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This summer, multidisciplinary producer, designer and 3D artist Raynor de Groot serves up Future Static, his debut full-length on Atomnation as Coloray. More than simply a collection of music, the record will be presented in an all-new virtual space where each track is a portal to a different world.

Dutchman de Groot has proven himself as an accomplished conceptual artist who draws together many different creative fields. He has released everything from lush synth-pop to deep techno, and has real songwriting ability. 2019's 'Can't Stop' in collaboration with Eagles & Butterflies proved that as it crossed over multiple scenes and became one of the year's standout tracks thanks to support from heavy hitters as diverse as Hunee and Four Tet. Âme & Dixon have also regularly supported Coloray's music and asked him to release 'Gazing Eyes' on their Innervisions label.

Two years after his Real Life Cinema EP on Atomnation, Future Static finds de Groot open a new chapter that explores a more conceptual sound. The album "translates the concept of man and computer creating a new reality where logic and emotion seems to be at odds with one another." Its 12 tracks have club-ready grooves, but also exquisite synth designs that are edgy and uptempo. They will be translated to a live show and interactive music experience in VR, on your phone and desktop. In the show, online visitors will be able to get lost inside the mind of an AI and watch and interact with a Coloray performance.

Presented with an artfully designed gatefold sleeve, Future Static is a groundbreaking project from Coloray that pushes creative boundaries while offering an immersive listening experience.

"Chew The Scenery is the long awaited debut album from indie wunderkind Oscar Lang. Led by the glorious psychedelic-rock of 'Stuck', it travels through piano-pop, lo-fi and grandiose songwriting, interspersed with charming interludes and asides, showcasing every side of Oscar Lang's hot-property songwriting talents." Available on CD and limited red vinyl

A deep dive into the one of most collectable jazz catalogues in the world, a selection of some of the rarest and most sought-after recordings from the 60s and 70s, a time when British jazz began to find its own identity. Drawn from the iconic labels of Decca, Deram, Argo, EMI Columbia/Lansdowne Series, Fontana, Mercury, & Philips. Kenny Wheeler was born Canada in 1930 and, with encouragement from his father - himself a trombone player - began playing trumpet at age 12. After studying at Toronto’s Royal Conservatory, he arrived in London in 1952, his playing enveloped in the sounds of Miles Davis, Booker Little, and Fats Navarro. In 1959, Wheeler joined the Johnny Dankworth Orchestra and stayed there until 1963, although he returned frequently for shows and other projects in the years that followed. He quickly become a distinguished soloist in the Orchestra and appeared on Dankworth’s key sixties albums. Wheeler met and played with the rising artists of London’s free jazz scene. Players such as Trevor Watts, Derek Bailey, and Evan Parker, musicians who would challenge the conventions of the day, eschewing formal composition and structure to embark on group improvisation. For a musician thoroughly schooled in all the conventions of charts and dance bands as Wheeler was, this was a radical departure. Wheeler’s contributions proved his ample flexibility and showed he was capable of inhabiting both the free environment and the more formal and controlled settings of a big band and orchestra. This was shown most clearly on his debut album, Windmill Tilter, recorded for Fontana with the John Dankworth Orchestra. The album features a young John McLaughlin on guitar along with bassist Dave Holland and a roster of talented and well respected musicians playing on one of the greatest modern jazz big band and orchestral albums.

Paper Birch is a collaborative experimental noise rock duo formed by Fergus Lawrie (Urusei Yatsura) and Dee Sada (NEUMES / An Experiment On A Bird In The Air Pump) in May 2020. United by mutual feelings of despair, fragility and hope, they passed ideas and sounds between London and Glasgow whilst the UK was in lockdown. The resulting 9-track debut LP morninghairwater is set to be released on vinyl, CD and digital. A melting pot of genres, morninghairwater twists and turns through moments of 60’s inspired
indie-pop, fuzzed out angular shoegaze and glitchy electronic soundscapes with astonishing ease. This album draws not only on the influence of both Lawrie and Sada’s individual back catalogues but which at times echoes with everything from Heavenly to Joy Division. The album also marks the beginnings of a collaborative relationship with renowned visual artist, Thomas James who has created thrilling films for Ghostpoet, Paloma Faith and most recently, The English National Ballet. Whilst morninghairwater may be a product of the universally challenging time in which it was recorded, the duo has already started work on their second album and Paper Birch looks set to be an enduring fixture of the UK experimental scene. Press and radio coverage for Paper Birch “an intoxicating squall of noise pop” - God Is In The TV “Sada’s signature softly cooed atmospheric translucent vocals prove a congruous fit with Lawrie’s
deeper, more grunge-y despondency; sounding at times like Psycho Candy-era Jesus And Mary Chain in harmonious matrimony with Mazzy Star, or, the Pop Group hooks up with MBV” - Monolith Cocktail “mixing in disparate elements from classic 60s pop to glitchy electronica to transportative effect” – Joyzine “with a strong baseline and a sea of roaring guitar, a bit like The Pastels vs My Bloody Valentine (nothing wrong with that!)” - Is This Music “The texture is suggestive, the atmosphere hypnotic and the climate oppressive” - Sun Burns Out “A true jewel of modern and underground psychedelic pop” - Acute Pop

English thrash metal outfit Xentrix is commonly referred to as one of the “big four” of English thrash metal, given their popularity in the underground metal scene of the 1980s to mid-1990s. The band released their second studio album For Whose Advantage? in 1990. It gave them even more interest than their debut, and it marked the first time the band got to shoot a music video – for the title track. It also gave Xentrix the opportunity to tour with Skyclad and play shows with world famous metal bands such as Slayer and Sepultura. And rightfully so, as this album belongs in any headbanger’s collection.

For Whose Advantage? is available as a limited edition of 1500 individually numbered copies on translucent blue coloured vinyl.

The weird world of Wombo is a kaleidoscopic journey of sharp turns and
surprising visions, a melting pot of influences with a cheeky cheshire-cat
grin that coalesce into a trippy but infinite universe of the band’s own, and
a portal into their unique vantage point without limitation.
Already committed to living outside the traditionally-heralded country sound
of the music scene in their hometown of Louisville, Sydney Chadwick (vocals)
and Cameron Lowe (guitar) had previously played in punk pop band the Debauchees, and with the addition of Joel Taylor (drums) in 2016 they found a
winning combination of more straightforward indie rock combined with Chadwick’s pitched up, oscillating vocals and unpredictable shifts in melody that see
the band moving forward at an impressive pace.
Their 2020 Blossomslookdownuponus LP is a snapshot of Wombo’s wide-ranging aspirations that careen across avant pop, post punk and warbly indie interludes with a sky’s-the-limit approach to translating the mundanity of regular
life into their own high-frequency language. Lemon Yellow Vinyl w/printed inner sleeve.

DESTRUCTION liefern unaufhaltsamen Thrash Metal nach Hause auf Live Attack!
Seit ihrer Debüt-EP Sentence Of Death (1984) hat das deutsche Vierergespann DESTRUCTION mit ihrem
unglaublich ehrlichen und kompromisslosen Thrash Metal für Aufsehen und Nackenschmerzen gesorgt.
Jetzt, 37 Jahre nach ihrer unaufhaltsamen Karriere, bringen DESTRUCTION die geballte Power von harten
Drums, peitschenden Riffs und giftigen Vocals auf der neuen 2CD+DVD (BluRay) Live Attack (VÖ 13.
August via Napalm Records) zu dir nach Hause! Als die Musikwelt sich gezwungen sah, Veranstaltungsorte
zu schließen und Tourneen auf unbestimmte Zeit abzusagen, sprangen DESTRUCTION ein und lieferten
ihren treuen Fans zu Hause per Live-Stream ihre überragende Thrash Metal-Power - jetzt erhältlich auf
High-Definition BluRay! Werde Zeuge, wie DESTRUCTION durch ihr 22 Songs umfassendes Live-Set
peitschen, darunter geschätzte Klassiker wie ”Mad Butcher”, ”Thrash Till Death”, ”Born To Perish” und
viele mehr! Gefilmt und aufgenommen im legendären Z7 in Pratteln (Schweiz), haben DESTRUCTION
keine Kosten und Mühen gescheut, um Dir ein Live-Erlebnis zu bieten, das Dich zum Headbangen bringt, als
stündest Du in der ersten Reihe bei der Show und ließest Dir Deine Trommelfelle von rumpelnden DoubleBass-Grooves durchbohren! Die BluRay-DVD ist gefüllt mit exklusiven Pre- und Aftershow-Einblicken und
Behind the Scenes-Material von DESTRUCTIONs Live-Show - ein Muss für Fans des echten Thrash Metal!

Reissued on vinyl almost 20 years after its release I Love Serge (subtitled electronica Gainsbourg) is released on July 9. The album tribute from the electro scene to Serge Gainsbourg originally released in 2001. This pearl is composed of remixes of emblematic titles by Serge Gainsbourg produced by the flower of the electro movement of the time. Reviews and Ads – L’Echo and London Macadam

The Surprise Package recorded the album "Free Up" with Lee Hazlewood, featuring heavy fuzz guitar, rock organ, keyboard bass (like The Doors) and a fifteen-minute title track. Despite touring with the Beach Boys or Led Zeppelin, success did not knock their door_ Munster Records is proud to present the second installment of the Lee Hazlewood Industries (LHI) Records Reissues Series with the first ever reissue of The Surprise Package, "Free Up". Born out of the fertile 1960s music scene of the Pacific Northwest, The Surprise Package was comprised of members from The Viceroys and The Galaxies. These two bands were regulars at regional teen fairs and often played alongside The Sonics and The Wailers. After a record deal with Columbia Records and Terry Melcher fell through, the group found themselves in the waiting room of LHI headquarters for an audition with Lee Hazlewood. Lee liked what he heard and the band was signed. In the late 1960s, Lee went on a creative tangent into the world of psychedelia, releasing far-out tracks from Ann-Margret, The Aggregation, Hamilton Streetcar and many others. The Surprise Package recorded the album "Free Up" with Lee, featuring heavy fuzz guitar, rock organ, keyboard bass (like The Doors) and a fifteen-minute title track. Though Lee was always willing to experiment in the studio and explore many different genres, psychedelia wasn't totally his bag. He spent a lot of the sessions in the control room drinking scotch. "I can give you a quote from Merle Haggard," joked Surprise Package singer Rob Lowery. "He was sitting in on one of our sessions once and he said 'You know, I don't understand this rock 'n' roll bullshit!' I don't think Lee understood it either, but he liked it and he was behind us." A stadium show with Led Zeppelin, extensive touring with the Beach Boys and other national acts failed to bring success. The band parted ways with Lee and LHI, changed their name to American Eagle and put one final record out on Decca. Remastered from the original analog tapes by GRAMMYr-nominated engineer John Baldwin, the reissue is complimented by a new Q&A interview with Surprise Package member Rob Lowery and GRAMMYr-nominated reissue producer Hunter Lea.

