Search:the three of us

The final U.S. show, a triumphant and blistering bookend to the storied career of one of the most influential bands in rock music, featuring a unique and expansive eighty-five minute set list that spans Sonic Youth’s nearly three decade catalog. Mixed from multitrack by longtime live engineer Aaron Mullan and mastered and cut by Carl Saff. On August 12, 2011 Sonic Youth played their final US show on an outdoor stage overlooking the East River at the Williamsburg Waterfront in Brooklyn. Fitting that their storied career would bookend with a panoramic view of New York City where it all began 30 years before, having left in their wake one of one of the most powerfully influential careers in rock music. Following incredible sets from Kurt Vile and Wild Flag, the band took the stage. As the sun went down over the city, Sonic Youth ripped through a 17 song set that spanned from deep cuts off their first studio album and highlighting many other albums all the way through to their last, like a band with everything to prove. Or as Brooklyn Vegan’s Andrew Sacher said at the time: “While most bands who are thirty years into their career are either fading away or living off of the nostalgia of their older material, Sonic Youth continue to sound and perform as fresh as ever.” Steve Shelley explains the uniquely career spanning set list of Live in Brooklyn 2011 and how it came to be, as well as the importance of outdoor NYC summer shows in Sonic Youth’s legacy: “This show was a culmination of a run of really special outdoor summertime shows in New York City for us, starting in ’92 with Summerstage in Central Park when we played with Sun Ra. For the Williamsburg Waterfront show I wrote out the set list to present to the band and it was a lot of material we hadn’t played in a while, a lot of deep cuts, so I wasn’t sure if everybody would feel like doing it. After worrying about which songs the band might say yes or no to, I threw those concerns out the window and I just made a list of songs that I thought would be a great set. We practiced the week of the show at our space in Hoboken and put the set together. First we’d try and make sure we had a guitar in the song’s tuning, then we’d try to remember the arrangement and try and put it together, sometimes re-learning bar by bar. In the end I think the whole song list made it through. Even as early as ’86 and ’87 we stopped playing ‘Death Valley 69’ and ‘Brave Men Run’ with any regularity. We’d just get excited about new material coming into the set and songs would get ‘retired’ and wouldn’t get played again for years. So on this particular night in Brooklyn a lot of those retired songs and deep cuts got dusted off and played for this show. It turned out to be a pretty special event with a really special song list.” The band would go on to fulfill a contracted festival run in South America a few months later but, by then, the group’s center was severed beyond repair and the festival appearances didn’t hold the same kind of weight. “The stage was facing the East River from the Williamsburg, Brooklyn waterfront, and I recall the sun going down in the west during our set. It was a pretty magical, if kinda weird day. Fitting, somehow, that our ‘last show’ should be in New York City, our home and where it all began…” Lee Ranaldo The Williamsburg Waterfront show would fondly become referred to as ‘The Last Show’ by fans and band alike, equally for its triumphant high energy performance, its unique and expansive set list and locale. Newly remixed and remastered, Live in Brooklyn 2011 is presented for the first time on 2xLP, 2Xcd, August 18, 2023.

Selected Songs 1997-2003 compiles some of the finest moments in the recording history of Hydroplane, the Melbourne-based indie-pop three-piece that operated alongside The Cat’s Miaow through the second half of the nineties. It’s the third release in what feels, now, like a loosely planned series by World Of Echo, documenting the music made by this group of friends in Melbourne sharehouses (The Cat’s Miaow’s Songs ’94-’98, 2022), or in the case of The Shapiros (Gone By Fall, 2023), while traversing the International Pop Underground.

Hydroplane would be familiar to anyone already following these breadcrumb trails – Andrew Withycombe, Bart Cummings and Kerrie Bolton were the group’s core, all members of The Cat’s Miaow. With Cat’s Miaow drummer Cameron Smith itinerant, having moved to London, the trio used this opportunity to expand their music. It’s a subtle, but important shift. If The Cat’s Miaow was about the perfect, minimalist, two-minute pop song, Hydroplane’s music was far more open-ended, embracing the loops and drones, sampled house-y shuffle beats, the burbling of a Roland Jupiter-4 synth, all of which the trio joined, effortlessly, to their endless capacity for moving, elegant melodicism.

They may have only planned to release one seven-inch single, but the sound Hydroplane created was so bewitching, so compelling, that the project’s lifespan ran for around half a decade, and they ended up releasing three albums, including a self-titled debut recently reissued by Efficient Space, and seven singles. There are all kinds of compelling things happening in the music compiled here – the hazy repetition of the gentler side of Krautrock is in here, somewhere, which also suggests Stereolab at their most intimate and disarmed; the gently drifting guitars, gauzy and oneiric, set the songs adrift and floating, each one lost in its own imagined, distracted world. Songs like “The Love You Bring” set indistinct tonal floats across dance rhythms, in a way not quite heard since My Bloody Valentine’s “Instrumental” – but with the added gift of Bolton’s gorgeous voice.

This loose coalition with dance music, and the quiet experimentalism at the heart of Hydroplane, also gestures towards peers like Hood, Acetate Zero and Other People’s Children, and releases on renegade labels like Wurlitzer Jukebox and Enraptured. Like those groups and labels, The Cat’s Miaow were reconciling independent pop music’s past – sweet melody and melancholy, chiming and droning guitars – with the futures promised by DIY electronics and nascent digitalia, the interface of indie and IDM that led to some of the underground’s most blissful, texturally swoonsome music. All that is here, but also, the poise of the melodies is pure Cat’s Miaow, though, with Bolton’s voice sailing, pacifically, over some of the most pared-down, gorgeous music made during their decade.

It was a time, too, when such music could make waves – “We Crossed The Atlantic”, one of their early singles, was picked up by John Peel, who played it repeatedly on his legendary radio show, the song reaching #13 on his 1997 Festive 50. That the song itself was a cover of a tune by 1960s Australian beatnik-pop-poet Pip Proud felt even more perfect – a group of outsiders paying tribute to another outsider, played on the radio one of the few broadcasters brave and human enough to take a chance on this music. But it was a time where everything was up for grabs, and genres were flowing into each other: folk songs went drone; indie re-discovered noise; ambient pop floated, again, out onto the dancefloor. And while they may have been sequestered away in Melbourne, Australia, Hydroplane felt core to that scene, a quietly driving force.

Compiling material from across their brief but mercurial career, this double album perfectly captures the magic and mystery of Hydroplane’s dreamlike, perfect pop songs.

Summer is now upon us, and with it one of our dearest dancefloor artillerymen returns to Timedance.

Ploy's « For when we haven’t slept » stands as a mission statement for the party athlete, it is a celebration of weekends ran like both a sprint and a marathon and its three tracks narrates the spirally craze that keeps you out and makes the dancers forget the sole existence of their beds.

Starting with the first hits of strobe lights on a Saturday night, as the energy rises and the dancefloor manically comes together (Crazy BB), it then moves on to a welcome and slightly hectic high octane after-party (Rose) before rolling all the way through to the sheer moments of lustful euphoria that defines the best Sunday sessions (Finally).

Bass pressure and intoxicating techno collide seamlessly without falling into the traps of forced seriousness, while hints of hook-laden house music keep the groove at peak levels, so the bodies can keep moving, beyond sleep and exhaustion and into the final stages of pure frenzy, for when we haven’t slept.

Hailed as "gospel titans" by Rolling Stone, the Blind Boys of Alabama defied the considerable odds stacked against them in the segregated South, working their way up from singing for pocket change to performing for three different presidents over the course of an 80-year career that saw them break down racial barriers, soundtrack the Civil Rights movement, and help redefine modern gospel music forever.

The five-time Grammy-winners’ latest album, Echoes Of The South, draws its name from the Birmingham radio program that hosted the group’s very first professional performance back in

1944. Pairing traditional spirituals and long-lost gospel classics with vintage soul and R&B tunes, the collection is as moving as it is timeless, transcending genre and era to touch something deep and fundamental about the human condition.

These are songs of love and friendship, joy and gratitude, faith and perseverance. Uplifting as they are, the recordings can feel bittersweet at times, too: 91-year-old Jimmy Carter retired from performing following the sessions, while two longtime members, Paul Beasley and Benjamin Moore, Jr., have since passed away. Despite the losses, the Blind Boys of Alabama show no signs of slowing down.

“The spirit of the Blind Boys isn’t about what you can’t do it’s about what you can do,” says singer Ricky McKinnie. “As long as we stay true to that, as long as we sing songs that touch the heart, this group will live on forever.”


The most honored and revered group in Gospel music.
Winners of 5 GRAMMY; including Lifetime Achievement.
Echoes of the South brings the group back to Muscle Shoals, Alabama to record, album produced by
Matt Ross-Spang and Ben Tanner, band features Phil Cook, Dennis Crouch and Chad Gamble.
Global touring schedule planned for 2023/2024.
Documentary film to be released in conjunction with the album, book on career to be released in early 2024.

