding retro-futuristic clich?, the imaginative abstract storytelling genre of electro is perfectly represented in this collection, in which 6SISS yet again emits his own densely packed work to emanate across the universe with a bold radiant energy.

* Dazed and Amazed Duo Color Vinyl * Fully printed inner sleeves * Liner notes by Larry Mizell Jr. // The album is named for the combs used to maintain an Afro hairstyle, and that's significant. The group's Ishmael "Butterfly" Butler said it summed up what they wanted to do with it: "It means the utilization of the natural, a natural style," he has said. Like with 1993's debut _Reachin' (A New Refutation of Time and Space)_, 'utilizing the natural' meant creating hip hop that blended jazz with the formidable rap skills of the aforementioned Butterfly, Craig 'Doodlebug' Irving and Mary Ann 'Ladybug Mecca' Vieira. Unlike that debut, it meant broadening to include guests such as Gang Starr's Guru, Jeru the Damaja, and Jazzy Joyce. Following the gold-selling commercial success of their debut, they here set out to prove their artistic prowess. This is intelligent, alternative hip hop that sounded like party music. Its lyrics are dense with wit, social commentary and politics - and its original inner sleeve was modeled on the newspaper of the Black Panther movement.

These tracks are responsible for a huge impression on Dream Software and the sound of the label, so it is with great honour we reissue these tracks and release them back into the outersphere. The soundtrack to a retrofuturist world gleaming with optimism. A world where humanity, technology and nature exist in a peaceful symbiosis. A real utopia. We thank you Alex for your inspirational music.

Written and produced by Alex Silvi (Alien Signal) throughout the years of 1993-1994. ‘North Polar Stars’, ‘Brilliant Evening Planets’ and ‘Violent Volcanoes of Io’ originally released on album ‘Celestial Sights of the Future’ from Upland Recordings in 1993. ‘Quantum Limit’ was originally released on album ‘The Search Begins’ also on Upland Recordings in 1993, whereas ‘Atomic (Esoteric Mix)’ was a self-release from 1994.

Lovingly remastered by Lopazz@mixmastering.de and carefully distributed by One Eye Witness.

© Dream Software, Corp (2024)

Cascading through kaleidoscopic stardust and forming in the outer reaches of the music universe, transcending time and distance, cosmonaut musicians Mo Morris & Zeben Jameson reconnect to write & record songs from opposite sides of their planet (Bali and London) written over the internet during the pandemic. Landing the much anticipated and eagerly awaited new A Mountain of One album "Stars planets dust me".

Welcome to the formative British psych electronic heroes A Mountain Of Ones 3rd studio album.

Mastered and reimagined and a full forthcoming album rework by electronic wizard, master selector & global superstar Ricardo Villalobos, featuring additional collaborations from 80s/90s Balearic legends "The Woodentops`s" front man "Rolo McGinty,”, Japan’s cult heroes ``Dip in the Pool" and "Unkle" and "Toy Drum`s" Pablo Clements.

UK Dub master "Dennis Bovell MBE" also makes an incredible appearance on the "Custards Last Stands" dub versions. Now available on a ltd Japanese 10". A beautiful artwork series generously loaded in by photography legend Dick Sweeney, and co-mixed by Dea Barandana in Indonesia. With its cosmic pop sound, soulful soaring, balearic sensibilities and feel good choruses it carries all the weight of a much needed revo- lution in psychedelic, conceptual ever popular music and sounds & feels like the infamous crossover album that promised to come from the heady days of the bands ascend last time round.

So here’s some back story, garnered from the hearsay, folk law, the myths and the legends, of 10 years ago, in case, like Mo & Zeb, if they'd remembered any of it, they probably weren’t there, after 2 much acclaimed albums and sellout shows vanishing in a cosmic cloud of dust the yin and yang brothers Mo Morris (ZSOU/Electric Stew) & Zeb Jameson (Oasis/Tricky/Pretenders) uncoupled and each em- barked on a pathfinder mission to equip themselves for their inevitable return... they just didn’t know it at the time... and as the global community ground to a halt 2 years ago they sought refuge from opposite sides of the planet in each other's company again.

The solace and rejuvenation it gave had them re-emerging as invigorated, inspired and wiser music creators, this has given rise to the evolution of their 3rd all important album‘s sound.

Zeb "our capacity as human beings is more phenomenal and limitless and way beyond the conventional thinking of society constructs but also in complete harmony with the intelligence and brilliance of advancing technologies".
Experiencing this energy together, as dedicated and devoted music pioneers, these great collaborative universal truths were revealed, imbed and steeped in their writing and recording experience as the music touched and resonated with all involved to create the fresh and fully formed A Mountain Of One 2.0.

A Mountain of One return with their second single from eagerly awaited forthcoming album "Stars Planets Dust Me".

"Dealer" sees them push further into the Cosmos with a modern take on the electronic disco pulses of Kraftwerk and Giorgio Moroder mixed with organic sensibilities, Electric sitar and reverse guitar akin to the heady moments of The Beatles track "Tomorrow never knows". Criss crossing Balearic, psychedelia, disco and electronica.