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

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

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

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

Hospital Records are extremely proud to present ‘Smile & Wave’, the
second studio album from drum & bass’ friendliest MC, Inja.
With the biggest smile on his face, the lyricist, vocalist, poet, artist and storyteller delivers
16 tracks, seamlessly weaved together through Inja’s infectiously feel-good flow and sincere
wordsmithery. The entire album was produced by Whiney, further cementing their relationship as one of the most untestable dance music pairings. Also featuring Charlotte Haining,
Eva Lazarus, DRS, Fox, Cleveland Watkiss, Singing Fats, and DJ Marky.
Album title track ‘Smile & Wave’ is the musical embodiment of Inja’s playful demeanour.
Known for being the world’s smiliest artist, Inja wrote and recorded this feel-good bouncer
alongside his daughter who is “pretty much the first person to hear anything” he’s up to
musically. Expect a rude bassline and infectious wordplay.
Teaming up with superstar singer-songwriter Charlotte Haining, ‘Reach Out’ sees two of the
most distinct voices in dance music come together over a bittersweet wobbler written about
times when you feel “so out of place, out of reach” in the words of Inja. Having worked
alongside an impressive array of electronic artists including Hybrid Minds, Sub Focus, My Nu
Leng and Friction, Charlotte’s delicately powerful hooks are the perfect counterpart to Inja’s
heartfelt flows.
Luscious pads and dubbed out pianos and guitars set the scene on ‘Baby Angel’ featuring the
worldwide wave-maker Eva Lazarus who returns to Hospital Records for the first time since
featuring on Etherwood’s ‘Light My Way Home’ back in 2015. Having worked alongside staple
figures including Mungo’s Hi-Fi, Zed Bias and Gentlemen’s Dub Club, Eva infuses her reggae,
hip-hop and jungle flavours alongside Inja’s humbling storytellings.
Inja’s “personal favourite to perform live as it smashes every and any system”, ‘Explode’, is a
140BPM anthem featuring flows that will ignite any room and a killer instrumental that will
have you bobbing no questions asked. Proving himself to be a versatile and skillful microphone controller, Inja’s ability to shell down any tempo is ever more apparent on this upfront
banger.
Three legendary MCs unite on ‘Hands, Lights, Flames, Phones’ where Inja joins forces with
two of Manchester’s very finest - DRS and Fox. Sharp lyricism is rife as the triple threat of
three titan wordsmiths link up, seeing energetic bars bouncing off each other over a cold-cut
drum & bass roller. This is a combination not to be tested.
Inja has established himself as a pinnacle figure within the realms of drum & bass. Loved for
his ability to express his thoughts into honest, relatable lyrics in ‘She Just Wanna Dance’, a
spoken word piece for Amnesty International that was a viral online hit in 2017, and more
recently switching it up to ‘We Just Wanna Dance’ during the UK lockdown, expressing his
desire to be reconnected with ravers again. Then picked up by BBC News and Sky News.
On top of being the MC of choice for drum & bass powerhouse group Kings Of The Rollers,
Inja is no stranger to tearing things up on the airwaves with support from the likes of DJ
Target, Rene LaVice and Danny Byrd on BBC Radio 1 over the years. Since his debut ‘Blank
Pages’ album on Hospital Records in 2018, Inja has flourished as a multi-talented MC, vocalist, singer and songwriter with a series of singles including the Beatport Drum & Bass charttopper ‘Game Face (Stay Alert)’ alongside Whiney, as well as the infamous ‘Lumberjackin’’ on
Serum’s Souped Up.
"To all the supporters that enjoy anything I’m a part of, I would never have had the opportunities to see as much of the world as I have without you. My gratitude has no bounds and I’d
love to share a smile with you all one day.” - Inja

‘Part I’ is the debut LP from Indigo, the moniker and ongoing project of Melbourne-based composer and arranger, Nick Roder.

The first release in what will be an ongoing three-part series, Part I features nine tracks for bass guitar and tenor saxophone. Part II, an exploration of a slightly larger, more sonically diverse musical world will feature string quartet and voice. Finally, Part III will collaborate with choreographer Siobhan McKenna, who alongside Nick will develop a percussive movement work that seamlessly intertwines with the musical work.

“My aim is to create music that is sonically and musically atypical whilst still belonging to an accessible contemporary scene. Each project, album or ‘part’ will set out to explore a single ensemble or group of instruments. In the case of Part I, that ensemble is hollow body bass guitar and tenor saxophone. “ - Indigo (Nick Roder)

The Indigo project itself was inspired by Saxophone & Bass Guitar by Sam Gendel and Sam Wilkes, which prompted Nick to write an album of music for the same type of ensemble. Having only just purchased a bass guitar for a different project, the instrument was still very new to him.

“I was curious to see what I would write with my self-imposed rule of not being able to overdub material, and further, how my limitations as a relatively green bass guitarist would influence the writing of the material. A strong focus on harmonic movement and melodic material was where I eventually found my happy place.”

The result is a phenomenal debut. Burrowing into the space between it’s sparse instrumentation and dulcet tones, Part I is the realisation of a minimalist and concise vision of what a symbiotic relationship between two instruments can yield.

About Indigo
Indigo is the moniker and ongoing project of Melbourne-based composer and arranger, Nick Roder. The Indigo project was conceptualised in 2020 and focuses on deep sonic exploration of little-heard ensembles in a contemporary space.

Since 2018, Nick has been composing soundtracks for video games including The Invisible Hand, Roadwarden, N1NE: Splintered Mind, This Dead Winter and Miska. Nick has also played in art-rock ensemble, Tulalah, exploring sonic textures, combining contemporary jazz/rock with chamber sounds. The modular ensemble released The Flood (Equinox Recordings, 2015) and The Question (Independent, 2017).

Benjamin is a British pianist, keyboardist and composer who has recorded with Randy Brecker, Frank Gambale, Chad Wackerman, Allen Vizzutti, Barry Finnerty and Mike Miller. Known for his extensive knowledge and experience in a multitude of music genres, he is mostly associated with jazz. At the age of seven, Benjamin began piano and trumpet lessons, later going on to study at Leeds College of Music. After graduating, he completed several contracts on international cruise lines and moved to the US. During this period, Benjamin toured the world twice, and worked with artists as diverse as Belinda Carlisle, Leslie Garrett, The Temptations and The Platters. Benjamin relocated to London in 2012, where he became a regular performer at Ronnie Scott’s, the Jazz Café, Pizza Express Jazz Clubs, The Vortex and others, playing with the finest musicians on the scene. Benjamin also performed in the West End Show, Straight From the Heart, and worked on TV shows such as The Voice and Britain’s Got Talent. In 2018, he recorded for Beautiful South founder Dave Hemingway’s latest project, Sunbirds, and has been working as a session musician, composer and arranger on a number of projects over the years. His upcoming second album, Far and Distant Things, was recorded throughout 2020, an ambitious project featuring legendary musicians from the US.

160 gram black vinyl LP, with glossy color jacket, and 8 page full sized color booklet with lyrics, rare photos, and notes by Hamisi Delgado, Werner Graebner, and Salim Zahoro.

Formed in the mid-1950s, Kiko Kids Jazz created a stunningly unique sound amidst an explosion of Tanzanian guitar bands in the years leading up to the country’s independence. Defined by Salim Zahoro’s warm voice and the heavy tremolo of his electric mandolin, Kiko Kids Jazz incorporated their love of early acoustic Cuban Son, rhythms from their home town of Tabora, the exciting and competitive scene of acoustic/electric dance bands in Dar Es Salaam and Nairobi, the poetic strains of Taarab and Arabic music, and the tranquility of coastal Tanzania.

The results are both comforting and intriguing: expressive, strung out melodies on Salim’s mandolin and subtly com-plex percussion lock into deep grooves of thumping acoustic bass, jerky rhythm guitars, and Cuban-style trumpet breaks. The kind of sounds that can be approached from several rhythmic angles, until it all gels in the mind and soul.

Despite being one of the most beloved and innovative bands of their time, this is the first Kiko Kids Jazz LP ever re-leased, consisting of our favorite songs from 1962 and 1965, all beautifully remastered from original tapes and press-ings. We were fortunate to work with bandleader Salim Zahoro before his passing at age 85, shortly before the completion of this record.

Recommended for fans of Cuban Marimba Band, the Zanzibara and Ethiopiques series, Lipa Kodi Ya City Council, Original Music, etc.
Produced in collaboration with Salim Zahoro (1936-2021), Werner Graebner (Jahazi Media) and Hamisi Delgado. Licensed from Mzuri Records.

Bastard Jazz is happy to give a first look at mainstay Japanese producers Aru-2 & Kzyboost's full length album "Hot Pants" (August 13) with a special 7" showcasing a couple of favorites from the album. On the A side is "Shooby Dooby", a slice of future funk with a bubbling analog synth bassline and Aru-2's signature talkbox vocals, while on the B-Side "Boost Step" takes things a little more downtempo into instrumental hip-hop territory, still rife with funk vibes, and synth solos.

Aru-2 and Kzyboost are both Tokyo-based producers, known for their work in the Japanese underground hip hop scene. Aru-2 got his start producing for prominent J-hip hop artists like ISSUGI, SENNINSHO, Tamaki Roy, and KID FRESINO. His first EP, "Arµ-2," arrived in 2013, and was featured in OkayPlayer, while the collaborative album "TANHÂ," with Lee (asano+ryuhei) came out in 2014 and was critically acclaimed by Pitchfork. Kzyboost specialises in the talk-box and is one of the best known talk-box artists in Japan. He's released two studio albums, "Callin' U" (2019), and "Keep Smoovin'" (2020, fusing West Coast hip hop, and 90s R&B and soul. The two artists bonded over their shared love of music through sessions at Aru-2's home studio, resulting in the upcoming collaboration.

"Shooby Dooby / Boost Step" is due out on Brooklyn's Bastard Jazz Recordings in July, ahead of the duo's debut LP "Hot Pants" in August.

For number 90 in the Brazil45 series, we share a couple of lesser-known discoveries that have become recent favourites here at Bongo HQ. First up we head to the north of Brazil with funky Forr / boogie hybrid monster, ‘Vendedor De Mangaios’ by Josan. Originally released in 1981 on the album ‘Rio De Renova es’ on Copacabana Records. This addictive dancefloor gem is still relatively under the radar, but it has become a firm favourite at Bristol’s Worm Disco Club parties and amongst the DJ’s and collectors of Brazil’s underground dance music scene. Taken from the illustrious singer Bart Galeno’s self-titled 1977 album on Tapecar Records, ‘Vou Tirar Voc Daqui’ is an unusual one. Not easily pigeon-holed, he song sits somewhere between MPB / funk and rock, yet isn’t really any of them. Backed with a big orchestrated sound and tripped-out synths, the track has a truly unique feel. We hope you dig these finds. Another testament to the diversity and depth of Brazil’s rich musical heritage.

- Next installment in BRAZIL45 Series.
- Two lesser-known discoveries

Nobody could believe Willy Mason was only 19 when he appeared on the indie scene, after a chain of events that saw Mason hanging out, performing gigs and touring America with the likes of Conor Obrest and his band, Bright Eyes around the time of releasing 'Humans Eat', the 2004 album and its singles (now classic track "Oxygen" and "So Long") charting in the UK Singles and Albums Charts in 2005. "Already Dead" follows 'Carry On', his 2012 album produced by Dan Carey during his time in South London which also led to Mason's feature on Lianne La Havas' album 'Is Your Love Big Enough' and his 2012 tour with Ben Howard.

Delain are a Dutch symphonic metal band formed in 2002 by former Within Temptation keyboardist Martijn Westerholt, intending for the band to be a project, but after their debut record Lucidity Delain became so successful, a live band was formed. The second album, April Rain, was released in 2009 to critical acclaim within the rock and metal scene. The album features guest contributions by cellist Maria Ahn and Nightwish vocalist and bassist Marko Hietala. Three singles were released: “April Rain”, “Stay Forever” and “Nothing Left”.

Delain’s April Rain is an album that belongs in the collection of every symphonic metal fan. It’s available as a limited edition of
1000 individually numbered copies on smoke coloured vinyl, including an insert!

Limited edition LP - 180g virgin vinyl - deluxe gatefold sleeve
original artwork.
Produced by Creed Taylor, engineered by Rudy van Gelder, arrangements
by Eumir Deodato and featuring among others: Joe Farrell, Hubert Laws,
Ron Carter, Hermeto Pascoal, Airto Moreira, and Joao Palma.
Reissue of the 6th studio album by Brazilian jazz legend Antonio Carlos Jobim.
Released in 1970 on A&M Records, this instrumental Bossa Jazz masterpiece
was produced by Creed Taylor and engineered by Rudy Van Gelder. It features
the arrangements of Eumir Deodato (who also conducted the band) and includes a plethora of sidemen from the U.S. jazz scene, such as Joe Farrell, Hubert Laws and Ron Carter, as well as Brazilian stars like Hermeto Pascoal, Airto
Moreira and Joao Palma.