Straight outta Rockaway Beach, Queens, New York City, USA, THE WORLD, Prison is a state of mind, an experience, a loose collective, a band, a jam band and a bunch of psychedelic dudes who aren"t your average bunch of jambanders. All that, all at once, ALL THE TIME. You get what you"re dealing with here? No...you don"t. The only way to REALLY get it is to go to Prison -- and if you"re not from greater NYC and haven"t showed at any of the shows, here"s your best bet: their breakout album, Upstate. And whatta breakout! So high, you can"t get under it; so wide, you can"t get over it! How wide? Every song has two titles, that"s how wide. And almost everybody sings, like, all the time. That wide. Sure, you can break down the numbers -- five guys, five songs and four sides of vinyl in one gatefold sleeve -- but that won"t get you Upstate, either. Prison is the sound of everybody in the room figuring out where to go, individually and collectively. As they go through it, the meaning changes, the destination changes, the words mean something different. It"s meaning and no meaning, rising and falling, sinking and flying on the back of something massive cacophonized by three guitars, four vocals, a bass and drums. A lot of information bouncing around and enough time to really get you out of yourself! Take a look at the titles: each one a dichotomous inquest that the assembled Prison-ers march upon with fervor, glee, vengeance -- a whole spectrum of feels and perspectives woven into the jam for you to see. The Prison population changes with the seasons, and during the season this album was recorded, Sarim Al-Rawi, Mike Fellows, Sam Jayne, Matt Lilly and Paul Major were in Prison. Sarim you might know from Liquor Store, Mike"s made a bunch of scenes and records as Mighty Flashlight, Sam, who passed away in 2020 (R.I.P., brother) was in Love as Laughter -- and Paul Major you know from Endless Boogie, who Matt had roadied for -- and despite being "just a skateboarder who loves music" with no previous experience on the drums, he and Sarim inaugurated the Prison experience, like, seven years ago. Since then, it just fell together and it keeps doing so. A free thing called Prison.

Next Pressing on White Vinyl, single LP w/ printed inner sleeve + lyric insert and Download card. The Armed return with their first new album in over three years and Sargent House debut, ULTRAPOP. The album reaches the same extremities of sonic expression as the furthest depths of metal, noise, and otherwise "heavy" counterculture music subgenres but finds its foundation firmly in pop music and pop culture. As is always The Armed's mission, it seeks only to create the most intense experience possible, a magnification of all culture, beauty, and things. The band goes on to explain, "crafting vital art means presenting the audience with new and intriguing tensions-sonically, visually, conceptually. Over time and through use, those tensions become less novel and effective-and they become expectations. The concept of "subgenre" becomes almost the antithesis of vitality in art-itself a fetishization of expectation. ULTRAPOP seeks, in earnest, to create a truly new listener experience. It is an open rebellion against the culture of expectation in "heavy" music. It is a joyous, genderless, post-nihilist, anti-punk, razor-focused take on creating the most intense listener experience possible. It's the harshest, most beautiful, most hideous thing we could make." ULTRAPOP follows their recent contribution to the Cyberpunk 2077 soundtrack "Night City Aliens" and 2018's critically acclaimed album Only Love, which landed on 'Album of the Year' lists from The Atlantic, Pitchfork, Rolling Stone, Vice, Stereogum, and many more. The album was co-produced by the band's own Dan Greene in collaboration with Ben Chisholm (Chelsea Wolfe) and features contributions from Mark Lanegan, Troy Van Leeuwen (Queens of the Stone Age, A Perfect Circle), Ben Koller (Converge, Killer Be Killed, Mutoid Man) and many more. Kurt Ballou (Converge, High on Fire, Russian Circles) remains at the helm as executive producer.

2023 Repress
Re-cut from original Peter Christopherson approved masters.

The Ape of Naples is Coil's highly celebrated final album completed by Peter Christopherson following the tragic death of Jhonn Balance in 2004. Often noted for being a fan favorite, The Ape of Naples uses Balance's final recordings and material recorded at Trent Reznor's studio in New Orleans to create a deep, heavy masterpiece.

This re-press is packaged in a heavy duty jacket with Ian Johnstone's original artwork coated in a custom spot gloss. Each LP is housed in a printed inner sleeve and side D contains all three original etchings. Ape's lyrics are spread across the gatefold.

Gatefold-LP Neupressung (violettes Vinyl) in Redux Series O-Card.

Attarazat Addahabia & Faradjallah's album came to us as quite a mystery. Our friends from Radio Martiko got access to the studio archive of the Boussiphone label and a reel labeled “Faradjallah” was among the items they had found there. After listening to the selection of reels they borrowed, Radio Martiko felt it was not a fit for their label and helped us licensing it from Mr. Boussiphone instead. We knew nothing about the band. We just had the reel with the music but very little information. What we knew was that the music was incredible and very unique. Gnawa sounds were combined with funky electronic guitars, very dense layers of percussions and female backing vocals more reminiscent of musical styles further south than Morocco. We started asking around whether anyone knew the band with no immediate success until we asked Tony Day, a musician from Morocco who helped us during our search for Fadoul’s family. His sharp memory came through once again, remembering all the names of the Attarazat Addahabia band members and even how to contact the bands singer and leader Abdelakabir Faradjallah. After visiting him at his home in Casablanca with our Moroccan colleague Sabrina multiple times, he shared his personal story. His father arrived in Casablanca from Aqqa at the age of six and his mother came from Essaouira. Abdelakabir was born in the neighbourhood of Benjdia in 1942. Abdelakabir Faradjallah studied fine arts in Casablanca, graduating in 1962. He also played soccer in the second team of "Jeunesse Societe One". His brother-in-law Ibrahim Sadr worked for one of the biggest football teams of the time in Morocco called "Moroco Sportive Union", which allowed him to travel to France occasionally. While Ibrahim was never part of the band he brought along a few instruments from trips.


Yet the majority of the instruments they could not afford to buy were build by Faradjallah and Abderrazak, Faradjallah's brother who passed away early. For instance they had built a Spanish guitar and a drum made of wood barrel and sheepskin by themselves.During the 1950s Faradjallah was booked as a singer for surprise parties with friends. He started to write his first songs including "L’gnawi" in 1967 and wanted to make people discover Gnawa culture, or maybe rather his take on the culture to be more exact. Faradjallah recalls his first interaction with the genre in the streets of the Dern neighbourhood, where he used to go to elementary school. Gnawa is one of the essential musical genres of Morocco. It combines ritual poetry with traditional dances and music linked with a spiritual foundation. Musically a lot of influences originated from West Africa as well as Sudan. Gnawa is usually played by a selection of specific instruments such as the qaraqab (large iron castanets centrally associated with the music), the hajhouj (a three string lute), guembri loudaâ (a three stringed bass instrument) and the tbel (large drums). People would put shells on their clothes and instruments and use incense at their parties. "Sidi darbo lalla - lala derbo khadem..." came from Gnawa verses Faradjallah used to sing when he was 14. The lyrics tackle a global (im)balance of power and the question of social status in this course. The band Attarazat Addahabia was formed in 1968. The original line-up included 14 members, all from the same family. They played their first small concerts here and there starting in 1969. Later in 1973 they performed bigger shows for instance at the Municipal Theatre followed by the "Al Massira Show" at Velodrome Stadium in downtown Casablanca. Their first album "Al Hadaoui" (the one you are listening to) was recorded at Boussiphone studios in 1972 and was never released before. Nobody seems to remember the exact reason why Boussiphone ended up deciding not to put the album out. The album's title track also served as the basis for Fadoul's "Maktoub Lah", who frequented the same circles as the band for some time.

Their shows sometimes could go as long as 12 hours, starting at 5pm in the afternoon, with an occasional break here and there. In the 1980s the band took a brief break. Faradjallah recalled the reason for that break like this: "Zaki, the bands drummer, had fallen in love with a young girl from Mohammedia. Soon after, he fell very ill. The group members were convinced that the girl had given him ‘s'hor’ (a kind of local Moroccan version of "black magic"). For four years, the whole group stopped playing. It was unthinkable to find another drummer to replace Zaki, even temporarily." So they waited four years for Zaki to "get back on his feet" before going back on stage. Apart from very few gigs here and there Faradjallah stopped playing music in the mid 1990s. Some members from the younger generations formed a new band and still play frequently to this day. Faradjallah runs a television repair shop coupled offerings beverages and snacks in the Belevedere /Ains Sbaa district of Casablanca. While Faradjallah was primarily a musician, he would work for the local cinema and paint their posters for new movies by hand and he designed all artworks and cover posters of the band.

And this eventually led to him participating actively in our first exhibition dealing with Habibi Funk’s work in Dubai 2018. He helped us by creating calligraphic complementations on large photo prints for that show.