”Dealer” shows the band, made up of musical soulmates Mo Morris and Zeben Jameson, have lost nothing in the past decade. Recorded over Skype during the coronavirus pandemic, with Mo now in Bali and Zeben in west London, a shimmering, modern classic, experimental but accessible, melodic and adventurous. As ever, it is utterly unique, made in a musical universe all of their own.

When A Mountain Of One first started performing, they quickly became one of the most- acclaimed bands out there, with the likes of i-D, Sunday Times Culture, Pitchfork, NME and more raving about them and their inspired and original approach.

Sold-out shows and awesome reviews followed with “Collected Works” and “Institute of Joy”, two phenomenal globally acclaimed albums that have stood the test of time,
This heady odyssey is mastered again by Global Electronic music icon "Ricardo Villalobos", and soon to also be remixed by Ricardo on a full album of his interpretations of the forthcoming album.
Their first single "Custards last stand" from the forthcoming album had radio support from NTS radio, Worldwide FM / BBC 6.



The forthcoming album “Stars Planets Dust Me” will be released March of 2022.

Fangen wir ganz von vorne an. Der Bandname: Er taucht auf im Werk der Beatles, von Cockney Rebel, Townes Van Zandt, Monty Python. Womit er auch einen ersten Hinweis auf die Musik liefert. Die Band: Vier Freunde, davon drei Musiker, 13 Alben im CV. Die Idee: Old school is the new modern. Pfeif auf Innovation. Pfeif auf Kunst. Konzentrier dich auf das, was du selbst am liebsten hörst. "Echte" Songs, mit Strophe, Refrain, zuweilen Mittelteil und wenn's passt auch mal Tonartwechsel. Melodiös, ohne seicht zu werden. Mitreißend, ohne aus der Kurve getragen zu werden. Deep, ohne kitschig zu werden. Oder, gottbewahre, esoterisch. Das Album: Alles wie immer, nur anders. Gitarren, Bass, Schlagzeug, plus hörbar mehr Keyboards/Synthesizers/Soundscapes. 12 Songs, die sich praktisch allen Facetten dieses Lebens widmen. Liebe, Körper, Kätzchen, Clubs, Theater, Astronomie, Wohnkonzepte, Mode, Müdigkeit, Müllentsorgung. Und, nicht zu vergessen, the way to the bathroom. Aufgenommen in Stuttgart, Hamburg, Karlsruhe, Paks/Ungarn und Uppsala/Schweden. Between Planets eben. And there you are.

Artist, composer and producer James William Blades" score Pare De Sufrir will be released via AD 93. Today Blades will be releasing a preview of the album with the single Alma Germela. Pare De Sufrir (translating to "End of Suffering") is the official soundtrack to A.G Rojas" film of the same title.

"One of my aliases from the 90’s was Darkmaster. That part of me now makes a comeback. This new EP has a repress of one of the sought after tracks from the Darkmaster single, an unreleased amen version of my first ever Dom & Roland track on Moving Shadow… “The Planets”, plus a remix of “Intastella Jazz” with a way heavier bassline than the original. To top it off, one of my favourite tracks to ever grace a dubplate “The Way You Feel” has finally made it onto a piece of vinyl."

Blood Red w/ Cyan Blue Splatter Vinyl. Remember Sports is a Philadelphia-based band, originally conceived in the tiny Midwestern college town of Gambier, OH, comprised of members Carmen Perry (vocals, guitar), Jack Washburn (guitar), Catherine Dwyer (bass), and Connor Perry (drums). Their peppy indie power pop encapsulates the melancholy and excitement of growing up while Carmen's writing is diaristic and intimate; a strange amalgam of both melancholy and joy. Remember Sports recorded Sunchokes in 2014 with school mates Teddy Farkas and Alex Evans while Carmen, Catherine, Benji Dossetter (drums) and James Karlin (bass) attended Kenyon College. Sunchokes (Deluxe Edition) is a remastered version of the original album plus eight bonus demo + original versions of some of the songs.

‘Life On Other Planets’ is Supergrass’ fourth studio album, which peaked at #9 in the UK charts. (Norway#13, Australia #22, France #44).

Released as 1LP black heavyweight vinyl, 2LP white 12”, green and black 10” vinyl and 3CD with demos and live versions.

This 2023 re-issue has been fully remastered from original sources and includes the hit singles ‘Grace’ (UK #13), ‘Seen the Light’ (UK#22), ‘Never Done Nothing Like That Before’, ‘Rush Hour Soul’.