LP on white vinyl! What if a song was not a culmination but a singe, an imprint, or a crater left in the wake of creative process? On her new record "Jade", Pan Daijing composes at a different scale than that we've come to know. Since the release of her groundbreaking LP "Lack" in 2017, Daijing has expanded her operatic vision into a series of major commissioned exhibition-performances at institutions including the Tate Modern, Martin Gropius Bau, and the Haus der Kulturen der Welt. Developed for full casts of opera singers and dancers, and reaching for an all-encompassing durational experience of intensity for both performer and audience, the development of these works was for Daijing as emotionally disarming as it was thrilling. In order to continue accessing her own limits, Daijing had to develop a place of sanctuary within her own practice. Its nine tracks written and recorded over the last three years, "Jade" is the sound of solitary release and refuge, of creative self-sustenance. Written without the imperatives of direct address to performers or audience, "Jade" speaks inward, while inviting a kind of rhetorical listening. The artist draws on materials familiar from her previous work: namely, ascetic electronic textures that rumble and pierce, and voice bent in irreverent directions. In place of catharsis, however, her arrangements here linger in tension, extending curiosity towards the delicate void that nourishes extremes. They toy with the minor capacities of song: repetition, chant, observations that conclude without resolving. "Jade" comes from a vulnerable place, tender as in an undressed wound caught in the midst of healing over. Vocals, mostly Daijing's own, arrive as wordless sequences of notes soaring alongside a drone, or plain laughter, or in a few places spoken word. What is said or sung provides fragments of experience and reflection. In the process of piecing together these fragments, the listener is confronted with the tender parts of her own. "Solitude is like an immense lake you're swimming through," says Daijing of these songs. "Sometimes you dip your head in and sometimes you lift it above. On album centerpiece "Let," she speaks to us over the sound of rippling water, returning between anxious scenes to a refrain: "I take my bath in the ocean." We are not just consuming Daijing's story; we are being invited to join her in the water. The album is mixed and mastered by Rashad Becker, featuring artwork by Pan Daijing, cinematography by Dzhovani Gospodinov & design by NMR.

THE BEST OF SURF MUSIC IN AN EXCLUSIVE 3 VINYL COLLECTION ! BETWEEN CLASSICS AND RARITIES, BE CARRIED AWAY BY THE WAVE OF SURF ROCK !

**LONG OVERDUE REPRESS - CLEAR VINYL 300 COPIES ONLY** “With Ela’s music I feel emotional, engaged… I can’t help but feel she’s always looking for a sense of belonging and it
seems to inform all the music that she makes. Glasgow must have more of that belonging feeling than most
cities because she’s spent the most time here, an exotic bird in a rainy city she maybe finds a lttle bit of comfort in. It’s
a pleasure to have her here, in this awful time to be living in Britain, her illuminations feel important and hopeful. A
stubborn light; someone making great timeless music out of the humdrum of the everyday.” - Stephen Pastel
Movies For Ears is a retrospective collection of works by Polish-born, Glasgow-based artist Ela Orleans which
navigates almost two decades of songwriting in the heart of the global pop underground. This remastered collection casts
an ear over what Orleans might call the ‘pop sensibility’ within her back catalogue. Released previously on a number of
small DIY labels, Orleans’ music coincided with the explosion of auto-didactic musicians finding their voice in the age of
the blogosphere, artists emboldened by the democratisation of music-making afforded by the internet. From the outset,
Orleans’ childhood studying formal music mixed with cut-up techniques, sampling, sound-art and experimentation to
create a distinctive signature cloaked in an innate melancholy and playfulness. Fully remastered by James Plotkin,
featuring extensive sleeve-notes and rare photos from Orleans’ archive, Movies For Ears presents an appraisal of the
musician’s work, painting a portrait of an artist with an uncanny ability to evoke emotions and ghosts of memories in the
listener.
Each song pulls sunshine from its surroundings, moments of pleasure plucked from eulogies. The Season employs a
hypnotic loop with Orleans’s prophetic voice heralding the season we’re doomed to repeat. In fact the singer is often cast
as the changing protagonist in her songs: on Walkingman, a hazy ballad heavy with ennui, the narrator is laden with the
world’s weight, forever pacing a groundhog day world blank, a pissed-off actor in a Kafka-esque melodrama. On Light At
Dawn we’re in a seedy kitsch bar-room go-go scene, a ghostly rock’roll romance with shimmering percussion, poledancing
in a Lynchian half-dream. Movies For Ears’ moods straddle memory and fantasy: scratchily invoking halfremembered
exotica, the flickering shadows of europhile cinemas screens, a delicately woven world anchored in Orleans
existential meditations on longing, intimacy, solitude and the search for love. These rich textures in every song don’t
overpower some crystalised moments of emotion however: on In Spring Orleans sings simply “I have been happy two
weeks together,” summarizing that feeling of elation when emerging from a depression, a long winter. It’s a moment that
perfectly illustrates the lightness of touch and clarity in the singer’s voice.
The power of the loop and Orleans’ weaving songwriting that breaks its spell is illustrated perfectly by I Know. Over an
aching chord progression, the vocal takes flight into bittersweet loneliness, Pachelbel’s Canon played at a wedding where
only one person shows up. The repeated refrain “I know, I know” ascends to the heavens as the chords descend to the
dumps and the listener is left in the middle, happy but not knowing why, maybe a little changed, two weeks together. On
Movies For Ears, Ela Orleans lets us into a secret: the rare moments of joy to be found in the joins of the loop, the spaces
between things, the spring after the winter are the moments that last after the day has faded.

Clear Vinyl

Post-punk/new wave hero Ann Margaret Hogan’s second album of solo piano and field recordings for Downwards is a box of subtle wonders, mastered by Veronica Vasicka and highly recommended if yr into Satie, Virginia Astley, Sarah Davachi.
A weight of history flows through Hogan’s keys with a stark intimacy, beautifully illuminated by naturally effortless, quietly grand songwriting. It’s a direct continuation of the landscaped themes
and atavism of 2020’s ‘Honeysuckle Burials’ and the ‘Reversing Into Tomorrow’ collaboration with Karl O’Connor, vividly capturing the slow passage of time in a way that has quite literally compelled
us to stop the relentless mind-grind for its 40 minute duration on more than one occasion.
After previous fixations on the iron age forts and burial mounds of the Clywdian Range in North Wales, Hogan transmutes the scenery of her more immediate locale, Oxton on The Wirral - from the cadence of its red sandstone landmark Thor’s Rock, to memories of its boating lake, for example - into a quiet yet ravishing suite inflected with traces of wildlife and industry recorded on long walks, all subsumed within a deep blue estuarial atmosphere silted by the strange reality of life in
the current era, echoing the surreal, sunny period when the album was conceived.
A generation on from her pivotal work with spar Marc Almond and likes of Deux Filles and Nick Cave, and forty generations since The Wirral hosted, as she says “a Norse parliament at Thingwall”,
Hogan weaves time and place into a reflective, funereal sort of parlour music, turning daily ambulations amid the gorse and under luminous skies into gorgeous, life affirming and intimate self expressions.
The eight pieces are mostly improvised and flow with a free, fleeting concision from the palpable warmth of ‘Forgotten Prelude’ and bluesy ache of ‘Fragile Elements’ to more funereal modes in ’Mesto’ and ‘Funeral Cargo’ suggestive of a Viking burial soundtrack. At its core, ‘Wolfswalzer’, a dedication to her one time collaborator and erstwhile Kraftwerk member Wolfgang Flür - is described by Hogan as “a simple waltz of coffee, food, friends and music”, and ‘Impromptu’ is the
album’s slowest, soaked in the feeling of atmospheric immanence that defines the album’s timeless appeal. It’s an unspeakably moving album, words really do it no justice.

If your brain has a shortlist of bands that instantly evoke New Wave, Suburban Lawns deserve a slot right next to the likes of Devo, Talking Heads and the B-52's. After putting out two singles on their own Suburban Industrial imprint, the Lawns signed to I.R.S. Records and released their debut LP in 1981. While the band gained cult status thanks in part to a Jonathan Demme-produced music video which aired on Saturday Night Live, their self-titled album would sadly be the five-piece's only full-length statement.

Suburban Lawns' asymmetrical aesthetic is personified by co-vocalist Su Tissue, whose mesmerizing stage persona was at once childlike and terrifying. Her unique style embodies the awkward/arty female singer of the Reagan era, while the group's male vocals – courtesy of Frankie Ennui, Vex Billingsgate and John McBurney – maintain the satirical themes of Southern California's postwar mirage of limitless sprawl.

Suburban Lawns' catchiness can be attributed to their drum-tight performance and taut songwriting. Listen to the vocal trade-offs on "Anything," which could have easily come out on any purely Punk label from LA at the time, while Tissue's deadpan delivery on "Janitor" glides into the best art-warble this side of Lene Lovich, broaching the possibility of nuclear annihilation with a murmured "Boom, Boom, Boom, Boom."

From a West Coast scene dominated by 7-inch singles and EPs, the Suburban Lawns' lone LP remains in a class with precious few. It's not surprising that they found acceptance in the Hollywood punk scene, despite their Long Beach roots, and would influence other bands such as Minutemen. This is not a disc that will get parked in your collection hoping to get pulled once in a while; this is a record you will play.

"The definition of a hidden gem" - John Peel / "The world seems finally to be catching up to Leslie Winer, whose startling intelligence and singular vision shine through her copious recording life." - Max Richter / "She might just be the coolest woman on the planet!" - Boy George "When I Hit You - You'll Feel It" is a 16-track anthology that celebrates the extraordinary work of musician, poet, and author, Leslie Winer. The collection spans Winer's three-decade-long musical career: from her groundbreaking solo work in the early '90s to her latest inspired projects. Featuring musical contributions from Jon Hassell, Helen Terry, Jah Wobble, Renegade Soundwave's Karl Bonnie, and others, the collection also spotlights Winer's diverse collaborations, unearths previously-unreleased recordings and was newly remastered by the GRAMMYr-nominated engineer John Baldwin. The album includes a new interview with Winer, captured by the compilation's co-producer, acclaimed author and critic Wyndham Wallace. Rounding out the package is an insightful essay by the award-winning writer and scholar Louis Chude-Sokei and an original cover collage by the renowned British photographer and artist, Linder, featuring photography by Mondino, and design by designer Christopher Shannon. Musician, poet, iconoclast, model, artist, enigma. Leslie Winer is many things. She grew up in Boston with a voracious appetite for music and the written word and embraced the city's lively jazz and folk scene in the '70s. Moving to New York for art school, she formed an unlikely friendship with writer and artist William S. Burroughs and lived on-and-off with Jean-Michel Basquiat. In London, where Winer began her musical ventures in earnest, she was a regular at Leigh Bowery's underground club Taboo, where she met many of her collaborators, including filmmaker John Maybury, Kevin Mooney (of Adam and the Ants), and Boy George. Winer's striking looks also attracted fashion designers and photographers. Throughout the early '80s, she was an in-demand model-appearing in campaigns for Valentino, Christian Dior, and Yohji Yamamoto, and serving as a muse for a young Jean-Paul Gaultier, who later dubbed Winer "the first androgynous model." She posed for Helmut Newton, Irving Penn, and Pierre et Gilles, and graced the covers of The Face, French and Italian editions of Vogue, and Mademoiselle. But music was Winer's true passion and, at the turn of the '90s, she would unknowingly help invent the massively popular genre known today as trip-hop. On her debut, Witch, Winer masterfully blended the uninhibited sampling of early hip-hop with dancehall basslines and programmed beats, while weaving mesmerizing - and coolly-detached - spoken-word vocals into her ambient tracks. It was unorthodox in the most delicious ways. While Witch was finished in 1990, it wouldn't be released for three years, due to the whims of Winer's label. By the time the album saw the light of day (released under the pseudonym "c"), trip-hop was gaining mainstream traction via acts like Portishead, Massive Attack, and Madonna. Although Winer eventually gained wider acknowledgment (prompting the NME to give her the dubious distinction of "The Grandmother of Trip-Hop"), Witch initially went sorely unnoticed. Winer continued to record, undeterred by the elusive nature of mainstream success in the modern music business. Her network of inspired collaborators continued to grow and expand, yet her influence remained largely a secret except to those in the know, such as Grace Jones and Sinead O'Connor, who would cover her songs. In the modern era, one is hard-pressed to find an artist who continues to push the creative envelope as much as Winer does. And yet, three decades after her revolutionary debut, her work remains just as startling and fresh.