Fiddlehead's third album Death is Nothing to Us is a defiant, new chapter for the band. Since 2014, the Boston-based group have been honing their unique sound, bringing together the energy of hardcore, the anthemic melodies of `90s alternative, and the unbridled passion of Revolution Summer era emo. Their previous albums, 2018's Springtime and Blind and 2021's Between The Richness, dealt heavily with grief from different perspectives, and now their latest feels like a de facto culmination, drawing together many of the catalog's through-lines sonically and lyrically. The band again teamed with producer Chris Teti for their third record, and his punchy production captures Fiddlehead's live energy while showcasing the massive guitars and undeniable catchiness that makes their music so immensely satisfying. The album's concise 27 minutes sound like a natural extension of all of the band's strengths, but is glued together by vocalist Pat Flynn's singular tuneful roar. Flynn, since his time as the vocalist of Have Heart and now as Fiddlehead's frontman, has earned a reputation as one of hardcore's most thoughtful lyricists. He interweaves his ruminations on life, death, and all the joy and tragedy in between with references to Roman philosopher Lucretius; the author Jean Améry; other musicians like Bad Brains, Alex G, or Wire, and even references to the band's own back catalog. The humanity across Death Is Nothing To Us is palpable in every note. It's the kind of art that observes pain with real honesty rather than prescribing a solution for it-and in doing so, inadvertently offers some sense of hopefulness. The album finds Fiddlehead so deeply delving into the pain, confusion, nuances, and contradictions of sadness-so willingly wrapping their arms around a concept as existentially baffling as death itself-that they've created an album that is truly life-affirming. Death is Nothing to Us exemplifies so much of what makes Fiddlehead a special band: taking these heady, unanswerable questions and wrestling with them in a very earthbound way, all wrapped up in the urgent power of a three minute punk song.

Ivory colored vinyl, limited to 150 copies. "When did time start flying by so fast? It's getting harder to recall the past." The opening lines of As Friends Rust's upcoming album Any Joy are a fitting start for a band that has existed in one form or another for over 25 years (minus a hiatus from 2002-2008). Originally formed in the late `90s, As Friends Rust has been through a few iterations, but it is the core line-up of vocalist Damien Moyal, guitarist Joseph Simmons, guitarist James Glayat, and drummer Timothy Kirkpatrick that are creating thought-provoking melodic punk music for the modern age. With three EPs, two 7 inches, and a full-length in their history, As Friends Rust already have a lifetime of work in their pocket, but the seven songs on Any Joy might just be their most striking yet. Originating in Gainesville, Florida and now spread across the country, As Friends Rust wrote, recorded, and produced Any Joy mostly from the comfort of their own homes. Vocals in Ann Arbor, MI, guitars in Gainesville, FL and Brooklyn, NY, with the exception of the drums, which were recorded in a studio by John Howard in Gainesville. Not currently having a permanent bassist, the band called upon friend Andrew Seward (of Against Me!) to play bass on most of the record, with additional contributions from Simmons. Mixed by James Paul Wisner in Orlando, FL and mastered by Matthias Lohmöller in Germany, the creation of the album was truly a collaborative and international effort. Working in separate spaces allowed the band to experiment more as the songs came together, resulting in a familiar but fresh sound that has more bite than past releases. It's more focused, more direct, more confrontational, more catchy, while still staying true to the band's melodic punk and hardcore roots. Lyrics tackle everything from the emptiness of emoticons as a form of communication on "Positive Mental Platitude" to the need for political and social activism versus the occurrences of daily life on "??No Gods, Some Masters."

One of the inventors of the modern bebop style of drumming, Blakey is known as a powerful musician and a vital groover; his brand of bluesy, funky hard bop was and continues to be profoundly influential on mainstream jazz.

For more than 30 years his band, Art Blakey & The Jazz Messengers included many young musicians who went on to become prominent names in jazz. Recorded in 1956, Art Blakey's Drum Suite is a wonderful hybrid of African, Latin, and hard bop rhythms that prefigures the concept of Afro-beat by at least a decade. The sheer energy, not to mention its very special and fresh-sounding intimacy, make it especially astounding.

Even more amazing is that the three parts of the suite -- Blakey's "The Sacrifice," Ray Bryant's "Cubano Chant," and Oscar Pettiford's "Oscalypso" -- were recorded straight through live, and were only intended to be a pre-take run-through. As is obvious here, Blakey and company nailed the whole thing right out of the box.

Groundbreaking for its time, and still sounding vital, powerful, and visionary, the Drum Suite album is somewhat of a lost masterpiece that deserves a fresh audience.

"Art Blakey's first release for Columbia Records is essentially two records. Side one is a percussion ensemble playing what would, ten years later, be called Afro-Cuban drumming. Side two is the mid-fifties version of the Jazz Messengers featuring Jackie McLean on saxophone. Side one features Blakey, Jo Jones and Charles Wright on drums, Candido and Sabu on bongos, and Oscar Pettiford and bass and cello. The group plays three compositions, one by Blakey, one by Pettiford and one by Ray Bryant, fusing African, Cuban, and calypso percussion into a well-integrated suite.

"The group recorded a run through and it was so perfectly executed that they used the practice run for the release, unedited except to add some Swahili chants by the percussionists during a few passages. One cannot help but think of Olantunji's Drums of Passion, another Afro drumming landmark, here. Blakey's drum suite was recorded at Columbia's 30th Street studios in New York in 1957 and is in mono. The almost stereoscopic image is truly remarkable. Mastered by Kevin Gray and pressed at RTI, Drum Suite is a valuable record of one of the most important figures in jazz history. Recording: 9/10. Music 9/10." - Dennis Davis, Hifi+

"...The three-part suite was laid down in one take with no arrangements, and begins with a few tympani thwacks followed by an African chant. Soon the ensemble kicks in and the group takes off an a sweaty Afro-Cuban-bop journey that will leave you breathless, as the thing crackles with terrific energy. Side Two is more conventional hard bop, but given this group's mastery of if not invention of the style, these tracks are extremely satisfying. Kevin Gray's remastering is detailed and immediate, with plenty of bit and air, if not the widest dynamic range. For anyone interested in percussion of this genre, this is not to be missed." - Wayne Garcia, The Absolute Sound

Samosa Records reaches its 30th release in style, and who better to mark the occasion than label boss De Gama with the superb ‘Tropical Gangster’ - a three tracker slice of vinyl heaven that’ll blow you face first into your summer paddling pool.

Opening this super-tropical affair on the A-side is afro beat stomper ‘Karibu Funk’ - and it wastes no time at all in introducing us to its tribal rhythmic awesomeness. The beats, the vocals, the outrageously funky bass and horns are a musical representation of an African sunset. A serious groove.

A2. brings us ‘Lucky Fellow’; a twisting, turning bouncy bass-bomb of a tune with a flute riff that would charm the clothes off you. De Gama is very much in Pied Piper mode here - you’re powerless to resist the sexy overtures of the drums, the haunting synth lead and solid bass line. Sizzling hot.

On the B-side De Gama offers a cool ‘Piña Colada’ after all the heat of the A-side. This Piña Colada, however, offers an oasis of many delights and flavours. What starts as a furious latino drum call breaks to a tropical bassline and hypnotic keys. The vocals are the cherry on the cake of an amazing arrangement of layered sound. Goosebumps.

The Tropical Gangster is an exceptionally special Samosa release befitting the occasion of reaching the 30 milestone, and another example of the consistently brilliant output from Samosa Records. Expect this one to sell out fast.

Electronic Music from 1972-2022 seeks to frame ¬fty years of Carl Stone's compositional activity, starting with Stone's earliest professionally presented compositions from 1972 ("Three Confusongs" and "Ryound Thygizunz", featuring the voice and poetry of Stefan Weiser – later known as Z'EV) up to the present. This collection is not meant as a de¬nitive history but rather as a supplement to be used alongside the previous two archival releases. It is simultaneously an archival release marking Carl Stone’s

evergreen 70th birthday and a document of archival art. In the spirit of disorienting repetition and layering, call it an archive of archiving.

Lndon Odense Ensemble is a powerhouse quintet that combines forces from the Causa Sui/El Paraiso family tree (Jakob Skott, Jonas Munk, Martin Rude) with the vibrant, experimental London jazz scene (Tamar Osborn, Al MacSween). On two studio full-lengths, released in 2022 and 2023, they have explored the confluence of psychedelia, improvisation and cosmic jazz. On this set, recorded at the 2021 edition of Denmark's Jaiyede Jazz Festival, the energy is cranked up another notch or two. Comprised almost entirely of exclusive material not found on the two studio records these three sonic excursions dive head-on into the fiery side of the group's sound. Taking up the entire A-side "Energy Ascending" starts out as a gently flowing piece of dreamy jazz that wouldn't have sounded out of place on a late 1960s Pharoah Sanders record. As the piece evolves the guitar takes it into rock territory, where it dissolves in a mesmerising breakdown before commencing a build of epic proportions, lead by Tamar Osborn's baritone sax, channelling The Stooges as much as John Coltrane. Heavy. On the B-side things get more electronic and spacy. Here the ensemble uses album track "Sojourner" as a starting point for a new improvisation guided by Al MacSween's virtuoso keyboard work. The rhythm section creates a hypnotic foundation for layers of synths and electric keys to fully blossom and travel into cosmic territory. Limited to 300 copies on transparent ochre vinyl.