Gatefold 1LP is a faithful reissue of the original album

Following a 2021-2022 global tour that reaffirmed St. Vincent’s status as one of live music's preeminent forces with headline appearances at the likes of the Hollywood Bowl and Radio City Music Hall, Clark would begin work on album number seven: Her first fully self-produced album (having co-produced every one of her previous efforts), All Born Screaming is St. Vincent at her most primal. Featuring Clark leading “a curated group of rippers” through the brawny “Broken Man,” the mordant catwalk sashay through the deafening assault of self-loathing that is “Big Time Nothing,” the sublime, elegiac earworm “Sweetest Fruit," All Born Screaming is equal parts spiritual desolation and rapturous acceptance. ‘Sublime seventh album’ - Uncut ‘Emotionally lacerating’ - Guardian Culture ‘A voracious, visceral seventh record fuelled by the colours and sounds of fire and fervour’ - DIY

After putting down the saxophone, the instrument he has become synonymous with, Shabaka returns with his first full length album under his own name. Expanding off the meditative 2022 EP Afrikan Culture, his new album Perceive its beauty, Acknowledge its Grace is a deeply moving suite of primarily instrumental music. The listening experience is reflective and contemplative, with passages flowering from one musical concept to the next, encouraging deep attention that rewards the listener with throughlines and motifs throughout the record. Shabaka is found playing the flute on this album, and has enlisted key artists such as Andre 3000, Lianne La Havas, Moses Sumney, Floating Points, and more to help build this all-encompassing aural landscape.

Third album from Norwegian jazz musician Bendik Hofseth. His career started in Oslo with the bands Chipahua and The Heavy Gentlemen together with Knut Reiersrud. He then went to study in the United States, where he also worked for several years as Michael Brecker's successor in the band Steps Ahead (1987-92) "Planets, Rivers and .... IKEA" first released in March 1996 is an album divided into three main parts. Four IKEA songs performed with pop/rock musicians. Performed with things like a piano prepared with screws from IKEA, rubbish bin, and a homemade Berimbau. Four "River songs" with a more jazz-oriented band and Three "Planet" melodies performed by a string quartet and a horn quintet. Despite an apparently wide-ranging use of musicians, it appears as a well-composed and coherent album, with an unmistakable Bendik Hofseth touch!

Seven Davis Jr. returns with a new album fresh after releasing the virtual reality infused clubby "Iss Good" EP on Classic Music Company. This album contains a fusion of R&B Hip Hop / Trip Hop / Deep & Soulful House songs. Inspired by the 90s sound and energy with appearances from John Cale, Luke Solomon, Ivan Dorn, Life On Planets, Jon Dixon and more.

Zum ersten Mal auf Vinyl erhältlich, wird Brainfeeder am 9. Februar 2024 eine wunderbare Deluxe-Edition von Austin Peraltas Album aus dem Jahr 2011 veröffentlichen. „Endless Planets“ war und bleibt ein Meilenstein im Brainfeeder-Katalog und markierte den ersten Vorstoß des Labels in den Jazz. Es erschien ein paar Monate vor dem Debütalbum, „The Golden Age Of Apocalypse“, seines Freundes Thundercat, und vier Jahre vor Kamasi Washingtons „The Epic“. Austin Peralta, ein wahrhaftiges Ausnahmetalent am Klavier, verband mühelos neugierigen Futurismus mit unglaublicher Musikalität und einem gesunden Respekt vor dem Erbe des Jazz, und auf diese Weise ist es eine beispielhafte Brainfeeder-Platte.

Die Neuauflage enthält vier bisher unveröffentlichte Tracks, darunter eine Live-Version von „DMT Song“ aus Flying Lotus’ 2012er Album „Until The Quiet Comes“, die Austin Peralta mitgeschrieben hat. Aufgenommen in den legendären BBC Maida Vale Studios in London im Juli 2011, leitete Austin Peralta eine britische All-Star-Band bestehend aus Richard Spaven (Schlagzeug), Tom Mason (Bass), Jason Yarde (Altsaxophon), Heidi Vogel (Gesang) und Jason Swinscoe von The Cinematic Orchestra (Elektronik). Austin Peralta stammte aus L.A. und war der Sohn von JC Caldwell und Stacy Peralta. Er war ein Jazzmusiker. Nicht in dem Sinne, dass er oder ihm nahestehende Personen das Wort „Jazz“ in Bezug auf seine Musik in den Mund nehmen würden. Eher im Sinne von jahrelanger Übung und Hingabe an eine bestimmte Kunstform. Oder in dem Sinne, dass er unter anderem mit Chick Corea, Hank Jones und Ron Carter gespielt hat. In dem Sinne, dass er wirklich etwas drauf hatte. Dass er Klavier spielte und komponierte wie ein echter Veteran. Und das alles im Alter von nur 20 Jahren. Und das, bevor man sich mit seiner Arbeit als Session-Spieler für jeden und jede, von Erykah Badu bis Shafiq Husayn, oder die Zeit, als er in der legendären Big Band aus Los Angeles, Horace Tapscotts Pan Afrikan Peoples Arkestra, mitspielte.

toechter is an all-female trio operating from Berlin. toechter’s 2nd full-length album »Epic Wonder« sees its classically trained members blend elaborate string arrangements with ethereal indie pop and delicate rhythms. Katrine Grarup Elbo, Lisa Marie Vogel and Marie-Claire Schlameus exclusively use analogue sound sources (such as violin, viola, cello, and their voices), which were then electronically processed.