After the release of the charts hitter “Don’t Need Your Love” earlier this year it’s now time to follow up with the last two songs out of the reel to reel tape
recorded by The Words at Talun & Trc Studios in Indianapolis in 1982. I feel I really need to explain what went on with the original recordings though. Please be
patient and ber with me. A magnetic tape recorder is made basically by two parts, one electronic and one mechanical. I’ll leave the electronics out of this as it
has no relevance here, to talk about what occurred with the mechanical, specifically with the “heads”, which are the most important part of the recording
action. They are components to be treated with great care, especially when they need to be cleaned; their good condition strictly depends on the functioning
of the entire recorder and - in part - also on the life of the tape. In this case the tape was found god knows where and played again exactly 40 years after the
recording session, on a reeltape player which had good part the “heads” very damaged. The artists themselves transferred it on digital doing it with what they
had on hand, that is basically nothing. It resulted in a stereo soundfile which had the right channel completely flat. Basically the music could be heard on the
left ear only, full of that noise only a cheap and malfunctioning Akai could provide. It took a hell of a restoration to make this second release possible and we
hope you will appreciate the undertaking well beyond the music, that is awesome on its own. Thanks to the first release we think you already know a lot about
Herman Slaughter and The Words of Wisdom. For those who are new to these artists, this awesome band started earning some good popularity at the
crossing of the seventies and eighties. Stable artists at the legendary Lamp - the so called “Naptown’s Motown” - these guys were part of the sparkling funk
soul scene of Indianapolis alongside the likes of The Vanguards and The Fabulous Souls. Support The Words of Wisdom and bring home one of the last slices
of original soul from Napptown’s legacy

Café Society opened the 69th annual Cannes Film Festival to rave reviews. Woody Allen became the first and only director to have three opening night films selected for the Cannes Film Festival.

It’s New York in the 1930s. As he has more and more trouble putting up with his bickering parents, his gangster brother and the family jewelry store, Bobby Dorfman feels like he needs a change of scenery. He decides to go and try his luck in Hollywood where his high-powered agent uncle Phil hires him as an errand boy.

In Hollywood he soon falls in love, but unfortunately the girl has a boyfriend. Bobby settles for friendship - up until the day the girl knocks at his door, telling him her boyfriend just broke up with her. All of a sudden Bobby’s life takes a new turn, and a very romantic one at that. The soundtrack features a great collection of the music from the 1930’s. The music is featured prominently in the movie and has been chosen by Woody Allen himself and features newly recorded jazz standards by Grammy Award winners Vince Giordano & The Nighthawks and classic recordings from Ben Selvin, Benny Goodman and Count Basie.

Woody Allen says about the soundtrack: “The soundtrack consists of music from the 1930s since that’s when the picture takes place. Most of the material is Rodgers and Hart who is very dominant in those year and Lorenz Heart have that bitter sweet romantic quality that defines the spirit of the movie itself.”

This is a limited edition of 500 individually numbered copies on blue coloured vinyl. A 4-page booklet with pictures from the film and credits is included.

Natalie Chami and Whitney Johnson perform as a duo under the
name Damiana.
Both artists have built their own catalogs as multi-instrumentalist improvisers
and composers in the Chicago experimental scene, exploring the intersections
between ambient, electro-acoustic improv, and more legible songcraft based
around their voices and their work with synths and electronics -- all filtered
through their backgrounds in classical performance and education.
Chami’s solo recordings under the TALsounds moniker have appeared on labels
such as NNA Tapes, and Ba Da Bing!, and her collaborative projects include
the trio Good Willsmith. Johnson has released a series of solo LPs as Matchess
on the label Trouble in Mind, and has contributed to recordings and live performances by Ryley Walker, Circuit Des Yeux, and Tortoise’s 20th anniversary
performances of TNT, among other artists.
After meeting in the early 2010s, Chami and Johnson embarked on multiple US
tours together, and their informal duo collaborations naturally crystallized over
time into the Damiana project The duo’s debut album Vines presents their first
recordings after years of live sets and home recording sessions.
The album strikes a balance between the realms of deliberate compositional
sculpting and free-form improvisation, as Damiana’s evolving sessions of looping synth phrases and harmonized vocal lines emphasize austere beauty and
meditation as much as spectral disorientation and instrumental complexity.
While the tracks on Vines create the illusion at any given moment of a standing
cloud, often colored by Johnson’s lush viola and Chami’s effect-manipulated
electronics, a zoomed out perspective of each session reveals an undulating
story arc with contrasting emotional resonances and constantly shifting timbral
focus.
Treading the line between transportive stasis and upward motion, the duo has
honed their sense of when to push forward with a new texture or melodic
flourish without disrupting the atmospheres that they meticulously build together. Packaging: LP Black vinyl. Artwork by Heather Gabel (from the band
HIDE). Manufactured at 8Merch in Poland.

Absolute Body Control was formed by Dirk Ivens in 1980 influenced by the sound produced by the likes of Suicide, D.A.F. and the UK electronic scene. Eric Van Wonterghem joined the project next year just after the release of the debut 7" "Is There An Exit?". They released together just some cassettes during its brief initial run, but this was enough to gain a following in and outside Belgium. A compilation of tracks entitled "Eat This" was eventually done in 1993 and a first edition of the collection "Lost / Found" was issued on CD in 2005.

Dirk and Eric took the project back on stage in 2006 and decided to re-activate it. They first re-recorded some of their classic songs for the album "WindReWind" and then continued releasing new material and touring all Europe and beyond.

"Lost / Found" is the definitive collection of this minimal-synth-wave act and is now available for the first time on vinyl record with a total of 52 songs including 8 previously unreleased.

Limited edition of 1,000 copies with 4 records on individual sleeves, insert and numbered certificate.

From boundary-pushing koto musicians to experimental jazz virtuosi,
Japanese music has long embraced all things avant-garde.
This Rough Guide highlights some of today’s key innovators whose individualism challenges the conformist perception of Japan.
A unique insight into the richness and diversity of the vibrant underground Japanese scene, which draws on myriad influences from free jazz and electronica to Zen budhism. Pioneering artists who push the boundaries of Japanese music, whilst at the same time paying respect to their musical heritage. Featuring tracks by free-spirited Koto players Michiyo Yagi, Karin, as well as koto/guitar duo tsuMGuito.
Compiled by the renowned radio presenter, journalist, and Japanese music expert Paul Fisher.

Avant-garde jazz drummer Rashied Ali played with John Coltrane up until his death in 1967, appearing on final recordings like The Olatunji Concert and Interstellar Space. After Coltrane's death, Ali soon formed his own quartet, with Fred Simmons on piano, Stafford James on bass violin and Carlos Ward on alto sax and flute. The quartet's first release, New Directions In Modern Music, released on Ali's own Survival Records in 1973, exploded onto the free jazz scene, influencing the likes of Don Cherry and Archie Shepp (as well as many outside the jazz idiom), becoming a kind of manifesto for avant-garde music of the period.

black vinyl repress

"A shield against death,
Blood, fire and power.
The purity of feelings,
For an eternal youth."

After more than 5 years in the techno scene as an organizer, label, and agency, RAW is launching their first vinyl compilation including 16 original tracks from a well-curated list of top producers. The release features several early label contributors as I Hate Models, Under Black Helmet or Hadone with respected and inspirational artists as Perc, Somniac One, Thomas P. Heckmann, or Clouds to name a few.

Entitled Gemstones, this V/A is divided into 4 colored vinyls representing precious stones, promoting a hard and harsh sound from industrial to emotional techno stompers.

Black vinyl repress

"A shield against death,
Blood, fire and power.
The purity of feelings,
For an eternal youth."

After more than 5 years in the techno scene as an organizer, label, and agency, RAW is launching their first vinyl compilation including 16 original tracks from a well-curated list of top producers. The release features several early label contributors as I Hate Models, Under Black Helmet or Hadone with respected and inspirational artists as Perc, Somniac One, Thomas P. Heckmann, or Clouds to name a few.

Entitled Gemstones, this V/A is divided into 4 colored vinyls representing precious stones, promoting a hard and harsh sound from industrial to emotional techno stompers.

When it comes to smooth jazz vibes with soulful melodies, nobody in the lofi scene can avoid producer Flughand and saxophonist steichi. After a few successful singles, they have now completed another album titled "mandue”.

WOLF Music welcomes Amsterdam’s Retromigration to the family with a five-track summertime sizzler, ready-made for hazy parkside sunsets and beach jaunts alike.

Hotly tipped and rarely skipped, Retromigration has been lighting up the scene with a string of killer releases over the past 18 months on labels like Healthy Scratch, Ltd, W/Lbl, GLBDOM and Ravanelli Disco Club.

Flexin’ that signature chopped and looped style across the EP, the A side is a double dose of house joints via ‘Bloom Street’ and ‘Brining It’, the former a bumpin’ New York nodding cut, the latter an synth heavy roller.

Flip it to find a more jazz-tinged affair but with its feet still firmly in the house domain. ‘Free Spirit’ channels a groove that could last forever, with a bass and keys combo that riffs away any creeping anxieties, before Arthur Dudley joins for ‘One Night With Colin’ a late night, smoked out, jazz joint trip.

‘Slick Walkin’' closes out the EP – a lesson in how to make samples dance any which way you want them to, as piano melodies flicker over a double nice bassline and tasty synth touches.

From the many musical lives of artist Glenn Donaldson emerges The Reds, Pinks and Purples, a project that sifts out the purest elements of pop music and in the process chronicles the point of view of an assiduous San Francisco-based songwriter. The Reds, Pinks and Purples’ third album, called Uncommon Weather, is both an elusive portrait of San Francisco––during one of its fluctuations as an untenable place for musicians and artists––and also a self-portrait, however inverted, of a songwriter who has dispatched another treasured collection of timeless sounding DIY-pop songs.

How The Reds, Pinks and Purples arrived here is a story with many roots, the most consequential of which is perhaps the musical aftermath of his earlier band, The Art Museums, whose brief tenure in the late ’00s coincided with an explosive period of the Bay Area rock scene and was followed by a hermetic musical period of Donaldson’s. Disenchanted with the dissolution of his band, Donaldson averted the DIY-pop sound with an instrumental, conceptual project called FWY! but meanwhile started a habitual songwriting practice, sharing nascent songs with friends in an email exchange. In 2013–2014, The Reds, Pinks and Purples took shape as the moniker for Glenn’s most direct expressions in the DIY-pop mode, enabled by this new disciplined output. By then, San Francisco was already a changed place. The tragic loss of his former bandmate in Art Museums was another source of discontinuity and rupture. You can hear in The Reds, Pinks and Purples’ earliest songs this grappling with life, anxiety, and atrophying subcultures. For an artist with an overriding interest in the aesthetic principles of discrete musical genres, this turn toward his immediate world for subject matter was a major shift, setting The Reds, Pinks and Purples apart from Donaldson’s other musical ventures.

Preceding the release of Uncommon Weather was the Reds, Pinks and Purples’ 2nd album, one of the record buying joys of 2020, You Might Be Happy Someday, and, earlier, their first proper full length Anxiety Art, a title that might nod to the classic Television Personalities song “Anxiety Block.” Donaldson’s music continuously reckons with the influence of Dan Treacy, whose own forays into drum-machines, echo, and reverb in the early 1990s is an important reference point for The Reds, Pinks and Purples’ musical template. Paul Weller, Robert Smith, and Sarah Records also come to mind. But, as important, Donaldson sees his projects as visual expressions too, often blurring the lines of records and physical art objects. They could just as well be “art multiples” as well as records. The pattern for Reds, Pinks and Purples’ records is to document San Francisco’s Inner Richmond district in photographs: the muted, pastel colours and unpeopled compositions unfold in a series of images that read like counter-melodies to Donaldson’s distinctive voice, a vocal tone that always complements the colours.