Put Webbed Wing’s Taylor Madison up against some of rock’s most celebrated songwriters––he’s ready. On their new EP, Right After I Smoke This..., the Philly-based guitarist and singer puts on the kind of unforgettable performance that can take everyday people and turn them into musical heroes for the masses.

For those in the know, Webbed Wing––incomplete without Jake Clarke (drums) and Mike Paulshock (bass)––have long-since reached cult status; the project follows Madison and Clarke’s already-decorated career in their band, Su- perheaven. Here, each member freely flexes their innate genre-bending musicality, taking notes from the likes of The Lemonheads, Teenage Fanclub, and Weezer.

In just three songs, Right After I Smoke This... channels everything lyrically-gripping about rock music and everything vibrant about pop. There’s as much earnest twang in their toolkit as there is snotty skate-park punk and intense metal; it’s a celebration of the genre as they’ve come to love it, resulting in something highly palatable and new.

Raised on Colombia's Caribbean coast and united by its capital, Bogota, Ghetto Kumbé combines the rich musical heritage of their home, to invoke the spirit of digital rumba in audiences all over the world. The secret behind their irresistible electronic ritual lies in their powerful percussion base; Caribbean house beats and traditional afro-Colombian rhythms inherited from West Africa. The album's co-producer, The Busy Twist, adds all the legacy of UK's Bass scene to the Afrofuturistic sounds of the 3 Colombians. Inspired by the different revolutionary movements emerging all over the world, Ghetto Kumbé will release their first full-length album in July 2020 on pioneering Latin Ameri-can electronic label ZZK. Their self-titled debut is visceral, committed, and rebellious, denouncing through frantic rhythms the inequalities and abuses imposed by corrupt governments, while simultaneously enticing listeners to join in the fight. Dance mingles with awareness to create a global community, where family, friends, and strangers come together through our shared love of music and activate change amongst themselves. Using musical motifs from Africa and Colombia's Caribbean coast such as the gaita, call-and-response vocals, and an array of hand drums and rhythms, coupled with the elegant electronic production of Tech/House, Ghetto Kumbé creates an Afro-futurist soundscape with lyrics to motivate, elevate, and inspire. Their first single to come out, `Vamo a Dale Duro', is a fluorescent criticism of the unjust divide between the poor and the rich, the rising prominence of dirty politicians, and the ethics of the capitalist sys-tem while encouraging people to stand up and fight for a dignified existence. The al-bum's tone fluctuates fluidly between tracks that include ancestral chants, voices both deep and resounding, and anthems to uplift and inspire, as well as features by up-and-coming Réunion island artist Melanie and the Palenque-based folk/hip-hop band Kombilesa Mi. In the Americas, Ghetto Kumbé has become one of the most important alternative groups to come out of Colombia. They've played Barranquilla's world famous Carnival, Bogotá's recent Boiler Room, and have even opened for Radiohead. The ancient yet modern sound of the three powerful musicians has made them a legitimate representative of the new Afrohouse scene burgeoning all over the world.

Seminal NYC multi-reedist Doug Wieselman announces arresting new album of birdsong arranged for clarinet, flute, banjo and piano WA-Zoh, released on Shahzad Ismaily’s figureight records.

Wieselman has performed with superlative greats (including the Lounge Lizards, Lou Reed, Yoko Ono, Bill Frisell, Iron & Wine, Laurie Anderson, Tricky, Martha Wainwright, Antony and the Johnsons, CocoRosie) and contributed significantly to the NYC Downtown scene over the past three decades. He is described, by NYC Jazz Record, as “a vital force in the New York music scene”.

Over the years, Wieselman has taken hours of recordings of birds both from his world travels and outside his window in Brooklyn. His beautiful new album WA-Zoh uses the recorded bird songs and phrases - slowed down and processed - as source material for original compositions, reflecting the astonishing beauty and inherent musicality of the natural world in a wholly unique take on field recording. Incorporating clarinets, flutes, banjo, piano and percussion, all played by Wieselman himself, the new album is marked step forward from his previous solo outings as a clarinet player, though no less accomplished in its composition, dexterity and skill.


The minimalism, patience, and subtlety here is delicately formed from featherlight interweaving lines of soft, virtuosic instrumentation, resulting in an album that sits somewhere between avian chirrup, rainforest prettiness, the refined intelligence of American minimalism, and the undecorated purity of ambient music.

THE LEGENDARY 1980 ALBUM REMASTERED FROM THE ORIGINAL TAPES.
• 2LP SET WITH 12” X 12” BOOKLET.
• INLCUDES THE PREVIOUSLY UNRELEASED ‘COMS 1-3 RDX SUITE’ (TAKEN FROM THE ‘COMMERCIAL
ALBUM’ MULTITRACK TAPES).
• PRODUCED WITH THE RESIDENTS AND THE CRYPTIC CORPORATION.
• THE SEVENTH IN A SERIES OF VINYL RE-ISSUES OF THE RESIDENTS’ CLASSIC 70S ALBUMS.
Formed in the early 1970s, The Residents have now been charting a unique path through the
musical landscape for 50 years. In celebration of that remarkable and unlikely anniversary, we
present an expanded vinyl edition of the classic 1980 LP ‘Commercial Album’.
Following almost a decade spent attempting to redefine what pop music could be, but with zero
hit singles to show for it, The Residents finally caved and produced their own pop music album as
the 80s dawned. But rather than have each song repeat the same minute of music three times as
per the traditional pop format, The Residents produced no less than 40 one-minute pop
masterpieces, and invited the listener to do the repeating bit themselves if they felt the need.
The resulting ‘Commercial Album’ both showcased the incredible depth of the group’s musical
palette and proved definitively that they could easily be as big as The Beatles if they wanted to.
Probably bigger, actually.
Featuring a breathless collage of toe-tappers, memorable melodies, instrumental experiments
and guest performers (Fred Frith, Chris Cutler and XTC’s Andy Partridge among them), the
record has since acquired legendary status among both fans and confused onlookers alike.
Alongside the original album, this 2LP edition presents the ‘COMS 1-3 RDX Suite’ – a brand new
interpretation of (almost) the entire album, produced by the group using the original multi-track
tapes – and a brand new sleevenote essay shedding new light on the album’s production.
‘Commercial Album’ is the latest in The Residents’ extensive ongoing pREServed series – expect
more throughout 2023 and 2024. Possibly even 2025 too, the way things are going.

-15 year anniversary and first time on vinyl with brand new artwork, including previously unseen pieces from the Tame One archive.

-Remixed and remastered audio for a fresh listening experience. -Featuring guest appearances from Sean Price and Del Tha Funky Homosapien - One half of legendary graffiti rap group The Artifacts. -140 gram black vinyl, matte flood jacket with spot uv, 12x12 double sided insert with black poly lined inner sleeves. Rough, rugged and raw. Nothing better describes one's listening experience when they first heard Tame One & Parallel Thoughts, “Ol Jersey Bastard”. It was 15 years ago when Tame One came to "The Paradigm", the recording studio of Freehold's own Parallel Thought. One session turned into two, then quickly turned into three, resulting in a twice-weekly recording ritual that spanned three years. This ritual would give birth not only to this album, but three (Acid Tab Vocab & Parallel Uni-Verses w/ Del Tha Funky Homosapien) instilling a lifelong creative partnership. But let's focus on "Ol Jersey Bastard," Tame One's homage to the almighty and original OL Dirty Bastard. It was not the cleanest record to listen to, but it was true to Tame One's style and vision. He was not constrained by working with a group or having to answer to a label. As a side note, Amalgam Digital, the joke of a label who originally released this album wouldn't let us follow through with our original artwork concept. So the new cover and layout created by close friend Michael Interrante is Tame’s original concept. We also were able to include original scans of unseen artwork, tags & lyrics from Tames archive. This was unfiltered raw hip-hop, showcasing Tame One's unparalleled ability on the mic. Sometimes that called for no hook or maybe a 54 bar verse, traditional song structures were out the window. That being said, coming back to this album all these years later as producers, we wanted to elevate the album's listening experience. We cleaned up the mixes, so you might notice Tame sounds a little clearer, or those beats might knock a bit louder. It was what was needed to further elevate the music while not compromising our and Tame’s vision. Further demonstrating that music is a living, breathing piece of art. Always able to evolve. We hope you enjoy it!

“All in the Golden Afternoon We Glide” (Realia006) is the forthcoming record from LATHE 00, the new moniker under which Umbria-based artist Leonardo Carloni has recently started to operate.

Preceded by several collaborative undertakings, LATHE 00’s debut solo album is akin to an experiment in autotheory, where art-making practice and theoretical inquiry are entwined to the point of being virtually inseparable. Through the combined use of autobiographical and philosophical elements, “All in the Golden Afternoon We Glide” meditates on individuality, technology, and new forms of (post-)human existence.