Named after the Greek god of the wind, toechters 2022 album »Zephyr« exhaled deeply with concurrently invigorating and confusing sounds. »Epic Wonder«, their second album, was created in the spring and summer of 2023. Playing with forms and contours, the music sounds like the awakening of something new. One seems to be listening to an ongoing conversation, an exchange about what music could be, where it wants to go and how it contributes to our view of life. It all rests on a simple premise:

»Every sound you hear in our universe comes from us. The string trio is the core of toechter, the starting point of all our work.«

Those looking for new worlds of sound can find them in the work of this classically- trained musicians. Whether they add voices or percussive instruments, sample the sounds, or manipulate them electronically; ultimately they are exploring the string trio's place in a world shaped by the digital.

»Prelude« opens the album, seemingly a conversation, yet not only between humans. We catch the word ›love‹ which soon morphs into pure sound images, while a violin theme tentatively takes over. Is it the dawning of a new day? The chorus of sound transforms into a fascinating rhythmic figure, creating a club-like experience that fades out in delicate structures. A perpetual transformation.

According to toechter, »Epic Wonder« is all about making connections. Connections between people, animals, plants, fungi, rocks, soils, oceans, ice caps, stars, and planets. One imagines oneself in a folk-pop song of the 60s, or even blown around by Morricone's desert wind:

»The world as we see it is in desperate need for a deeper understanding; for compassion, for empathy. We have to understand that we are all part of the same organism. Epic Wonder is a dream, a wish, a longing for kinship between all species that share the world - all that is alive.«

The acoustic throbbing and knocking in »Sea Of Serenity« makes you think of encounters with mythical creatures or planetary oceanography; and out of the mechanically clacking groove of »Shift Souls« a gentle, but steady movement awakens with voices that seem to sound from the depths of the sea. Everything is in flux, floating in and out of dimensions and elements.

The album ends with »Mercury«, spherically elegant and almost science fiction-like. Here, a pizzicato melody leads us back to the baroque, simultaneously representing a detail of intertwined sonic worlds, while the steady, housy baseline develops its driving theme.

»Creating the music for the album, we allowed ourselves to waft away with the aspiration that connections are possible. Sometimes dwelling on subtle, yet marveling phenomena like the evening fog covering a valley on Midsummer, sometimes on grandiose splendors like the genesis of mountains or the birth of a child - letting interactions and encounters with other beings float through the musical universe as drips of emotional perceptivity.«

For the visual manifestation of »Epic Wonder«, toechter has engaged with Finish up-and-coming lens-based artist Aino Kontinen. Her work will grace both the cover art of the album and accompany the first single and video as an ephemeral tale in motion.

Kepler is free” represent the brand new Athenian Urban Jazz scene in full. You may say that they actually started the whole scene with their debut album "Teegarden" by Veego Records, an instant sold out! Voted by local music portals as one of the best albums of 2020 and probably one of the best debuts ever when it comes to the Greek jazz game. “Kepler Is Free” jazz rock ensemble makes expansive music that straddles the line between '70s soul-jazz, alternative hip-hop, and experimental electronica.

The name of the band is inspired by a retired space telescope launched by NASA to discover Earth-size planets orbiting other stars. Named after astronomer Johannes Kepler. Founded in November of 2018 by Sokratis Tsentoglou (drums) who gathered George Migdanis (electric guitar), Nikiforos Nugent (keys), Spyros Zardas (trumpet) and Vasilis Alexopoulos (bass guitar), they all came together from different musical backgrounds in order to create original and groundbreaking material.

Commuting over their shared love of jazz and hip-hop, they composed their debut album, “Kepler”, with five tracks that highlighted their love for the music of GoGo Penguin, Badbadnotgood and Alfa Mist.

The fact that all the members were young and had not played in other Jazz bands before was something that shook the Greek Jazz community. ''Second Light'' was recorded in difficult conditions and was delayed quite a while until it was finished due to the pandemic.

The band played a handful of sold out shows in Athens over the last few months proving with their performance and the attendance that the band created a crossover from Jazz to pop audience. "Juno" track was a smash hit on legendary "En Lefko'' Radio station over the last two years. Worth to mention that just a month before the release of their second album Kepler is Free collaborated with LEX, one of the most famous rappers in Greece with the "Spike Lee" track.

In keeping with tradition, the new year brings another offering from Portuguese pianist and composer Tiago Sousa. »Organic Music Tapes Vol. 3,« the third instalment in Tiago’s ongoing series, continues to develop a freeform dual approach to organic and fluid compositions for Piano and Organ - this time adding a real church tube organ to the proceedings.

Evolving from the foundation laid in the first two volumes, Sousa introduces the pipe organ into his signature piano compositions, expanding his sonic palette into an even more otherworldly organic realm.