Self-recorded and mostly self-performed, Uncommon Weather features pinnacle versions of songs Donaldson has honed since the beginning of the project. The album arrives with grateful timing, quick on the heels of You Might Be Happy Someday, and alleviating, for a brief window at least, whatever it is that keeps us coming back to this elemental music. Donaldson imagines his listeners are just like himself: fascinated and addicted to the spiritual power of uncomplicated pop classics. Anthony Atlas

Wackelkontakt are the trio that currently spearheads the Jerusalem scene, playing music that's precise yet eclectic, cruel and abrasive even when vulnerable. An unholy mixture of trap, industrial, experimental and power electronics. Wackelkontakt have already made a global mark with the sensory overload of their live multimedia performances and the scintillating presence of frontwoman Tomer Damsky AKA MC Slice, backed by Eyal Lally Bitton (electronics, visuals, scenography) and Marco Milevski Tomasin (drums and electronics). Wackelkontakt's wildly eclectic approach, bound by an impossibly consistent sound, is a direct result of the band living a minute away from The Old City's Damascus Gate and recording in the ultra-orthodox neighbourhood of Me'a She'arim; Jerusalem is present in the music, not in the shape of touristic exotica but in a sense of conflict, paranoia and isolation. The lyrics are equally contradictory, schizophrenic and chaotic. Emotional manipulation clashes with a desire to shake and be shaken, to allow oneself to become sucked as far as possible from self-loathing. When self-reflection arises it is bitter, ridiculous, pathetic, interweaving with philosophical texts lifted directly from the likes of Deleuze & Guatarri, Foucault, Artaud, WJT Mitchell and others.

Following on from their 'Junction EP' at the tail end of last year, My Nu Leng return to provide a selection of rave-tinged cuts that further cement their status as one of the leaders in the bass music scene. Following a packed-out summer tour diary, the 'Alter EP' consolidates elements from the duo's previous releases and influences into five tracks of low-end damage. Harking back to the pair's underground roots with inspirations from Techno, House and Breakbeat, opener 'Spaced' sets the tone.

Featuring their classic bass growls amongst hardcore pad stabs, an acid-esque synth line and raucous interjections from legendary drum & bass MC GQ, this one's designed to make you move. Takura returns to Maraki on 'Echoes', lending his distinctive vocals over a lethal distorted bassline and uncompromising 2-step beat. 'City Lights' provides momentary respite, a scintillating arpeggio motif over blissful chords and an enchanting vocal hook. My Nu Leng team up with DRS on 'Sinking Sand'. The Mancunian host leads the charge into a warping climax, showcasing his penmanship through relentless triplet flow. 'Signal' closes off the EP in sombre fashion, atmospheric synths and lamenting strings building into an emotive vocal and reflective bassline.

unperson has quickly defined his own unique lane of deeply atmospheric and percussive bass-laden electronics. His 'The Ghosts That Gave' EP was released to critical acclaim in March 2020 with support from Mixmag, DJ Mag (9/10 Review) & Resident Advisor and plays across BBC 6Music ('Recommends Spotlight Artist' feature for Tom Ravenscroft), Saoirse's BBC R1 Residency, NTS, Rinse FM + more. With tastemaker DJ support from Call Super, upsammy, Errorsmith, Machine Woman, Minor Science, India Jordan, AYA, Bruce etc., unperson is becoming a formidable new face in the electronic scene having recently contributed to Crack Magazine's esteemed mix series.

The 'Struggles In Conjuring' EP sees unperson step further out of the "corners of the club" than he has in his output to date; with an alluringly warm introduction, 3 tracks primed for peak dancefloor dismantling and a remix from man-of-the-moment DJ Python – who had a career defining 2020 after releasing his 'Mas Amable' album (#1 in Resident Advisor Album of The Year 2020, #3 on Crack Magazine's Best Albums Of 2020, #87 in Pitchfork's 100 Best Songs of 2020 etc).

A pumping ground-to-air dance missile written and produced at the dawn of the new century by a duo with some huge music background. Hailing from Montclair State University, Gail Lou is an acclaimed performer, musical director and vocal coach. Her vocal performances in Tri-State’s recording sector, as both lead singer and background vocalist, span from R&B, Gospel, Jazz, to Soul and electronic Dance. Alongside Shawn Lucas, who’s the behind-the-scene producer of the duo, she’s been laying down compositions for music releases and opera and theatre shows soundtracks. This release comes out of a Funk Investigation of my brother Yann. Remastered and adapted to the 7” format it went just straight in the pipeline.

Akhnaten is the third in the composer Philip Glass’ trilogy of operas about men who changed the world in which they lived through the power of their ideas. Akhnaten‘s subject is religion. Its title was derived from the Egyptian pharaoh Akhnaten, who was the first monotheist in recorded story. His substitution of a one-god religion for the multi-god worship when he came to power ultimately resulted in his exclusion from lists of rulers compiled by later pharaohs, and his legacy became all but lost to history until the late 19th century. The opera describes the rise, reign, and fall of Akhnaten in a series of tableaus.

In 1979 as a 15-year-old Eddie Piller was perfectly placed to be at the epicentre of the Mod revival. An inquisitive passion
for music, a family connection to Mod royalty The Small Faces, and an attitude that saw him travelling his home city, then
the country and then the world to take in the sounds that were emerging. In the years since, Piller has been a legendary
figure within the music industry setting up and continuing to own the ground-breaking Acid Jazz label, signing multiplatinum artists such as Jamiroquai and The Brand New Heavies collaborating on compilations with Martin Freeman and as
an award winning broadcaster even setting up his own Totally Wired Radio station. In The Mod Revival he looks back at the
movement that set him on his way.
• Mod is a sixties youth movement original built on sharp clothes, American soul music and nights on the town, that has never
really died. The originals added young British groups to their likes and then moved on, but their influence echoed on
through the 1970s in Northern Soul clubs, and in the sixties influenced bands of the pub rock era. When punk arrived, it was
supposed to sweep away the past, but instead the Sex Pistols were covering the Small Faces. The Clash brought in Mod DJ
Guy Stevens to produce London’s Calling, The Buzzcocks sounded closer to the Hollies than The Ramones and in The Jam’s
Paul Weller there was a musical and sartorial nod to the past of The Who, The Beatles and pop art arrows.
• Weller had spent the 1970s becoming obsessed by mod and saw punk as having a similar youthful energy to the era he had
missed by being born a decade too late. For others Weller’s style proved an inspiration, and as the Jam broke through in late
1978, they saw a wave of bands follow in their wake, and they themselves influenced others to form their own groups. But
there were other things. In bleak late 70s Britain the glorious optimism of the 1960s looked bright and shiny, and as it was
only a decade or so in the past, it was easy to pick up original records, clothes and books for pennies, and as you bought
these you met other like-minded souls who did the same. For those a little too young for punk, it was a community of gigs,
scooters, clothes, bands and records, and for many it developed on through.
• Eddie never stopped being a mod and has a unique perspective having now lived through four decades of being intimately
involved in the music that has emerged from the mod scene. In this part two double vinyl edition (Part 1 and its CD
equivalent reached #14 in the UK compilations charts) Ed guides us through some of his favourite music from the scene. He
guides us through a plethora of bands whose influences include The Who, The Kinks and the Jam, to sixties soul and R&B,
those with an eye on psychedelia. The records have a vitality and a certain stylish swagger to them, that marks them out as
mod. In the deluxe booklet, Piller has written a 5000 word note describing what it meant to him and has granted access to
his own scrapbooksfrom his many years of gig-going from which pages and memorabilia are reproduced.
• Eddie Piller’s Mod Revival is a personal appraisal from the founder of The Modcast, on what the mod explosion of the late
70s and 80s means to him…

Barcelona's Pau Roca is back with his 2nd release on LA label Pleasure of Love, EP of cool-hazy balearic house with equal parts sunrise and sunset energy.

Roca is a standout in the Barcelona DJ scene, with his party Libido and labels Escola and Bons Records, he’s established himself as a premiere record collector/DJ and a producer in the scene. You can hear it in "Euphoria", a track that shows Roca’s deep understanding/appreciation of this music’s roots while updating the sound and capturing the mood and essence of the title. "Marble Arch" is another chugging, deep italo/spanish house number - filtering in breakbeats, choir patches, and a resonant lead to hypnotizing effect.

The legend Pal Joey brings a trademark sound to his version of "Euphoria" on the flip, lending vocals and organ to a tripped out and blissful vision of the track. "Hope" rounds out the EP, a downtempo, uplifting piece for lovers of atmospheric retro-house.

Dead Nature, the solo project of former Spring King singer and prolific producer (The Big Moon, Calva Louise, Circa Waves, Dream Nails, Genghar, Police Car Collective) Tarek Musa, is announcing the release of debut album Watch Me Break Apart, and sharing the video for new single “Hurricane”. It follows the boisterous, sky-high indie-pop dramatics of recent single “Red Clouds”, which drew support from BBC Radio 1, BBC 6 Music, Clash, DIY, Dork, The Line of Best Fit, NME, The Independent, and The i Paper.

Producer and songwriter Tarek Musa has for a long time placed himself at the centre of other artists’ worlds, helping to hone sounds and build scenes through his production work for artists such as The Big Moon, Genghar, and Dream Nails, Calva Louise, Police Car Collective - as well as providing remixes for the likes of Circa Waves. As BBC Radio 1's Jack Saunders noted recently on-air, "we owe a lot to him out here... he's putting the passion from Spring King into the future of the alternative music that we love." With Dead Nature, Musa allows himself to step back from his role as architect for others and set about pursuing his own creative impulses.

Throughout Watch Me Break Apart, internal anxieties are made external, and re-purposed into a carnival of multi-coloured, fuzzed-up indie-pop. The strain of social media and a whirlwind news-cycle compound on the album’s cartwheeling title track, pairing thoughts of sleepless nights with isolated imagery (“A car waits at the lights, no one’s in the driver’s seat / In the ocean stands a tree”). "50 Foot Wall" and the paradoxically light-hearted "Hurricane" were both written against the backdrop of a growing climate crisis, and "Ladlands" zeroes in on social and political struggle, the rate at which change is happening, and the reality-warping nature of the echo-chamber.

Guro Gikling from All We Are sings backing vocals across the whole album, except for Hurricane which Jess Allanic from Calva Louise appears on.

Dead Nature, the solo project of former Spring King singer and prolific producer (The Big Moon, Calva Louise, Circa Waves, Dream Nails, Genghar, Police Car Collective) Tarek Musa, is announcing the release of debut album Watch Me Break Apart, and sharing the video for new single “Hurricane”. It follows the boisterous, sky-high indie-pop dramatics of recent single “Red Clouds”, which drew support from BBC Radio 1, BBC 6 Music, Clash, DIY, Dork, The Line of Best Fit, NME, The Independent, and The i Paper.

Producer and songwriter Tarek Musa has for a long time placed himself at the centre of other artists’ worlds, helping to hone sounds and build scenes through his production work for artists such as The Big Moon, Genghar, and Dream Nails, Calva Louise, Police Car Collective - as well as providing remixes for the likes of Circa Waves. As BBC Radio 1's Jack Saunders noted recently on-air, "we owe a lot to him out here... he's putting the passion from Spring King into the future of the alternative music that we love." With Dead Nature, Musa allows himself to step back from his role as architect for others and set about pursuing his own creative impulses.

Throughout Watch Me Break Apart, internal anxieties are made external, and re-purposed into a carnival of multi-coloured, fuzzed-up indie-pop. The strain of social media and a whirlwind news-cycle compound on the album’s cartwheeling title track, pairing thoughts of sleepless nights with isolated imagery (“A car waits at the lights, no one’s in the driver’s seat / In the ocean stands a tree”). "50 Foot Wall" and the paradoxically light-hearted "Hurricane" were both written against the backdrop of a growing climate crisis, and "Ladlands" zeroes in on social and political struggle, the rate at which change is happening, and the reality-warping nature of the echo-chamber.

Guro Gikling from All We Are sings backing vocals across the whole album, except for Hurricane which Jess Allanic from Calva Louise appears on.