The record has been conceived as a three-act project, with each act comprising four compositions that correspond to as many recurring themes: birth, love, death, and emptiness. Produced over the course of two years, the album has a total of twelve tracks, the majority of which run for less than two and a half minutes. Upon closer inspection, these tracks feel less like standalone pieces of music and more like outtakes of a single but continuously mutating continuum.

LATHE 00’s first feature is a work of rare beauty. As a one-person debut project, its stylistic variety, compositional maturity, and technical rigor are outstanding. By combining a forward-looking production style with references as varied as ambient, hyper-pop, instrumental post-rock, world-beat, and modern classical and folk music, LATHE 00 develops a mode of expression that transgresses genres and is distinctively his own.

The result is a signature sound that feels equally primordial and hyper-contemporary, fleshly visceral and detached. The inclusion of the artist's own vocals in the music is a notable aspect of this style. Alongside sampled materials, his non-lexical vocalisations appear as both an affirmative and negative act, simultaneously gesturing towards bodiless dissolution and a desire to reclaim one’s all-too-embodied presence in this world.

Despite being a concept album grounded in a profound theoretical substrate, “All in the Golden Afternoon We Glide” surprisingly relies on wordless communication only. As such, in it, song titles become key vectors of information. Appealing primarily to the listener’s sense of sight, they are used in a way that seamlessly blends the aesthetics of the digital (“Loading of Image Aborted!”), nature (the title track), and ritual (Pouring Blood into the Lake).

The album will be released in digital format alongside a limited-edition printed publication conceptualised and designed by Lidia Ginga Cozzupoli and Bernardo Berga.

Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.

The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.

The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.

With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.

Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.

The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.

Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”

With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.

“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”

Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.

The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.

The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.

With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.

Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.

The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.

Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”

With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.

“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”

Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.

The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.

The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.

With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.

Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.

The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.

Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”

With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.

“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”

Three years after the original release date of Caterina Barbieri’s career defining album Ecstatic Computation, the Italian artist reissues the record on her newly found own label light-years.

Caterina Barbieri is an Italian composer who explores themes related to machine intelligence and object oriented perception in sound through a focus on minimalism. Ecstatic Computation revolves
around the creative use of complex sequencing techniques and pattern-based operations to explore the artefacts of human perception and memory processes by ultimately inducing a sense of ecstasy and contemplation. Computation is turned from being a formal, automatic writing technique into a creative, psychedelic practice to generate temporal hallucinations. A state of trance and wonder where the perception of time is distorted and challenged.


Equally nervous and ecstatic, the fast permutation of patterns can create a state where time stands still whilst simultaneously being in motion. Is this propulsive music moving forward or backward? As
long as the perception of the present is constantly enhanced and refreshed in an endless sense of loss, re-discovery and the search for self-orientation this question lies mute aside the thrilling and perplexing moment of the matter at hand.

'The Long Stuff' was originally issued in 2002 as a CD-only limited edition of 110 copies for members of 'The Bevis Frond Online Community'. It comprised a select batch of lengthy, previously unissued tracks. Some of these were home demos featuring just Frond frontman Nick Saloman on all instruments and vocals. There was also an unused track recorded for the 1995 album ‘Superseeder’ featuring Ade Shaw on bass and Andy Ward on drums. Since then, ‘The Long Stuff’ has never been re-issued in any format. It is therefore with great pleasure that Blue Matter are re-releasing it for the first time, and now as a vinyl double album and limited double CD. Due to certain circumstances, one of the original tracks could not be used, so that has been replaced by a different unheard demo called ‘Here’s a Little Love Song’. Also, we have added three further unissued tracks, another home demo called ‘Skyline Commander’, plus a leftover song from the sessions for the recently released ‘Little Eden’ album called ‘Yet Another’. Finally, we felt compelled to add a storming 24 minute live version of the classic track ‘Superseded’ recorded at Cardigan’s Doctor Sardonicus festival in 2019. So, to sum up, the first album of this double set features all bar one of the tracks that were previously on the original ‘Long Stuff’ CD in 2002, while the second album entirely comprises previously unreleased material. The LP will be housed in a full colour sleeve

Revered house mainstay Junior Sanchez makes his debut on Carl Craig’s renowned Planet E Communications imprint today with the digital release of his latest EP ‘‘Art O Fact’ out now with a 12” to come this July. Hailing from New Jersey, Sanchez remains a pioneering force in house music for over three decades and a close ally of Craig’s.

‘Art O Fact’ is an exemplar of the energized rhythm and infectious groove that has become synonymous with Sanchez’s work and genre defining productions. The package seamlessly connects scenes and eras, paying homage to the soulful sonic atmosphere of Detroit, Junior Sanchez’s says:

“Art O Fact -- was created purely and simply out of creative inspiration. I walked into the studio one morning not really knowing what to do, so I let my inspiration guide me and my inspiration really was Detroit. I thought about that city, what it meant to me and what techno really meant to my heart. I have loved so many records by Carl Craig, DJ ROLANDO, Derrick May, Kevin Saunderson and Juan Atkins, so the result is something really beautiful and organic, and the fact that it's coming out on Carl Craig's planet E imprint is such an honor.”

In addition to the original mix, the ‘Art O Fact’ EP features a bouncy ‘Luv4Detroit’ Dub, energized edit, and melodic reprise.

Sanchez’s eclectic palette can be credited in part to his time spent in the sonic melting pot of New York City in the 1990s. A pillar of the underground club scene, Junior Sanchez began DJing at iconic New York City institutions such as Limelight and Club USA at the mere age of 13 and released his first track on iconic house imprint Strictly Rhythm at age 15. Sanchez went on to co-found Da Mongaloids collective, composed of the likes of Daft Punk, Armand van Helden, LaidbackLuke, and more which laid the foundation for him to form multi-generational turntablism trio S-Men alongside Roger Sanchez and DJ Sneak.

Sanchez's extensive repertoire of collaborators includes Madonna, Ariana Grande, Good Charlotte, Azealia Banks and more while his own imprints Cube Recordings and Brobot Records have seen releases from the likes of Felix Da Housecat, Sébastien Léger, and Steve Mac.

Led by legendary Detroit techno pioneer Carl Craig, Planet E Communications has been an integral force in shaping electronic music for the past thirty years. Standing testament to the timeless spirit of techno, over the past two years alone Carl has released the leftfield ‘Attenuator’ jazz fusion project from himself and Moritz Von Oswald, DJ Holographic’s multi-genre Detroit Love Vol. 5, and the first electronic music album from Mexican-American percussionist Francisco Mora-Catlett. Planet E continues to transcend the dance floor, as it perpetuates the unifying spirit and unwavering creativity of Detroit.

LP includes Poster.

When Sacred Bones first began their Mort Garson reissue project in 2019 with a proper reissue of Plantasia, the Garson-naissance began in earnest. Soon after, you could hear Mort Garson and his Moogs bubbling up on TV shows, documentaries, podcasts, hip-hop tracks, or anywhere else, the man a cultural phenomenon once more.

Like a perennial that returns with each new spring, the Mort Garson archives have brought to bear yet another awe-inspiring bloom.

Journey to the Moon and Beyond finds even more new facets to the man's sound. There's the soundtrack to the 1974 blaxploitation film Black Eye (starring Fred Williamson) alongside some newly unearthed music for advertising. Just as regal is "Zoos of the World," where Garson soundtracks the wild, preening, slumbering animals from a 1970 National Geographic special of the same name.

The mind reels at just what project would have yielded a scintillating title like "Western Dragon," but these three selections were found on tapes in the archive with no further information. The crown jewel of the set is no doubt Garson's soundtrack to the live broadcast of the 1969 Apollo 11 moon landing, as first heard on CBS News. That's one small step for man, one giant leap for Moogkind. But for decades, this audio was presumed lost, the only trace of it appearing to be from an old YouTube clip. Thankfully, diligent audio archivist Andy Zax came across a copy of the master tape while going through the massive Rod McKuen archive.

So now we get to hear it in all its glory. Across six minutes, Garson conjures broad fantasias, whirring mooncraft sounds, zero-gravity squelches, and twinkling études. It showcases Mort's many moods: sweet, exploratory, whimsical, a little bit corny, weaving it all together in a glorious whole.

Maybe at the time it scanned as crass and opportunistic for Garson to apply his keyboards to subjects like astrological signs, the occult, hippiedom, houseplants, or the moon landing. But more than most other electronic music pioneers of his ilk, Garson foresaw the integration of such electronics into our daily lives, how they would allow us to engage with the world.

LP includes Poster.

When Sacred Bones first began their Mort Garson reissue project in 2019 with a proper reissue of Plantasia, the Garson-naissance began in earnest. Soon after, you could hear Mort Garson and his Moogs bubbling up on TV shows, documentaries, podcasts, hip-hop tracks, or anywhere else, the man a cultural phenomenon once more.