Much like its predecessors, »Organic Music Tapes Vol.3« immerses listeners in a nebulous sonic landscape, where the compositions exist in a nebulae-like state— eternally floating over stars and planets. The contours of these musical pieces are indefinite and indeterminate, refusing to settle or conform, a testament to Sousa's commitment to pushing the boundaries of traditional minimalism while still paying respect to the American pioneers of the genre, such as Terry Riley and Steve Reich.

Enter then the third volume and be locked in a new theatre of eternal music by an artists that keeps pushing his own style to ebullient highs.

KID FRANCESCOLI, leader of the French Riviera Touch is back with the stellar album SUNSET BLUE out Sept 22nd 2023.

After a first sold-out world tour (over 200 concerts in Europe, USA, Asia...), and successful hits such as Nopalitos, Blow Up or Moon (now certified diamond, with more than 200 millions streams), the Marseille-based producer, crooner and multi-instrumentalist, Mathieu Hocine, is eager to share his most accomplished LP ever. This fine collection of soulful songs honor his Mediterranean roots, with elegant and pop melodies. His most recent success and the creation of his first original soundtrack with AZURO, installed him as one of the best French songwriters of his generation, with a unique signature sound.

"I live in Marseille, I spent my childhood in Corsica, I have Algerian origins, my first vacations with friends were in Barcelona, vacations with my first girlfriend in Roma,... Then, I had the chance to perform in Morocco, Greece, Turkey and Egypt: each time I spent time in the Mediterranean region, the people I met there made me feel like I was part of the same country. This shared multiculturalism is really comforting, it has its own poetry and strength, bringing uniqueness and empathy to the people. It is essential for me. I love my city: it’s the perfect place to feel good with sun, sea, family, friendships, love... It gets me emotional, bringing tears with a smile".

With his new musical gem, Mathieu Hocine unveils 11 elegant tunes of his finest craft: sunbathed French Touch (Run Run, 1986), romantic chillwave (Corsica), uplifting synthpop (You Are Everywhere, Like Magic), electronic-soul (Casino Soul), cinematic disco (Solaris), cosmic R&B (Sweet and Sour, Take Time), … Everything is in this record.

For the first time ever, Kid Francescoli paid tribute to his mixed origins with his collaboration with world-renowned lute and mandolin player Hakim Hamadouche (Rachid Taha, Patti Smith, Brian Eno, Tricky...), whom added Algerian patterns to the introspectives songs Drift in Blue and The Morning After.

"My ambition is to create pictures in people's heads with music, to transport them instantly into a movie"

SUNSET BLUE is an instant-crush album: crystal-clear, strong, personal but universal at the same time.

It's an ecstatic soundtrack for this moment when time is suspended, the golden hour when everything seems possible. It feels like Love is in the air, you're living your best life and you're at the right place at the right time. This album embodies this magic moment where we would like to last forever… Like an epiphany, Kid Francescoli's new album is a moment of pure pleasure, a soothing way to escape reality.

"I see myself as a melodist.I would like my music to feel like velvet. There's something cinematic, classy about it, and yet comforting. It's very simple, popular and synonym of love and passion"

His friend French 79 co-produced the album, while the american rapper Bamby H2O brought his NYC swag (on Sweet & Sour), Stan Neff (Polo & Pan, Kungs, Christine and the Queens...) took care of the mix and Alex Gopher (Daft Punk, The Blaze, Bon Entendeur...) added a final touch of magic when mastering. Nicolas Despis (known for his work with Etienne Daho, Hoshi, Juliette Armanet... and many famous French rappers) later joined this dream-team to craft custom-made artworks. SUNSET BLUE is a deeply personal quest, a human adventure for Mathieu Hocine (whom explores his maghrebian origins, his feminine side, his subconscious space, ...). It's a male's work, but don't get it wrong, this LP would be nothing without women’s touch : Julietta (on Run Run and Take Time), Sarah Gaugler from Turbo Goth (on You Are Everywhere and Like Magic), and iOni (on Drift in Blue).

“Music has this magical power to broaden your vision of the world. It's fascinating because, like dreams, it's the kind of irrational things science can't explain and that makes life exciting."

Planets aligned perfectly on this project and thanks to this five-star cast of collaborators, Kid Francescoli achieved his personal holy grail : he orchestrated a great 21st century pop-music album.SUNSET BLUE is a new turning point between organic and electronic, both a mediterranean travel and a Californian dream, a bridge between Ennio Morriconne and modern electronic music.

Also, while it might be called SUNSET BLUE in honor of the sea and the Portuguese / Brazilian concept called “saudade”, but it is a really optimistic album, whose true colors would rather be "yellow-orange-red" in nod to the sun.

Created in the midst of the world tour, SUNSET BLUE is a direct result of the lives’ energy and fans’ joyful vibes: going back in the studio after smiling, singing and dancing with people all around the world inevitably gave Kid Francescoli the desire to retranscribe this ecstatic feeling in music. This album is a sensitive experience, from sunrise to sunset, from first track to last one. It’s an exploration of an everlasting summer, reaching its climax in the very final seconds of the track Corsica, making us want to press play and dive into this jewel all over again.