CRESCENT was formed in 1998 by Ismaeel Attallah and Amr Mokhtar in Cairo, Egypt. It started as a Black Metal band influenced by the Swedish Black Metal scene. In 2014, the band released their full-length debut ‘Pyramid Slaves’, focusing on Ancient Egyptian history/mythology, which marked the band’s complete transformation towards Black/Death Metal infused with Egyptian elements. In the following years, CRESCENT was booked to major Metal festivals such as Wacken Open Air, Inferno Metal Festival, Fall of Summer festival among others . 2017 CRESCENT ’s much anticipated second full-length ‘The Order of Amenti’,a tribute to the Ancient Egyptian gods, showed more emphasis on the blackened death Metal epic soundscapes and thematic atmospheres while maintaining its primordial Egyptian Death Metal essence. CRESCENT’s new album 'Carving the Fires of Akhet' was mixed/mastered by Victor ‘Santura’ Bullok (Triptykon, Dark Fortress) at Woodshed studio. The artwork was done by Khaos Diktator (Thron) , which is a Baroque-style recreation of one of the most influential and ancient Egyptian relics. The album title acts as the thread that holds all tracks together. The Fires of Akhet represents the great divine will that was carved into humanity's history and future. A value that brought nations to their apex and brought others to their knees, and the cycle goes on. Lyrically, the album touches upon a primeval epic story that is full of struggle and blood. It also reflects drunkenness with divine power, and pure evil in its religious and historic form (and beyond). Finally, the album lays a dark path of philosophical and material decay. The themes will not only be represented by the sound, but also by artworks that relays the sub-themes. It manifests CRESCENT's growing identity and beyond any of its previous works, starting a new era for the band.

Café Society opened the 69th annual Cannes Film Festival to rave reviews. Woody Allen became the first and only director to have three opening night films selected for the Cannes Film Festival.

It’s New York in the 1930s. As he has more and more trouble putting up with his bickering parents, his gangster brother and the family jewelry store, Bobby Dorfman feels like he needs a change of scenery. He decides to go and try his luck in Hollywood where his high-powered agent uncle Phil hires him as an errand boy.

In Hollywood he soon falls in love, but unfortunately the girl has a boyfriend. Bobby settles for friendship - up until the day the girl knocks at his door, telling him her boyfriend just broke up with her. All of a sudden Bobby’s life takes a new turn, and a very romantic one at that. The soundtrack features a great collection of the music from the 1930’s. The music is featured prominently in the movie and has been chosen by Woody Allen himself and features newly recorded jazz standards by Grammy Award winners Vince Giordano & The Nighthawks and classic recordings from Ben Selvin, Benny Goodman and Count Basie.

Woody Allen says about the soundtrack: “The soundtrack consists of music from the 1930s since that’s when the picture takes place. Most of the material is Rodgers and Hart who is very dominant in those year and Lorenz Heart have that bitter sweet romantic quality that defines the spirit of the movie itself.”

This is a limited edition of 500 individually numbered copies on blue coloured vinyl. A 4-page booklet with pictures from the film and credits is included.

The first release in what will be an ongoing three-part series, Part I features nine tracks for bass guitar and tenor saxophone. Part II, an exploration of a slightly larger, more sonically diverse musical world will feature string quartet and voice. Finally, Part III will collaborate with choreographer Siobhan McKenna, who alongside Nick will develop a percussive movement work that seamlessly intertwines with the musical work.

“My aim is to create music that is sonically and musically atypical whilst still belonging to an accessible contemporary scene. Each project, album or ‘part’ will set out to explore a single ensemble or group of instruments. In the case of Part I, that ensemble is hollow body bass guitar and tenor saxophone. “ - Indigo (Nick Roder)

The Indigo project itself was inspired by Saxophone & Bass Guitar by Sam Gendel and Sam Wilkes, which prompted Nick to write an album of music for the same type of ensemble. Having only just purchased a bass guitar for a different project, the instrument was still very new to him.

“I was curious to see what I would write with my self-imposed rule of not being able to overdub material, and further, how my limitations as a relatively green bass guitarist would influence the writing of the material. A strong focus on harmonic movement and melodic material was where I eventually found my happy place.”

The result is a phenomenal debut. Burrowing into the space between it’s sparse instrumentation and dulcet tones, Part I is the realisation of a minimalist and concise vision of what a symbiotic relationship between two instruments can yield.

About Indigo
Indigo is the moniker and ongoing project of Melbourne-based composer and arranger, Nick Roder. The Indigo project was conceptualised in 2020 and focuses on deep sonic exploration of little-heard ensembles in a contemporary space.

Since 2018, Nick has been composing soundtracks for video games including The Invisible Hand, Roadwarden, N1NE: Splintered Mind, This Dead Winter and Miska. Nick has also played in art-rock ensemble, Tulalah, exploring sonic textures, combining contemporary jazz/rock with chamber sounds. The modular ensemble released The Flood (Equinox Recordings, 2015) and The Question (Independent, 2017).

Certain Sound Records are pleased to announce the release of the brand-new album from Montener The Menace – Anyone Home?

Anyone Home is the hotly anticipated follow-up to “I Have a Hidden Hobby” and is comprised of 14 superb tracks featuring an ensemble of legendary figures from both the US and UK Hip Hop scenes with appearances by Masta Ace, Rah Digga, Craig G, Keith Murray, Edo.G, Micall Parknsun, Cracker John, AG & Guilty Simpson to name just a few.

Production is handled by such heavyweights as Domingo, Roccwell, Keynotez and all cuts are provided by the legendary JabbaThaKut.

The album campaign was launched with the release of 3 excellent singles – High Noon, The Struggle and Take it Back all of which were met with extremely positive reviews from blogs and magazines alike, in addition to this acclaim the tracks have received airplay on a global scale via stations such as Shade45 and Itch FM.

Montener showcases his massive progression as an artist since his previous release with great confidence while still maintaining his trademark sense of humour that fans have come to love and adore. He demonstrates great diversity throughout by being able to touch on some difficult subjects such as suicide and mental health and parenthood as well as his more traditional upbeat content.

“Its gonna make a great impact on the scene, just what we need, when we need it most.” – Skinnyman

Spanning four decades over 32 years, The Trojans have constantly evolved, re-inventing themselves through several incarnations
while always remaining one happy family.
Formed By Gaz Mayall in the Autumn of 1986 after the demise of his first band, Gaz's Rebel Blues Rockers, The Trojans filled a gap
on the ska scene of the time of the time with a sound that encompassed ska and reggae with a dash of soul, funk, R&B and world roots.
During the first few years they recorded several albums that were well received on the UK underground, all on Gaz's own
independent label Gaz's Rockin' Records. The first was 'Ala-Ska' which featured the classic single 'Gaelic Ska' and launched a whole
new genre of Afro-Celtic fusion that has since become a hallmark of The Trojans' sound.
The 12 tracks included here cover the three main incarnations of The Trojans line-ups and features guest appearances from Prince
Buster, Jennie Bellestar and Zoe Devlin. Now available exclusively for RSD 2019 on 180g vinyl - a very limited Red edition and a
limited Black version

The furious double LP "AL AZRAQAYN" documents KARKHANA (with members of KONSTRUKT, THE DWARFS OF EAST AGOUZA, LAND OF KUSH, PETER BRÖTZMANN CHICAGO TENTET, "A" TRIO) at their very best and intense: live on stage.

Consisting of seven of the most adventurous and innovative artists from the Middle Eastern experimental scene (and a veteran jazz percussionist from Chicago), KARKHANA are surely among the most unique and interesting ensembles around. When MAURICE LOUCA (THE DWARFS OF EAST AGOUZA), SAM SHALABI (LAND OF KUSH, THE DWARFS OF EAST AGOUZA), UMUT ÇAĞLAR (KONSTRUKT), MAZEN KERBAJ ("A" TRIO, JOHNNY KAFTA ANTI-VEGETARIAN ORCHESTRA), MICHAEL ZERANG (PETER BRÖTZMANN CHICAGO TENTET), SHARIF SEHNAOUI ("A" TRIO, ORCHESTRA OMAR) and TONY ELIEH (ORCHESTRA OMAR, JOHNNY KAFTA ANTI-VEGETARIAN ORCHESTRA ) come together to perform and / or record, the result is as diverse as their individual musical backgrounds. The septet's sound is neither retro nor avantgarde, not folklore nor jazz or rock – it's an astonishing blend of all these different styles and elements where seductive oriental melodies can intensify and turn into a psychedelic freak-out, fuelled by reeds, guitars and electronics, only to re-start again from quiet sounds till the ensemble seeks catharsis in a collective improv outburst! Defying simple categorization, and in lack of proper terms for the intense experience of KARKHANA's music (as well as the member's other projects mentioned before), someone labelled it "free Middle Eastern music".

And it's not surprising that these skilled musicians are at their best live on stage – as documented on this live recording from a furious, highly energetic concert at Bimhuis / Amsterdam!

The seminal debut album from US Blackened Metal stars WORM SHEPHERD - with additional song 'Chasm Dweller'. One of the most seminal young talents on the emerging extreme metal scene, vocalist Devin Duarte and his band WORM SHEPHERD are re-writing the book on Blackened Death Metal.

The seminal debut album from US Blackened Metal stars WORM SHEPHERD - with additional song 'Chasm Dweller'. One of the most seminal young talents on the emerging extreme metal scene, vocalist Devin Duarte and his band WORM SHEPHERD are re-writing the book on Blackened Death Metal.

Rippikoulu's Musta seremonia is both an international cult item and an integral part of the history of Svart Records as well - a reissue of the original 1993 tape was one of the earliest Svart releases back in 2010. Back then, this album was considered as one of the best kept secrets in the Finnish underground metal scene. Four years and one quickly sold out reissue later Rippikoulu's greatness is no longer a secret, and we are happy to bring Musta seremonia back on the market.
Rippikoulu began their musical endeavours back in the late eighties, and like so many of their contemporaries, evolved from primitive punk noise to death metal. However, while many bands played death metal with groovy riffing and overall headbanging attitude, Rippikoulu's choice of style was darker. Their downtuned metal is bleak and nearly unbearably heavy in its execution, dark and soul-searching in its themes, intertwining faster bursts of chaos with slow, doomy passages.
Rippikoulu released the Musta Seremonia demo album on tape in 1993 and then disappeared. They never gained much popularity in their time, but their legacy has steadily grown in time. The album has been carefully remastered from the original DAT master tape, cleaned up and amplified.

Rippikoulu's Musta seremonia is both an international cult item and an integral part of the history of Svart Records as well - a reissue of the original 1993 tape was one of the earliest Svart releases back in 2010. Back then, this album was considered as one of the best kept secrets in the Finnish underground metal scene. Four years and one quickly sold out reissue later Rippikoulu's greatness is no longer a secret, and we are happy to bring Musta seremonia back on the market.
Rippikoulu began their musical endeavours back in the late eighties, and like so many of their contemporaries, evolved from primitive punk noise to death metal. However, while many bands played death metal with groovy riffing and overall headbanging attitude, Rippikoulu's choice of style was darker. Their downtuned metal is bleak and nearly unbearably heavy in its execution, dark and soul-searching in its themes, intertwining faster bursts of chaos with slow, doomy passages.
Rippikoulu released the Musta Seremonia demo album on tape in 1993 and then disappeared. They never gained much popularity in their time, but their legacy has steadily grown in time. The album has been carefully remastered from the original DAT master tape, cleaned up and amplified.

Shall Not Fade champions its hometown of Bristol for this next release on the Time Is Now White Label series; Daffy has built a name for himself on the local scene putting out forward-thinking garage on labels to watch like Dim Sum Records and Equal People. This will be his first full vinyl EP and it's not one to miss.

Run Around EP builds up the tension throughout; starting off with "Put Your Feet Up", a ghostly atmospheric piece with a sparse beat, sprinkling of ear candy and crescendo of headsy melodies. The title track oozes a growling bassline beneath staccato vocal snatches - it's a deconstructed style of garage that maintains tension while adding a dreamlike quality. More tension encompasses "Nerves" alongside teases of low end wobbles and harsh breaks that coalesce into a punishing jungle track.