Like a perennial that returns with each new spring, the Mort Garson archives have brought to bear yet another awe-inspiring bloom.

Journey to the Moon and Beyond finds even more new facets to the man's sound. There's the soundtrack to the 1974 blaxploitation film Black Eye (starring Fred Williamson) alongside some newly unearthed music for advertising. Just as regal is "Zoos of the World," where Garson soundtracks the wild, preening, slumbering animals from a 1970 National Geographic special of the same name.

The mind reels at just what project would have yielded a scintillating title like "Western Dragon," but these three selections were found on tapes in the archive with no further information. The crown jewel of the set is no doubt Garson's soundtrack to the live broadcast of the 1969 Apollo 11 moon landing, as first heard on CBS News. That's one small step for man, one giant leap for Moogkind. But for decades, this audio was presumed lost, the only trace of it appearing to be from an old YouTube clip. Thankfully, diligent audio archivist Andy Zax came across a copy of the master tape while going through the massive Rod McKuen archive.

So now we get to hear it in all its glory. Across six minutes, Garson conjures broad fantasias, whirring mooncraft sounds, zero-gravity squelches, and twinkling études. It showcases Mort's many moods: sweet, exploratory, whimsical, a little bit corny, weaving it all together in a glorious whole.

Maybe at the time it scanned as crass and opportunistic for Garson to apply his keyboards to subjects like astrological signs, the occult, hippiedom, houseplants, or the moon landing. But more than most other electronic music pioneers of his ilk, Garson foresaw the integration of such electronics into our daily lives, how they would allow us to engage with the world.

If you are a death metal fan, GRACELESS shouldn’t need an introduction. Three full lengths and two split EPs have granted the Dutch ensemble a respectable reputation across the globe. Closer to home, the four piece has played countless live shows since their 2016 inception. The rock solid line up -unchanged since day one- has delivered ferocious, high energy live performances at Eindhoven Metal Meeting, Into the Grave, Party San Metal Open Air, Ruhrpott Metal Meeting, Stonehenge, SDF2021 and many more festivals and clubs. Joining forces with LISTENABLE RECORDS in 2023 is the next thundering milestone for GRACELESS. Tirelessly working on their fourth full-length, the next chapter for GRACELESS will be another step deeper into the abyss that started with Shadowlands (2018), via Where Vultures Know Your Name (2020), to Chants from Purgatory (2022). For fans of DEATH, ASPHYX, GORGUTS, BOLT THROWER, AMON AMARTH, BLOODBATH

Indonesian City Sound: Panbers’ Psychedelic Rock and Funk 1971-1974

The Pandjaitan Brothers or Panbers came from the North Sumatra minority Christian group, the Bataks, whose ancestry traces back to an island at the center of Lake Toba. As a minority group within Indonesia's Muslim-dominated society, this ethnic minority has produced top military generals, celebrity lawyers, and a legion of pop and rock superstars.

Suffice to say, some of the biggest names in the country's pop history were Bataks. Panbers fit the bill perfectly.

The band's strong Christianity belief looms heavily in the music they produce. The prominent use of the Hammond organ in their early materials is evocative of church music the band members have been around in their whole life. Bandleader Benny Pandjaitan's fills his characteristic wail with existential dread, with many utterances of the word "mengapa" (why).

Guilt is another central theme Pandjaitan repeatedly comes back to in his lyrics. But they balance it with joy, on songs such as "Come on You Dance" "Let's Dance Together" or "Haai" (a play on the word high), where references to recreational substances are plentiful.

Although they modeled themselves after the era's rock bands Beatles and fellow countrymen Koes Plus, Panbers had a unique aversion to the electric guitar. In "Jakarta City Sound," a fiery three-note guitar solo is laid so far down in the mix that they are barely audible. In "Haai" they modify the guitar to sound like a jungle instrument playing traditional North Sumatran music. In "Rock and the Sea," arguably their most well-known song globally, they decided to ditch electric guitar altogether and replace it with a sitar.

In the absence of an electric guitar, Panbers had to rely on Doan's inventive bass playing and Asido's drum works to do the heavy lifting - and boy, do they deliver (Their 1971 debut "Volume 1" saw plenty of drum breaks). In this compilation, listeners will hear recordings from Panbers' fertile four-year period - a time that produced in some of the grooviest and hardest-sounding psychedelic music in Indonesia's rock history.

For those uninitiated on the glory Panbers, consider this compilation an introduction to some of earliest and heaviest rock sound to come out of Indonesia.

Shapes of Rhythm is proud to present the self-titled debut LP of Turkish psychedelic pop from MLDVA & Çınar Timur. This record is a celebration of the classic music and culture typically of the 70s and 80s, but which also leans into western jazz funk and soul jazz moments. If you're into the Turkish music legends of the 70s and 80s such as Barış Manço and more recently Altın Gün or Derya Yıldırım & Grup Şimşek, you've come to the right place.

MLDVA were formed in Krakow, Poland in 2013 as a DJ and production outfit. Under the influence of Greek and Turkish folk and psych-rock music they began to transform into a band, taking up instruments including the Saz which is one of the most recognisable trademarks of the Turkish sound. Two years later in 2015 they invited Turkish instrumentalist Çınar Timur to join them and this completes the line up on their debut. This electric album is packed with excellently-recorded expansive tracks which are full of energy, psychedelic deep grooves, hard-hitting breakbeats and everything else you'd expect with classic Turkish sounds.

The instrumental double-header of Neşat Erkaş' Zülüf Dökülmüş Yüze, moving into the time-honoured traditional Kozan Dağıis the perfect opening track. The introduction is an overture of sorts with two minutes of Çınar Timur's pondering guitar. This tees up the record perfectly before heading into a break-beat driven workout with the band matching Çınar's evocative and energetic riffing. The result is a tight sound and a heavy groove that sets the tone for what's to come.

With the band unveiled, Sarı Çizmeli Mehmet Ağa, written by Barış Manço (a legend in Turkish popular music), hits a relaxed, deeper and more psychedelic groove, dominated by Wojciech Długosz's dreamy Rhodes piano, set against choppy wah-wah guitar licks that characterize that classic electric Turkish pop sound. We're introduced to Ulaş Çıbuk's vocals for the first time, telling the historic tale of a charitable village lord Mehmet Ağa from 19c Anatolia known for his generosity. He shared his fortune with people inneed and as a result, died penniless. This track also features the unique sound of Çınar's Mictrotonal electric guitar.

Bir Adım Öte is MLDVA & Çınar Timur's magnificent mellow moment, marking the halfway point in their debut. The group shows that it's not all about the frenetic in a nod to western Soul-Jazz constructs. They showcase restraint, emotion and that joy in repetition of a wonderful guitar refrain. Not content with holding this down, Wojciech Długosz's Rhodes solo steps into a world that's US-influenced Soul jazzand is a lesson in reduction and feeling. Çınar Timur then takes a solo turn, keeping it western-influenced with an on the spot improvisation. When the three minutes of solos are over, we're brought back out of thedream and towards the East again.

Adımız Miskindir Bizim kicks off like a hip hop/funk crossover tune, until the chord changes muscle in, to remind you where you are in the world. As with other tracks on the debut, the tune is marked by recurring motifs, this time from Çınar's microtonal electric guitar. We've more solo Rhodes action, thist ime busier and more urgent. The lyrics–originally written by Yunus Emre – criticizevalues such as holding grudges that destroy ideas of love, friendship and peace among people which causes hostility. Adımız Miskindir Bizim concludes with an uplifting vocal vamp which switches it up unlike any of thetracks on the LP.

In Fesupanallah– made most popular by Erkin Koray – Ulaş Çıbuk sings about the simple subject ofbeing patient with never ending problems in life, and trying to find a solution for them. This cut takes a rhythmical side-step to the rest of the album. The kick drum maps out a solid four-four, but the vocals and guitar lines move around it to impose Fesupanallah as being the record's most traditionally Turkish-sounding cut.

The album's closing track Ölüm Allah'ın Emri (another Manço classic) was recorded live in the band's more familiar surroundings of Krakow's Cheder Cafe during 2020's Jewish Culture Festival. The lyrics tell the tale of someone who has accepted death but cannot accept the separation that comes with it. We open with a dreamy, psychedelic mood before progressing into a heavy-riffing rock feeling with probing synths. Ulaş delivers his vocals over the top of a stripped back, shuffling groove. As the track progresses towards a frenetic conclusion, drummer Szymon Piotrowski cuts loose, combining with Grzegorz Dąbek's synth lines.

MLDVA & Çınar Timur's debut LP is not the sound of a band starting out. Taking time to hone their craft and let influences across the global spectrum of music mature, this is the result of years of jamming, gigging and collaborating. Now, after prestigious festival appearances and their place on Saz Power – an essential modern Turkish music compilation – they're making a lasting contribution to a rich, time-honored culture. MLDVA & Çınar Timur releases Friday 30 June 2023 on limited edition vinyl LP and digital download/streaming services on Shapes of Rhythm. Global distribution by Kudos Records.