A beautiful cosmic trip, whether you like to stay in bed cocooning, to travel far, far away or to dance ‘till dawn, to catch the first rays of light.

Make sure to catch Kid Francescoli on his next world tour to have a good time.

Hey Colossus's mammoth, nearly album-length cover of 'You Laugh At My Face' from Catholic by Patrick Cowley and Jorge Socarras, was initially commissioned by The Quietus for Sound + Vision subscribers before being released as part of state51's ongoing Singularity series. Here it's presented in marbled red vinyl with a stunning Bass Clef remix on side B.

"I think the mixing and the choice of sounds in anything that Patrick Cowley did is flawless," says Chris Summerlin of Hey Colossus. "Especially the instrumentals on School Daze – you can imagine the places they're in, the planets they're on, and I think that's a good approach to mixing any type of music."

The result is the group's latest high-water mark. Over its almost 22-minute runtime, Hey Colossus make the song their own by utilising an expansive arsenal of dub-like tactics. Excepting a rough-and-ready surprise near the track's conclusion, their 'You Laugh At My Face' is a genuinely gorgeous, psychedelic exploration of the Cowley and Socarras original.

"Richard Edwards is in the pocket. He’s been there for several albums now: 2017’s Lemon Cotton Candy Sunset, 2020’s The Soft Ache & the Moon, and 2022’s Ghost Electricity/Vampire Draw. Just as the Margot records defined his twenties, this “Beach Bum” era, as he calls it, may well define his thirties. That era is expanded in Two Sad Little Islands Drift Together, Two Lonely Little Monkeys Find A Tree: Rare and Unreleased 2015-2023.

Beginning with Lemon Cotton Candy Sunset, Richard has been steering his ongoing body of work toward capturing a feeling of being at sea. Life can find us at sea in any number of ways–in a marriage or partnership, or in longing for one; in parenting, and its ceaseless wonders and worries; in bodies and minds that confound understanding (whether just our own, or also that of professionals); in our rotting world, which we’ve fucked up beyond all repair.

“What does that sound like, though?” you may ask. Like Mike Bloom’s cascading fingerpicking in “Lil Dead Eye-d (b.),” or the tranquilizing combination of Dave Palmer’s piano and Perla Batalla’s multi-tracked vocals on “Love (b.)” Like the L.A. based Section Quartet on “True Love Waits,” or the triumphantly stoned Velvet Ocean jam-session that is “Jane Greer With A Gun.” Like Richard’s use of melody and imagery on “Pink Lightning (b.)” and lead single “Benzedrine,” where he is masterfully accompanied by Erin Rae (on the former) and Maria Taylor (on the latter).

Unlike Richard’s past archival releases which have often featured home demo recordings, everything on Two Sad Little Islands has been produced in-studio. With this 3-LP vinyl set, Richard presents just over two hours of material that once again makes his case as one of the “most underrated songwriters of our time” (LA Review of Books)."

"Galt MacDermot (1928-2018) was an award-winning Canadian-American composer, pianist, writer of classical music and theatrical pieces. MacDermot also composed music for several film soundtracks (like the 1970 blaxploitation film `Cotton Comes To Harlem') and released several exceptional jazz and funk albums on his own label Kilmarnock Records. He is best known for his work on the Grammy winning 1967 musical Hair (which also produced several number-one singles like "Aquarius/Let The Sunshine In") and Two Gentlemen of Verona (1971) for which he won a Tony Award. In 2009 Galt MacDermot was inducted into the Songwriter's Hall of Fame and in 2010 he received the Lifetime Achievement Award. In 1979, MacDermot formed the New Pulse Jazz Band, which performed and recorded his original music. Galt MacDermot's music is extremely popular with collectors of jazz and funk. Working with jazz and soul musicians such as Bernard Purdie and Idris Muhammad, MacDermot created pieces that used African rhythms (he made the study of African music his speciality). In recent decades, his work has become popular with hip-hop musicians including Busta Rhymes, Ol' Dirty Bastard, Gang Starr, Action Bronson, Public Enemy, MF Doom, Madlib, J Dilla, Obie Trice, Naughty By Nature, Run DMC and Digable Planets_the list is endless. The album "Ghetto Suite" was written in 1970 and released in 1972 and is considered one of the most ground-breaking records ever issued on Galt MacDermot's Killmarnock label and consists out of a selection of songs and poems by Harlem/Bronx school children, set to Galt's music, and sung by vocalist Angela Ortega. Given That Galt's handling the music, you can bet that there's plenty of nicely executed funky touches - supported by rolling bass-work, snapping drums, and organ virtuosity. But the real charm of these groovy tunes comes from the lyrics, which have a simple and to the point way of dealing with issues of racism, poverty and other issues of the time. The story telling is surprisingly gripping even after all these years. The whole album creates an extremely personal direct sensitivity to the environment of Ghetto kids_telling us with defiantly honest intensity what it was like to be young and black, the drugs and the deaths, the topic of incarceration_or simply the fact of being battered by the frustration of Ghetto existence. Ghetto Suite is way more than an entertainment record, it has been used by teachers and counsellors to inspire and motivate the muted voices of the black inner cities_ documenting both their anguish and their triumphs. Tidal Waves Music now proudly presents the FIRST EVER vinyl reissue of this exceptional conceptual album (originally released in 1972 and a highly sought-after pricey collectable ever since) This unique record now comes as a deluxe 180g vinyl edition (strictly limited to 1000 copies) with obi strip and features the original artwork and extensive sleeve notes.