"Lost Again" brings in the B-side with this same energy, an explosion of rolling breaks forming the backbone of this rouch and ready Metalheadz style crowd pleaser, calling out to the rave. "Mishap" serves up ragga vocals, impenetrable sub bass and pouncing two-step ripe for a reload, all rounded off with "Wasp's Nest" - a raucous, no holds barred climax to the EP.

The debut album of the singer-composer Rita Ray from Estonia packs powerful, warm vocals and crisp production to go with it. "Old Love Will Rust" contributes 8 soul-heavy cuts to the current scene: it's got that slower, classic R&B side of affairs, as well as an uptempo disco delight, that keeps things tight. While miss Ray herself has credits in almost all aspects of the LP, it's a certified Solid Gold Production, led by Martin Laksberg of Lexsoul Dancemachine. Blue-eyed soul hasn't sounded so strong in ages! Rita Ray is a small-town girl whose vocal chords are hardened by a decade in choir singing, spirit toughened by the city life and a foundation built in jazz studies. She's the first contemporary soul diva to rise from the post-Soviet state. Her soul-stirring shows have yet to leave a heart cold - she'll have you in her palm to deliver tender melodies, irony-filled lyrics, catchy riffs and disco-stomping sessions.

The debut album of the singer-composer Rita Ray from Estonia packs powerful, warm vocals and crisp production to go with it. "Old Love Will Rust" contributes 8 soul-heavy cuts to the current scene: it's got that slower, classic R&B side of affairs, as well as an uptempo disco delight, that keeps things tight. While miss Ray herself has credits in almost all aspects of the LP, it's a certified Solid Gold Production, led by Martin Laksberg of Lexsoul Dancemachine. Blue-eyed soul hasn't sounded so strong in ages! Rita Ray is a small-town girl whose vocal chords are hardened by a decade in choir singing, spirit toughened by the city life and a foundation built in jazz studies. She's the first contemporary soul diva to rise from the post-Soviet state. Her soul-stirring shows have yet to leave a heart cold - she'll have you in her palm to deliver tender melodies, irony-filled lyrics, catchy riffs and disco-stomping sessions.

“They were one of those bands that were a prequel to what the future was becoming. Feminism, human rights, animal rights, environmental
protection, gender issues... Spitboy was singing about these issues
30 fucking years ago.
I’m so grateful to have witnessed it.” - Billie Joe Armstrong “Spitboy are one of the most
important punk bands to have ever existed. To me, an angry 20-year-old in London, discovering them felt like the first time I truly identified with a band’s politics and agenda.
One of my all-time favourite albums (then and now) was Penis Envy by Crass. No lyrics
had ever touched me the way this album had--until Spitboy entered my life. My people. My radical feminists. My punk scene. Where I have lived and belonged for over 30
years.” -Vique Simba

Emotional Rescue and HMV Record Shop (Japan) team up to present six limited edition 7"s of DISCO REGGAE LOVERS music. Featuring Sugar Minnott, Dambala, One Blood, 101 Band, Red Cloud and here to start, for the first time ever as a single, Ernest Ranglin's, cover of The Dramatics R&B classic, In The Rain.

A defining guitarist and composer in the development of Jamaican music, Ranglin's career spanned mento to reggae, playing on the groundbreaking recording of My Boy Lollipop itself, before going on to work with the likes of the Skatalies, Jimmy Cliff and Bob Marley.

Moving to Florida in 1982, he teamed up with Noel Williams to mix the bass heavy sound the producer was famous for with Ranglin's unique playing. Featuring a who's who of the Miami scene including Bobby Caldwell, Timmy Thomas, Betty Wright and Williams himself, In The Rain continued the link between R&B and reggae to sweet perfection.

To accompany, for half this series, a modern producer offers their own remix. Here Nik Weston, DJ, promoter and owner of the respected Mukatsuku label, releasing afro, jazz dance and more and with a long standing association with Japan, presents here an instrumental dub - letting the groove roll and Ranglin's ubiquitous playing to shine."

Clear Vinyl

Freddy Fresh is a legend. Period. From a plethora of 12“es on labels like Nu Groove, Drop Bass Network, Forced Nostalgia, Spaziotempo, Lone Romantic or Toolbox Killers to albums on 90s scene mainstays like Harthouse, Anodyne or Eye Q to countless releases on his own imprints like Howlin Records, Analog Records USA and Electric Music Foundation. From remixes for the likes of GusGus, Heaven 17, Kitachi, Steve Stoll, Frankie Bones and many more to hitting the UK Top 40 with the massive BigBeat smasher „Badder Badder Schwing“
produced alongside Fatboy Slim. The man has done it all. Nearly.
And therefore Intrauterin Recordings is proud to present the first ever Drum'n'Bass release in the more than 30 year spanning career of the one and only Freddy Fresh!
With „333“ Freddy Fresh is going down a twisted, hard stepping and yet positive alley of what the man himself refers to as Modular Drum'n'Bass that is unmistakably cooked up live and direct in his Minneapolis-based studio. Expect a whirlwind of swirls, swooshes, bleeps and FX alongside raw junglistic beats and the most positive Synth bass motif you've heard in a long while.
Yet the singles' main dancefloor smash is to be found on the flip side. „Watch It Go Roun Roun“ is a raw classic, a heavy original JumpUp banger driven by a killer vocal performance by Mike Gates a.k.a. Mikey Dredd. Likely better known to many for his Techno productions on labels like Kanzleramt, Creation Rebel or Howlin Records rather than for his MC skills this is the very first time Mikey Dredd's secret love for taking up the microphone as a proper Jungle / Drum'n'Bass MC is officially recognized and revealed on wax as a late tribute to and
honoration of a large scale talent which passed away way too soon in 2019. Lighter crew!
Initial pressing will be limited to 225 copies on 7“ whitelabel vinyl. Hand-stamped with stickered cover.


b B1: Watch It Go Roun Roun featuring Mikey Dredd

Four awesome artists from the Italian scene collaborated in “Abyssal Void”: the first Electro oriented VA by Suburban Avenue. 051 Destroyer, 2030, Davide Piras and Pearl River Sound leave us four classy Electro beauties with some drexciyan, atmospheric and electronic touches. Are you afraid of Evolution?

In their 6 years on air, Flip The Script Radio has become the industry standard, the go-to radio show where fans and industry heads alike flock to hear the next hip hop superstars before they blow up. Steeped in the rich history of the scene, FTSR's focus on real MCs, genuine turntablism and their 'do it for the culture' approach has garnished them praise from every corner of the hip hop universe.

To celebrate their 6 Year Anniversary, Flip The Script Radio has joined forces with Good For You Records and one of the greatest MCs of all time for a very special, limited edition 7" release. We are beyond excited to present this work of art by a cultural icon, one of the best lyricists of all time, Grand Puba. This special edition vinyl release revisits one of Puba's most beloved classics "I Like It", reinvented with an 8 piece band, an acoustic version, featuring freshly re-spit verses by the rap legend himself, breathing new life into this crowd favourite.

The Beastie Boys originally released Some Old Bullshit in 1994. It compiles several of their early EPs, recorded in the early 1980s. These recordings present a sound radically different from that of the hip-hop sound generally associated with the band. Instead, these songs represent the band’s part in the early New York hardcore scene. The album also features taped segments originally heard on Noise The Show, a popular hardcore radio show on WNYU in New York that played early recordings from the Beastie Boys. These segments feature the hyperbolic introductions of Noise The Show‘s host, Tim Sommer, an early supporter of the band.

Featuring Beastie Boys’ Earliest Recordings, Including “Egg Raid on Mojo”and “Cooky Puss” on 180g black vinyl.

Rolling through with a fresh release for Concrete Castle Dubs comes Dutch producer Kid Sundance. An esteemed beat maker and producer who’s been known for his Hip Hop & Breaks over many years behind the mixing desk, always applying that original analogue style of production to his material. After leaving the Drum & Bass scene in 1999 he always kept a weak spot for the tracks that changed his life, he never sold his collection and last year he took them from the top shelf to the ground, rediscovered the love, linked with Disorda @ Concrete Castle Dubs and decided to get back on and release a record for the label...

We're extremely proud to present HAPPENSTANCE, a sprawling jazz-concrète project produced by Johannesburg composer and double bass player Shane Cooper. Approached in 2020 by interdisciplinary arts space The Centre For The Less Good Idea to create audio work, Cooper drew on his network in the thriving South African jazz scene, bringing in Bokani Dyer (piano), Cara Stacey (bows), Daliwonga Tshangela (cello), Gontse Makhene (percussion), Jonno Sweetman (percussion) and Micca Manganye (percussion).

Two days of free-flowing composition, improvisation and investigative recording followed, with the results captured on a vintage reel-to-reel tape machine. This tape was fractured and reassembled by Cooper, bringing into surreal focus tiny ecosystems of sound, like curls of static clasped from the air and brought under the magnifying glass. The results - two long, standalone pieces - are dizzying, weightless; musique concrète melding with jazz-schooled virtuosity in a dubbed out bricolage of interludes and u-turns.

Recommended for fans of Abdullah Ibrahim, Tony Allen, Floating Points and Daphne Oram.

Fast-rising producer Mr.Diamond makes his debut on Hot Creations this June with the three-track Dance With Me EP. The release continues a standout 2021 for the young talent, which has seen him release on Saved Records already this year.

Dance With Me sets the tone, with jazz-fused horn string samples cosying up next to stripped-back kick-hat combos. It’s a signature peak-time offering that highlights the young talent at his best. Bongomastic takes on a darker edge, as murky drum loops converge on punchy late-night percussion. London Bass rounds off proceedings, a pacey minimal-laced number that you can’t help but move your feet to.

Mr.Diamond has taken the electronic music scene by storm in recent times. His maiden release came in 2019 and he’s since gone on to produce for a selection of contemporary house’s leading labels, including Solid Grooves Raw, Saved Records, Seven Dials and many more besides. Dance With Me EP marks a career milestone, a testament to his keen-ear for production, and sets the tone for a bright future that will see him continue to rise up the global dance ranks.

The third highly anticipated full-length album by WORMWOOD, follow-up to the praised in the media album
“Nattarvet”
Wormwood are one of the leading bands on the Swedish metal scene!
Contains 3 bonus tracks, “Shipwrecked & Northbound – Redux”, “The Weeping Song” (Nick Cave cover),
”Caravanserai” (Loreena McKennitt cover).
Vinyl version includes the novel for “The Archive”, book written by Swedish author Mikael Strömberg in a
32 page 12” booklet. Both in Swedish and English.
BOTH ON CD AND DOUBLE TRANSPARENT WHITE LP FOR RSD
Mixed and Mastered by Jonathan Ojeda, Break the Norm Productions. Well known engineer in the
mainstream pop genres (Molly Sandén, Mohombi, Jay Sean, Wyclef and more).
The concept of the album is based on humans' destructiveness and inability to adapt to nature and how we
in the end deserve to die.
Alongside the album release, a cinematic music video "The White Archive" follows the desperation after an
unprecedented catastrophe in Sweden.
WORWOOD has a very strong and dedicated fan base that’s growing rapidly, especially in Europe
(Germany, France, Netherlands etc), UK and the US.

New pressing, with a front punch of color! It’s the yellow belt edition!
(yellow vinyl)Take an auditory trip through a wacky world of oddball and obscure ‘classick’ exploitation cinema soundtracks from the 1960s and early 1970s, presented by one of the most beloved genre film video companies of all time’ Something Weird! Two LPs chock-full of oddities and earworms with great sets of liners and track by track factoids!