Five years after the release of ‘Luyando’, Zimbabwe’s most celebrated music export returns with their long-awaited follow-up album ‘Tusona: Tracings in the Sand’. The six musicians from Victoria Falls are refining their unique sound: infectious Afro grooves deeply connected to Zimbabwe’s cultural DNA. ‘Tusana’ is their most danceable album to date, a DIY production recorded in Zimbabwe. It features horns by Ghanaian highlife outfit Santrofi.

Every Sunday, there is a gathering in the sweltering heat on grounds of an old local beer hall in the Chinotimba township in Mosi-o-Tunya (Victoria Falls). Entertainment is provided by various traditional groups including the Luvale Makisi masquerade. It is a day full of singing, drumming, dancing and storytelling. Mokoomba’s lead vocalist Mathias Muzaza can often be found here singing with a voice both soaring and vulnerable. In the course of the afternoon the other band members - guitarist Trustworth Samende, bass player Abundance Mutori, keyboard player Phathisani Moyo, percussionist Miti Mugande and drummer Ndaba Coster Moyo - often join in with singing. The drum driven song “Bakalubale” featured on their new album invites you to this gathering.

Mokoomba recorded ‘Tusona: Tracings in the Sand’, the follow-up album to ‘Luyando’ (2017, Outhere), in Zimbabwe during the pandemic. Instead of working with outside producers like Manou Gallo or Steve Dyer as they have in the past, this album was entirely recorded in a DIY fashion by Mokoomba. The collective from Zimbabwe put in all the experiences made over the previous years and have forged their music into a unique Zimbabwean sound. On popular demand from their fans in Zimbabwe they have even re-recorded three songs from their last more acoustic album ‘Luyando’ turning them into dancehall bangers (featured on the CD and digital versions of the album). In short, this album is more Mokoomba than any of the ones before.

On the album Mokoomba are singing about love, loss, courage in a changing society. The first single “Nzara Hapana” means “no money” in Shona. The song talks about a man who wants to ensure the future of his wife and family and is trying to protect them against the greed of his relatives. The danceable up-tempo song “Nyansola” praises the goddess of harvest and asks her for rain. “Makisi” is sung in Luvale. It celebrates the beauty of the initiation ceremony for which the whole community comes together. “Manina” is a song about losing a loved one. It was written during the pandemic and features the young singer Ulethu from Harare. Mokoomba sing in many different local languages. Their songs are in Tonga, Luvale, Shona, Nyanja and even Lingala used in “Makolo” when they team up with Congolese singer Desolo B. (The album also features horns by Nobert Wonkyi Arthur (trumpet), Bernard Gyamfi (trombone) and Emmanuel Arthur (sax) from Ghanaian highlife outfit Santrofi.)

The title of the album is a nod towards their immense respect for tradition. ‘Tusona’ refers to an ancient system of signs and symbols, drawn in the sand and used for instruction during initiation ceremonies by the Luvale in Southern Africa. Another important part of the Mukanda initiation ceremony is the incredible Makisi masquerade. Since 2008 the Makisi dances are on the UNESCO list of intangible heritage. The Makisi are masked characters, representing the spirit of deceased ancestors. During the yearly initiation ceremony the Makisi return to the living world to teach the young children to become responsible adults among the Lubale people of Southern Africa. In the last decade the interest - especially among the young people – has faded and the Makisi dances have nearly died out.

“Our inspiration comes from these gatherings”, Trustworth Samende explains, “from listening to and playing pure traditional music with everyone in the township. We then add influences from music that we listened to in our homes growing up and the sounds we experience travelling around the world.” It is the connection with the cultures around them that gives Mokoomba’s music its spiritual power. When you hear Mathias Muzaza singing and you watch closely, you will see the music carrying him away to a different sphere, a place where he is singing with the ancestors. Only a split second later though Trust Samende’s sparkling guitar riffs kick in, blending Congolese influences from neighbouring Kasai with Zamrock and Mbira inspired Chimurenga music, making you want to hit the dancefloor. It is this unique blend of local musical styles with contemporary dance music that is at the heart of Mokoomba’s music. The strong reference to tradition is also reflected in the cover illustration by young Zimbabwean visual artist Lomedy Mhako.

It has been nearly 10 years since this young energetic band from Zimbabwe has exploded onto the international music scene. Since then they have shared their music with fans all over the world: Mokoomba have performed in over 40 countries, rocking audiences in places like Roskilde festival (Denmark), WOMAD festival (UK), Sziget festival (Hungary), SXSW (USA), Apollo Theatre (New York) to name but a few.

Like anywhere in the world Africa’s musical output has become more and more producer based. Mokoomba are the living proof that Africa’s great guitar band heritage is well alive and ready to set any dancefloor on fire. Most important though is that deep below the surface of Mokoomba’s sound - flowing like the Zambezi River - you can still hear the heartbeat and the rhythm of a community connected by its music. Like ‘Tusona’, it is a source of rejuvenation, resilience and strength in these changing times. May the tracings in the sand not fade.

Fever hit Jamaica around 1966 when the jerky Ska rhythms slowed down to a more leisurely, sexy pace. Some say due to the extreme heat that hit the island that year, making frenzied dance routines of the earlier sounds seem like hard work in the all night Sound System Sessions. Others would say Reggae’s beat is always evolving and changing into something slightly different and moving with the times.

Whatever the reasons were, this two year period that ran until 1968, would see some of the power escape from then big three producers, Clemet ‘Coxone’ Dodd, Prince Buster and Duke Reid, who ruled the airwaves. They had to finally make room for the new wave of up and coming producers who had something to say.

Such names as Joel Gibson (Joe Gibbs), Sonia Pottiger, Derrick Harriot and the most prolific of them all, Mr Bunny Lee, would unleash some fine music in this fascinating, if short lived period in Reggae;s history. We have compiled some of the biggest hits from the Rocksteady era alongside some lesser known cuts we believe deserve to be re-evaluated.

Rocksteady was an inspirational time and some may say a little overlooked, but we hope you agree with us when we say that it brought us some outstanding music. So sit back and enjoy some Rocksteady straight from the dancefloors of Jamaica.

Hope you enjoy the set…..

S Transporter is Izaak S and Ryan Spencer, a pan-American duo of exact origins unknown. With roots spanning from Detroit to San Francisco, the project is somewhere around four years old, though no one remembers exactly when it started. The songs were initially demoed in Ryan's bedroom and promptly forgotten about in the chaotic whirl of both members’ efforts in other music projects, DJing, and party-throwing ventures until Ryan played them at his weekly, Monday Is The New Monday (co-founded with PGS' Ben & Zach). Immediately, the songs burst with new life into our ears, and we excitedly requested to hear more. In a tale every creative can relate to, Ryan simply didn't know if they were any good. We found them extraordinary.

What followed were several months of additional recording sessions in a collective effort to finalize the tracks, done at Ryan's apartment in Southwest Detroit, Izaak's in SF, and the Portage Garage in Hamtramck. Bay area DIY underground luminary Anya Ghiorzi joined the group and contributed her vocal talents to the songs, which began to exhibit a sound representative of the genre-collisions featured at MITNM– from krautrock and boogie to trance, acid, and house– in a way other PGS releases have hinted at, but have not fully expressed until now.

S Transporter is the name of the EP, the project, and all four songs. A maximalist sound with a minimalist presentation, naming the songs - so many years after their inception - would, perhaps, take away from the feeling that struck all three of us the first time we heard them on a club-grade sound system.

Izaak S and Anya Ghiorzi are San Francisco residents, musicians, and DJs in the Loveshadow dance collective.

Ryan Spencer is a Detroit resident, DJ, co-founder of Monday Is The New Monday, and is a member of Freakish Pleasures.

"S Transporter 1"
Uptempo, backspin-laden electro/acid with a winding 303 bassline that reveals itself slowly over the pulsing breakbeat backbone. Immersive, haunting and enchanting.

"S Transporter 2"
Downtempo electro. Slap bass. Heavy boogie. Sensual vocals reminiscent of early Chris N Cosey carry you through this industrial funk heater. Heavy synth lines and rhythmic grooving guitar that is club-ready for dance floors of all kinds.

"S Transporter 3"
A fast paced, percussion forward adventure with balaphone melodies and bending synth pads. Spoken words guide the journey, arriving at a movement inducing Juno ascension that dances into a calm end.