tom Ravenscroft at 6music amongst others. And now, in true AMO1 creative fashion they are presenting an off-shoot release of that album, one completely reimagined by the man, the myth: Ricardo Villalobos.
Much has been written and talked about when it comes to producer/DJ Ricardo Villalobos over the years.
The mercurial Chilean-German artist has consistently redefined the boundaries of techno and electronica over the past 30-years as a producer, whilst also traversing the world and expanding minds as a DJ who can equally delight as he does challenge.Like a great jazz drummer (he was a percussionist before discovering mixing records), Villalobos has not so much as broken “the rules” of structure as just created his own unique approach. One that is often surprising, ever open-minded, and clearly lead by whatever happens to be inspiring him at any given moment. Watching him work or hearing him play music always feels live and free. He’s an artist. And that is exactly how this (perhaps unlikely) collaborative album has come to light – but then this is Ricardo, so maybe we should all know by now that anything is possible.
Villalobos explains, “In my scientific search for some electroacoustic musical landscapes, the offer of remixing ‘Black Apple Pink Apple’ was just perfect for me… In general, the song writing is so very good and particular, with all the instruments played into a sequencer, so it was very inspiring to strip down these pop songs into my dubby extensions, taking only the drums, bass, and vocals of the song.” Expanding further, “After delivering the first remix, Mo and myself came up with the idea of reimagining the whole album in a new way, mixed simple with other ears and my inspirations, with a new and different point of view of what instruments are important to hold the song to bare itself.”
It says a lot, and somehow captures the essence of Ricardo’s approach to music (and life), that one remix soon evolved into a whole plethora of reimagined works, driven by a creative slipstream and a clear connection to the songs created by A Mountain of One.
Mo Morris provides more insight into his own connection with Villalobos, “I lived in Berlin back in 2002-04 and used to religiously go to dance to Rici at the after (after) hours parties: little, tiny events. And he just used to blow my mind, I hadn’t heard anything like it before (or since). Ultra-modern and forward thinking.”
Mo continues, “A good friend connected to Ibiza happenings introduced me to Ricardo as it transpired that he was a fan of our early material, so I sent him some demo’s when we were in the studio creating ‘Stars Planets Dust Me’ and he loved ‘Black Apple Pink Apple’. The relationship and collaboration grew from there really, and I hope that this release is still at the start of what we can all create together.”
Focussing in on the album at hand – ‘Ricardo Villalobos reimagines: Stars Planets Dust Me’ – we are treated to a concept listen that guides us from dreamy daytime Balearic pop – staying very true to the original songs – all the way through to completely original deep dubby techno excursions. And to Villalobos fans, it will perhaps surprise (and hopefully delight) how light a touch he has provided to the opening tracks, focussing more on enhancing the sonics, and allowing the originals to shine brighter through remastering and mixing down. It’s in these moments that we see Ricardo as a pure music fan, needing not overly change or alter what’s already been created, but simply doing what he can to maximise what’s already there.
What will certainly delight Ricardo fans are the four full ‘klub’ remixes provided of ‘Black Apple Pink Apple’, ‘Make My Love Grow’, ‘Softlanding’ and ‘Dealer’ that each boldly explore the outer regions of the dancefloor in a way that only Villalobos can.
Mo rounds off, “From an electronic and sonics standpoint he’s kind of out there on his own. It’s such a unique sound. Weatherall also had this, and Harvey has that unique flavour, and also people like Nils Frahm and Max Richter have this gift. It’s not an easy thing to produce. Ricardo has his own personal cosmic trademark.”
Indeed he does. Take a trip with him around the stars and planets and see for yourself.

Music compilation and art book. We open the GLITZERBOX again and look into a glittering kaleidoscope of music and illustration. Crossing genres, in handmade editions and with great attention to detail, Jimmy Draht fuses artistic ideas into a new whole.

The vinyl contains beautiful folk songs, experimental collages, field recordings and lo-fi pop. All tracks are exclusive or have never been released on vinyl before.

Featuring music by: Maxine Funke, Tenniscoats, Mouth Harp Ensemble, How to count planets, A Happy Return, Benoit Pioulard, New North Wales, Dump, My Two Toms, Oro Swimming Hour, Matthew de Gennaro, The Gentlist, Andersens, Jam Money, Michael Tanner.