A deep dive into the one of most collectable jazz catalogues in the world, a selection of some of the rarest and most sought-after recordings from the 60s and 70s, a time when British jazz began to find its own identity. Drawn from the iconic labels of Decca, Deram, Argo, EMI Columbia/Lansdowne Series, Fontana, Mercury, & Philips. A figure in British modern jazz for over half a century, Don Rendell was both active protagonist and key witness to the main developments in the music from its rise out of tiny clubs and back rooms on up to the most prestigious national stages. From his earliest performances in London’s West End and his work of the 50s and 60s — most not ably with the Don Rendell-Ian Carr Quintet — to the lower profile work of the 70s and 80s, his quite assurance and consistent performance marked him out as a highly respected figure among his peers. He is one of a handful of British artists to feature on Blue Note Records and appeared on some of the most distinctive and characterful British jazz albums by the likes of Michael Garrick, Stan Tracey, Amancio D’Silva, and Neil Ardley. Even though Rendell eschewed much of the free and electric fusion styles that came to the fore in the late 60s, in the main sticking to an acoustic sound with melody and rhythm at its heart, he similarly bridled at any notion that he was merely a ‘bopper’, a description he positively hated. In many ways, Space Walk was as much a valedictory as transitionary album for Rendell. It was his last for Denis Preston, the fabled producer behind Lansdowne Studios, described by Neil Ardley as a ‘rare Diaghilev like figure’ who steered many of the key figures of the British jazz scene into the studio when nobody else would record them. It was also Rendell’s final project for EMI Columbia and his last as a leader for a major record label. After Space Walk, Rendell would record for smaller, independent labels like Spotlite. But as much as the album is a farewell to one chapter, it also marked the way forward to the next..

• Hailing from Heston in West London, The Bluetones (Scott Morriss – bass, Eds Chesters – drums, Adam Devlin –
guitars, and Mark Morriss – vocals) arrived on the scene in 1995 with their debut single “Are You Blue Or Are
You Blind?”. They followed this up with “Bluetonic” and then “Slight Return”, which reached # 2 on the UK
singles chart. The debut album “Expecting To Fly” was released in February 1996, and went straight to # 1.
• This 3 LP box set contains the original 1996 album, a 12 track LP of non-album A- and B-sides, as well as the
collection of pre-fame demos “The Early Garage Years”. The box also contains the 12 x 12 booklet from the
original limited edition sleeve, as well as a note by 6Music DJ Steve Lamacq.
• The three LPs are pressed on 180 gram blue vinyl.
























[x] e1. Are You Blue Or Are You Blind? [demo]
[y] e2. Talking To Clarry [demo]
[z] e3. Carnt Be Trusted [demo]
[xa] e4. Slight Return [limited edition UK/Japan 7" single]
[xb] e5. No. 11 (Bluetonic) [from the Fierce Panda "Return To Splendour" EP]
[xc] f1. The Fountainhead [demo]
[xd] f2. Time & Again [demo]
[xe] f3. Cut Some Rug [homemade 4-track recording]
[xf] f4. Talking To Clarry [homemade 8-track recording]
[xg] f5. Are You Blue Or Are You Blind? [homemade 8-track recording]

Acid Dad is an American alternative-rock band composed of singer-guitarists, Vaughn Hunt and Sean Fahey, and drummer, Trevor Mustoe. Vaughn first started recording the band in his Bushwick, NY basement releasing singles “Brain Body” and their first EP “Let’s Plan a Robbery.” Appearing live in the New York City rock scene in 2016, Acid Dad quickly moved to a world stage with their self-titled debut album, released by Greenway Records in 2018. During 2020, the band spent their time building a new studio space in Queens, NY, while continuing to independently produce all their own music, art and even building their own guitars. With a new space and vision, the band produced their second LP, “Take It From The Dead,” set to be co-released in June 2021 by Brooklyn’s Greenway Records and psych powerhouse LEVITATION’s label, The Reverberation Appreciation Society. “Take It From The Dead” features an array of different influences ranging from 90’s neo-psych, modern post-punk and 70’s rock-n-roll. Acid Dad has crafted a record that sounds new, yet feels nostalgic. In contrast to their earlier work, they make use of slower tempos and expand their sound to include songs that are both more intricate and more hypnotic. To accompany the new record, the band spent the last year collaborating with video artist Webb Hunt, producing psych and glitch art videos that form a visual counterpart to the dreamy distortions of their sound. Take It From The Dead is out June 11th via Greenway Records / The Reverberation Appreciation Society on Deluxe LP & CD.

Legendary psychedelic guitar music from the Islamic Republic of Mauritania finally available on vinyl!
Originally released as a double CD in 2010, Wallahi Le Zein! has persisted as a cult classic, a collection of a rarely heard and utterly unique underground music scene, raw and unfiltered.
For fans of the more raw side of Sublime Frequencies, Sahelsounds, the ripping tape-hiss psychedelia of Les Rallizes Denudes, and anyone remotely interested in GUITARS.
12” 160 gram black vinyl LP, with 2 spot color reverse-board jacket, and 8-page full sized booklet with extensive notes and photos, and a history of Mauritanian guitar playing.
‘’this is the first curated collection of unfiltered Mauritanian guitar music ever, and I'm glad it's been introduced with such thoroughness and care.’’ 8.0 Pitchfork
The LP version we now present is intended as an immersive entry into this music: gnarled and virtuosic electric guitars weave hypnotically throughout melismatic sung poetry and exclamations, pulsing hand drums, party chatter, buzzing rigged desert sound systems, and all manner of the ambient sounds of Nouakchott wedded to oversaturated cassette in all its swirling, breathing, psychedelic glory. Operating entirely outside of any local recording industry, these songs were collected from bootleg tape stalls, wedding souveniers, and networks of musicians, expertly curated, researched and produced by Matthew Lavoie.
Drawing from the deep well of Mauritanian classical music, the gamut of musical modes and the tidinitt lute repertoire are transposed to the electric guitar - often with frets removed or additional frets installed, “heavy metal” distortion pedals and phasers built into guitar bodies, blurring the lines between Haratine and Beydane musical cultures, the ancient and the futuristic. At times transcendent and transfixing, and conversely a furious and cascading intensity that commands jaw-dropping attention.

Nothing can beat the thrill of thrash at its best, and no one is keeping the spirit and sound of the genre alive quite like Berlin’s Space Chaser. Marking their ten-year anniversary with their third full-length, Give Us Life, they are returning in force and once again establishing their importance in the scene. While they predominantly take their lyrics seriously they also have moments of fun, such as on “Army Of Awesomeness”, but the band are primarily drawn to dystopian sci-fi stories with roots in real-life physics and the works of Carl Sagan, and as they point out “it’s still a lot of fun to sing about a dying sun turning into a black hole and becoming a galaxy devouring behemoth.” The title track might possibly contain the most epic theme ever covered, describing the emergence of life and its inevitable death from the smallest to the largest possible scale.

guccihighwaters is the artistic persona of 21 year -old artist/producer Morgan Murphy. Since his debut single in 2017, Murphy has exploded in the cloud rap community and his music has been streamed over 200 Million times. His new album, joke's on you, is his debut for Epitaph Records and will be his first available on vinyl. guccihighwaters is the keystone to the label's dedication to this sound that we feel is the future of Alternative music. Spending his formative years growing up in rural Ireland, Murphy was shy and when his family returned to their native New York, that shy 15 year-old turned to bedroom production and starting making his own beats. He began to indulge his musical vision by exploring community on the internet, finding a place to belong that he had not found prior. As a singer, Murphy was a bit of an outsider to the Soundcloud rap world he'd begun to orbit. "I was grouped in because of the time and place and platform," he says. His use of original piano with a classic touch and his angelic singing gave him an original voice with?in the scene's crowded world. Even if he wanted to blend in, he didn't know how. With Jokes On You, he says, "basically my goal was to make it sound like me." Some members of that community, like Powfu and nothing,nowhere, feature on the album, adding their voices to Murphy's signature sound. guccihighwaters is a top digital artist in the Indie Pop/Cloud Rap space, releasing his music on vinyl for the first time. Album features include lo-fi sensation powfu, top emo-rapper Convolk and popular alt-hip-hop artist nothing, nowhere. For Fans of powfu, Lil Peep, nothing, nowhere and Lund.

‘Royal’ is the long awaited second full-length album from Jesse Royal, an artist who has been helping to return Jamaica to its rightful place at the top of the worldwide reggae scene. Along with his peers and friends Protoje, Chronixx, Koffee, Kabaka Pyramid, Jah9, Lila Ike, and others, Jesse Royal has brought back many of the soulful elements of the genre, while remaining at the cutting edge of the moment. The record’s 3rd single, “Rich Forever,” a collab with dancehall superstar Vybz Kartel, perfectly illustrates this with a modern roots sound that surprises at every turn. Recent major hits, “LionOrder” (with Protoje) and “Natty Pablo,” are both included here, along with a host of new songs that are destined to become favorites in the Jamaican diaspora and well beyond. The album also features prominent guest turns by Stonebwoy, Kumar (formerly of GRAMMY winning band Raging Fyah), and rising stars Samory I, and Runkus.

Director David Lynch once said "I long for a kind of quiet where I can just drift and dream. I always say getting inspiration is like fishing. If you're quiet and sitting there and you have the right bait, you're going to catch a fish eventually. Ideas are sort of like that. You never know when they're going to hit you." Inspired by this quote in both name and spirit, Hollie Kenniff's The Quiet Drift is an ambient gallery of cloudlike synths, seraphic strings, echoing guitars, and other celestial textures guided to cohesion by Hollie's own wordless singing. Though the album certainly creates (and originates from) the kind of space where Lynch's proverbial "fish" can be caught, The Quiet Drift is a fitting title for Hollie's own history, both recent and distant. During the course of the album's creation, Hollie and her family moved cross-country from an island in Washington state, to an island in Maine before ultimately relocating to Canada. "As a child I visited Ontario year-round," she explains in her own words. She continues "More than any other landscape, I think the lake, rivers, and woods there left the most enduring impression on me. The landscape and pace of life of these places will always stay with me." But the reverberant spaces Hollie crafts need no physical headquarters. Instead of conjuring views of nature at the ground level, her sound more readily evokes a top-down perspective, with the distinct features of the land shrinking underfoot as the listener becomes untethered from geography altogether. The Quiet Drift belongs more to the liminal spaces between life and afterlife, memory and fantasy, landscape and dreamscape, than any mappable locale. Describing her formative years, Hollie says "As a dual US/Canadian citizen who spent my childhood in a rural town-- one that I haven't returned to in many years - I have a sense of not entirely belonging anywhere. When I was a teenager my close friends were male musicians, so I was also an outsider to the degree that they were wild and anarchic in a way that I wasn't. I was a quiet book reader and avid music listener who enjoyed being around a creative group. I was also a radio DJ for alternative and punk music throughout high school." In this light, The Quiet Drift attests that creativity is placeless, and calls into question the stereotype of artists as scene-centric city dwellers. Having come of age in the absence of metropolitan sensory overload, Hollie learned to spot the muse in nature, and within herself, instead of the echo chamber of a frenzied peer group. On The Quiet Drift Hollie Kenniff wholly escapes from such pop-culture feedback loops into transcendent, shimmering realms, and she brings the listener along with her. In this age in which we have all been called to reevaluate our relationship to indoor spaces, and seek refuge in the great outdoors, The Quiet Drift provides an apt soundtrack for such rebalancing.

The Wizzz! saga continues on Born Bad who present volume 4, with a fresh selection of 60s and 70s rarities gathered from the unchartered nooks of the French-pop galaxy.
Stars, lesser names on the French pop scene and unknown artists rub shoulders on this tangy new compilation. Take off on a sonic journey through the starry night of the late sixties.

Karakul welcomes Lea Lisa to the label for her new 12" 'Keys Of Life' featuring House legend Glenn Underground on remix duties.

Nice's Lea Lisa has been involved in the French and Swiss House music scenes since the early 90s and is a long time family member of Toulouse record shop InnerDisc. During the past decade she also added production to her musical talents and a string of releases on labels such as Wolf Music, Mona Musique and Inner Balance have followed.

Her latest track 'Keys Of Life' is a bumping yet soulful and uplifting piece, classic sounding yet with a contemporary feel.
Glenn Underground's mix takes the track to a more ethereal place, spacious pads swirl above a squelching bass line, while his dub version lets things breathe even more and twists the track's components into new shapes.