"S Transporter 4"
Encompassing the seemingly disjointed, individualistic styles of S Transporter 1-3, ‘4’ combines elements of the entire release into one final gesture. ‘4’ could be Byrne/Eno ("Regiment"), but it's something else - the product of decades of dance music history, distilled by two musicians & DJs into one song.

credits
releases July 19, 2019

PGS 010
S Transporter
"S Transporter"
EP

2015-2019
Written, Mixed and Produced by Izaak S & Ryan Spencer
Vocals by Anya
Bass on “2” by Lucas De Leon Turner
Percussion & additional production on "3" by Shigeto
Percussion on “3” by Julian Spradlin

Mastered by Josh Bonati at Bonati Mastering
Recorded at Izaak's apartment in San Francisco, Ryan's apartment in Southwest Detroit and the Portage Garage
Records Pressed at Archer Record Pressing, Detroit, MI
Design by Will
MMXVIX

Rocksteady took Over Orange Street, Jamaica around 1966, the same time that an extreme heatwave hit the Jamaican island. Some say the previous jerky Ska Rhythms proved too strenuous of an activity to partake in, during the all night Sound System sessions .So it proved a winning formula to slow the beat down to a more leisurely pace.

Whatever the reasons were this two year period that ran until 1968, would see some of the power escape from the big three producers, Clement ‘Coxone’ Dodd, Prince Buster and Duke Reid, who up until this period had ruled the airwaves .It was time to make room for a new wave of up and coming producers that also had something to offer the people. Such names as Joel Gibson ( Joe Gibbs ), Sonia Pottinger, Derrick Harriott and most prolific of them all Mr Bunny Lee.

These new names would unleash some fine music in what would be a short lived chapter in the ever changing and moving beat that is reggae’s history. We have compiled some of the biggest hits from the Rocksteady period, alongside some lesser known cuts we believe deserve to be re-evaluated. Rocksteady was an inspirational and somewhat over looked sound that provided us with some outstanding music. So sit back and enjoy some Rocksteady straight from the dances of Jamaica.

Long time Leng recording artists 40 Thieves are back with one of their most notable singles to date – a surprise collaboration with two NYC disco originals, storied vocalist Cinnamon Jones and multiinstrumentalist/producer Gary Davis.

San Francisco outfit 40 Thieves has been serving up cosmic, dubbed-out and otherworldly contemporary disco treats since the mid 2000s, and have been part of the Leng family since 2011. The crew, headed up by Layne Fox, Jay Williams and Corey Black, have released countless killer cuts on the label, as well as an expansive
debut album, 2014’s The Sky Is Yours.

They’ve worked with other artists before, but nobody at the same legendary level as Cinnamon Jones and Gary
Davis. The latter cut his teeth as a musician working with iconic disco producers Patrick Adams and Peter Brown at their P&P Records stable, before becoming a producer and artist in his own right writing and arranging the disco classic ‘Got To Get Your Love’ performed by Clyde Alexander & Sanction.

Jones, meanwhile, has enjoyed a hugely successful career both in her native New York (as Joyce Jones, an original member of First Choice) and on the West Coast, where she not only became an in-demand performer, but also snagged a role in the Supremes biopic Dream Girls.

‘The Gift’ is one of Jones’ most cherished solo songs – a joyful celebration of a new day dawning that has long been popular in her live sets. With input and instrumentation from Davis and a fantastic delivery of her own lyrics by Jones, 40 Thieves has successfully re-framed the track as a sunrise-ready future Bay Area free party
favourite; a dubbed-out, suitably cosmic creation that’s presented in three potent versions.

Leading the charge, and stretched across side A of the vinyl version is the band’s ’Disco Mix’ which boasts a fully realised instrumental arrangement and extensive use of passages from Jones’ vocals. Not all the lyrics are present as the Bay Area band has chosen to focus on selected lines that most neatly fit their musical vision and
celebrate the joys of dancing at sunrise. There are more spaced-out keyboard solos, sharper guitars (smothered in effects in true 40 Thieves fashion) and sound design that’s as immersive as it is heady and intoxicated.

On the flip is the ‘Disco Dub’. A bona-fide dub disco chugger rich in relentless synth-bass, addictive guitar licks, echo-laden vocal snippets, sparkling nu-disco electronics, tactile, deep house style electric piano stabs and cosmic effects aplenty, it’s a track tailor-made for slowly shuffling while the sun peeps over the horizon.

To complete an inspired package, 40 Thieves have also included a killer DJ tool: a ‘Beats’ take that wraps energy packed percussion hits, trippy electronic noises, trailing dub delays and sparse melodies around a metronomic drum machine beat. It’s a wavy, groovy and pleasingly mind-altering way to conclude one of 40 Thieves’ most magical EPs to date.

Salute to the Sun: Live at Halleì St Peter's documents a very special concert recorded at the iconic Manchester venue during lockdown.

Released in November 2020, Matthew's Halsall's Salute to the Sun was the trumpeter's first album since 2015's Into Forever, and marked the debut of his new band. A hand-picked ensemble featuring some of Manchester's finest young musicians. The album drew it's energy from the band's weekly sessions and was inspired by Halsall's love of nature. Lush and spiritual it received universal praise, but Halsall and his band were frustrated that they were unable to share their beautiful new sound live with an audience.



On November 25th 2020, Halsall took his band into the iconic Manchester venue, Hallé St Peter's, for a concert recording in aid of the charity Mind, that was streamed on January 21st 2021 to a global audience in the thousands. The concert was also recorded for posterity.



"When we recorded Salute to the Sun, I wanted to create something playful but also quite earthy and organic that connected to the sounds in nature. It seemed to strike a chord with people and I was blown away by the response to the album. Our concert film, recorded at the height of last winter's lockdown was a special moment for us all and I feel that the concert recording captured something beautiful that we wanted to share".



Salute to the Sun: Live at Halleì St Peter's features Matthew Halsall– trumpet, Matt Cliffe- flute & saxophone, Maddie Herbert– harp, Gavin Barras– bass, Liviu Gheorghe– piano, Alan Taylor– drums and Jack McCarthy- percussion



The recording has been mixed by Matthew Halsall and George Atkins at 80 Hertz and is mastered by Peter Beckmann at Technology Works. The vinyl was cut at Calyx in Berlin and the album is pressed at Optimal in Germany. It is presented in the form of a limited edition 2LP set with artwork by legendary designer Ian Anderson of The Designers Republic.



Spread over three sides of the vinyl LP for maximum fidelity the fourth side of the LP (side D) features an etching of Daniel Halsall's now iconic artwork for the album Salute to the Sun and copies are strictly limited with just 3000 available in total. The album will also be available for download and on streaming platforms.

Derrick Jamerson was the son of Motown bassist James Jamerson Jr. and grandson of Motown Funk Brother's house band bassist James Jamerson. He himself made a select few house records back in the mid-nineties which have been unearthed by some contemporary deep diggers.

A couple of his tunes now get reissued on this The Legacy Continues EP on Endangered Musique. 'So Hard' is traditional US house with organ chords, chattery claps and well-placed vocal samples, then 'Hot House' gets a bit more loose and soulful. On the flip are three different versions of Derrick's biggest tune, 'Adventures Of A Disco Diva', all of which bring some form of piano house magic.

On June 16th momentum continues apace for Alex Paterson’s Orbscure records, with the new album by Chocolate Hills – his duo project with Paul Conboy. Purveying world class melodic ambience and plenty beyond, colours in this high-fidelity-headphone-wonderland range from languid chill, kitsch exotica, library music, space age pop, ye olde folk and even drum and bass – all seasoned with (in)appropriately random plunderphonics from Paterson’s infinite goodie bag. Loosely based around a nautical journey to the Bermuda triangle and back, this is a fantastic voyage, but seas remain calm – more ‘Life Aquatic’ than ‘Moby Dick’. Tracks gently bob and float on bass which is roomy and buoyant like the hull of a ship, whilst luxuriously fluffy clouds meander overhead, before their vessel dives deep below to marvel at aquatic delights, guided by sonar. Paul Conboy’s approach as a member of cult analogue tinkerers Metamono – who use no computers, only old pre-digital gear – has carried over into his new joint venture. Both groups write, record and perform at same time, then later edit for release. For ‘Yarns from the Chocolate Triangle’ Paul set himself and Alex up with assorted gear, including a record deck, synths and drum machines, then the pair recorded the raw version of the album on the fly. These long live jams where then then discreetly augmented, embellished and edited, with a nip and tuck in Logic. As well as releases as A.P.E. on Dorado and Far Out recordings, TV and film scores plus his ongoing membership in Metamono, Conboy recorded three albums as part of Bomb The Bass, with whom he also toured Australia jointly with The Orb. On a boat trip over to Bali, Paul made Paterson pancakes, and their friendship was sealed. Having stayed in contact, many years later the duo began an exploration of ideas with their 2019 debut ‘A Pail Of Air’ on Painted World records (who’ve also released records by Nik Turner from Hawkwind, Youth, Roger Eno and Jaz Coleman). So far the duo have performed a low key gig at Paterson’s unofficial lair The Book And Record Bar, plus a bigger stage at the Roundhouse, alongside Leftfield, GAS, Ulrich Schnauss and System 7. Clearly making a lasting impression on Alex, the duo’s name was first referenced on The Orb’s own ‘Chocolate Hills Of Bohol’ remix of their single ‘Assassin’ in 1992, which was the same year Alex got blown away when visiting the prehistoric geological formations and enchanting jungles of the Bohol province in the Philippines.