The artists, whether they paint, draw, scribble or cut, whether analogue or digital, whether they are graphic artists, illustrators or visual artists: they combine image and sound, discover connections and show that music can create images and vice versa.

Art by Petra Péterffy, Laurent Impeduglia, Nadine Spengler, Michael Dumontier, Tomoko Mori and Nicholas Stevenson.

A limited and numbered edition of 300, with hand-printed 3 color silkscreen book. Compiled by Markus Acher (The Notwist) and Jimmy Draht.

Since the late 90s JIMMY DRAHT publishes elaborately designed music-graphic-comic-text hybrids, most of them handmade and screenprinted. Initiated by Marion Epp, often in cooperation with a music label, artists from various genres are invited to participate. Each release is accompanied by exhibitions and music events.

Bands such as Calexico, The Notwist, Lali Puna, Neoangin, Pram, Otomo Yoshihide, A Million Mercies, Ted Milton, MS John Soda, Schwermut Forrest, Tied & Tickled Trio have participated (to name a few).
In terms of design we were lucky to showcase the works of ATAK, Anna Sommer, Knust, CX Huth, Katz & Goldt, Judith Zaugg, Thomas Ott, Jochen Gerner, Martin tom Dieck, Jim Avignon, Le Denier Cri, Elvisstudio and many more.

ALIEN TRANSISTOR was founded in 2003 by Markus & Micha Acher of The Notwist. The concept of the label is to produce music that has a musical or personal reference to the Notwist microcosm: From electronic soundscapes to abstract hip-hop to laptop-treated contemporary, from processed oriental music to Nick Drake-inspired songwriting. Alien Transistor respects no musical boundaries.

If there’s a secret to time travel, Kool Keith owns the patent. Even a flying DeLorean seems too
conventional for the Bronx legend. He’d more logically orbit throughout the galaxy in a gleaming
chrome spaceship, teaching the stars and aliens new forms of originality. He is too weird to live, too
rare to die, too uniquely ultra-magnetic to be accurately mimicked. Released on Mello Music Group,
Time? Astonishing! is the latest dimensional warp from hip-hop’s premiere astral traveler. His union
with MMG producer L’ Orange finds him exploring uncharted terrain: choppy volcanic rock planets, ice
glacier moons, new surgical procedures, and fresh rappers to toss into the ether. The scalpel remains
eternally sharp. The beats glow with radioactive grit. Hard enough to knock from your car speakers,
cinematic and plutonium-propelled enough to transport you to strange terra firma. Buck Rodgers
movie serials meet boom-bap. And along for the odyssey are a cast of the best underground MC’s of
the last decade: Blu, Open Mike Eagle, Mr. Lif, J-Live, and more. These are space symphonies and
occult odysseys, fuel for wanderers, wonderers, and all the a-likes. Welcome to the new world, even
more sinister and suspenseful than the last one. We live in astonishing times: abstract, absurd, and
indelibly Kool.

Vinyl reissue of the soundtrack by Francis Lai, Pierre Barouh & Nicole Croisille from the 1966 film “Un Homme Et Une Femme” directed by Claude Lelouch.

New Jersey, Brick City hip-hop legend Beneficence and UK based producer duo Jazz Spastiks unearth a timeless treasure with the release of their collaboration album "Summer Night Sessions". With a completely jazzy street feel and slick written, soothing, intellectual lyrics the Ill Adrenaline co-founder releases his 8th full length album. Over 25 years of successfully releasing independent music, Beneficence set the bar high by using lo-fi, jazzy boom-bap sounds masterfully. Following his most successful "Stellar Mind" (2021) release accompanied with a memoir ("Concrete Soul - The Memoir & Making of Ill Adrenaline Records") of his life and music journey, the close Artifacts affiliate delivers a personal collage of authentic hip-hop music with a brilliant Jazz Spastiks backdrop. Well selected guest appearances in these "Summer Night Sessions" include Skyzoo, Saukrates, Doodlebug (of Digable Planets), Awon, El Da Sensei (of The Artifacts), J-Live, Rakaa Iriscience (of Dilated Peoples), Kid Abstrakt, Shabaam Sahdeeq, and grammy nominated R&B singer Anthony David on a CD/digital only bonus track. On the first single "Do This, Do That" feat. Awon, Beneficence flows smoothly over simple but captivating horns reminiscing about his come up on the music scene. "At the time I was seated behind Diddy and Biggie, '95 Source Awards keys to the city". "Mic Epps" displays lyricism in its finest form when Beneficence playfully pans between a reference to comedian Mike Epps and microphone episodes. "Civilize 'em with a mic check, I get funny on 'em, Mike Epps, you coming ugly imma swipe left, what we giving you is priceless, the nicest!". The musical marriage between the beautiful sounds of Jazz Spastiks and the sharp pen of Beneficence is tactfully done with rich and hypnotic bangers for hip-hop lovers with an ear for certified dopeness